SciFi Weekend: Captain America; Agents of Shield; Legends of Tomorrow & The Justice Society of America; DC Four-Way Crossover; Star Trek; Mr Robot; Limitless

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Captain America: Civil War, like the previous movie in the series, made major changes in the Marvel Cinematic Universe which also extend to Agents of SHIELD on television. Spoilers ahead for both the movie and television series. Civil War showed a continuation of what was seen in Captain America: Winter Soldier, which led to moving SHIELD underground. It ends not with Captain America being killed as in the comics, but with both giving up his shield and going underground. Other members of the Avengers are in similar situations. Collider summarizes how the MCU has changed, with major spoilers for those who have not seen the movie and recent episodes of Agents of SHIELD.

It did seem strange that Nick Fury was not involved, and his role since the changes in SHIELD remain unclear. Civil War writers Christopher Markus and Stephen McFeely were asked about this by The Los Angeles Times:

I’m curious. Where was Fury? 

Stephen McFeely: I’m curious too!

Christopher Markus: We called him, but he let the line blink. Primarily it felt like one too many possible opinions. We didn’t want him to take one side or the other, because that’s not his place in the universe. And then we didn’t want another, “Is he still with the government? Is he opposed to the government but supporting the government?” It got to be the potential for a lot more polemic discussion that the movie did not have room for.

He’s the guy who put it together. He’s been the sort of parent figure to the Avengers. Let the parent go away, and see if the kids can handle this. See if the kids can be who they’re supposed to be without that governing voice. Um… and they didn’t do that good of a job.

Are we going to see him in “Infinity Wars?”

McFeely: I would think.

Markus: It’s probably all hands on deck.

McFeely: Don’t you assume you’ll see everybody in the “Infinity Wars?”

You heard it here first: Everybody is in “Infinity Wars.” Hopefully that includes Sam Rockwell’s Justin Hammer and Whiplash’s bird.

Captain America: Civil War acted as the origin story for Black Panther, and introduced Spider-Man to the rest of the MCU. Iron Man will be appearing in Spider-Man’s upcoming solo movie, Spider-Man: Homecoming. There is also speculation that there is yet another connection, with “homecoming” being one of the trigger words used by Hydra in brainwashing Bucky Barnes.

Deadline has a long interview with  Kevin Feige. One of the many items discussed included the possibility of  Black Widow getting a solo movie in the future:

DEADLINE: You’ve got a bunch of characters in this movie from Falcon and War Machine and Black Widow and Hawkeye, who have so far guest starred in movies with another characters title above the fold. Is there one destined to get a solo movie down the line?
FEIGE: We’ve announced the next nine movies, 10 counting Civil War, through the end of 2019. Where we go beyond that are ongoing discussions that we’ll focus on in the next few years because we have a lot to do before then. Of the characters that you’ve just mentioned I would say certainly the one creatively and emotionally that we are most committing to doing is Black Widow.

DEADLINE: Why?
FEIGE: We think she’s an amazing character. We think Scarlett Johansson’s portrayal of her is amazing. She’s a lead Avenger and has amazing stories in her own right to tell that we think would be fun to turn into a stand-alone franchise.

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Agents of SHIELD also worked in the Sokovia Accords, the movie version of the Superhero Registration Act, and ended the season with some deaths. Even Daisy now appears to be on the run, and who is this new Director of SHIELD? There was a second death for a Brett Walton villain, first Grant Ward, and now Hive. It looks like he might finally be finished with the series.  Jed Whedon and Maurissa Tancharoen spoke with Comic Book Resources about the finale.

CBR News: How difficult was it to say goodbye to Brett Dalton and Lincoln Mitchell?

Maurissa Tancharoen: It was so, so hard. There were many tears. It was very emotional. Even in the process of developing their arcs and breaking the season, it was a decision we struggled to finalize. We knew that we had to, though. We had to close a chapter with Ward. To sustain an antagonist for this long or to go beyond three seasons — we just didn’t want it to lose any steam. At our wrap party, there were several emotional speeches being made for both of those guys.

Jed Whedon: One of the things about television is that it’s fluid. You always have to generate a lot of different stories. Sometimes you eliminate a character and it’s easy, because you either don’t like the person or you don’t like the character. This was a situation where we didn’t have that. Both of these actors are just great guys, they’re great to work with and are pros. It was a very emotional end of the season for everybody.

Tancharoen: A week before we wrapped, we were here at home. I was thinking of Brett and Luke. They are such great people, and so talented and so handsome. “Oh, my God. What have we done?”

After watching Ward evolve from a member of S.H.I.E.L.D., to Hydra agent, to Hive, why did it feel that this was the time to let him go?

Whedon: One of the reasons we closed that chapter was to start a very different, very new chapter next year. We’re very excited about it, but that’s as specific we can get.

Now that viewers have seen the finale, what were the most important aspects, to you, about the send-off you gave Ward/Hive?

Whedon: Hive revealed his motivation: “I want a connection.” That’s a fitting end to his story. Also, to Ward’s story, he wanted that with Skye. Now, here he is, sitting with Lincoln, the one person who had that with Skye/Daisy. There’s some poetry to the simplicity and the quietness in that moment that we loved. It was a fitting end for someone with [goals of] world domination, and to our buddy Grant Ward, who we managed to maintain as an antagonist for three seasons, which is a lot for one character.

While some themes from the movies are reflected in Agents of SHIELD, the two are also disconnected, especially with Coulson being alive in the television show but still considered dead in the movies. It is also strange that nobody from The Avengers got caught up in the battle against Hive. Chloe Bennet talked about this last week. When asked if she would like to show up in the movie universe she replied, “The Marvel Cinematic Universe loves to pretend that everything is connected, but then they don’t acknowledge our show at all. So, I would love to do that, but they don’t seem to keen on that idea.”

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The Berlanti shows on CBS and the CW Network are almost completed for the season, with Arrow and The Flash presumably to complete their story lines related to Zoom and Damian Dahrk next week. Legends of Tomorrow remains the weakest of the four, but did improve in its final episodes. The good news was that it got more timey wimey. The bad news is that it handled their rules of time travel much more poorly than other genre shows such as Continuum and 12 Monkeys. As time travel does not really exist (which I assume as I have never received a list of winning lottery winners from my future self), a show can get away with their own rules, but they should be internally consistent and make sense. Screen Rant has more on the plot holes. More spoilers ahead.

It should help the show in the future to have Vandal Savage defeated. Having them spend the season getting close to him but not killing him led to many unsatisfactory episodes. Some old members of the cast will be gone. Ciara Renée is leaving as a series regular, but the manner in which Hawkgirl and Hawkman flew off certainly leaves open for the possibility of their return, even without using time travel. Wentworth Miller’s character Leonard Snart (Captain Cold) sacrificed his life on Legends of Tomorrow. In the Berlanti universe, death is not a permanent change (except for the Earth 1 Laurel Lance), and Miller will be a recurring character in various shows in the universe. Presumably time travel or effects from the destruction of the Oculus will  provide the explanation.

While some characters are gone, the ending suggested the introduction of the Justice Society of America. Collider has background information on this. Marc Guggenhein also discussed this with The Hollywood Reporter:

The CW’s Legends of Tomorrow used Thursday’s season one finale to reveal that Rex Tyler aka Hourman (Patrick J. Adams), along with the JSA, would be a major part of the Arrow/Flash spinoff’s sophomore run. He arrived on a Waverider as the Legends team intended to take off as Time Masters, warning them that they would all die if they did.

“With his final words in the finale, he planted a pretty deep flag about where we’re headed in season two, which is not just introducing Hourman but introducing his teammates in the Justice Society of America,” executive producer Marc Guggenheim tells The Hollywood Reporter. “For comic book fans, everyone knows the Justice Society is really the precursor to the Justice League, so it’s a pretty big move in our DC universe here on TV.”

Although the DC Comics franchise keeps its film and television projects separate (unlike rival Marvel, which connects its film and TV projects in one shared universe), it’s interesting to note that it’s the newest — rather than the highest-rated DC show (Flash) — that is going to be the one introducing the iconic superhero team…

The introduction of Hourman and the JSA won’t be the only reason Legends of Tomorrow will look different in season two. Along with some casting shakeups, the elimination of the Time Council and the set timeline takes away a huge part of the story and the rules that were established all season long.”One of the other big things we’ve done in the season finale is we planted another flag in the form of Rip’s [Arthur Darvil] statement. Because the Time Masters are essentially gone and the Legends have destroyed the Oculus, that all means that someone else has to do the job of the Time Masters,” Guggenheim says. “Our Legends take that on as their new responsibility. It’s sort of like, you break it, you buy it.”

“That’s really exciting to us, that our team of Legends, our misfits, are going to be responsible for the preservation of the timeline and protection of history,” he adds. “As we’ve seen, our team, our guys are not always the most responsible people around so maybe time has got some new troubles. But it will provide a lot of fodder, a lot of fun story for season two.”

With Supergirl getting picked up by the CW Network, they didn’t waste any time in announcing  plans for a four way crossover with Arrow, The Flash, and Legends of Tomorrow. This is facilitated by all four now being on the same network and all being filed in Vancouver starting next season. These matters are far more important then the logistics of getting Supergirl involved with characters who are on a different earth.

Above is a trailer for the movie Star Trek Beyond. It also looks like Paramount has been convinced that it is not a good idea to sue fans over copyright infringements in fan-made movies. JJ Abrams made this announcement:

A few months back there was a fan movie, Axanar that was being fan made, and there was this lawsuit between the studio and these fans. And Justin was sort of outraged by this as a longtime fan. And, we started talking about it and realized this was not an appropriate way to deal with the fans. The fans should be celebrating this thing, we all [as] fans are part of this world. So he went to the studio and pushed them to stop this lawsuit and now within the last few weeks it will be announced that this is going away and the fans will be able to [continue] their productions.

Hopefully they realize that it has been the fans who have kept interest in Star Trek alive, enabling them to make money from continued movies and soon a new television series.

CBS also released the above teaser for the upcoming Star Trek television series, which does not really provide any information. There has been some speculation that the statement of “new crews” in pleural might suggest more than one crew, possibly taking place in different eras.

The above trailer was released for season two of Mr. Robot which begins on July 13. We see that Christian Slater’s character is still around, and don’t know how much of anything else is real or in someone’s head.

With it doubtful that CBS will renew Limitless (but no cancellation announcement either), there is now talk of trying to sell it to another network. I don’t know if the finances would work, but it seems like it might be a good fit at USA Network. Supergirl has already moved from CBS to the CW Network, and I’m still hoping attempts to keep Person of Interest alive at anther network are successful.

