While in many past years it often seemed that we were waiting forever despite warnings that “winter is coming,” this season ended with some clear advances in the story–with only two seasons and around thirteen to fifteen episodes to go. The most dramatic change was to see Cercei get revenge over pretty much everyone who has been opposing her in Westeros. She lost her last remaining child in the process, but got to sit upon the Iron Throne in then end. I’m not certain if this is because of clear lines of succession or if it is because, after seeing what she did to her opponents, everyone is afraid to stand up to her.
I did think that Margaery deserved a better ending, but Natalie Dormer sounds satisfied. Via E!
Natalie Dormer, who played Margaery, sounded off to Harper’s Bazaar about her death.
“It seemed an exciting, fitting way to depart,” she told the magazine. “Margaery’s been battling Cersei for the last however many years and she ends up dying on the show not because she didn’t beat Cersei, but because she trusted that someone else—the Sparrow—was handling her. She had the reins taken away from her, from being in control of the situation; the High Sparrow took the reins and it proves that he underestimated Cersei in a way that Margaery never would have. There’s a moment before Margaery and the High Sparrow die when they look at each other and Margaery realizes that Cersei has outplayed him and she’s gonna die because of that. There’s this moment that Jonathan Pryce gives as well; this look on his face when he realizes he’s been outplayed by Cersei. Margaery is a fatality of the High Sparrow underestimating Cersei.”
While Cercei has consolidated power in the capital, she faces many other threats.
Jon Snow is now King of the North, and hopefully will have a better fate than Robb Stark. At least he ended this season in a far better condition than last season.
I found the structure of the episode of interest in how first John received his title based upon his own actions, and only afterwards it was revealed that he has dragon’s blood with a Targaryen grandmother. If this becomes known, it should greatly increase his claim to the throne. How soon will Bran join Jon and Sansa and tell what he has seen?
How will it affect matters that there is some potential conflict between Jon and Sansa, and Littlefinger is in the background?
Arya has become quite an assassin. Will she continue this, or join up with Jon and Sansa? Plus there is Bran. After so many tragedies, the Starks are looking stronger.
If the reunited Starks aren’t enough for Cersei to worry about, she has Daenerys Targaryen and her dragons also heading towards Westoros. Dani is being advised by Tyrion, who has spoken with her about keeping open the possibility of a strategic marriage. Will that be to Jon Snow, even if it turns out she is actually his aunt, or one of many other possibilities?
If the prophesies comes true, Cersei also will be killed by a little brother. That seems to fit Tyrion, but we also don’t know how Jaime will react to Cersei’s actions, including unleashing the wildfire to kill her enemies.
More on the finale in the Inside the Episode video above.
Screenrant has a useful relationship infographic from HBO showing how the characters are all interrelated, followed by a guide to all the factions.
Grant Gusten has confirmed that the next season of The Flash will be based upon Flashpoint, in which the Flash finds his future dramatically altered after he went back in time to save his mother. Barry has impacted Arrow in major ways, once helped Supergirl, and events on The Flash set up some of the characters on Legends of Tomorrow. If The Flash does Flashpoint, will this be a limited story line which is then reset, or will it affect the other shows, either temporarily or permanently? Stephen Amell seems to have confirmed that Flashpoint will impact Arrow. He also had some additional comments on next season:
Addressing Season 5 as a whole, Amell said this weekend that “the villain that we are introducing is a direct result of things that Oliver has done in Star City [and] calls back to a lot of things that happened in the first season of the show.” In doing so, “It really grounds the show and really focuses on its core value, which is the battle to save Star City” — an appreciably quaint notion, Amell acknowledged, given the multiple Earths and time travel taking place on Arrow‘s sister series. “The first two episodes [of Season 5] refocuses us on what the core mission of the show should be, and that to me is very exciting,” he effused. “Plus? Russia,” as in the setting of the next cycle of flashbacks.
Supergirl has made a point of using actors who have been involved in related shows in the past in the new series, such as haven Helen Slater and Dean Kane play her parents. Now they are bringing back Wonder Woman, this time with Lynda Carter playing the president.
