Unlike the first season, we didn’t have to wait until the end of the season for the big reveal. (That should be a clue that a major spoiler is coming for those behind). Fans have speculated since the first episode that Eliot was really in prison or a psychiatric institution rather than living with his mother to provide more structure. This week, his psychiatrist asked Eliot where he believed he was. His mother’s townhouse faded away and he admitted to us that he had been suppressing the fact that he was in prison.
Where did the idea come from that you were going to disguise Elliot’s surroundings in this way?
Sam Esmail: It came from a two-prong approach. We knew exactly what the fate of Elliot was at the end of the last season, and we started breaking this season’s storyline. We’re always trying to stay as authentic to Elliot as possible, what he’s going through. Knowing Elliot, from the very first episode, he definitely has interesting coping mechanisms. Even from the pilot, he has this ability to reprogram his life: E Corp was turned into Evil Corp. When we thought about him being in prison, what would be that coping mechanism, this came to mind. The other approach was his relationship to us — to his “friend” — and how we left him at the end of the first season. He basically didn’t trust us anymore, he felt we were keeping things from him. So we wanted to develop that relationship as well. That was the one approach of, “This is what Elliot would do in this situation, to cope with being in prison,” and then the other of keeping it from us because he felt betrayed by us from the first season.
When we spoke at the end of season 1 about the Mr. Robot revelation, you said you would be hesitant in the future to do things that would leave people questioning the reality of the show. Did you have any concerns about doing another big, “This is what it really is!” reveal in that way?
Sam Esmail: I did. I remember bringing it up to the room. The one thing I also told you is I wanted to stay as authentic to Elliot as possible. And the truth of the matter is, the show is about mystery, and there will always be questions and we won’t actually see the full picture all of the time. Having said that, if we can’t invest in what is happening and what is going on, that would become very frustrating, to the point where you wouldn’t feel any stakes. That was the test we ran through with this idea: is this actually happening to him? Is what he’s experiencing still real? And can the audience still buy into this after the reveal? Those answers were obviously yes: the events that we saw were still very much real, and the consequences of them are real, and what Elliot went through is real. It’s just the coping mechanism he used was not exactly what he saw. To me, it was definitely one of those things that prompted a real conversation. Like I think I told you last year, we’re not in it for gotcha moments or shocking the audience, but we’re in it for interesting reveals and deepening and enriching Elliot’s experience. We felt that him going through his prison sentence in this way was more true to life to Elliot than actually having seen it as a prison.
But you understand how fandom works. Having done this two years in a row, you’ve now conditioned them to, whatever you do next, the fans will pick it apart frame-by-frame to explain what’s actually happening.
Sam Esmail: Yeah, well, truth be told, don’t you feel like it’s already happening this season?
True. How did you feel about people having this exact theory of prison after only the season premiere had aired?
Sam Esmail: It was weird. One thing that we always do is we never want to cheat the audience. We never want it to be some extraordinarily contrived thing where we’re basically lying to the audience and what they’re seeing isn’t actually happening, and we’re fooling them. In doing that, and being honest with what is going on, even though the surroundings aren’t actually what they are, we didn’t really hide it that well, right? I didn’t expect people to catch on from the very first episode, but I thought people would start to theorize and catch on. Look, a reveal is great when it’s surprising, but it’s terrible when it feels like a cheat. To me, the fact that some people who guessed it may not be surprised, it verifies that we didn’t cheat anybody, because it adds up and makes sense to them still.
I’m sure much of this will be explained in future episodes, in terms of why Elliot was in prison to begin with, but was Ray a guard in the prison? How much of Ray’s business involved prisoners versus the outside world?
Sam Esmail: That’s going to get revealed in a couple of episodes.
By sending Elliot to prison, you also spend the first half of the season with him physically separate from the other characters, give or take a brief visit by Gideon or Darlene. What did you see as the advantages and disadvantages of having him apart from the rest of the ensemble, other than Mr. Robot?
Sam Esmail: I’m glad you asked that question. Obviously, knowing we were doing this, it was very important for Elliot to address this incredibly internal conflict that sprung on him at the end of the first season: that he has an alter ego that he can’t control. That was the first and foremost issue that I wanted to tackle with Elliot. So of course the isolation of him being in prison really helped that. It meant that we get to basically do this deep dive into his internal battle with his demons. There is not much else for him to do. He couldn’t escape it. So it was great on that level. I knew it was going to be a polarizing choice to go in this direction with Elliot, but for whatever reason, it felt organic and natural. But when I took a step back and looked at the whole season, I realized that, when I think about the sequels that I really love, or second acts of movies or larger stories, they tend to do this: to go into this inward battle after accomplishing this big Herculean hero’s journey. The one uncanny similarity — which I only realized in hindsight — is Empire Strikes Back. At the end of the first movie, you take down the big band, the revolutionaries kind of win, but the second movie opens, they’re still battling, they’re still struggling, the Empire is rebuilding, and literally Luke goes off to another planet for most of that movie to learn to become a Jedi, while his sister is still out there fighting the good fight. This wasn’t something planned, but I looked at it and realized we were literally following that same pattern. And it’s not just with Empire Strikes Back. It’s Godfather Part II. There’s a lot of introspection that happens. That’s often the next stage after this huge external conflict comes to an end. Then it’s, “Well, then what?” It’s a hangover moment, of reflection and going inward. So that direction made sense for our story.
News also came out during the past week that Mr. Robot has been renewed for a third season.
In other genre news, Henry Cavill has teased what will happen to Superman when he returns for the Justice League movie, in light of what happened at the end of Batman v. Superman.
Agents of SHIELDwill be edgier with its move to 10 pm. It is a safe bet it will still be much tamer than the far better Marvel television adaptations on Netflix (one of which won a Hugo Award).
The 2016 Hugo Awards winners have been announced. The award for Best Novel went to The Fifth Season by N.K. Jemisin. The Martian won for Best Dramatic Presentation, Long Form. Jessica Jones: A.K.A. Smile won for Best Dramatic Presentation, Short Form. Unfortunately the awards continued to be tainted by conservative politics.
BBC America has announced that Doctor Who and other genre shows will be represented at New York Comic Con:
Mark your calendars: BBC AMERICA is coming to New York Comic Con in a big way this year. On Friday, October 7, the network will present a block of star-studded panels at The Theater at Madison Square Garden, featuring Doctor Who, with Peter Capaldi making his NYCC debut alongside new companion Pearl Mackie at her first-ever fan appearance. Ahead of its October 22, Dirk Gently’s Holistic Detective Agency will launch a world premiere screening followed by a panel with cast, showrunner, writer and executive producer. And the Doctor Who spinoff Class will have its first-ever U.S. panel with cast, executive producer, and creator of the series.