Moving from science fiction to science, Mars is appearing as it biggest in over a decade:

Mars comes into opposition — the point when Mars and the Sun are on directly opposite sides of the Earth — once every two years.

But on Sunday night, as the Red Planet edged towards its closest point to Earth in 11 years, it appeared much bigger and brighter in the night sky than usual.

Amateur astronomer Dr Ian Musgrave, from the University of Adelaide, said it would trump Venus as the brightest object in the sky, aside from the Sun and the Moon.

SciFi Weekend: Network Renewals and Cancellations; New Shows; John Barrowman on Doctor Who Christmas Special?; Nebula Award Winners

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Announcements came out last week regarding the fates of network shows. With most of the shows worth watching now being on cable and streaming, this news is not as major as it once was, but there is still some news which impact genre shows. A list of renewals and cancellations from all the networks can be seen here.

As discussed last week, CBS did go ahead and cancel Supergirl, but it will be continuing on the CW Network (which CBS partially owns). This does seem where it belongs anyways. CW will most likely wind up paying less for the show than what studios charge CBS. It will also save money in moving production to Vancouver. Besides the lower costs involved in filming there, they can probably save additional money by sharing costs with the other Berlantiverse shows.

The move to Vancouver might also affect the cast if not everyone agrees to go. Most likely they did make it worthwhile for Calista Flockhart to come to Vancouver periodically. With the vast majority of her scenes occurring in her office, it might be possible to have her come out to film for a few episodes at a time, and then return home. This would also make it easier to have more cross over episodes with the other Berlantiverse series, with the casts of all four shows working in Vancouver. Supergirl takes place on a different earth, but we have already seen The Flash make it to her earth, Supergirl should be able to replicate what Barry Allen did to cross over, and the Waverider on Legends of Tomorrow can travel between the multiple earths.

In other genre series on CBS, we’ve already knew that Person of Interest has been canceled, and Limitless remains on the bubble.

Yet another series in the DC universe has made it to network television. NBC has picked up Powerless. From Entertainment Weekly:

The network has given a series order to Powerless, which stars Vanessa Hudgens (Grease Live) as a “spunky young insurance adjuster specializing in regular-people coverage against damage caused by the crime-fighting superheroes.” (Think The Office meets Agents of S.H.I.E.L.D. minus Marvel).

More details about the pilot storyline: “It’s when [Hudgens’ character] stands up to one of these larger-than-life figures (after an epic battle messes with her commute) that she accidentally becomes a cult ‘hero’ in her own right … even if it’s just to her group of lovably quirky co-workers. Now, while she navigates her normal, everyday life against an explosive backdrop, Emily might just discover that being a hero doesn’t always require superpowers.”

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Marvel series have not done as well as DC on network television. While Agents of SHIELD returns on ABC, ABC has both canceled Agent Carter and decided not to pick up Marvel’s Most Wanted. The good news is that, along with cancellations of Nashville and Castle, Adrianne Palicki, Connie Britton, and Nathan Fillion are all available for new shows.

ABC did pick up Conviction staring Haley Atwell. Maybe Netflix, which has been the strongest television outlet for Marvel, will also bring back Agent Carter when Atwell’s schedule permits. Before Agent Carter was canceled, there was talk of still continuing the show and work around Atwell’s schedule. A grittier version should do well on Netflix.

Fox, where many other genre shows have died too early, didn’t have the sense that ABC did in ending Castle when with the loss of a star. For reasons nobody understands, they have renewed Sleepy Hollow. In good news from the network, Fox is also renewing Gotham.

The new genre shows appear to be primarily based upon time travel next season. The trailer for Timeless from NBC is above. The TV Addict has this description of the series

Lucy is one of the most history popular professors at her university when TIMELESS begins, but her modern teaching styles don’t really appeal to the school’s tenure committee. And while she seems very unappreciated in the world of academia, Lucy is about to get a big opportunity that perfectly fits her skills.

One night, a mysterious criminal and his henchmen steal a secret state-of-the-art time machine and they’re looking to destroy the country as people know it by changing the past. Lucy is soon recruited by Homeland Security — along with soldier Wyatt and scientist Rufus — to help retrieve the machine and stop the criminal from changing the past. To do that, they’re going to use the machine’s original prototype. Their first stop is to 1937 and the site of the Hindenburg disaster.

But in addition to preventing the past from being destroyed by this criminal, they also have to make every effort not to affect the past themselves.

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Other new shows on NBC include Blacklist: Redemption. TV Line described the series:

In the new venture, undercover operative Tom Keen teams up with Susan “Scottie” Hargrave (played by Famke Janssen), “the brilliant and cunning chief of Grey Matters, a covert mercenary organization that solves problems governments don’t dare touch,” per the series’ official description.

This suggests that if Lizzie returns from the dead on The Blacklist after Megan Boone’s maternity leave is completed, she will probably not be with Tom.

Other networks are joining NBC in premiering time travel series next season, including ABC with Time After Time. This is based upon the 1979 movie about H.G. Wells chasing Jack the Ripper through time. Teaser above. Fox will have a time travel comedy, Making History. A list of the new network shows can be seen here.

John Barrowman made a statement on Facebook which has attracted a lot of attention: “I will be back in Cardiff in about a week and a half. But I’m not telling you what for…sssh!” This has led to speculation that he is returning to Doctor Who, possibly for the Christmas episode. The spin-off Class also films in Cardiff.

Nebula Awards

The Nebula Awards have been announced.  Uprooted by  Naomi Novik has won as best novel. The winner of the Ray Bradbury Award for Outstanding Dramatic Presentation Winner was Mad Max: Fury Road.

SciFi Weekend: The Big Reveal on Game of Thrones; Orphan Back; Person of Interest; DC & Marvel News; Star Trek; The Handmaid’s Tale

Game of Thrones Jon Snow

While technically a spoiler for those who have not seen lase week’s episode of Game of Thrones, there was little doubt that Jon Snow would return in some form. While he has returned to life, so far all we have seen is his eyes open and beyond that he might not be entirely the same. Vulture looks at some of the possibilities, including that his wounds might never heal or that he might not have his memories. They also speculate that his death might have terminated his vow to to the Night’s Watch which “shall not end until my death.” If so, this would allow him to take other roles, such as leading the North and/or returning to aide the surviving  Starks.

Regardless of what happens to him, Kit Harrington is happy that he no longer has to lie to everyone.

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Orphan Black started out the season with a bit of a reboot and simplification of all the various conspiracies. The show is always at its best in dealing with the characters as opposed to overly complex conspiracies. While Tatiana Maslany is generally the show, supporting characters do have a lot to add, such as seeing Donny and Felix posing as a gay couple as part of the investigation of one of those conspiracies. It got even better when Donnie called Alison to help him provide a sperm specimen with phone sex in yet another classic scene in this series.

Person of Interest returned for its final season on CBS. A sneak peak from Comic-Con is above. The AV Club spoke with executive produces Jonathan Nolan and Greg Plageman. Here is a portion:

The A.V. Club:Since the beginning, this show that’s ostensibly been about artificial intelligence is really about human connection. What’s it like to thread that needle and how has it evolved over time?

Jonathan Nolan: It’s a great question. And it’s a big challenge. I remember Greg and I talking from the beginning about the collision between the more esoteric ideas in the pilot and how we were going to draw emotions and humanism and a recurring interest from the audience out of all those ideas. There are a lot of ideas in the show, and it’s something I’m very proud of. It’s funny, it’s not a normal show for CBS, but people kind of found it, which is exciting.

That link between the big ideas of the show and the characters—we’ve concentrated on it so hard from the beginning, because we wanted to explore all these crazy ideas about the surveillance state, big data, and AI—and the collision of all of that on a personal level. And from the beginning, I’ve felt like there was a great connection there between big data and the kind of “normal” violent crimes that you find in a major city like New York. I’m just kind of fascinated by the idea of the collision of all of those things. But the thing that people keep tuning in for is the characters. Week in, week out, you’re looking not for ideas, necessarily, although it’s great when your shows have ideas in them, but for the characters to become extended family. Especially in broadcast TV, that’s what happens on that level: When you’re on weekly, your characters come back and you connect with them every week. So, as you said, threading that needle becomes the challenge throughout all five seasons.

AVC:One of the great things is how you were able to connect to The Machine, even on a very personal level. The Machine was gendered female, whereas Samaritan has stayed relatively genderless. Can you expand on that?

JN: I think the gender question, you know, they’re obviously connected. If you want to understand the impact that any SI, or super intelligence, will have—and it’s pat, but it’s accurate—but it’s as if there were no gods and we made them, right? God has often been gendered in the West in a masculine light, which is absurd, but it evolved sort of organically, talking about The Machine as a person. Finch always referred to The Machine as “it” or a thing, but for Root there’s always been more of a personal connection there, a belief in The Machine as a being. So her personification of it—sadly, in the West, we have to gender things to personify them—it seemed most apt that she would think of it in those terms. There’s also something else we’re doing with that: If you’ve paid close attention to the show and where we’re going, there’s a little bit of foreshadowing there as well.

AVC:It seems as though The Machine went through a rebellion phase when it really started to only speak through Root. Will this season be about The Machine becoming more mature in that sense and answering to everybody?

JN: I’m picturing a hormonal artificial super intelligence.

Greg, what are you thinking?

Greg Plageman: I think the interesting relationship for me is Harold Finch and his creation. And there’s always been a troubling conundrum for Finch, building this thing that’s so powerful yet that could overtake us. He’s never been quite comfortable with the idea of an ASI—building something that’s more intelligent than us and us expecting that we could still actually control it. So he’s always had that dilemma that he’s been grappling with, and that caused him to put a limiter on The Machine. What Root has always implored Harold Finch to do is take the gloves off the thing because we’re losing—we’re losing to a much more diabolical creation.

So I think the evolution of that relationship of Harold Finch and his machine this season, in terms of reconstituting it, and how it’s going to be different this time, it’s almost like, what’s the point? What’s the point, Harold, if you’re going to put a limiter on this thing all over again, as Root has always told him in terms of her wanting to let this thing go and to see what it can do. It becomes an exploration of Harold Finch’s character that I think the audience is going to find very fascinating.

AVC:Do you think that if we had been watching the team behind Samaritan from the beginning, rather than the team behind The Machine, that we would be pro-Samaritan?