12 Monkeys still has the backstory regarding the plague, but this season has concentrated more on saving time itself. In general I haven’t liked this season as much as the first season but the most recent episode, Resurrection, was excellent, hopefully providing the set up for similar quality in the final two episodes. They are skipping a week due to the holiday, and then will return on July 11 and 18. They will also return next year, with Syfy having renewed the show for a ten episode season.
Blastr has an interview with showrunner Terry Matalas:
The show’s mythology has grown tremendously since Season 1, from a fairly straightforward mission to stop a plague to a battle for the fate of time, itself. Can you talk about the challenges of building that mythology, while also staying true to what attracted viewers to the show in the first place?
Matalas: I had always known this had to be more than a plague show. Running around from lab to lab killing scientists would get old real quick. So, when fleshing out an antagonist for our time travelers, the answer was clear: They had to be travelers as well in some way. But why would they want to create a plague? Why destroy the world? Why destroy the nature of time? So, the mythology was built organically around those questions. And we hope to go deeper into all that in later seasons.
What can you tell us about the season finale, itself? Death? Destruction? Cliffhangers? Tell us as much as you can without spoiling it!
Matalas: I’m really proud of the last three episodes. So much pay-off for the characters, relationships, mythology. I think audiences will be surprised where we take everyone. The ending is huge! And maybe – just maybe – it might be a little controversial for some of our hardcore fans. It’s a cliffhanger for sure, with a time travel twist. But once you sit with it and think about it, for a moment…you go, “Oh, yeah. Of course. That makes sense.” Then that surprised grin will turn to horror and you’ll say, “But that means…Oh, no. No, no, no.” The finale takes us deeper into our the lives of our main characters for future seasons and sets up a major, major conflict that just can’t end well.
The latest issue of Doctor Who Magazine features what Tom Baker calls his last interview. The Gallifrey Times has this excerpt:
“Life is too short to be dull. Be interesting. Because not very much else matters does it? In large areas of our lives, hardly anything matters at all. I mean, nothing can beat being with loving friends, and a few wines, and a few beers, and a few lies, and a few yarns. And to still be adored after 40-odd years… yeah that’s the life. Maybe I’m the longest-serving actor, in the whole history of actors, who’s actually still, 40-odd years later, adored for the same part and enjoying it in the same way. When I get sent messages from middle-aged men… or from the wives of middle-aged men, who say, ‘Tell Mr Baker he cannot imagine how important he was to my beloved husband when he was a boy’… it moves me deeply to think about it. I was just going to work. I didn’t know, to begin with, how far-reaching this role would be. I was aware of the excitement, and the generosity, and the affection of the fans, but how could I ever have dreamed of all this?”
Person of Interest and Penny Dreadful both had their series finale in the past week. There will be major spoilers for each.
We knew from the start of the season that Person of Interest was concluding, and at times the abbreviated season felt frustrating as too much time, probably at the insistence of CBS, was spent with procedural episodes when there was so much story to tell this season. The end game started late in the season with Root being killed in the 100th episode. This led to Harold thinking more about what must be done, and the consequences of his previous decisions to limit the machine. Root got her way in having the Machine be set more free, and it adopted not only her voice but her attitude. The penultimate episode showed what would have happened to the characters if Harold had never built the Machine. Some were better off and some worse off. Either way, this convinced Harold of what he must do, as he released the Ice-9 virus.
The finale dealt with the aftermath, skipping around in time. We got a glimpse of the chaos around the world, but much of the episode centered on Harold speaking with the machine on a roof where Harold thought he was engaging in a final suicide mission to destroy Samaritan. It was fitting that much of the remainder of the episode had Finch and Reese together as the series began, ending consistent with their characters that Reese (with the help of the Machine) would sacrifice himself instead.
While there was speculation that the finale would be a blood bath, Reese was the only member of Team Machine to die. In a way Root came back from death as the personification of the Machine. Lionel hopefully still has his pension to look forwards to. The Machine, which had failed to beat Samaritan in all those previous simulations, somehow managed to win this time, although it is not clear how. Shaw has the dog, and received a call from the Machine, now sounding like Root. She could conceivably carry on the old missions, with it also revealed recently that the Machine has other recruits. (It did seem strange that, knowing they exist, they were not called in to help in the final battle). Finch, like the Machine, received a happier ending than would have been predicted. He not only recovered from his wounds, but was reunited with Grace. Does he know that the Machine survived, and will it also call him again in the Future?