They included more on the panels including Doctor Who:
BBC AMERICA’s Doctor Who star Peter Capaldi will make his New York Comic Con debut along with the first ever fan appearance by new co-star Pearl Mackie, who joins the series as Bill, the Doctor’s new companion. When Pearl joined the cast, Emmy-winning lead writer and executive producer Steven Moffat teased “a new voyage is about to begin” and “this is where the story really starts.” Fans will get a sneak peek of what’s ahead including the upcoming Christmas Special this December on BBC AMERICA and hints on what’s in store for Steven Moffat’s final season as showrunner. The panel includes stars Peter Capaldi (The Thick of It) and Pearl Mackie (The Curious Incident of the Dog in the Night Time), as well as Steven Moffat (Sherlock) and executive producer Brian Minchin (Class, Torchwood). Doctor Who is a BBC Cymru Wales production for BBC One and a BBC AMERICA co-production.
Stranger Things was the surprise hit of the summer. It was as close to a perfectly structured television show as I’ve ever seen, both telling a complete story in eight episodes and leaving some things open for future seasons. It has an excellent cast, a story which was compelling from the start, and a lot to bring back fond memories of both the 1980’s and previous stories in the genre. The early 1980’s was a perfect period for this story, when kids could roam freely without being immediately available by cell phone, kids would have to ask their science teacher for information rather than looking it up on line, and Cold War paranoia made the background of the story seem a bit more plausible. I briefly discussed the show last week without spoilers. In order to discuss the finale and where the second season might go, major spoilers are unavoidable.
If I had any complaints after the conclusion, it might be that questions which we might not have had time to wonder about while binging were left unanswered. I’m thinking of where the story was at even before the final few minutes when additional teasers for the future were inserted. Fortunately the producers do have an outline which presumably contains information which might answer some of my questions in future seasons.
We know something about the research being done at Hawkins Lab, and how Eleven presumably opened a portal to another dimension. There could be far more going on at the lab, and was there a one through ten?
What happened in the other dimension, which appears to be like ours with the atmosphere destroyed and people no longer alive? Some scenes which looked up to the stars led me to believe it was due to aliens, while the 1980’s time frame also makes me suspect it was the consequence of a nuclear winter. Why did we see only one Demogorgon? Perhaps such monsters, and perhaps other types, are roaming the other dimension, and only this one made it to their version of Indiana. Did such monsters destroy Earth, or were they created by radiation from a nuclear war? The kids faced a Thessalhydra while playing D&D at the end of the episode. Is this what they will encounter next? Is there a connection between their games and what is found in the Down Under? What was the egg which Hopper discovered?
What happened to Eleven and the monster? If this was a completed story we might assume she died after saying goodby to Mike. However, as we are dealing with parallel universes and the ability to travel between them, it wouldn’t be surprising if a sequel shows that they did go to another dimension. Deaths always must be questioned if there is no body–and in this show even a body did not prove death. If two dimensions were shown this season, are there other dimensions which might come into play in future seasons?
It is plausible that Will remained alive as long as he did by hiding out in alternate versions of places he knows in his universe, but how did he communicate with the lights? Even if messing with the wires in one dimension affected them in the other dimension, he showed remarkable accuracy in turning flashing specific lights by specific letters. Barb was not so fortunate, but to maintain some degree of horror I think it was necessary for her to have been killed. Most of the characters who were put in danger did survive. Will was alive in the end. His mother and Hopper were both captured but managed to be released. The kids survived the final attack of the monster in their school Someone had to actually die for the monster to be menacing in the end, and a character such as Barb who was only in a handful of scenes was the obvious “red shirt.”
The final few minutes of the series went further in providing loose ends to tie up in the future. What happened when Hopper went in that car. Why was he leaving Eggos Waffles in the box in the woods? Either he knew that Eleven was out there and was leaving her favorite food for her, or he perhaps he was leaving them to see if she returned to take them. I think the later is more plausible as if he was actually feeding her he would have presumably left more.
The biggest sign that we have not seen the last of the Upside Down was when Will coughed up the slug and briefly saw the other dimension. Was that just a mental flash back, or was there a breakdown between the dimensions in the bathroom? Is this the original Will, or yet another type of fake, this time created in the Upside Down? What about Will’s mother and Hopper? Both were in the Upside Down and had breathed in the air.
The Duffer brothers have verified in various interviews that they are hoping to produce a second season involving the same characters, with additional ones added. There will be a time jump of one year which makes matters much simpler when dealing with children actors, and allows for the story to have advanced.
Here are some excerpts of interviews with Matt and Ross Duffer:
How much do we know about Eleven’s true origins at this point, and how much did you want to keep a mystery?
Ross: We get the hint that her mom was involved in the experimentations back in the day resulting in her being born with these powers, but what we wanted to do with the show — and this season specifically — was mostly seeing the mystery and these extraordinary things through the eyes of these ordinary characters. By the end of the show they don’t know or understand everything. That is purposeful.
We do cut away to the government occasionally for these pops of mystery or horror, but what we didn’t want was to have a scene of the scientist just sitting down to explain everything. We wanted to slowly peel back layers of this mystery for audiences through the eyes of these very ordinary people. It’s not all solved by the end of the season. We wanted to resolve the main mystery of Will being gone, that was the story of this season.
Do you see the government or science conspiracy angle as a long-term mystery for the show?
Ross: There’s a lot there we don’t know or understand. Even with the Upside Down, we have a 30-page document that is pretty intricate in terms of what it all means, and where this monster actually came from, and why aren’t there more monsters — we have all this stuff that we just didn’t have time for, or we didn’t feel like we needed to get into in season one, because of the main tension of Will. We have that whole other world that we haven’t fully explored in this season, and that was very purposeful.
Matt: We wanted a simple drive and a somewhat simple mystery with bizarre pops of supernatural horror and then add a larger mythology behind this rift that we only know and refer to as the Upside Down because that’s what the boys decide to call it. Everything they’ve learned about it is kind of hypothetical. They’re theorizing based on their knowledge from fantasy gaming and their science teacher, Mr. Clarke. That’s as much as we get to understand it. I think part of it is us thinking in terms of horror, it’s scarier when you don’t fully understand what’s happening. If you were to encounter something from another world or dimension, it would be beyond comprehension. We talked a lot about Clive Barker and his stories. They’re very weird, and the weirder it is, the more inexplicable it is, the scarier it is.
As you head into future seasons, have you thought about how much of that 30-page document you want to reveal and explore?
Ross: We leave these dangling threads at the end. If people respond to this show and we get to continue this story — we had those initial discussions of where we might go with it. If there was going to be a season two, we would reveal more of that 30 page document, but we’d still want to keep it from the point of view of our original characters.
Even though you tell a complete story within the season, you end on a couple of major cliffhangers — the first being Eleven’s disappearance. Did you want to hint at where she’s been with the scene of Hopper leaving Eggos in the woods?