JN: I think that’s one of the delicious things about what we’ve been doing with this storyline and where we’ve gone with it in this last season. I’m always most excited about and drawn to villains who have a point of view and have a plan. One of the most exciting things about The Joker in The Dark Knight is, he may be a villain in your eyes, but he’s the only person who hasn’t broken his own rules. Everyone else has, everyone else has corrupted themselves, but he’s in many ways one of the most ethical people in the film in terms of their own ideas. He had an idea, and it drives the story forward. We applied a similar approach here, but even more rationally. A lot of things that Samaritan espouses are believed by the people who work for Samaritan, the same way that I’m sure people who work for Facebook don’t believe that they’re working for the company that will destroy the world. But, you know, they are. And everyone gets through the day rationalizing their own existence.

GP: It’s sort of fascinating right now what’s happening in Russia with Putin’s control of the media and the way the everyday Russian views the West now or the United States. It just depends on who’s telling the story. There was a moment where Root met Greer and he sort of said these things to her: “You and I are not all that unalike.”

Supergirl

CBS has not decided yet about renewing Supergirl, with cost being an issue. Ideas being considered include moving the show to Vancouver and airing fewer episodes. It might also move to CW with the other Berlantiverse shows. (If necessary to make room for all the superhero shows, I’d suggest cancelling Legends of Tomorrow and airing Supergirl instead).

At ABC, it has not been decided whether to return Agent Carter or go ahead with Marvel’s Most Wanted. If they don’t air the second, I wonder if they would write Adrianne Palicki and Nick Blood back into Agents of SHIELD. With the way they were written out, it wouldn’t be hard for Coulson to decide he doesn’t care what the Russians think and bring them back–especially as they are operating secretly. We should have news on May 17 from ABC.

Needless to say, there has been a lot out in the past week on the Marvel Cinematic Universe with the release of Captain America: Civil War. To avoid spoilers I will postpone discussing this until a later date. Here is one link of interest–the backstory from the comics of the history of fights between Captain American and Iron-Man.

CBS All Access remains on track to begin the new Star Trek series in January, 2017. They will be releasing one episode per week.

Hulu will be showing a ten-episode miniseries based upon Margaret Atwood’s novel The Handmaid’s Tale  in 2017. It will star Elizabeth Moss (Mad Men) had will be written by Bruce Miller of The 100. Miller will c0-executive produce the series along with Daniel Wilson (who worked on the movie version of the book), Fran Sears (The Sophisticated Gents) and Warren Littlefield (Fargo). I suspect they will also be releasing an episode a week as they did with the adaptation of 11.22.63.

Speaking of Mad Men, here’s a chance to explore Don Draper’s apartment in 3-D. It would be even more fun to have an apartment like this to spend some time at in Manhattan.

SciFi Weekend: The Marvel Television & Movie Universe; The Night Manager; Mads Mikkelsen On The Possible Return of Hannibal; Wet Hot American Summer; Hugo Nominees; Top Jokes From White House Correspondence Dinner

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Not long after Supergirl used a classic comic book cover to promote the Supergirl/Flash cross over, Agents of SHIELD is also using a classic comic cover to promote an upcoming episode.

Agents of S.H.I.E.L.D. is sliding into its last few episodes for the season three finale, and they’re going for the hype by promising someone is going to die in promo art. The illustration is an homage to the cover of Amazing Spider-Man #121; that’s the one hinting at the death of you-know-who. Uh-oh. The art by Greg Land will actually be available as a variant cover in comic book shops, too. It will be a rare catch for Civil War II #0.

The official synopsis for the penultimate episode of the season ties into Captain America: Civil war, as the first season tied into Captain America: The Winter Soldier.

With only two episodes left before S.H.I.E.L.D. loses one of their own, Daisy’s prophecy ticks closer towards a major loss, as the aftermath of the events of “Marvel’s Captain America: Civil War” force S.H.I.E.L.D. to register the Inhumans, on “Marvel’s Agents of S.H.I.E.L.D.,” TUESDAY, MAY 10 (9:00-10:00 p.m. EDT), on the ABC Television Network.

Joe and Anthony Russo have also discussed how Captain America will lead into the Infinity War storyline.

Besides appearing in the Captain America and Avengers movies. Robert Downey, Jr. will be appearing in Spider-Man Homecoming. He is now teasing the possibility of a fourth Iron Man movie.

Marvel is now developing a series for Netflix about The Punisher, presumably in response to the response to his charter in Daredevil season 2.

John le Carré discussed how his con-man father inspired Richard Roper (Hugh Laurie) in The Night Manager in the video above.

Mads Mikkelsen gave an interview to the Sunday Express which sounds encouraging for the return of Hannibal:

Fans of the television adaptation of Thomas Harris’ novels about psychopathic psychiatrist Hannibal Lecter were left outraged last year when broadcaster NBC unceremoniously axed the show after just three seasons.

Nonetheless, in an exclusive interview with Express.co.uk, Mikkelsen has revealed that the story is far from over – and that there is hope for a reboot yet. When asked whether the series still has the potential to be picked up by another network, the actor revealed that the ball is firmly in show creator Bryan Fuller’s court.

“It all depends on Bryan. He is the key, the base, the heart,” Mikkelsen said. “We will wait and see what happens next in his career. But we all know that we can easily pick this up in two or three years, there are breaks in the stories. We could pick it up, say, four years later. If Bryan is up for it, we will all go for it.”

But will Fuller be up for it?

“He loved it. It was his baby. Let’s wait and see,” the 50-year-old actor teased, a knowing glint in his eye.

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After a successful prequel, Netflix is returning to Wet Hot American Summer once again with  Wet Hot American Summer: Ten Years Later. This time the cast will look more like the ages they are playing, but it was amusing during First Day of Camp to see the adult actors playing themselves as teenagers in the original. That’s except for Paul Rudd, who seemed to have barely aged, possibly due to a painting in the attic.

The Hugo Award nominees are out. Here are the nominees for television shows and movies:

BEST DRAMATIC PRESENTATION (LONG FORM)
  • Avengers: Age of Ultron written and directed by Joss Whedon (Marvel Studios; Walt Disney Studios Motion Pictures)
  • Ex Machina written and directed by Alex Garland (Film4; DNA Films; Universal Pictures)written and directed by Alex Garland (Film4; DNA Films; Universal Pictures)
  • Mad Max: Fury Road written by George Miller, Brendan McCarthy, and Nico Lathouris, directed by George Miller (Village Roadshow Pictures; Kennedy Miller Mitchell; RatPac-Dune Entertainment; Warner Bros. Pictures)
  • The Martian screenplay by Drew Goddard, directed by Ridley Scott (Scott Free Productions; Kinberg Genre; TSG Entertainment; 20th Century Fox)
  • Star Wars: The Force Awakens written by Lawrence Kasdan, J. J. Abrams, and Michael Arndt, directed by J.J. Abrams (Lucasfilm Ltd.; Bad Robot Productions; Walt Disney Studios Motion Pictures)
BEST DRAMATIC PRESENTATION (SHORT FORM)
  • Doctor Who: “Heaven Sent” written by Steven Moffat, directed by Rachel Talalay (BBC Television)
  • Grimm: “Headache” written by Jim Kouf and David Greenwalt, directed by Jim Kouf (Universal Television; GK Productions; Hazy Mills Productions; Open 4 Business Productions; NBCUniversal Television Distribution)
  • Jessica Jones: “AKA Smile” written by Scott Reynolds, Melissa Rosenberg, and Jamie King, directed by Michael Rymer (Marvel Television; ABC Studios; Tall Girls Productions; Netflix)
  • My Little Pony: Friendship Is Magic: “The Cutie Map” Parts 1 and 2 written by Scott Sonneborn, M.A. Larson, and Meghan McCarthy, directed by Jayson Thiessen and Jim Miller (DHX Media/Vancouver; Hasbro Studios)
  • Supernatural: “Just My Imagination” written by Jenny Klein, directed by Richard Speight Jr. (Kripke Enterprises; Wonderland Sound and Vision; Warner Bros. Television)


Barack Obama had his final appearance at the White House Correspondents’ Dinner (full video above).  He said that “if this material works well, I’m going to use it at Goldman Sachs next year,” mocking Clinton’s paid speeches. He also made fun of her attempts to appeal to young voters:  “Look, I’ve said how much I admire Hillary’s toughness, her smarts, her policy chops, her experience. You’ve got admit it though, Hillary trying appeal to young voters is a little bit like your relative who just signed up for Facebook. Dear America, did you get my poke? Is it appearing on your wall? I’m not sure I’m using this right. Love, Aunt Hillary.’”

Obama also mocked Donald Trump: “There’s one area where Donald’s experience could be invaluable, and that’s closing Guantanamo. Because Trump knows a thing or two about running waterfront properties into the ground.” Plus he praised his foreign policy experience: “They say Donald lacks the foreign policy experience to be president, but in fairness, he has spent years meeting with leaders from around the world — Miss Sweden, Miss Argentina, Miss Azerbaijan.”

Some of Obama’s top jokes can be read here and here.

Bored with the current set of presidential candidates? Take a look at Andrew Basiago, who claims to have traveled back in time and to have teleported to Mars in the 1980’s  with a young Barack Obama. It is surprising that Obama has never mentioned this.

Update: Larry Wilmore At The White House Correspondents’ Dinner

SciFi Weekend: New Companion Announced For Doctor Who; Supergirl Finale; Krypton; The Girl On The Train; Person of Interest; Mr Robot; The Blacklist; The Night Manager; Catastrophe; Mick Jagger

The next companion has been introduced in the video above to replace Jenna Coleman on Doctor Who. Pearl Mackie will play a character named Bill, who clearly has not encountered the Daleks in the past. The Guardian has a little more information on her:

Capaldi said it was “a genuine delight” to welcome Mackie to Doctor Who. “A fine, fine actress with a wonderful zest and charm, she’s a refreshing addition to the Tardis and will bring a universe of exciting new possibilities to the Doctor’s adventures.”
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Steven Moffat, outgoing lead writer and executive producer, said: “A new face in the Tardis, a new voyage about to begin: welcome aboard, the amazing Pearl Mackie! This is where the story really starts.”

Mackie trained as an actor at Bristol Old Vic Theatre School, graduating in 2010. Since drama school, she has worked across theatre, film, radio and television. Her acting credits include Svengali, a British film released in 2013, and she is currently appearing in the stage production of The Curious Incident of the Dog in the Night-Time at the Gielgud Theatre in London.

Among other actors who had been thought to be in the running for the role were Coronation Street’s Michelle Keegan, Rakhee Thakrar, who impressed many with her performance as Shabnam Masood in EastEnders, and Maisie Williams, who plays Arya Stark in Game of Thrones and guest-starred in the last season of the sci-fi show.