Jonathan Nolan and Greg Plageman discussed the show with Deadline (part one here and part two here).
DEADLINE: Person Of Interest made artificial intelligence a central part of the story years before it became a hot topic. While most headlines today incite fear, the Machine on POI is not a threat but helps people. Jonah, why did you decide to do that and what it your position on AI, a subject that you have tackled in several projects?
NOLAN: I think it’s a nuanced one, it’s a complicated one. Part of the reason for the inception of the show or the spark for me was that I had seen many, many examples in film and TV of dystopian visions of AI. But, while the movie Her is a great example that came out a couple of years after we started making the show, it is one of the very few examples you can point towards of a positive depiction of artificial intelligence. It’s a subject that I’m kind of fascinated with, took a similar approach with the robots in Interstellar and now our current project, HBO’s Westworld, sort of exploring the same idea. I think we’ve long viewed AI as the bogeyman. That’s indicative of the way that we’ve viewed anything else that we see as a possible threat to us. Look, there’s good reason to be apprehensive.
I think the open AI initiative that Elon Musk and Stephen Hawking and others pushed for is a great idea. There needs to be transparency in what we’re doing. A lot of the stuff that’s happening right now is happening behind closed doors. It’s not science fiction to imagine that an ASI, an artificial super intelligence, will or could have an enormous impact on society. I think it’s an enormously positive impact. That’s part of what we wanted to portray but we also wanted to portray it in a very balanced way. We wanted to consider both the upside and downside of that and really get into the nitty-gritty of this. One of the things I’m proudest of for the show is this long-form conversation about how AI should play out. How unbound should it be.
For us, in this show the AI takes on the form that I think is the likeliest that it’ll take on, which is a network intelligence. Not a robot necessarily wandering around but a network intelligence that watches us and interacts with us and asks us to do things. In a sense, in this show we become the robots. Reese becomes the agent acting at the behest of this all-seeing intelligence. I think if you get to the end of this show, will you imagine that AI is an unqualified good thing? No. But I think from the beginning we wanted to portray both sides of it and the idea that a networked artificial intelligence could be a great force for good. And then you have Samaritan, I think that’s a little more familiar in terms of AI presentations where they want to take over the world. It’s abundantly clear that Samaritan would be a great force for change and good in the world but at a significant moral cost. We wanted to play in the gray area…
DEADLINE: Was this the original ending you had in mind for the series? When was that idea formed that a character will be killed off?
NOLAN: Greg, this is pretty much what we talked about from the beginning, right?
PLAGEMAN: Yeah. It seemed to spring organically from the sacrificial nature of what Reese was doing. It felt right in terms of that relationship from the very beginning. The moment Finch hired him at the end of the pilot, he said, ‘I should warn you, we’ll probably both get killed.” You almost knew at some point in time that sort of sacrifice was going to be required in order for them to ultimately defeat Samaritan and for one to allow the other to go on.
NOLAN: You get a sense that these guys are on a tragic journey — we announced it right from the pilot that they are not both going to make it. So it’s really a question of the arc for these characters and also the idea of friendship and sacrifice.
Reese, when we find him, is an extremist. In a sequence that we weren’t able to shoot because we couldn’t get permission, originally the pilot starts with Reese about to throw himself off the Manhattan Bridge. The city wouldn’t let us shoot it. They would let us shoot it on the bridge to Roosevelt Island, but that’s only about 20 feet off the water so we didn’t think we would get quite the same level of spectacle. So we weren’t able to shoot the beginning of the pilot the way it’s supposed to play out
When we find Reese, he’s in a very dark place, an assassin at the end of his rope. Finch gives him a reason to live, a new purpose. There’s great affection. This is really where the season started with the relationship between these two characters. When we get to the end, there are so many amazing characters that we found along the way and they all play a role in that finale. But it’s really that relationship — Finch, Reese, and the Machine but specifically Finch and Reese and their evolving friendship over the seasons. It’s probably the heart of the show, the essence of the show from the beginning. The sort of odd couple.