Matt: Obviously something happened to her when she destroyed and killed that monster and we don’t know what she went. Hopper is left with this guilt because he sold her out. We wanted to leave it sort of mysterious exactly what he knows… Have there been sightings in the woods or is he hoping she’s out there or has he already made contact with her? We don’t answer any of that, but we like the idea of potentially putting her and Hopper together.
It also seems that the Upside Down has changed Will or maybe he’s brought some of it back with him. What can you say about the flash he has in the bathroom?
Ross: We love the idea that [the Upside Down] is an environment that is not a great place for a human being to be living in. Will’s been there for an entire week, and it’s had some kind of effect on him, both emotionally and perhaps physically. The idea is he’s escaped this nightmare place, but has he really? That’s a place we wanted to go and potentially explore in season two. What effect does living in there for a week have on him? And what has been done to him? It’s not good, obviously.
They discussed more of these plot points with IGN:
IGN: What can you say about where Eleven is? That’s a very open question, of course, since there are different worlds you’re dealing with here.
Ross: It is. We wanted to leave it purposefully ambiguous. We always, from the very beginning, liked this sort of childlike idea that this escapee from this facility with these amazing powers would be able to just move into Mike’s basement and they’d have this wonderful life together and she’d go to school. It’s not that simple. The goal is to make it as complicated as possible, and without going into too much detail, to really tear them apart at the end of that season, to make things much more difficult. But we love Eleven.
Matt: But the great thing about having a portal to another dimension is that you’re not boxed in, narratively. There’s a lot we can do.
Ross: What did James Cameron say? No one’s ever dead in sci-fi.
IGN: Will clearly has been changed by this experience, it doesn’t seem in a great way. But he’s not the only one that went over there. Should we assume he might not be the only one affected?
Ross: That’s a good question. Though I will say that Will obviously was in there much longer. He had that thing hooked up to him. He went through a much more traumatic experience. A big part of Season 2 that we’ve been discussing is what is that effect? Did it affect anyone else? But specifically, is Will okay? The short answer being no.
Matt: But you’re absolutely right, three of the other characters were in there.
Ross: And they took off their helmets. And we know it’s a toxic environment. Nancy was in there too. Yeah, that’s an interesting question…
IGN: Is that the cool thing about doing a time jump? Asking what has Will been like in the year in between?
Ross: Yeah, that’s exactly it. And how have these characters moved on with their lives and not just in the plot and supernatural [aspect] but also just in terms of their characters and what have they done to fill that time?
Matt: We like that they’ve all had a very traumatic, nightmare experience together and after it’s over they kind of try to sweep it all under the rug. Season 2 would be very differently, structurally. It would be that everything seems great on the surface and then there are hints that things aren’t okay or that there are lingering effects from what happened last year. The initial instinct is to push that back and sweep that crap back under the rug but eventually it becomes impossible to ignore and so they have to confront the repercussions of everything they’ve experienced. I like to think about Stephen King’s It too. — that’s a big time jump. They jump like thirty years. But the idea that the evil is still there and comes back to haunt them and one of the characters finds out about it and kills themselves immediately. That image always stuck with me.
IGN: We see Hopper go for a little meeting at the end there. What can you say about everything he was involved in and how it might open up the world?
Ross: The intention in the scene when he gets in the car – and we want to get into this in the next season – is the clean up of what happened and the mess of all this and Will dying and coming back to life, whatever happened at the school, and the dead bodies… This is not a simple clean up job. It’s complicated. We have all these characters that know that these crazy things happen. We liked the idea that, sort of lead by Hopper, our characters are drawn closer to the government, in terms of having to make a bit of a deal with the devil. To us, that’s an exciting place to take our story.
Matt: But also the idea of going back to the laboratory and pull back the curtain a little bit. Maybe they brought someone new in. It’s not as evil and mysterious as it was in Season 1. We might start to get into what they’re doing a bit little more. Maybe they seem a little bit more friendly… as least at the beginning. A lot of the agents involved in that project are dead.
Ross: The monster and Eleven did a clean sweep of that whole operation, really.
Matt: So it would be new people which I think is cool. I think our initial instinct, when you talk about all of this stuff and “Oh god, this is all such a pain in the ass. We created such a mess.” But then we decided let’s just lean into the problems this created.
Ross: And even someone like Barb, where we left them, her poor parents think she’s just run away. There’s no closure there at this point, which I think is another reason why audiences are reacting like that. They’re like “You saved this boy, but…” What we were trying to do with that last scene in the hospital when Nancy leaves and Jonathan catches her right as she’s going is that there isn’t closure for Nancy. There isn’t closure for Barb’s parents. There is still, despite the relief that our boys are feeling, there still was tragedy here. We want to make sure that we don’t forget about that. We don’t want to forget about Barb.
Collider asked about the benefits of working with Netflix:
Eight episodes was the perfect length for the Season 1 narrative. Was that your decision, to keep it that tight?
MATT: Yes, it was.
ROSS: When we first pitched it to Netflix, we said, “This is an eight-episode story,” and they were like, “Great!” That’s the amazing thing about Netflix. They do not dictate. They don’t tell anyone that it should be 10 episodes or 13 episodes. They just say, “What do you need to tell your story?,” and that’s an amazing freedom that most storytellers who are working in film or TV haven’t had. This is a very recent thing. On television, you’ve gotta have a certain number of breaks for commercials. You’re working on a very clear structure.
MATT: On Wayward Pines, we were writing to commercial breaks.
ROSS: And you know how many episodes it has to be because they’ve got so many slots. Or with a film, you know it can’t be too long ‘cause you can’t get enough showings in. You’re very locked in. So, I think it’s an exciting time. We can play around a bit with form and length, and all of that, and it really just boils down to what we need to tell the story.
MATT: But even though this show has been successful, there’s no pressure to make it 13 episodes. People say, “They need to make way more episodes,” but I like to think one of the reasons it works for people is because it’s paced and it feels like a movie, and that’s because it’s not too long. I think, if we pushed it to 13 episodes, we’d have to start coming up with all these bullshit adventures they’re going on, that aren’t directly tied to the main tension. Eight felt about right. But if we’re developing Season 2 and it feels like seven or nine or eleven, Netflix would support any of those lengths.
How long do you see this series running? Have you thought about future seasons?
ROSS: We don’t know, specifically. We’re very weary of making it go on past the point it should. You want to end on a high note. That’s the goal. We’ve had initial discussions, but we haven’t quite landed on it.
One reason “Stranger Things” is effective is because the monster is revealed slowly. At first, it’s only glimpses. That out-of-sight, fear-of-the-unknown quality feels very “Jaws.”