Supergirl finale

Supergirl ended the season well. While the two part season finale had its plot holes, they did end many of the plot thread of the season, while leaving one major one for next season (the search for Jeremiah Danvers) and ended the episode with a cliff hanger. Prior to the last second cliff hanger, there was a feel-good moment for the cast. Plus there is the question (as of now undecided by the writers) as to exactly Kara’s new job will be.

Entertainment Weekly interviewed Andrew Kreisberg about the finale. Here are a couple of excerpts:

ENTERTAINMENT WEEKLY: Let’s start off with the reveal that someone else has landed on Earth. What can you tease of who this is? Are they friend or foe?
ANDREW KREISBERG:
Obviously it’s our big cliffhanger of the season, so I’m not fully inclined to let everyone know who shot J.R. It’s an important character, and they’ll play an important role in season 2.

Is this a character we may have seen in the comics before?
Again, I don’t want to give too much away, but it’ll be cool. The fans are going to be excited. It’s going to definitely shake things up for season 2.

Especially with something like Project Cadmus in the ether, the first person I think of is Superboy.
[Crickets.]

Moving on, Kara was willing to risk her life for the world. How does that change her in season 2?
This whole season has been about her embracing being Supergirl. In a way, this was her graduation episode. She hadn’t fully figured out how to integrate being Supergirl into her life. This whole season has been a learning experience for her. At the end of this episode, she’s fully Supergirl. Next season, you’re going to see a Supergirl who is more mature, and a bit more of a cohesive character. She’s taken the identity of Kara and the identity of Supergirl and merged them in a better way. You’re just going to see a more confident, stronger Supergirl than we’ve ever seen before.

Is it safe to say the world is now on her side?
Oh yeah. You don’t save the world without dispelling all doubters…

Even though Fort Rozz is gone, are the prisoners who were once inside it still an ever-present threat?
I think so.

What can you say of the fates of Non and Brainiac?
If you’re a fan of the comic books, you know that Kara’s heat vision took away Non’s — lobotomized Non. How and when we see him again, he’ll probably be very different. I think Indigo is probably the hardest person in the world to kill given that she’s a living computer, so I wouldn’t be surprised if she pops up again.

What would you say was your point of pride for the first season?
I’m so proud of the show. As much expectation there was for the show, there was also a lot of like, “Yeah, prove it!” [Laughs.] I think the show really works. Melissa is a star. Like any first season show, there were missteps and not every episode was as strong as the others, but I can point to a whole bunch of episodes, like “Red Faced,” like “Human for a Day,” like the crossover, like “Falling” as being some of my favorite episodes that I’ve gotten to do over the course of all the series that Greg [Berlanti] and I work on together. I’m just super proud of the show. We’ve proven that there’s an audience for a female superhero. Hopefully there will be many more years to come.

Syfy has ordered a pilot for a Superman prequel Krypton, set on the planet two generations before its destruction. The idea reminds me of Gotham, and even more of Caprica. Hopefully it is more successful than the later.

The trailer is out for The Girl On The Train. The mystery novel, often compared to Gone Girl, should make a good movie, and does have a strong cast.

The cast and crew of Person of Interest haven’t given up on saving the show, which CBS is ending after the upcoming season which will air this spring. From TV Guide:

A potential reboot doesn’t mean, however, that the June 21 series finale will lack closure. “We had to hurry up and end it. They had 13 episodes to turn a very large, slow-moving boat,” Emerson says. “But I think the idea that we had to do it in 13 was actually a plus rather than a minus. I think it allowed the writers’ room to set aside their need to create palatable side stories or a murder-of-the-week or whatever, and really just get focused on wrapping up the loose ends of this thing.”

Adds executive producer Jonathan Nolan: “I would have loved to have kept making this thing for a long, long time, but you don’t want the show to become creatively moribund. We saw the writing on the wall before this season started, but we had the incredible luxury of having 13 episodes to really finish our story. And so, as much as I would have loved to have kept working on the show … I’m very proud of what we’ve made here for the final season, and I’m very glad that we had a chance to finish telling our story, an opportunity that’s denied to so many great network TV shows. So I’m very satisfied with the way we’ve told our story, and I certainly hope our fans are.”

After evolving from a CBS procedural to a true genre show, I certainly can see reason to keep it going if any other networks are interested.

MR. ROBOT -- "Pilot" Episode 101 -- Pictured: (l-r) Rami Malek as Elliot, Christian Slater as Mr. Robot -- (Photo by: David Giesbrecht/USA Network)

Mr. Robot will be returning on July 13. Presumably we will be seeing the aftermath of the first season finale, unless Elliot just imagined it all.

Some additional brief thoughts on the past week which will be kept brief due to limited time this week:

Better Call Saul had a great second season, but certainly left a lot hanging in its season finale.

Cape May was an unusual episode of The Blacklist. I’m still not certain if Lizzie is really dead, but it is looking less likely that Reddington faked her death. If she is alive, Reddington does not appear to be aware of it.

The Night Manager’s premier was excellent. As soon as time permits I will probably be downloading the remainder of the season rather than waiting for it to finish its run here.

Speaking of shows from the UK, Amazon recently released the second season of Catastrophe, which is well worth watching. The show is much like You’re The Worst in tone with a somewhat older couple. Like You’re The Worst, Catastrophe got a little more serious in its second season, but it did so without any drop in quality or humor.

In other entertainment news, Mick Jagger is not portrayed very well in a new book:

Rich Cohen delivers the unflattering portrayal of Jagger in “The Sun & the Moon & the Rolling Stones.”

“There’s something monstrous about Mick Jagger,” Cohen writes after exhuming details from the band’s dark past.

“The Stones had been shedding people from the start. Use ’em up, toss ’em aside,” Cohen continues. “It’s a machine that runs on bodies.”

Prince was honored in this week’s Saturday Night Live, hosted by Jimmy Fallon.

SciFi Weekend: Orphan Black; Game of Thrones; The Blacklist; 12 Monkeys; Star Wars The Force Awakens; Doctor Who Spinoff Class; Suicide Squad

Beth (TATIANA MASLANY)

We knew from the preview I posted last week that Orphan Black would begin with a flash back, but it was a surprise that almost the entire episode dealt with Beth Childers and other clones prior to when the series began. Seeing Beth gave a better feel for why she jumped in front of a train in the first episode. Beside seeing her drug problem, we saw far more than we previously knew about her troubles with Mark and how close she was to Art. It was also interesting to see some of the other clones in their younger, more innocent days. Beth, whose primary role appears to be to handle the money for the clones and supply Beth with pills, has not yet shot a gun, and Cosima’s biggest concern is finding a place to live while going to school.

The most important aspect of the episode was probably the introduction of another clone, M.K., who was both more knowledgeable than the other clones about the situation, and (probably justifiably) more paranoid. She says she is only alive because they think she is dead. We don’t get until the present until the end of the episode when M.K calls Sarah, now hiding in Iceland, with the warning: “Neolution knows where you are. They’re coming for Kendall Malone….You need to run. Right now.”

Felix even had a cameo, presumably never looking up to see a clone of Sarah in the police station. Buddy TV has an interview with Jordan Gavaris which reveals that Felix’s relationship with Sarah is strained, and he has more time with the other clones.

Game of Thrones enters new territory this season, going beyond the books, and might be wrapping up sooner than many have predicted. Variety reports:

In an exclusive interview with Variety, showrunners David Benioff and D.B. Weiss said they are weighing wrapping up the Emmy-winning saga of Westeros and the battle for the Iron Throne with just 13 more episodes once this sixth season is over: seven episodes for season 7; six for the eighth and potential final season.

“I think we’re down to our final 13 episodes after this season. We’re heading into the final lap,” said Benioff. “That’s the guess, though nothing is yet set in stone, but that’s what we’re looking at.”

Sources later clarified those exact numbers were premature, given that the showrunners are now just beginning to outline their plans, but said that any upcoming seasons may be shorter than the full 10 episodes of seasons past.

Trailer for the upcoming season is also above.

Blacklist wedding day

I’ve looked at a lot of deaths on genre shows the last few weeks, but the most unbelievable was on The Blacklist. (Major spoiler ahead). Even more so than on Sleepy Hollow, the female lead is too important a character to have die without a major change in the series. Possibly they do plan on a major reboot of the series, which is always possible as long as they have James Spader, but I am quite suspicious that in this case they are faking Lizzy’s death as part of a plan to keep her safe. Perhaps they will use a need for Lizzy to appear dead as a means to prevent her from being with Tom and her baby, which might have limited her actions.

12 Monkeys

Blastr has an interview with the cast and crew of 12 Monkeys and their planned 17-season arc. Here is the start of the interview:

You managed to build a layered, compelling story in the first season, which also featured quite a lot of world-building. Now that you’ve laid that creative groundwork, can you talk about what’s it like to really get to play in this sandbox you’ve built for Season 2?

Terry Matalas: It’s a lot more fun. In a lot of ways, it’s almost like Season 1 is the prequel to Season 2. Things really starts to get going, and we’re moving through time in ways we weren’t able to in Season 1. We’re able to mix and match characters and really try new things. The stakes are higher, and it’s a lot more fun. The show really finds itself in Season 2.

In the early parts of Season 2, Cassie really seems to start taking point in regards to the mission that drives the narrative of the show. In a way, she feels more like the Season 1-era Cole than the character of Cole does now. Can you talk about that change in Cassie, and how her time stranded in the future has affected her?

Amanda Schull: I think it was a slow burn to build this person, but you’re right. Her time in 2044 is what solidifies that very dramatic shift. She had only ever heard of this life that Cole was grappling with, then when she’s forced to live in it, herself, she realizes that intelligence doesn’t necessarily accomplish goals in every scenario, and it won’t help you survive every scenario. She really becomes a product of that world.

Star Wars Rey

There has been a lot of speculation that Luke or possibly Leia and Han are Rey’s parents in Star Wars The Force Awakens. I would not entirely trust anything J.J. Abrams says about character identities after he denied that Benedict Cumberbatch would be playing Kahn in Star Trek Into Darkness, but he gave the impression that these theories about Rey might not be true when he said this about Rey: “Rey’s parents are not in Episode VII. So I can’t possibly in this moment tell you who they are. This is all I will say: It’s something that Rey thinks about too.”

Abrams has since clarified the issue saying: “What I meant was that she doesn’t discover them in Episode VII. Not that they may not already be in her world.” In other words, Luke could still be her father, but she doesn’t learn that in the next movie. Or perhaps she does, and he doesn’t want to give it away.