So we wanted to see Reese, as he says in the finale, he gets a chance to repay that great favor that Finch gave him a new lease on life. It’s a redemptive arc for Reese, the sacrifice at the end is him giving some of that back to Finch in the hopes that one of them could make it out alive…
DEADLINE : What about Shaw, is she the new Reese? There was a hint in the finale that she may take the mantle.
NOLAN: I think that’s the suggestion at the end of the finale. As Finch says in the pilot, the numbers never stop coming. We assume that someone has to pick up that mantle. There’s no better candidate than Shaw. She’s capable and has a somewhat redemptive arc through this. I think that purpose and that relationship with Root as the Machine, to us we always imagined that someone would pick up the mantel and carry it forward. Shaw was always conceived of as that character.
DEADLINE: Let’s talk about the Machine. Was it important for you that it lived on?
PLAGEMAN: I do think it’s important. I think it’s important to understand that there is an artificial intelligence in the world that considers humanity. We talked about artificial intelligence quite a bit on the show and what could happen, will there be just one or will there be multiple artificial intelligences that proliferate. For now, at least in the ending of this show, as far as we’re aware there is only one. That is the one that Harold Finch originally encoded…
DEADLINE: The Episode 11 that Greg mentioned, was it envisioned as a potential spinoff?
NOLAN: Definitely not an attempt on our part to do a spinoff. If we were ever going to do a spinoff it would have been with the Control end of things and the relevant side of things which would have been great fun to take a look at three seasons ago. We didn’t want to do a spinoff. We’ve watched friends go through this where it’s like, the series is doing great, spin it off and then you wind up impoverishing both shows. So definitely not an attempt on our part to spin the show off. It was an attempt to answer a big question that’s always been there in terms of what happens to all the numbers that come up outside of New York City and to see that there is this master plan with the Machine in terms of the numbers along the way, everything adding up to something new and different.
They were also interviewed by IGN. The first question quoted is related to one of my questions above about the finale, and they also discussed what could have happened if the show was not ending:
Matt Fowler: In the finale, the Machine defeated Samaritan, after losing to it trillions of times in a simulated battle. Did she just have it within her all along to pull out the win in the end?
Nolan: I think a part of it was all that relentless training, in a sense. Finch and Root trying to scheme out how this would work but also running these simulations with the Machine in order to figure out how it could win in its most paired down form. So you’ve got this decommissioned Soviet satellite and these things were up in there in their most compact fighting form. Sort of like how armies used to march out and select one champion to represent them, and the fight would be decided with that champion and the rest of the army would abide by that outcome. But at this point, the armies have been decimated and destroyed and only the champions remain. The sparest algorithmic versions of these ASIs uploaded into the satellite like two strands of DNA having a kung fu battle. So kind of fun, but also kind of hard to visualize.
Plageman: Also, keeping in mind that Finch unleashed this virus that could hobble Samaritan enough to put the two ASIs on more equal footing.
Nolan: Both of them have been reduced to their respective essence, and in that form, the Machine was going to kick Samaritan’s ass.
Goldman: Samaritan ended up working as the ultimate foe for the Machine. Did you always see it as the end game and would have held off on this final battle for a couple more seasons if the show were continuing? Because you kind of ended up with the HR era and then the Samaritan era.
Nolan: I had imagined that in any version this would be the final season for Samaritan. And we had a blueprint we used for what could come next. If this was the ultimate big bad – like, what could we do afterward? And we had some pretty cool ideas. But certainly for a final adversary, Samaritan is a pretty great one…
Goldman: The great and bad thing about creating something people care about is you’re going to have to put up with guys like us asking, for years and years, “Will there be a follow-up to Person of Interest?” What’s your gut feeling? We live in an era with more revivals than ever. Do you think in some form, these characters could ever pop up again?
Nolan: Last year, it was 24, X-Files and Heroes. You’d be forgiven for waking up and checking your TV Guide thinking you’d traveled back in time 10 years. So you never say never. They’ve got our number! They can call us. We love these f**king characters. We love this world.