Ross: “Jaws” was a big one. It’s a classic. The shark not working while making that movie made it much better. Also, we looked a lot at Ridley Scott’s “Alien.” On YouTube, there’s a cut of all the instances where you see the alien in that first movie, and it’s a couple minutes long. And that’s a two-hour movie. I think the reason it’s so scary is that, when it does appear, it has a certain amount of impact. So we thought, OK, we’re going to see the shadow in Episode 1, because we knew we had eight episodes. We were trying to slowly reveal it, until you finally saw the full thing. We don’t really deal with it until Episode 8. It’s a dude in a suit, and I remember reading old interviews with Ridley Scott about “Alien.” The studio was upset with him for it because it’s an amazing alien suit and you’re not shooting it. But the reason is because so much of it will look like a guy in a suit, and so much of it is that what you don’t see is much scarier. We tried to go back to that old-school style of filmmaking…
I want to pose a logistical plot question: Why did Will survive the Upside Down but Barb didn’t?
Matt: Right, I guess we think of it as ― and this is continuing with the “Jaws” references ― it’s the other dimension, the Upside Down, where the shark lives, and every once in a while it comes out of that ocean into our world on the surface and then it grabs a victim and pulls them down to the Upside Down. You saw Barb at the top of Episode 3 in the Upside Down. Just imagine that’s a world, and Barb tried to escape and failed to escape, but Will was sneakier, so he was able to escape. He was able to hide. He goes, initially, to that cubby in Episode 3 inside the Byers’ house, which is why Joyce is able to communicate with him. We had this whole backstory for what Will is doing, but we don’t see it all.
Ross: It’s more like the monster bringing him back to the net, which is why Hopper and Joyce are able to distract Will into being held in this net like a spider caught in its web. He’s brought there by the monster for eating later. Is he there for other reasons? We don’t know. We have ideas.
The way the season ends, there are enough questions answered for it to almost stand as a complete series. But the many unresolved mysteries set up an obvious next chapter. How much of the backstory regarding Dr. Brenner’s experiments and Eleven’s history did you have in place from the get-go?
Matt: We had ideas that we were sort of feeling out. We have a lot more backstory built in for Brenner and Eleven. Every time that we were writing scenes in the Hawkins Lab, we wanted to stop writing them, just because it seemed like we wanted to experience as much of it as possible in the present day and through the eyes of our ordinary characters. We just wanted to leave that as mysterious as possible. I hope that, with the mystery, people are responding to it and it’s not frustrating. But to us, the sci-fi elements are so much more fun if we’re understanding it via our characters. I like that basically everything we understand about what is going on is pretty much through the boys. And they’re only able to understand it through Dungeons and Dragons terminology and by talking to their science teacher, Mr. Clark. It’s all sort of hypothetical. I never wanted any scenes in the laboratory where you have Brenner and the scientists sitting around discussing what’s going on. And Eleven even doesn’t fully understand how she wound up where she wound up and what their plans for her are, so there are very few scenes with Brenner without one of our other main characters. The scenes that are with Brenner and not our main characters have almost no dialogue in them.
Ross: Moving forward, we’re going to get more into detail about the monster and where it came from and what the Upside Down really is. But with this season, we talked a lot about “Poltergeist.” At the end of the day, what really matters in “Poltergeist” is that Carol Anne is missing and they have to go through a portal in the closet to get her back. That matters more than the backstory. People want explanations for all that, so while we have answers for all this, what we really wanted to get from this first season is that this gate opens to this other dimension. What it really boils down to is, Will is in there and we have to get him back. The hope was that, because we resolved that, the first season will be satisfying to people and work as a stand-alone. Hopefully we get to go back and explore more of this stuff.
While Stranger Things brought us back to the 1980’s, Mr. Robot had a surprising beginning by opening as if it was a 1990’s sit-com, including appearances from Alf. If you haven’t watched it yet, do not skip the commercials, as they play into the illusion of a 1990’s television show. Of course, like other less obvious examples on the show, we are seeing what is happening in Eliot’s head as opposed to reality. There was even a plausible explanation for this, which led to a reconciliation with the imaginary Mr. Robot portion of him, after attempts by each to destroy the other earlier in the season. While we still do not know what happened to Tyrell Wellick, he does have a symbolic appearance here also.
Bryan Fuller is slowly teasing news on Star Trek Discovery. It will take place ten years before the original show, bridging events between Enterprise and the original Star Trek. There will be seven lead characters including a gay character, and a female lead who plays a lieutenant commander, providing a different perspective than leading with the Captain as on other series.
The bathroom at The Way Station bar in Brooklyn is bigger on the inside than on the outside. The video above has a tour of the TARDIS themed bathroom.
In other Doctor Who news, the 1996 movie staring Paul McGann is being released on Blu-ray later this year.
Jenna Coleman and Karen Gillan had a joint appearance at Boston Comic Con. Hopefully someone videotaped it and will upload it soon.
Kenny Baker, who played R2-D2 in the Star Wars movies, died at age 81 during the past week.
Agents of SHIELD concluded the third season with a jump ahead showing that someone other than Coulson will be Director of SHIELD. Marvel has revealed that Jason O’Mara will play the Director. While vague, the release did say that he will be “playing a character whose Marvel roots go back to the 1940s.” The synopsis for the upcoming season explains the reason for the change, as well as the changes in the role of some of the other characters:
In light of the Sokovia Accords, and with Hydra obliterated, S.H.I.E.L.D. has been legitimatized again and no longer needs to operate in the shadows. Since the world presumes that Coulson is dead, the organization needed a new Director (Jason O’Mara) to be the face of the organization.
Coulson finds himself back in the role as an agent and teamed with Mack (Henry Simmons), and together they are tasked with tracking down and confirming the presence of Enhanced people, aka Inhumans. They have been trying to track down and capture Daisy (Chloe Bennet), aka Quake, who has gone rogue in an attempt to atone for sins from the past. But with the world believing that Daisy is a dangerous outlaw who has taken down banks and bridges, the new Director has no qualms about taking her down for good.
Agent May (Ming-Na Wen) is tasked with training specialist strike teams, and Fitz (Iain De Caestecker) and Simmons (Elizabeth Henstridge) have taken a big step forward in their relationship. But with Simmons’ new promotion as Special Advisor to the Director in Science and Technology, Fitz, as well as her former team members, finds it hard to confide in or trust her since she’s now the Director’s confidant.
Robbie Reyes (Gabriel Luna) will roar into the lives of Agent Coulson and the team as a junkyard mechanic who can turn on a dime into the terrifying Ghost Rider. Will Robbie be a friend or foe to S.H.I.E.L.D. – as well as the world, itself? Meanwhile, Fitz discovers that socially awkward genius and friend Dr. Radcliffe (John Hannah) has started putting the finishing touches on a new, secret invention.
Chloe Bennet talked with TVLine about Daisy going rogue and her agenda.
In other news about Agents of SHIELD, ABC Entertainment President Channing Dungey said at the Television Critics Association press tour that Adrianne Palicki and Nick Blood could possibly return. As I noted last week, the return as a regular would be complicated by Palicki being cast in another role.