Abrams has also discussed, once again, the similarities between The Force Awakens and A New Hope:

“[‘The Force Awakens’] was a bridge and a kind of reminder; the audience needed to be reminded what ‘Star Wars’ is, but it needed to be established with something familiar, with a sense of where we are going to new lands, which is very much what 8 and 9 do. The weird thing about that movie is that it had been so long since the last one. Obviously the prequels had existed in between and we wanted to, sort of, reclaim the story. So we very consciously — and I know it is derided for this — we very consciously tried to borrow familiar beats so the rest of the movie could hang on something that we knew was ‘Star Wars.’”

Class cast

The BBC has announced the cast of the Doctor Who spinoff, Class, which takes place at Coal Hill School. Stephen Moffat had this to say about the series:

There’s nothing more exciting than meeting stars that nobody’s heard of yet. We had the read through of the first few episodes last week, and there was a whole row of them. Coal Hill School has been part of Doctor Who since the very first shoot in 1963, but this new show is anything but history. Class is dark and sexy and right now. I’ve always wondered if there could be a British Buffy – it’s taken the brilliant Patrick Ness to figure out how to make it happen.

I wonder what he means by a British Buffy. Is it just a matter of having a cast in this age range, or will there be other similarities?

Suicide Squad

The upcoming Suicide Squad movie will apparently have a lot of Batman, which should increase interest in the movie. There are also reports that the sequel might be R-rated. Deadpool has already done well with an R-rating, and the same is planned with Wolverine 3.

SciFi Weekend: Arrow; The Americans; Sleepy Hollow; 11/23/63; Orphan Black; The 100; Sherlock; Bruce Springsteen

Arrow Cemetary

It looks like many shows think that they can duplicate the  success of Game of Thrones and The Walking Dead by killing off characters. There are more major spoilers this week. Recent posts have already dealt with character deaths, and there were more to look at this week. Some were handled better than others.

We knew for quite a while that there would be a death on Arrow this season, but none of the discussion I’ve seen predicted that it would be such a major death, even though major characters have been killed on this show since the beginning. It does make sense to kill Laurel as they never really knew what to do with her beyond the first season when the ex-girlfriend role made sense. They have varied so much from the comics that it is not necessary to keep her, especially as it appears, despite their current troubles, that Oliver is fated to wind up with Felicity and not Laurel.

Marc Guggenheim and Wendy Mericle, and Paul Blackthorne (Detective Lance) discussed the episode with Entertainment Weekly. Here are some of the questions:

But seriously, why Laurel?

“Obviously Arrow is always a show that’s evolving,” Guggenheim says. “It’s always a show where every character, arguably except for the Arrow, is fair game. We started off this year with the promise of a death and when we worked our way through our various different creative choices, we realized that the thing that will give us the most pop going into the end of the season and into next season unfortunately would be Laurel.”

Was she killed because some of the fanbase doesn’t like Laurel?

“When I say it gives us a lot of pop I don’t mean on the Internet or publicity, I mean creatively for the show,” Guggenheim says. “Every time we’ve killed off a character on the show, it’s really been for the effect it has on all the characters left behind. I don’t want to spoil the end of season 4 or what we have planned for season 5, which we’re already in the room working on, but the way we always describe it is the creative math. How divisive Laurel is as a character on Twitter is not a factor. Truth be told, Twitter is a very specific sub-segment. The number of people who don’t like Laurel is probably an infinitesimally small group, so it’s not, as they say, statistically relevant.”

But shouldn’t Oliver and Laurel be endgame?

“One of the things we knew people would think was, ‘Oh, well, in the season where Oliver and Felicity get engaged and Laurel dies, that’s clearly making a choice about who’s going to end up with who,” Guggenheim says. “Truth be told, we told the Laurel-Oliver romance story in season 1. We told that story. We never really thought about going back to it. The ‘shipping thing was not an element, it was not a factor to us. We recognize that that upsets a lot of fans, particularly the comic book fans.”

Yeah! Oliver and Laurel end up together in the comics! What gives?

“In the comics, Dinah Lance and Oliver Queen, depending on which version of the character you like, are in a romance together in various iterations,” Guggenheim says. “That, to some people, is considered canonical and iconic, and we respect that, but at the same time we’ve always made no bones about the fact that we are telling our own version of the Green Arrow mythos. The Green Arrow has had so many different interpretations, and Black Canary has had so many different interpretations over the years, that we never felt beholden to one particular interpretation. This is our interpretation, like it or not, and I recognize there are plenty of people up and down my Twitter feed who do not like it. I totally respect that. But it made the most creative sense for us going forward despite the fact that we love Katie, absolutely love Katie.”

So could Laurel come back to life?

“Not getting a chance to work with Katie day in and day out is tempered by the fact that we now live in a universe where there’s resurrection, parallel earths, time travel, flashbacks — we have all these different ways of keeping Katie in the Arrow-verse family,” Guggenheim says. “In fact, you will see her on an episode of Flash playing the Earth-2 version of Laurel Lance. Katie is reprising her role as Laurel of Earth-1 to be in Vixen season 2. Death does not mean goodbye on any of these shows, but we made a creative choice and we’re sticking to it. We’re recognizing that Black Canary and Laurel have an incredibly loyal fanbase, and Katie has an incredibly loyal fanbase, but the show has never been just about the comic book history, it’s never been just about one or two different particular fanbases. We make the creative choices we feel benefit the show as a whole and the story that we’re telling overall.”

But by bringing her back on other shows, doesn’t that cheapen Laurel’s death?

“We definitely recognize across all three shows that when we kill off a character, it means something different now,” Guggenheim says. “I’m not going to put a qualitative judgment on whether it’s more or less impactful. I’ll leave that to the audience, but certainly we acknowledge there’s a difference. Arrow, much more so than Flash or Legends, it traffics in death. We started off the series of the apparent death of Sara Lance and the actual death of Robert Queen and a hero who murdered people. For better or for worse, death is part of the show. What we’re finding is that death now, as it should by the way, when you start to get where we are pushing into season 5, the show has to evolve, it has to change. The concept of death on this show is evolving and changing as we’ve already seen with Sara Lance, and with seeing Laurel in a parallel universe. There’s a world where we do an episode where Oliver Queen meets the Laurel Lance of Earth-2. That’s now on the table. Time travel is now on the table. As the show has evolved, so has death.”

The interview also dealt with reactions from the other characters, and revealed that we will not find out what Laurel said to Oliver before she died until next season, showing that the death of Laurel will be impacting the show for some time. As noted in the interview, Katie Cassidy will appear as an Earth-2 version of Laurel on The Flash. Her sister will also get a chance to react to her death on Legends of Tomorrow. Additional interviews from cast and crew can be seen here.

In other Arrow news, Echo Kellum (Curtis) has been promoted to a series regular for season 5, and presumably will be an active part of Team Arrow. I also would not be surprised to see Felicity getting back with the team, whether or not it takes time for her to get back with Oliver.

THE AMERICANS -- "Dimebag" Episode 304 (Airs Wednesday, February 18, 10:00 PM e/p) Pictured: Annet Mahendru Nina Sergeevna. CR: Ali Goldstein/FX

The Americans had the death of a major character at a strange time. (More spoilers here). It would have made more sense to end Nina’s story at the end of last season rather than continuing it so briefly this year, but many of the plot thread from last season were left to continue this year. It also provided an interesting look at how such executions were handled, with Nina being shot only three seconds after being told her appeal was denied and her death sentence would be carried out shortly.

TV Line discussed the episode with Joe Fields:

TVLINE | When was she originally supposed to die?
JOEL FIELDS | We went back and forth a little bit. There was a point at which we thought she might go at the end of Season 3. Then we fussed around with different episodes in Season 4. So yeah, there was a little bit of elasticity to it.

TVLINE | Why, ultimately, the decision to kill off Nina now?
FIELDS | It was really all about how the story laid out and how it fit in with other stories. … You do get very attached to these characters. As writers, you get very attached to them, and as actors, you fuse with them in a certain way. So it feels like a real loss.

TVLINE | So poor Nina was always doomed?
FIELDS | Well, not from the very beginning. And frankly, you’ve got to define “doomed.” The truth is, this character transformed in a way that has great meaning, and she could have maybe found a way to continue on as somebody who would do anything to survive. But instead, she grew. And she grew into a character who was willing to take a risk to do the right thing for someone else. Although she paid the ultimate price for it, she grew into a much fuller person. Yes, she made her choices, and in all seriousness, we have a lot of respect for her choices.

TVLINE | The method of her death was so brutal and quick. How did you land on that?
WEISBERG | That’s how they actually executed traitors. We learned about it from a book written by our consultant, Sergei Kostin. His book came out after the end of the Cold War, and we tried to follow it beat by beat in our script. Our director followed it beat by beat [and] beautifully shot it. As soon as we read it, we thought, “This is the way to do it.” It was so dramatic and so powerful and, interestingly enough, so humane. Because the reason they came up with that system was to spare the person being shot any foreknowledge about what was going to happen so they wouldn’t suffer and be afraid.

TVLINE | Nina has been separated from much of the main cast for a while now. Will her death reverberate for the rest of the characters somehow?
WEISBERG | I think it’s safe to say that Oleg’s father is very highly placed in the Soviet government, so he could easily find out what happened. I don’t think we ever saw that story as separated as maybe some people did. Even though the role was not as interconnected in the way that things are interconnected today with the internet and communications, it was still an interconnected role at the heart.

TVLINE | Did Oleg’s dad try to reach out to help her?
WEISBERG | He did try, but he just wasn’t successful.

The Americans Nina Execution

Spoiler TV has an interview with Annet Mahendru who played Nina, and also appeared in The X-Files revival this year:

Could you talk a bit about Nina’s motivations for helping Anton [Baklanov], what her mindset is and how you dealt with the change in her this season?

Annet Mahendru: I think last season we see it goes on for a while, she’s figuring him out, she’s always about the other – she’s kind of a reactor to things – and she doesn’t quite know what to do with Anton and she sees a human being for the first time and it brings that out of her. And she’s exhausted, she’s been in this hamster wheel over and over buying her life out, walking this thin line and you know, every decision, every step, it’s life or death for her and she’s exhausted and she’s falling and she can’t do this anymore. And he moves something in her. For the first time it’s something very direct: he has a son, and she’s given all that up when she entered this profession and she finds joy in his world and his letters and love and for the first time I think we see her happy and she literally gives up everything for that moment of happiness and that’s her freedom from that tragic life that she has chosen and has been dealing with [since we met] her. So I think for joy and for just she lives for the first time and that’s what she needs to do to live and sometimes you need to change in order to survive and that’s what she does.

Nina seemed quite resigned when reading the statement from Baklanov. Do you think she’s at peace with her fate now?