While we knew going into the season that it would be the last for Person of Interest, it was not announced until after the finale of Penny Dreadful aired that the show was not coming back. This was probably a good thing for those viewing Sunday night as I bet they were expecting to see Vanessa triumph in the end. For those like myself who watched it later, after seeing headlines of the shocking ending as well as the cancellation, Vanessa’s death was more predictable (although surprising that she had so little to do at the end). In a way it was also foreshadowed in the penultimate episode as both ended with rather disappointing surrenders by female characters who might have been expected to be stronger. Perhaps it was an homage to the common Victorian troupe of damsels in distress.
The final season also felt strangely constructed. Season two ended with the characters separated. I expected to see them reunited sooner, as opposed to waiting until late in the season, and then ending it all. It seemed like they were introducing Dr. Jekyll for a larger role in the future but couldn’t go very far with that. Other new characters were handled better, such as Dracula, Catriona Hartdegen, and Justine, even if I didn’t like how her character died. Actually the only character’s story line which I was really satisfied with this season was the Creature.
When did you first know this would be the final season?
Logan: It was midway through season two, about two years ago when I was envisioning season three. I knew at the end of season two that Vanessa Ives steps away from God and burns the crucifix and she’s left completely alone without the one thing that sustained her and the one source of strength she truly has — which is her faith. Since the show for me has always been about a woman grappling with God and faith, I thought the idea of her scratching her way back to God and finally achieving some some of apotheosis was the appropriate ending. As the season began to dance about in my head, I realized where it was going to have to go and have to end. I thought that was the right end and the graceful end for the character. I discussed it with Eva and then talked to David about where I felt the season was going.
Nevins: I spent a short amount of time trying to say, “Are you sure you want to do it? There’s all these other wonderful characters.” It became clear John was right and it needed Vanessa or it wasn’t smart to continue the show beyond Vanessa. I fairly quickly said yes. And then the question was how do we handle that information and position it? The traditional thing to do was announce this is the last season. It felt like that would give away the surprise and part of the pleasure of watching TV now is experiencing it for yourself and the emotions in an unspoiled, unmediated sort of way. The episode begins with not the usual main title and that signals something different is going on here and it ends with “The end.”
Many viewers felt Vanessa’s arc suggested she was doomed at the end of the first season. Do you think this is an example of one great performance shifting the focus of an ensemble show more than anticipated?
Logan: From a writer’s perspective, this was always a show about Vanessa Ives for me. That character was the spine of the show.
Nevins: This was not a change. It was clear from John’s perspective, the show was about Vanessa Ives’ story. I encouraged an ensemble a bit, but its spine and trunk was always Vanessa.
John, you called this the story of a woman’s journey to faith. Why could returning to her faith only happen for Vanessa as she died?
LOGAN: Because Vanessa, like all characters that are interesting to me, is broken. She’s a cursed, dark creature, and she was never going to exist easily in Victorian society as a proper Victorian wife or matron or anything. There was always an exceptionality about her, most emphatically in the fact that she’d dwelt in the dark side, with both Dracula and the devil seeking her soul. The only peace she could possibly have was with God, and the way to commit to that was to give herself entirely to it. And it became a sacrifice that she had to enact for the good of mankind. It was a generous act that she did in dying and going to God, as well.
Opposite her experience, we’ve got the Creature [Rory Kinnear] who’s also choosing death over life on behalf of his son. Vanessa is religious. The Creature is not. Were their similar responses to death an intentional counterpoint?
LOGAN: Of course. Those two characters do a pas de deux the entire series for me. I’m Irish, so it’s like different sides of my personality. Half the time I want to go to Mass; half the time I want to walk away.
The story around Lily [Billie Piper] has been one of my favorites this year.
LOGAN: Yeah, me too.
That monologue about her daughter in episode 8 was just stunning. Can you take me through why it was so important that you saved that really human story for the end of the season?