“Better late than never.” That was one Warner Bros. executive’s reaction to the excitement at Suicide Squad‘s splashy Aug. 1 premiere in New York. Tracking indicates the film could open to more than $140 million domestically and potentially hand the studio its first unequivocal megahit since American Sniper‘s $547.4 million in December 2014. With March’s Batman v. Superman: Dawn of Justice grossing $873 million worldwide but failing to impress audiences or reach the hoped-for $1 billion mark, Warners still urgently needs to jump-start its critical DC Comics universe, raising the stakes for Suicide Squad, which cost at least $175 million to make.
Yet if the villain team-up ultimately works — and it has drawn some harsh early reviews — it will be in spite of the kind of behind-the-scenes drama that is becoming typical for giant franchise movies that now are the main focus of the studio business: a production schedule engineered to meet an ambitious release date; a director, David Ayer (Fury), untested in making tentpole movies; and studio executives, brimming with anxiety, who are ready to intercede forcefully as they attempt to protect a branded asset. Often, efforts to fix perceived problems ratchet up costs, which drive anxiety ever higher. In extreme cases, such as Fox’s troubled Fantastic Four, the intervention is so aggressive that it becomes unclear what it means to be the director. (In each such case, studios are careful to stress that the credited director is on-scene and in charge, which is essential to avoid DGA issues. And the wise director plays along.)
The video above is a tribute to Star Trek with clips from ever show and movie.
Star Trek Into Darkness ended with Carol Marcus appearing to be a new crew member but she was not seen in Star Trek Beyond. Simon Pegg, who c0-wrote the movie responded to questions about this by explaining they didn’t have a role for her which made fit into this movie and,“We thought rather than have Carol Marcus be not used to a reasonable capacity, let’s just not include her, have her be alive, in canon, and be ready to come back at any time.” As Star Trek Beyond took place three years later, it is quite plausible that she spent some time as a part of the Enterprise crew and then either left or was not present for some other reason in Star Trek Into Darkness.Nerdophiles has information from the cast on the third season of Gotham.
I’m sure that by now pretty much everyone has heard the hype about Stranger Things. It deserves all the hype, and more. Some compare it to E.T. and to Super 8. It is very rare to see a television show which is as immediately captivating as Stranger Things. The show brings three television series to my mind with their ability to also do this: Twin Peaks, Lost, and The X-Files. One other thing that all three have in common is that they went downhill. The mythology on Lost and X-Files got too convoluted, and they didn’t know where to go beyond the initial story on Twin Peaks.
The format on Netflix should reduce the risk of the show deteriorating over time. Eight episodes allowed them to tell a complete story, while leaving some things open for future seasons. There was no need for filler episodes, and there won’t be the same push as on network television to continue too long. Matt and Ross Duffer have hinted at a second season and it would be quite a shock if Netflix didn’t go with it.
The BBC has a round up of news since series ten of Doctor Who went into production here. More pictures at DoctorWhoTV.
I’ll conclude with commentary on this year’s election from The IT Crowd:
Hillary Clinton said this weekend that she’s going to be at all the presidential debates, despite Trump protesting the schedule. Hillary said that even if Trump doesn’t show, she’s changed her positions enough that she can just debate herself. –Jimmy Fallon
Hillary Clinton supporters had a fundraiser tonight at a cyber security convention in Las Vegas; all the proceeds will go toward teaching Hillary how to use her email account. –Jimmy Kimmel
Turns out Melania Trump’s professional website has been deleted following allegations that she lied about graduating from college. She just deleted the whole thing. As if copying Michelle Obama wasn’t enough, now she’s copying Hillary Clinton. –Jimmy Fallon
Hillary Clinton gave her big speech at the Democratic Convention this evening. And there was an awkward moment when she finished the speech and said, “Now where’s my check?” –Conan O’Brien
(After Hillary Clinton broke the glass ceiling) Donald Trump vowed that when he is president he will replace the broken glass ceiling with a reinforced titanium steel ceiling and that women are going to pay for it. –James Corden
Of course, it’s the Democratic Convention, which began last night. There were several big moments, and by the end, everyone was chanting “I’m With Her!” Unfortunately for Hillary, they were talking about Michelle Obama. –Jimmy Fallon
Donald Trump is now leading Hillary Clinton by 28 points with white voters without a college degree. However, Hillary is ahead by 98 points with voters who went to Trump University. –Conan O’Brien
Star Trek Beyond is the third installment since J.J. Abrams took over Star Trek. Like the first two movies, it is fun to watch, and in this one there is more of an effort (only partially successful) to make this movie actually be Star Trek. There will be some spoilers here, but not to the point of giving away anything which isn’t becoming obvious in the first half of the movie.
The movie has a lot of action, but also makes an effort to get a feel for the characters early in the movie. The Enterprise is now on the third year of its mission in deep space which began at the end of Star Trek Into Darkness. This work mean that, although James Kirk took over the Enterprise at an earlier point in his life, that they have been in deep space for approximately as long as the crew on the original show. (The original series ended in its third season, but they had already been on their five year mission for some time when the show began). In this universe, we also know that they have encountered Tribbles and Khan earlier.
Whatever they have experienced, Kirk now feels that “things have started to feel episodic” and is contemplating a desk job. It should be no spoiler to say that he doesn’t go through with it. There was a reference to the original when he complained that his shirt got torn on an away mission. There was also time for Kirk and the rest of the crew to take break when they traveled to a space station. Again, it should be no spoiler that something happened there which pulled the Enterprise into an adventure.
Before going off to fight another villain, and meet another memorable character, Spock also had to deal with both romantic problems with Uhura and learning of the death of Ambassador Spock, his future self from the origianl Star Trek universe. That is obviously an homage to the death of Leonard Nimoy. The ending of the movie also had a tribute to the death of Anton Yelchin, who plays Chekov. While a fourth movie has already been approved, a decision has been made to not replace Yelchin. Chris Hemsworth will reprise his role as Kirk’s father in the fourth movie, despite having died in the first movie. No word whether that will involve time travel, a revelation that he somehow survived, or some other means.
Spock contemplated leaving Star Fleet to continue Ambassador Spock’s work and his people following the destruction of Vulcan. This provided no more drama than Kirk contemplating taking a desk job. While at this star base we also learned that a ship even bigger and more powerful than the Enterprise was being built. Do I need to label it a spoiler to say that this guaranteed the repeat of what didn’t occur to the Enterprise in the prime universe until its third movie?
While no longer directed by J.J. Abrams, his influence was seen. I have some of the same nit picks as I did with Star Trek Into Darkness. Everything must be bigger, including getting yet a bigger and better version of the Enterprise and the incredible size of the space station out in deep space (which seemed partially modeled on Epcot). Once again, distance did not seem to matter. The Enterprise has gone where no one has gone before, but is not far from a station of this magnitude, and right around the corner from an almost unexplored nebula.