Annet Mahendru: I think she’s content, she is, she’s very much settled and she’s ok now because she did something for the first time that allowed her to be who she is and something that she saw, you know she has done everything to secure the future of the Soviet Union, this cause, this great cause that is so far-fetched and to hear something so direct – there’s a boy that needs to know that his dad loves him and she did that and that’s the greatest thing she’s ever done.

What was your reaction like when you got the script for this episode? Did [creators] Joel [Fields] and Joe [Weisberg] give you some heads up or did you find out as you were reading?

Annet Mahendru: (Laughs) Goodness no, I got the first script and then I got a phone call and you kind of wait for that phone call from the get-go – everytime they call you, that might be the phone call. It finally came and I played it really cool because you’d think you’d be prepared for it but you absolutely are not. I was angry at them, I loved them, I felt every single thing you could possibly feel and I remember my mom was like “it’s not you dying, it’s Nina, it’s Nina” because it just felt like a part of me that I was so lucky to be able to tap into and that I had to also say goodbye to. And the weird thing is I felt like in the 2nd episode I’m getting to know Nina, she’s meeting her husband, she finally has her own mission, her transformation that she desperately needed and I felt like I had just gotten a taste of her and that’s it and then like an episode later she’s dead. So that little bit of joy, that little bit of her that I finally got, it was so fleeting and it was over before I could really embrace it and it was really sad. We’ve all been, since the beginning, treasuring her and fighting for her – it’s really been a fight – and it just made me realise that it’s just such a tragic life and that it’s real, you know, this happens out there and it made me really angry.

Could you compare working on a show like this to working on a show like The X-Files?

Annet Mahendru: You know, it was really ironic, it was like a double death for my characters this year. It was a lot of death but Sveta died for the reopening of the X-Files and Nina died for starting something very important for an individual. It was a really difficult season and also the greatest season at the same time. The X-Files was a real treat and it was another special story that I got to tell.

Sleepy Hollow

From a mass audience perspective the death on the season (and perhaps series) finale of Sleepy Hollow was the biggest, but as I was also giving up on the show it mattered the least to me. (More spoilers ahead). The she had already lost its way after the first season, when it centered around the relationship between Ichabod and Abbie. There is no news yet as to whether the series will be renewed. While this was also not a very satisfactory way to end the series, it would probably be best to end it now, unless someone can go back in time and end it after the first season.

TV Line discussed the episode with showrunner Clifton Campbell:

TVLINE | I’m going to jump in with the big question first: Is Abbie really dead? Is this the last we’ll see of her?
The character of Abbie Mills makes the supreme sacrifice to save the world, and her character dies in the season finale, yes. To answer the second part of that question, she will not return to the show as Abbie Mills. There’s certainly the possibility, given our really good relationship with Nicole and how much she’s help build us these past three seasons, that reflections of her will be around and that the idea of her will be around is certainly something we’ve all talked about, but not as the character of Abbie Mills.

TVLINE | So is Nicole Beharie no longer with the show?
Nicole Beharie as Abbie Mills is no longer with the show. The character is dead. But we’ve had a terrific run with her. She’s been an absolute delight. She helped build out the mythology of the show, and we’ve had a tremendous run with her. The character is gone and, like I said, in Sleepy Hollow it’s always surprising to see how the reflections of one character or another can influence the show moving forward.

TVLINE | Ichabod’s grief over what happens is palpable, but I was struck by how Tom Mison played it contained. Did you think about Ichabod having a big emotional moment after he realizes she’s gone? Did you shoot any takes like that?
Listen, Tom has really created this character from the bottom up. His instincts are without parallel. His fearless creation of this character in all of these moments, particularly as they pertain to his relationship with Abbie Mills, is not something any of us would second guess. You picked up on that contained emotion — I think this is such a big moment, and a huge loss in his life and his world that he needs to process. At a point where we have that opportunity in the finale, he hasn’t quite reached that point yet.

TVLINE | Having Abbie sacrifice herself twice in the same season — fans might think, “Well, you brought her back last time…” What’s the fundamental difference between her going into the tree and her willingly entering Pandora’s box?
Well, she knew she wasn’t coming out of the box in the finale. She knew, because of what they learned in the catacombs, that the box was missing its hope, which is at the center of darkness and gave it context, gave it form. She knew she was giving herself to the box… that that meant she would not be coming back.

At the midseason break this year, it was more immediate. The Shard of Anubis was going to blow; her sister and Crane and everybody in close proximity could suffer catastrophic loss. Abbie knows she’s giving her life up at the end of Season 3 to save the world. The difference is, from the audience’s perspective, is [at the midseason break] she had fallen into a realm that we didn’t know about. She didn’t die.

112263 Finale

Hulu completed 11.23.63 last week with the series clearly being about whether one person, John Kennedy, would die. While I noted some negative reviews when the show first started, with some suggesting that viewers skip ahead to the final episode, I did find it enjoyable throughout the entire season. The finale did flow well from what was shown before.  (More spoilers ahead).

The series began by including a cosmic reset switch when introducing its rules for time travel. Whenever anyone went back in time, everything they did in a previous visit was reset and they could start all over again. Knowing about this reset switch from the start, the most obvious outcome was that Jake would be successful in preventing the assassination of John F. Kennedy, but things would be worse because of him doing so and he would have to go back in time to reset this.

The show was not very clear as to why things were so awful when Jake returned to the present, leading me to quickly skim the ending of the book. In the book the issue comes down to matters of destruction because of making changes in time itself, as opposed to a result of Kennedy’s actions after remaining alive.

It was clear several episodes before the end that the real story was about what would happen between Jake and Sadie, a woman Jake fell in love with after going back in time. When he spoke about bringing her back to the present with him, my first thought was that we have seen people go back in time, but never forward in time from their timeline. Whether or not it was possible for Sadie to go forward in time, Jake had to sacrifice the relationship in order for her to live to have a  happy life. Over the course of the finale, John Kennedy and Sadie were both killed and not killed on different trips back in time.

Orphan Black returns on April 14 on BBC America. The first four minutes are above. Here is the synopsis, which does not even mention the events of the flashback with Beth Childs.

After two months of respite, Sarah’s hard-won refuge in Iceland is shattered by a Neolution attack. Once again forced to flee, she realizes no matter how far her family runs it will never be far enough.

Ricky Whittle is isn’t happy with how his character was handled on The 100 last week. This follows the controversy over the death of Lexa earlier in the season.

For those interested in still more television deaths, Geeks of Doom reviews the season finale of The Walking Dead.

Filming has begun on Season 4 of Sherlock, with Steven Moffat being vague in his comments on where the season goes.

Last week I noted how economic considerations, including pressure from Disney and other studios, led to a veto of a “religious liberties” law in Georgia. North Carolina has passed a similar discriminatory law, and now they have seen the first economic consequences of this:

Bruce Springsteen canceled Sunday’s concert at the Greensboro Coliseum because of House Bill 2, saying in a statement that he and his band would show solidarity for North Carolinians working to oppose the law.

“Some things are more important than a rock show and this fight against prejudice and bigotry — which is happening as I write — is one of them,” the singer wrote on his website. “It is the strongest means I have for raising my voice in opposition to those who continue to push us backwards instead of forwards.”

…HB 2, passed quickly by the General Assembly in a one-day special session last month, prevents cities and counties from passing anti-discrimination ordinances to protect lesbian, gay and transgender residents. Legislators passed the bill in response to an ordinance adopted in Charlotte that would have allowed transgender people to use the bathroom of the gender they identify with, a provision overturned by the new law.

Dozens of businesses, including American Airlines, Dow Chemical, BioGen and Labcorp, have spoken out against the law. PayPal canceled a planned $3.6 million expansion in Charlotte that would have created 400 jobs, and dozens of people have canceled attendance at the semiannual furniture market in High Point that starts next weekend.

Cancellation of the Springsteen concert is the first major economic blow to Greensboro as a result of the law.

John Kasich said that he would not have signed the law:

“I believe that religious institutions ought to be protected and be able to be in a position of where they can live out their deeply held religious purposes,” Kasich, who’s running for the Republican presidential nomination, told host John Dickerson in an interview for Sunday’s “Face the Nation.” “But when you get beyond that it gets to be a tricky issue. And tricky is not the right word, but it can become a contentious issue.”

SciFi Weekend: Controversy Over Death Of Lesbian Character On The 100; Orphan Black; Daredevil; 12 Monkeys; The Americans; Put A Bird On It

The 100 Clarke Lexa Kiss

Jason Rothenberg’s decision to kill a prominent LGBT character on The 100, and the manner in which she died, has made many fans of the show upset. At the time I first watched and reviewed the show, while I expected some disappointment and protest, I had no idea how serious a matter this would be to the LGBT community. Reviewing the discussion from those who did take it very personally, along with the views of television critics such as Maureen Ryan who is quoted below, help to understand the importance of this issue. After missing the significance of this in my original review, I hope to make up for it by providing this overview today.

I will start by allowing Rothenberg to explain his viewpoint. He was interviewed by TV Insider. Here are the first few questions, with much more in the full interview:

OK, so you had to be aware of the uproar that would come from killing Lexa, right? This was something that you guys had to realize you’d be walking into.
Yes and no. First of all, I think I should start by saying that for the last two weeks, I’ve pretty much thought about nothing else except for this. It’s taken me some time to process everything, and I’ve been listening, reading everything I could. I took my voice out of it on Twitter because I didn’t want to inflame the situation, and I felt like I didn’t want to shape the conversation. I just wanted to listen and try to understand. I mean, we were a little surprised by it—obviously not that people were upset; you’re right in the sense that we kind of knew that that would happen. The story that we’re telling is a tragedy. Lexa was a meaningful character to our fans, especially LGBTQ fans, and so I knew it would be emotional, of course. What was unexpected was the level of outrage that it’s generated from some people, but I do think I have come to understand that.

We’ve seen this with shows with strong social media bases: The louder the outrage, the more disturbing it can get.
Yeah. Lexa’s death triggered real emotional trauma for some people, you know? It tapped into the real world, it tapped into their lives, and as a straight white male, I obviously didn’t anticipate how deeply it would affect certain people. I look at it now and I realize that if somebody had that kind of a reaction and then were to look back at the way I behaved on Twitter leading up to it, which was celebrating this relationship that then crushed them, I can understand why they would find that reprehensible. I hope that people understand that.