LOGAN: Happily. I chose to write about women in Victorian society — that’s the stealth thing this show is actually about. It’s a very feminist show, and the idea that the audience gets to see, in our three years, Lily as a degraded figure who’s abused by men, as Brona, literally being reborn into a blank slate and then achieving incredible power but always having a great human connection. That was a case where I was also inspired by the actor, because Billie Piper so delights me, and I found that in the second season I was able to write her an eight-minute monologue that she absolutely delivered, completely, in a way that I found thrilling. I just wanted to do it again, because she’s an actor who understands theatricality and understands larger than life language in a very unique way, and that’s part of what this show is about.
There are a lot of balls you’ve got in the air, a lot of storylines. Obviously you’ve had multiple story lines in other seasons, but this seemed like the most “Penny Dreadful” has ever had.
This is multiple stories on steroids. I think that’s fun. The series has gotten broader and broader every season and I think that’s correct. If it was still the same five people in a room in Victorian London, you’d want to kill yourself. I certainly didn’t want to write the same show year after year, with the central characters talking in the great room about evil. I didn’t want to do that. I wanted to have bigger themes, bigger stories.
Part of what helped me do that this season was having a lot of new characters. We’ve got Patti LuPone, who plays Dr. Seward, Dr. Jekyll, Keatenay, and Dr. Sweet, who’s involved in Vanessa’s storyline — all those new characters start thickening the broth, if you will. And by season three, I think we want a thick broth.
The different characters add different shadings, different notes on the scale, if you will. As do the different actors. When you see Wes Studi and Tim Dalton are fantastic together and there’s a chemistry there, seeing where the chemistry connects between the actors and the characters, is really rewarding.
And the important thing to me, as I planned the first three seasons of the show, was weaving back into the Dracula story. We did that to some degree in season one, with Mina Harker, Sir Malcolm’s daughter, and then we get back into it big time in season three. It’s fun, and challenging.
That was an unexpected reveal at the end of the first episode, but it does draw on one of the show’s themes, that these things are constants. These dangers, these demons, the issue the characters face on their moral journeys — they don’t just go away. You don’t solve them, because they’re eternal.
That’s exactly right. You look at Vanessa, who is obviously for me the beating heart of the series — the woman is tormented from without and within. From within, it’s part of a journey of faith, and losing her faith and that leaving her in a wasteland of an existence, until she tries to drag herself out of it. But also, from without, she was tormented by Satan last season, Dracula in the first season, and those things don’t go away. Your inner demons and outer demons are still there until you find finally face them in some way. I always wanted this season to be about Vanessa and Ethan facing their most difficult challenges. Ethan goes back home into the crucible of his past, his father, what made him a werewolf, why is the way he is. With Vanessa, it’s [an exploration of] the darkness around her.
The finale of Person of Interest, with scenes of chaos after the release of the Ice-9 virus, reminded me of the ending last season of Mr. Robot with the release of their hack. A new trailer for the second season is above, showing that the FBI is after Elliot. The season has been extended from ten to twelve episodes, and there will be an after show entitled Hacking Robot.
“Chelsea Clinton gave birth to a son this weekend. Unfortunately, due to his young age, he’s a Sanders supporter.” –Seth Meyers
“Congrats to Chelsea Clinton, who welcomed her second child over the weekend. After the birth, Bill brought flowers, while Hillary brought a focus group to help name the baby.” –Jimmy Fallon
“At a meeting with nearly 1,000 evangelical leaders today, Donald Trump told the attendees that Hillary Clinton is not worthy of their prayers. Although I’m pretty sure Hillary’s prayers were already answered when Trump won the GOP nomination.” –Seth Meyers
“According to the Social Security Administration, the most popular baby names in 2016 are Noah and Emma. Least popular baby names? Donald and Hillary.” –Jimmy Fallon
Orphan Black concluded its fourth season and has been renewed for one final season. The finale did feel like the midst of a two season arc, with cliff hangers for multiple characters, along with the end for Evie. The simplification of the season (at least by the standards of previous seasons) did work, with this season a big improvement over the third season. While they continued with the overall mythology of the show, including showing much more about Beth, there were far fewer organizations to keep straight.