The most important thing about the Star Trek movies is that they have kept Star Trek around in some form. Star Trek has always worked better as a television show than movie series, and it will return to television early in 2017. Bryan Fuller announced at Comic Con that the next series will be named Star Trek Discovery, (referred to as DSC rather than the initials STD). The series will premiere on CBS television but subsequently be shown on CBS All Access, a paid streaming service. Episodes will also be available internationally on Netflix within twenty-hours making me wonder if it will be accessible in the US if using a VPN. With such limited availability, I bet it will also be heavily pirated.
Star Trek Discovery will tell a single story in thirteen chapters, with episodes released weekly. The series will take place in the prime timeline, but it has not been announced when. There has been speculation that the registry number of NCC-1031 for the Starship Discovery suggests it could take place before the original show, but that is far from definitive.
The above trailer for Sherlock season 4 was presented at San Diego Comic Con.
That naturally leads to recent news related to that other show run by Steven Moffat. Moffat predicts that Peter Capaldi will be remaining with the show after he leaves as show runner in 2017.
Karen Gillan has been cast as the female lead in All Creatures Here Below, an indie drama written by and starring David Dastmalchian. (I just thought of Amy Pond earlier today when I was walking by a house with a small angel on its lawn. I did not blink).
Jenna Coleman will be playing Queen Victoria for ITV. She has not ruled out returning to Doctor Who some day, but told Collider she will probably not return “for a good while” if she ever does.
Set 300 years in the future, the untitled show — MacFarlane’s first live-action TV series — follows the adventures of the Orville, a not-so-top-of-the-line exploratory ship in Earth’s interstellar fleet. Facing cosmic challenges from without and within, this motley crew of space explorers will boldly go where no comedic drama has gone before.
MacFarlane plays Ed, captain of Orville. Palicki plays Kelly Grayson, Ed’s ex-wife and the newly appointed First Officer of the Orville. Grimes plays Gordon, Ed’s best friend whom he hires to pilot the Orville.
This should answer the question as to whether Palacki will return to Agents of SHIELD after ABC decided against picking up the proposed spin-0ff which she was to star in. While she was written out of SHIELD, the manner in which it was done did not make it too difficult to have her return.
The Last Ship has been renewed by TNT for a fourth season. It has taken a different approach for the third season, reminding me of previous post-apocalyptic shows such as Jericho and Revolution. It is like rebuilding society in Revolution, with a recent plague being far more plausible than the loss of electricity on Revolution.
There is no question I will be binging on Gilmore Girls Thanksgiving weekend until I hear the four final words which Amy Sherman-Palladino has always planned to end the series with. She had hoped to have the show released in individual episodes to avoid spoiling the ending, but Netflix insisted on releasing all four episodes on November 25. I can’t think of any better place than Stars Hollow to spend Thanksgiving weekend. Trailer above. John Oliver did respond to Lorelei’s question while appearing on Stephen Colbert’s show:
Then on Christmas we can get more of Sense8 as opposed to watching it for the eighth time. ONTD has these items from the J. Michael Straczynsk’s panel at Comic Con:
– He confirms they’re filming in more cities because the Sense8 will be meeting more Sensates and some of them might be evil.
– There’s a lot more action than in Season 1.
– They’re gonna dig a lot deeper into the company searching for Sensates.
– Kala/Wolfgang storyline evolves a lot from S1.
– He confirms Sun gets out of jail ‘but not in the way you’d expect’.
– They’re working more like a group and having more scenes together.
– Netflix revealed that most Netflix shows are re-watched once at most. Sense8’s rewatchability index is off the charts. People rewatch Sense8 up to 7 times in average (end to end).
– Season2 is more ‘hopeful’ about LGTB people, privacy and relationships
– Riley’s gonna be the one leading the agenda to meet more sensates and she uses her DJ concerts to do so.
– Christmas movie airs on Christmas Day and the rest of the season shortly after in 2017.
Tim Kaine spoke earlier in the evening. Other than for his impression of Donald Trump, the line which comes to mind was “I trust Hillary Clinton with our son’s life.” Do we really want someone this foolish a heartbeat away from the presidency? Kaine’s opponent for the vice presidency, Mike Pence was not far from me this afternoon. Just as Mike Pence began a town hall nearby in Michigan, the sky became dark and rain came down from the heavens. Was it the wrath of an omnipotent invisible being in the sky, or just coincidence? We report, you decide.
The goal of the various speakers was to paint Donald Trump as being such as awful person that nobody would consider voting for him. That was not hard to do. After all, he once spoke of obliterating Iran. What type of monster speaks of obliterating another country. Oh, wait, that was Hillary Clinton. Donald Trump fought against a ban on the use of cluster bombs in civilian areas. Oops, again that was Hillary Clinton joining with the Republicans. If Trump is elected, we will see mass incarceration, deportations, and cuts in welfare for women and children. Again, Clintons, been there, done that. Donald Trump would ignore the Bill of Rights, for example by proposing to imprison people for burning the flag in protest. Yet again, it was Hillary Clinton who introduced such legislation. Donald Trump has mocked freedom of speech if it comes in the way of fighting terrorism. That one is true about Trump–but Hillary Clinton has taken the same position.
The nominating process really has been successful in finding the worst two people in America. Now they can fight it out to see which one really is the worst.
That is why there were protests, and chants of “Hell No DNC, We Won’t Vote For Hillary.” We need someone creative out there to be ready with an updated version of “Hey There LBJ, How Many Kids Did You Kill Today?”
Stephen Colbert also gave a rundown of last night’s events:
Plus he mocked the attempts by Viacom to retain the rights to the Stephen Colbert character from his Comedy Central show, and used an entirely new segment, Werd, to look at voting for the lesser evil:
Despite protests from Sanders supporters and controversy, Hillary Clinton has won the role call vote for the Democratic nomination. The Democratic Party is now firmly under the control of DLC Democrats and neocons. The irony of the Clinton camp trying to convince voters that Clinton is not a tool of Wall Street and the big banks at Wells Fargo Center.
Highlights from the first night of the convention included Michelle Obama plagiarizing a speech from the 2024 Republican convention. (Wait eight years and you will see that I am right.)
If the goal tonight was to win the support of those of us who have opposed Clinton, it was a failure. Not a word on ending the damage from neoconservative military interventionism because the nominee is herself a hard core neocon. Not a word on restoring the civil liberties which have been violated in the war on terror, because the nominee is extremely conservative on civil liberties. Not a word on separation of church and state as the nominee has promoted an increased role for religion in public policy. Not a word on increasing government transparency as the nominee is a life-long opponent of open government.
We now have an election with the two worst, and unpopular, candidates in memory. Both will seek to win by making voters hate the other even more. For Clinton, the election could partially come down to how much more unfavorable news comes out. The Clinton camp is already expressing fears over more revelations via WikiLeaks, sounding like an acknowledgment that they have even more they are trying to hide. This also gives them the opportunity to distract by attacking Russia, furthering the neoconservative goals of further conflict and war. On the other hand, leaks might not be necessary to sink Donald Trump’s campaign. He could do this with his own mouth.