Since there is no winning on Twitter, what do you want to say to the fans now?
I would say, first of all, that it’s taken me a while to get perspective on it myself and to put myself in the position of somebody who was hurt like that. And I hope that eventually they can start to put themselves in our position and understand that we would never want to hurt anybody like that. We would never want to hurt our fans. We love them, we owe them everything, we owe them the fact that we just got a Season 4 to them. We want to take them for a ride, we don’t want to hurt them. And because we didn’t anticipate this sort of level of pain over this fictional death, we were doing what we always do on Twitter, which was celebrating work that we’re proud of. In hindsight, knowing what I know now and sort of realizing the things that I’ve realized, we should have done less of that. We should have done less buildup knowing where this was going to end up and knowing how this was going to affect people.

But it wouldn’t have changed the story you’re telling.
No, absolutely not. We would have told the same story. I stand behind the story; I just don’t think I would have gone out of my way to say ‘This is the best episode we’ve ever done!’ Nobody really anticipated that this would happen so now that we’ve seen it, the idea for me as the showrunner going forward is to learn lessons from it, you know? This is a show where characters die. That’s another reason we were so surprised..it’s a post-apocalyptic world set 100 years later in which anyone can die.

The 100 Lexa Clark

Rothenberg also posted a statement on line a few days ago. Here are some excerpts, but those interested in the controversy should read his full statement:

For many fans of The 100, the relationship between Clarke and Lexa was a positive step of inclusion. I take enormous pride in that, as I do in the fact that our show is heading into its 4th season with a bisexual lead and a very diverse cast. The honesty, integrity and vulnerability Eliza Taylor and Alycia Debnam-Carey brought to their characters served as an inspiration for many of our fans. Their relationship held greater importance than even I realized. And that very important representation was taken away by one stray bullet…

In the show-world, no one is safe, and anyone, even a beloved character, can die, at any time. My favorite shows in this genre embrace a similar sense of heightened urgency. There are several reasons why this particular episode played out the way it did: practical (an actress was leaving the show), creative (it’s a story about reincarnation) and thematic (it’s a show about survival). Despite my reasons, I still write and produce television for the real world where negative and hurtful tropes exist. And I am very sorry for not recognizing this as fully as I should have. Knowing everything I know now, Lexa’s death would have played out differently.

The 100 is a post-apocalyptic tragedy set 130 years in the future. It’s a constant life and death struggle. In our show, all relationships start with one question: ‘Can you help me survive today?’ It doesn’t matter what color you are, what gender identity you are, or whether you’re gay, bi or straight. The things that divide us as global citizens today don’t matter in this show. And that’s the beauty of science-fiction. We can make a point without preaching. We can say that race, sexuality, gender and disability should not divide us. We can elevate our thinking and take you on a helluva ride at the same time.

But I’ve been powerfully reminded that the audience takes that ride in the real world — where LGBTQ teens face repeated discrimination, often suffer from depression and commit suicide at a rate far higher than their straight peers. Where people still face discrimination because of the color of their skin. Where, in too many places, women are not given the same opportunities as men, especially LGBTQ women who face even tougher odds. And where television characters are still not fully representative of the diverse lives of our audience. Not even close.

The 100 Clarke Lexa Thirteen

Maureen Ryan wrote about What TV Can Learn From The ‘100 Mess’ at Variety and helps explain why many fans are upset. Again, these are just excerpts and the full article is worth reading.

The response of the showrunner has, outside of a few unenlightening interviews, has been disappointing. Rothenberg live-tweeted the March 10 episode of the show as if thinkpieces and damning critiques were not still being churned out. In the limited array of interviews he did in conjunction with the March 3 episode, he has given little indication that he understands the depth of the sense of betrayal or the multitude of reasonable objections to the death story line. Since March 3, it has fallen to co-executive producer Javier Grillo-Marxuach, who wrote the episode, to engage with fans in any significant and meaningful way, but his compassionate and committed response has only highlighted Rothenberg’s abdication of responsibility...

So here’s the nitty-gritty: The character who died, Lexa (Alycia Debnam-Carey), happened to be one of the few well-developed and complex lesbians on TV, and it’s an unfortunate but enduring TV cliche that lesbians rarely, if ever, live happily ever after. In the March 3 episode, “The 100,” which had touted its commitment to quality LGBTQ storytelling, invoked one of TV’s oldest gay cliches by killing her off mere seconds after she consummated her relationship with another woman, Clarke (Eliza Taylor).

Many fans, regardless of sexual orientation, were left shaking their heads in disbelief.

On a story and thematic level, Lexa’s death (despite being well-performed by the actors) had little resonance and almost no meaning. But all things considered, the blithe manipulation LGBTQ fans and the show’s willingness to deploy harmful cliches about gay characters remain the things that rankle most…

Adding to the sense of betrayal was the manner of Lexa’s death. She was felled by a stray bullet from an angry male servant, mere seconds after she and Clarke had sex for the first time. The servant, Titus, disapproved of Lexa’s relationship with Clarke, whom he tried to kill, but Lexa caught the bullet. This woman — the most fearsome warrior in the show’s history — didn’t die defending Clarke; she just happened to be in the bullet’s path. And by following her only moment of bliss with her lover, the Grounder queen’s death followed a time-worn and disturbing TV pattern.

Autostraddle came up with a list of more than 130 lesbian and bisexual women who have been killed off on TV shows, and it’s a damning roster. Whatever progress you think TV has made on the front of LGBTQ representation, the sheer number of dead women on the list is profoundly troubling, to say the least. If nothing else, it shows that the Bury Your Gays trope is alive and well on TV, and fictional lesbian and bisexual women in particular have a very small chance of leading long and productive lives.

Critic Nicola Choi wrote that when they spot a lesbian or bisexual woman on TV, many LGBTQ fans simply resign themselves to the fact that the character will die.

The 100 Thirteen Lexa

Dany Roth tried to explain the matter to a conservative-leaning readership at blastr:

If you’re not part of the queer community, an ally of said same, or if you were never a fan of The 100, why should you care? If we’re boiling this down to the most selfish of reasons, it is because next time it might be you. And maybe it already has been you. Forget social justice for a second (as I know many of you often try to, anyway) — think about this as simply acting in the interest of fairness…

The reason Lexa’s death was so upsetting isn’t just because her face was a recognizable one for so many queer people, it’s also because she made the LGBT community feel more visible, more relatable. And it made them feel like they were being listened to. Every time someone tweets about why Lexa matters, each time someone challenges the “Bury Your Gays” trope and demands that writers and showrunners do better, someone who hasn’t thought about any of this hears why representation in stories matters for the first time. Even in death, Lexa is making LGBT people more visible.

Orphan Black Train

There is often much to think about and discuss after an episode of Orphan Black. This was especially true in the early episodes, when we had very little understanding of what was going on. Entertainment Weekly has good news on both of these points. BBC America will be starting a show, After the Black, to discuss each episode. Plus it sounds like next season might recreate some of the mystery of the first season, including going back to when Sarah first saw Beth jump in front of the train.

Taking a tip from AMC, BBC America has announced After the Black, a companion show that will air weekly following Orphan Black.

Hosted by Innerspace’s Ajay Fry, Morgan Hoffman, and Teddy Wilson, After the Black is a 30-minute after show that will feature various cast, crew, and special guest stars chatting about the plot, twists, and theories on future episodes. Other segments will include behind-the-scene footage from the set and an exclusive first look at the following episode.

The format is very similar to AMC’s Talking Dead, which airs weekly following The Walking Dead and Fear the Walking Dead.

The first post-game, which will air Thursday, April 14 at 11 p.m. ET following the season 4 premiere of Orphan Black, will include stars Tatiana Maslany and Kevin Hanchard.

As for the fourth season, executive producers John Fawcett and Graeme Manson revealed at WonderCon on Saturday that they’ll be going back to basics in a lot of ways by delving into a particular mystery from the pilot. “We really wanted to look at the first season this year,” Manson said. “We wanted to go back to that moment on the tracks with Beth and Sarah and go, ‘What did Sarah miss?’ There’s more story there.”

“We wanted to get that feel back, that feel of season 1 where you don’t know who the bad guy is, you don’t know who you’re speaking to,” Fawcett added. “That was the goal of season 4.”

Above is a trailer for season 4 of Orphan Black. There will also be new characters introduced:

Also this season, viewers are introduced to brand new characters that prove to be pivotal to the clones’ saga. Season 4 introduces Joel Thomas Hynes (REPUBLIC OF DOYLE) in the role of “Dizzy”, an edgy, self-reliant hacker who doesn’t conform to group mentality; Jessalyn Wanlim (Alex Cross) as Evie Cho, a powerful, seductively articulate bioengineer who believes great discoveries require casualties; Lauren Hammersley (MR. D) as Adele, a shameless, brazen, and wickedly intelligent lawyer who outwits opponents even when heavily intoxicated; and Gord Rand (Maps To The Stars) as Detective Duko, who on the surface appears to be unassuming and slightly nebbish, but has used his underlying angst to nastily claw his way to the top.

I will hold off on saying much about season 2 of Daredevil different  people are at different points with the Netflix model. Entertainment Weekly has the above interview with Charlie Cox which helps set up the season after the arrest of Wilson Fisk at the end of the first season:

“What we’ve done this year with the show is we don’t really have so much a Big Bad, but we have characters that enter Matt’s life,” Cox tells EW in a recent interview, viewable above. “They force him to look at himself and look at his actions in a way that no one else has done in the past.”

Those characters are, naturally, The Punisher (Jon Bernthal) and Elektra (Elodie Yung). The first, as trailers have hinted, comes to Hell’s Kitchen with almost a similar purpose as Daredevil but with a much different modus operandi. And his methodology involves a lot more killing, which puts the entire city on edge shortly after coming to appreciate Daredevil’s work.

“It’s through Daredevil’s actions that someone like Frank Castle has been able to show up and do what he does,” Cox explains.

Yet putting a stop to The Punisher’s bloodlust isn’t the only obstacle thrown at Matt this season. Elektra, the “Greek girl” from college that Foggy Nelson (Elden Henson) mentioned last season returns to New York. As portrayed by Yung, Elektra complicates Matt’s life both while he’s in and out of his crime-fighting costume, particularly when it comes to his burgeoning romance with Karen Page (Deborah Ann Woll).

“… Matt is completely authentic with both characters, but that authenticity is different with each character,” Cox said, calling this love triangle “one of the most enjoyable things for me to do as an actor this season.”

12 Monkeys returns on April 18. If we didn’t have the “problem” of so much good television, including genre television, now available thanks to cable and streaming, it might be tempting to rewatch the first season to review all the twists which occurred. While some hardcore fans are doing so, many of us just do not have the time. Syfy has posted the above seven minute recap to help the rest of us to catch up. It is certainly not enough for new viewers to start watching the show, but it is helpful for those of us who watched the first season.

americans-season-4

The Americans, which very well might be the best ongoing drama now on television (separating it from shows such as Fargo which have a different story each year) is off to an excellent start for its fourth season. There is so much which can be said about the quality of the story, but I figure those who are watching understand this and those who are not will not be interested in a play by play.

Besides all the big things, the show gets the little things better than most television shows. While many shows do a terrible job of working in children and home life (such as with Brody’s daughter on previous seasons of Homeland), Paige’s teenage angst, exacerbated by learning that her parents are Russian spies, has been a huge plus in driving the plot this season. Television story lines are often driven by misunderstandings, such as Stan thinking that Philip was sleeping with his wife. While that is a standard television trope, I really appreciated it when Phillip immediately explained the situation to Elizabeth and told her about going to the EST meetings, as opposed to dragging this out and creating further misunderstandings with her–as so many television shows would have done.

Plus so many interesting characters have been developed beyond the main characters. When The Americans inevitably ends, I’m looking forward to one spinoff based upon Nina Krilova in Russia, and another (or perhaps work in into a single show) in which Stan Beeman and Oleg Burov find some reason to team up after the Cold War ends. If Napoleon Solo can team up with Russian Illya Kuryakin on The Man From UNCLE, why not Stan and Oleg?

With all the talk the last few days about the bird at the Bernie Sanders rally in Oregon, prior to his big three-state sweep yesterday, above is a clip from the episode of Portlandia which started the slogan, “Put A Bird On It.”

To conclude by tying this in with the previous story on Daredevil, above is Rosario Dawson (Daredevil, Jessica Jones) speaking in support of Bernie Sanders.

Captain America vs. Religious Discrimination: Marvel Studios Protests Georgia Religious Liberties Law

Captain America

There are many opponents to the so-called “religious liberties” proposals from conservatives. In this case “religious liberty” means the liberty for conservatives to impose their religious views on  others. Variety reports that the Walt Disney Company is joining other groups which are opposing such laws, including recent legislation in Georgia.

The Walt Disney Co. and Marvel Studios indicated opposition to a Georgia religious liberty bill pending before Gov. Nathan Deal, saying that they will take their business elsewhere “should any legislation allowing discriminatory practices be signed into state law.”

With generous tax incentives, Georgia has become a production hub, with Marvel currently shooting “Guardians of the Galaxy 2” at Pinewood Studios outside Atlanta. “Captain America: Civil War” shot there last summer.

“Disney and Marvel are inclusive companies, and although we have had great experiences filming in Georgia, we will plan to take our business elsewhere should any legislation allowing discriminatory practices be signed into state law,” a Disney spokesman said on Wednesday.

The MPAA, representing major studios, has already spoken out against the legislation. On Monday, an MPAA official called the pending legislation “discriminatory,” but expressed confidence that Deal would not sign it…

On Saturday, Human Rights Campaign president Chad Griffin urged studios and production companies to refuse to commit to any further productions in Georgia if Deal does not veto the legislation.

Georgia legislators passed the bill last week. It protects religious officials from having to perform same-sex marriage ceremonies, and would allow faith-based organizations to deny services or employment to those who violate their “sincerely held religious belief.”

Perhaps the risk of economic repercussions will affect Governor Deal’s decision as to whether to sign the bill. Besides opposition from Disney and other entertainment companies, sports organizations including the NCAA and the NFL have issued protests, along with several Fortune 500 companies and major tech companies.

The Hollywood Reporter adds:

The bill poses a dilemma for Deal, who is regarded as pro-business, since major corporations headquartered in Atlanta such as Coca-Cola, Home Depot, UPS and Cox Enterprises have opposed the bill, joining a business coalition called Georgia Prospers that has stated “for Georgia businesses to compete for top talent, we must have workplaces and communities that are diverse and welcoming for all people, no matter one’s race, sex, color, national origin, ethnicity, religion, age, disability, sexual orientation or gender identity.”

The controversy also comes just as Georgia is trumpeting its success in attracting film and television productions to the state, which offers attractive tax credits of up to 30 percent.

On Feb. 22, the governor joined other Georgia officials in celebrating Film Day, at which it was reported that during fiscal year 2015, which ran from July 1, 2014 to June 30, 2015, film and TV productions spent more than $1.7 billion directly in the state, which, in turn, generated a record $6 billion in economic impact.

During fiscal 2015, Georgia played host to 248 feature film, TV movies and series. Among them were such pics as the current Miracles From Heaven and Allegiant as well as TV series including AMC’s The Walking Dead, The CW’s The Vampire Diaries and Fox’s Sleepy Hollow.

SciFi Weekend: Doctor Who; Supergirl; Agents of SHIELD; Renewals; DC Movie News; Schwarzenegger Refuses To Talk About Trump

Capaldi First Image

Peter Capaldi had previously suggested he would leave Doctor Who after the upcoming season, when Chris Chibnall will replace Steven Moffat as show runner. He has now told Radio Times that he has been asked to stay on but has not made up his mind. He also states that the new companion to replace Jenna Coleman has been cast and will be named soon.

Capaldi has told Newsweek that he is not happy with how the BBC handles the series:

Perhaps, as is the fate of so many seemingly happy marriages, the BBC has taken the Doctor for granted? “Undoubtedly,” he says. “The BBC is an incredible organization, but…sometimes people there think, That’s looking after itself. And it’s not being looked after. I think maybe their eye was taken off the ball, or the show was seen as a thing they could just push around. It’s not. It’s a special thing.”

The later time slot prompted tabloid hyperbole of a “ratings crisis,” something the star admits he begrudgingly keeps tabs on. “I have to pay attention to ratings—I’d rather not—but it’s the way the business is,” he says. “I think overnight ratings are a thing of the past. You can’t really measure the success of the show by its overnight ratings, which is what the papers do. But there’s still a place for families to sit down and watch the show—that’s still a great, fun thing to do. That’s what the show’s success has been based on. That has to be protected.”

Mandatory Credit: Photo by Rob Latour/REX/Shutterstock (5613187u) Melissa Benoist, Calista Flockhart and Chyler Leigh 'Supergirl' TV series screening, Inside, PaleyFest 2016, Los Angeles, America - 13 Mar 2016

The cast and crew of Supergirl discussed feminism, and the upcoming Supergirl/Flash crossover episode at PaleyFest:

Much of the discussion centered on feminism, particularly on the impact of having a female superhero on television in a male-dominated field. Leigh said that’s what motivated her to take on the Alex Danvers role. “I have two girls, and right before taking this job my husband was really challenging me in the sense of like ‘think about what this opportunity is and think about what it means to you and look at our little girls and if you don’t have a resounding yes [about being on Supergirl] then you’re crazy. For little girls, there’s so much on TV that is influential especially towards the younger ages. To be a part of something that’s telling a very powerful story in many different ways from many different perspectives, especially from a women’s standpoint but also from little girl’s standpoint … is rewarding.” Added Adler, “And that’s not just confined to little girls or women. I think the most exciting thing for me is the feeling that everyone feeling the strength of Supergirl regardless of gender.”

…On why he chose The Flash to be the first comic book crossover character on Supergirl, Berlanti said: “We needed to create a way to do it. We had to introduce Superman since you’ve heard about him and you’ve heard about Supergirl, but in worlds of Arrow and Flash, they didn’t exist in that world. We introduced the multiverse in The Flash this year, and that was always our way in.” But fans shouldn’t hold their breath for a visit from the Man of Steel. “We’re so thrilled that Supergirl is our point of view,” Adler said. “We’re thrilled to continue to tell her story.”

Supergirl has been renewed for a second season.

marvels-agents-of-shield-shield

Agents of SHIELD will once again be affected by the Marvel Cinematic Universe:

After Captain America: The Winter Soldier delivered the game-changing twist that Hydra had infiltrated SHIELD from the inside, completely destroying the government organization that makes up the very core of Agents of SHIELD, the ABC Marvel drama became a completely new show in season one. Agent Coulson (Clark Gregg) became Director Coulson of the real SHIELD, working in the shadows to take down the Hydra agents who betrayed them, including their former friend Grant Ward (Brett Dalton). The show was never the same after that revelation, and it was clear from both critical and fan response that the series was better for it.

With Captain America: Civil War only weeks away from its box-office bow, Agents of SHIELD is set to change yet again as a result of whatever happens in the Marvel Cinematic Universe.

“It will definitely have a ripple effect,” executive producer Jed Whedon says. “It is one world, so if there is a giant event, it will definitely have a ripple effect on our world.”

SHIELD Palicki and Blood

There is also more information on the spinoff being considered staring Adrianne Palicki and Nick Blood:

After spawning low-rated but critical darling period drama Agent Carter, ABC’s first Marvel series is laying the groundwork for pilot Marvel’s Most Wanted. Centering on the newest additions to SHIELD, Bobbi Morse aka Mockingbird (Adrianne Palicki) and Lance Hunter (Nick Blood), the potential series would follow the two former spies and ex-spouses who are on the run with no friends, no SHIELD and a long list of enemies looking to claim a bounty on their heads.

Without any allies except each other, Bobbi and Hunter will be forced to form an uneasy alliance with Dominic Fortune (Delroy Lindo), a rogue adventurer with a wealth of resources and even more adversaries, who agrees to protect them so long as they help him with his own agenda. These two heroes will help anyone in need, all while trying to uncover the conspiracy that put their own lives in jeopardy.

They will continue to work with SHIELD this season and decisions as to Marvel’s Most Wanted and Agent Carter will probably be made in May.

Fox has renewed Gotham for a third season. In other news on the show,  Brian McManamon has been cast as  Clayface.

Person of Interest returns on May 5 with two episodes to air per week, airing on Monday and Tuesday. This is to be the final season.

Amber Herd has been cast to play Mera in the upcoming Justice League and stand-alone Aquaman movie. Both the stand-alone Aquaman movie and Flash movie will be new stories following their appearance in Justice League and will not be origin stories. Following are the planned release dates for the DC movies:

Batman v Superman: Dawn of Justice March 25, 2016

Justice League: Part One November 17, 2017

The Flash March 16, 2018

Aquaman following July 27, 2018

Arnold Schwarzenegger, who is about to take over as host of Celebrity Apprentice, walked out of an interview and refused to answer questions about Donald Trump’s presidential campaign when asked on Australia’s Weekend Sunrise. Schwarzenegger has endorsed John Kasich for the GOP nomination. Meanwhile Trump’s campaign continues like a bad reality show or movie, with more violence reported, involving his campaign manager.