With candidates as awful as the racist, xenophobic Trump and the corrupt warmonger Clinton, the only rational course this year is not to back a candidate but work to bring down the two party duopoly which preserves the status quo. It is an uphill battle but this year the polls show that the majority are receptive to this goal.
Stephen Colbert described the events of the first day of the convention.
The second season of 12 Monkeys concluded last week. The series demonstrated a problem with many series which start out with a good story which can be told in a season or two, but the economics of American television demand that they try to find a way to extend the series longer. The initial story line of going back in time to stop the plague would have made a great story if it could have been concluded over one or two years, but it could not be dragged out indefinitely. Continuum had a similar structure with characters who went back in time to change their future, but managed to keep it fresh every season while sticking to the same overall structure. 12 Monkeys instead changed the focus of the series.
While there were good moments, I just could not find the story this season to be as compelling as the first season. The finale did wrap up some of the events of the season, while leaving other matters open. After seeing such division between the main characters over two different strategies, both failed leaiving most of the characters either dead or stranded in the past going into the finale. It took another means of traveling through time to repair the damage, followed by the revelation of the identity of The Witness. It was also fun to see Madeline Stowe, who was in the movie version, have a significant role in the finale.
Show runner Terry Matalas discussed the finale with Blastr. Here is the start of the interview, which begins with a major spoiler if you anyone intends to watch this in the future:
Let’s start with the elephant in the room: We now know the identity of The Witness, and it’s the child of Cole and Cassie. What can you tell us about the big reveal?
Matalas: I knew from the outset that this is where our characters were heading – that the reveal of The Witness shouldn’t be just a surprising narrative revelation, but a hugely emotional one. We easily could have put a familiar face behind that mask and the moment might’ve been shocking – maybe even satisfying – but it ultimately would’ve felt like plot. Mind-blowing is fantastic, but it also needed to be heart-breaking; it needed to really challenge Cassie and Cole and pose these massive, emotional questions for Season 3.
How long have you been setting up this Witness reveal, and what hints might we have missed along the way? Was this the plan all along from the start of Season 1?
Matalas: Yes. In many ways, the biggest hint from the start is that Cassie and Cole are continually left alive. The Army of the 12 Monkeys – Pallid Man, Olivia, The Messengers –they’ve made no secret that these two characters are important in the grander cycle. Time and again, they’ve opted not to kill them – even when the opportunity was painfully clear.
Speaking a bit more thematically, if you look closely at Season One, it’s very much about fatherhood. Season Two is equally about motherhood. Season Three, it stands to reason, will focus on the children.
You obviously can’t give us the play-by-play for Season 3, but what can you tell us about how this reveal will inform the next chapter of the series for Cole and Cassie?
Matalas: If you knew that your child was destined to become the Destroyer of Worlds – that the gentle, loving child in your arms would one day murder billions – what would you really do? Or not do? The “Kill Hitler” scenario becomes much more complicated when you’re Hitler’s mom or dad. So a major part of Season Three for Cassie and Cole is that central question, the weight and responsibility of it all.
But Season 3 will also be a “Sympathy for the Devil” tale. What if you met The Witness, heard his story and actually understood why he’s done what he’s done? Maybe even agreed with it?
ENTERTAINMENT WEEKLY: How did you feel when you found out that Cassie was not only pregnant, but their child was the Witness? AMANDA SCHULL: [Executive producer Terry Matalas] told me fairly early on. I hadn’t had all of the moments with the Witness — understanding the gravity of how upset and just how violated she feels by the Witness — so it didn’t have the gravitas when he told me initially. Then, as we progressed throughout the season, every single interaction with the Witness, realizing how much she despises and how much it makes her despise herself for what she’s done and everything about it, that’s what is upsetting. It’s much more impactful knowing later on after having been able to reenact those scenarios from the page.
Then [with] the pregnancy [reveal], I don’t have a child, I’ve never been pregnant and I really loved being able to have the moment. We don’t say it, it’s all done through looks. I really liked the challenge. I really like having that interaction with Aaron. I work really comfortably with Aaron. I really enjoy everything that we get to do together. We shot those moments the final week of season 2, and it was just us in this tiny little set and we kind of had a skeleton crew. It was really special and I think they chose an even less emotional take of mine, because we did his coverage first and I just kept crying every time he opened the card. I’ve never told anybody that I’m pregnant, so I’ve never had that opportunity to tell somebody that. And his reaction, just everything that they’ve gone through up until that point really moved me.
What do you think that internal struggle will be like for Cassie between wanting to protect her child and considering other possibilities?
My initial reaction to that when we were talking about it was very un-[politically correct]. It was basically, “Get it out of me at any cost.” But then in thinking about that, it becomes a question of nature versus nurture: Is there a possibility that she could change it? She could rewrite history if she were able to undo this. If she’s never going to see Cole again, is she going to hang on to the very last bits of his DNA that she has and try to salvage the upbringing of this child in a way that isn’t destructive to all human kind? It is really a fascinating battle and I think will largely have to do with the certain circumstances in which she is being kept in the future with the Army.
We know that Cole is headed toward the future to try and save Cassie. With the concept of nature versus nurture in mind, do you think her choices about the Witness might put her at odds with Cole?
I think it will be really interesting and I think that it could perhaps put them at odds, but the fact is they seem to end up coming around to the same page. Of anyone’s partnership on this show, they seem to have the understanding of one another for whatever reason. They were sort of meant for each other. I think they would have an understanding. They might be at odds at first, but I have no idea how Terry and his evil genius brain wants to play that out.
There was a tremendous amount of news out of San Diego Comic Con over the past weekend. The above trailer both gives a better idea of how Flashpoint will be handled on The Flash and confirms earlier reports that Wally West will be seen as Kid Flash.
In other DC news, despite her character getting killed on Arrow, Katie Cassidy has become the latest to be made a regular across the entire line of DC shows on the CW Network.
Also on CW, there was news on the upcoming season of The 100:
“The Earth strikes back in season four—it is an unbeatable foe,” creator Jason Rothenberg teased regarding next season. “It quickly becomes about not how to stop it, because stopping it is not possible, but about: How do we survive? There aren’t enough lifeboats, so who gets to choose who lives?”
With total nuclear destruction on the way, getting her people to safety is something Clarke (Eliza Taylor) will have to deal with. In the exclusive clip shown off during the panel, we hear Clarke’s ominous narration: “Our enemy isn’t something that can be fought. It can’t be reasoned with. It can’t be killed. When all is lost, can hope survive? can we survive? After everything we’ve done, do we deserve to?”
After losing major characters like Lexa, Lincoln, and Pike last season, facing the impending apocalypse will be difficult for everyone. Octavia, for instance, will be traveling down a much darker road, channeling her inner assassin. She explained, “Octavia will take a really dark turn. She’s going to do what she does best, which is killing people. She really found her home within herself in becoming a warrior, and that’s thanks to Lincoln and Indra.”
More was seen of the future of DC’s cinematic universe with the above trailers for Wonder Woman and Justice League.
Batman v. Superman: Dawn of Justice came out on Blu-ray and DVD last week, also making this a good time for the above video of Easter Eggs in the movie.
An Honest Trailer was also released for Comic Con.
In other news, it has been confirmed thatDaredevilwill be back for a third season. While it was a complete story, a lot of personal matters for the characters were left hanging at the end of the second season.
Star Trek Beyond came out Friday and there was news at Comic Con on the upcoming television series. While the movie still had some of the flaws seen since revived by J.J. Abrams, it did feel the most like true Star Trek. I discuss both the movie and what we know about the television show together, and will hold off until next week to give more people a chance to see the movie.
Benedict Cumberbatch of Sherlock is involved in yet another franchise. A trailer for Doctor Strange is above.
In other potential big news in the Doctor Who universe, John Barrowman said he is working hard to bring Torchwood back, and he has a big telephone call related to this scheduled for Monday. Hopefully we will have some real news afterwards.
If for some reason you recorded the Republican National Convention last night with plans to watch later, watch Ivanka, and then just turn it off. Ivanka did a great job. Donald Trump tried to scare people into voting for him. (Full text here). I don’t understand how Republican politicians have spent the last few days saying how great their state is, and then Trump made the entire country sound like it is on the verge of disaster.
Trump did have a handful of good moments. He attempted to receive the support of all those who are unhappy with the status quo:
That is why Hillary Clinton’s message is that things will never change. My message is that things have to change – and they have to change right now. Every day I wake up determined to deliver for the people I have met all across this nation that have been neglected, ignored, and abandoned.
I have visited the laid-off factory workers, and the communities crushed by our horrible and unfair trade deals. These are the forgotten men and women of our country. People who work hard but no longer have a voice.
I AM YOUR VOICE.
Trump criticized “15 years of wars in the Middle East,” which can be seen as not only criticism of what we will likely see continue under Hillary Clinton, but criticism of the last president from his own party. While he is likely to not be as interventionist as Hillary Clinton on foreign policy, which is also true of virtually anyone in the country, he has failed to outline any coherent foreign policy views of his own. He did attempt to appeal to Sanders supporters based upon trade policy, but his racism and xenophobia will greatly limit his ability to receive our support.
Donald Trump is apparently jealous of all the comparisons between Hillary Clinton and Richard Nixon and made his own attempt at imitating Nixon. At best Trump channeled Richard Nixon in his calls for law and order, which is scary enough. At worst it was seen as “nightmarish authoritarianism.” Trump repeatedly brought up shootings of police officers, which is fine to protest, but totally ignored the serious problem of some police officers shooting unarmed minorities.
The third night of the Republican Convention was supposed to feature vice presidential nominee (and possible future acting president) Mike Pence. Instead Ted Cruz stole the show by refusing to endorse Donald Trump. Cruz advised people to vote their conscience, which had become the the slogan of those at the convention who wanted to open up the nomination to vote for others. He was booed last night, but if Trump loses badly, he might also be in a position to look like the smart one in the party by November, in contrast to those who backed Trump.
Allowing Cruz to do this prior to Pence’s acceptance speech looks like another act of poor convention planning on Trump’s part–although he did turn the situation to his advantage in the convention hall by entering before Cruz finished speaking. If he was going to have Cruz speak, it might have made more sense to do it the first night (when Clinton is allowing Sanders to speak), or perhaps the second night when all sorts of wacko speeches were already being given.
Cruz also spoke a lot about freedom. Unfortunately he primarily supports the right of conservative Christians to impose their religious views on others.
All the noise following Cruz’s speech distracted from Mike Pence’s speech (fact checking here) and as a result, even after last night not very many people know who Mike Pence is. Seth Meyers took a closer look at Pence in the video above.
A new study to be published in a special 2016 election issue of PS: Political Science and Politics finds that reading Harry Potter books leads Americans to take a lower opinion of Donald Trump. In fact, the more books the participants read, the greater the effect…
“Because Trump’s political views are widely viewed as opposed to the values espoused in the Harry Potter series,” Mutz writes in the study, “exposure to the Potter series may play an influential role in influencing how Americans respond to Donald Trump.”
To test that explanation for the Harry Potter effect, Mutz focused on three core themes from Harry Potter: The value of tolerance and respect for difference; opposition to violence and punitiveness; and opposition to authoritarianism.
In each case, Mutz points out, Donald Trump’s messages are opposed to the lessons conveyed in Harry Potter and closer to that of his enemy, Lord Voldemort. Examples abound throughout the series:
Harry and his friends advocate for oppressed house-elves and oppose Lord Voldemort’s quest for blood purity among wizards. Harry himself is of mixed wizard/muggle (non-wizard) ancestry. Trump, by contrast, has called for a temporary moratorium on Muslim immigration and made offensive comments about outgroups of all kinds, including women, Mexicans, Asians, and those with disabilities.
The Harry Potter series promotes non-violent means of conflict resolution; while Voldemort is willing to kill many times, the books’ protagonists consistently avoid unnecessary curses for killing, torture, or controlling others. Harry even saves the life of his Voldemort-aligned nemesis, Draco Malfoy. Trump, by contrast, has spoken widely about his fondness for waterboarding, and advocates the killing of terrorists’ families as a means of deterrence. He has praised his followers’ acts of violence against protesters at his rallies.
The Harry Potter protagonists work against authoritarian characters in the books. “As does Voldemort,” Mutz writes, “Trump portrays himself as a strongman who can bend others to his will, be they the Chinese government or terrorists.”
…Mutz’s data also shows that each Harry Potter book read also raised a person’s evaluations of Muslims and homosexuals, two groups chosen to gauge the respondent’s tolerance and respect for difference. Harry Potter also appeared to encourage opposition to punitive policies — gauged by responses to questions about the use of torture, killing terrorists, and support for the death penalty — though the effect size was small.
But reading Harry Potter also engendered opposition to Trump in ways that surpassed the effect of these two themes.
“It may simply be too difficult for Harry Potter readers to ignore the similarities between Trump and the power-hungry Voldemort,” she writes.
Going into the final night of the convention, Donald Trump has also received a lot of criticism for his comments on foreign policy in an interview with The New York Times in which, once again, he shows how little interest he has in facts or details.
I other news, Michelle Obama played Carpool Karaoke with James Corden and, in followup of yesterday’s post, Roger Ailes has left Fox following the charges of sexual harassment. Apparently at News Corp you can get away with trying to screw American democracy, but not Megyn Kelley.