Previously we went through what could have been a never-ending sequence of having a season deal with one shadowy organization, only to find that there was another one behind it. Ending next season probably means that the Neolutionists will be the final one we have to deal with, and P.T. Westmoreland just might actually be the person behind it. For now we know he built Rachel’s eye and is “the man behind the curtain. The man who wrote the book over a century ago.” Of course, as Mrs. S explained to Sarah, “There’s always a bloody board.” There was little talk of Proletheans, Topside or Dyad this season, and we were down to just one Castor clone.
There was an increase in Leda clones. with a lot of Beth being seen in flashbacks, the introduction of MK, and an expanded role for Krystal Goderitch. In the finale, Tatiana Maslany even played Sarah impersonating Krystal, impersonating a reporter for TMZ. Krystal both understands little and has figured out key points during her independent investigations. She is oblivious to being a clone, even denying that Sarah looks the same as her: “Even if you could drag a comb through that hair, she’s like a seven on a good day and I’ve been told I’m a 10.”
Krystal’s theory of the conspiracy is surprisingly close to the truth, if not for her confused view that it involves the cosmetics industry: “Hold on tight, cause this is very confusing. This is about human experiments and two factions fighting to control them. So we have Estee Lauder, okay, and then we have this Swedish company called Neolution.” She had the important information that Delphine is alive and that Van Lier was involved:
So, Dr. Van Lier is absolutely Neolution because he, like, showed up out nowhere with all this medical gear right after that French doctor was shot, okay, and then they, like, took her off in a van. So Van Lier, like knew my name, which was super freaky and I will never forget his face because he was so pissed at me for being there. And because he definitely had teenage acne. I could tell. No question.
Other highlights of the later episodes in the season was Helena returning in time to rescue Alison and Donnie, shooting their captor in the neck with an arrow. Rachel has once again become purely evil, plotting to take over everything, but did take a break with Ferdinand. Ira, the sole Castor clone of the season, got a good line:
Ira: Who is this?
Rachel: He’s just a toy.
Ira: He has his socks on.
Rachel: What do you want, Ira?
Plus the season ended with Cosima appearing to finally having the cure.
TV line discussed the finale with executive producer Graeme Manson. Here is a portion:
TVLINE | This felt like one of the show’s darkest and most twisted episodes to date. Was that the intention going into the finale?
It was probably our darkest season, certainly since the first. Obviously, we had Krystal. We’re never all dark. But what Sarah was going through this year was a dark journey. We thought it really had to pay off, and we knew it wasn’t going to be a pleasant climax to the season – but is it ever?
TVLINE | What note do you hope the finale leaves viewers on heading into Season 5, then?
We love a nice note of, “WTF?” with a smattering of, “How the hell are we going to get out of that?” We’ve thrown open this door of P.T. Westmoreland, and we’ve spent some time on this island. We’re very excited to explore that world. Sarah and all the clones, including Rachel, they’ve really done a lot to climb that pyramid. Now, what are we going to find at the top?
TVLINE | Quite a few characters were left in jeopardy at the end of the finale: Cosima, Sarah, Susan Duncan, even Mrs. S and Kira. Who should we be most worried about?
We have to be worried about everyone equally. But Sarah’s got two main issues: She came to the island to rescue Cosima, and now Kira is a hostage back with Mrs. S. So Sarah’s got two huge concerns, not to mention she’s pretty beat up and bleeding.
TVLINE | That confrontation between Sarah and Rachel was so intense, almost like a horror-movie thriller with the monster getting loose.
[Co-creator/director] John [Fawcett] and myself – particularly John – really love the horror and the visceral horror. It’s part of what we do. We love mashups on the show. We love mixing tones. That horror element that you’re talking about is really one that we can pull off well with everything that Tatiana [Maslany] does. Sarah vs. Rachel, too, is bringing us back to our earlier seasons, where Rachel came out of the woodwork and was Sarah’s real nemesis. Moving forward, we have narrowed it back down to clone vs. clone. I’m very interested in exploring that nemesis relationship.
TVLINE | Rachel has never been the warmest or sanest person. But it really felt like she cracked in this episode. What sent her over the edge?
On a deep psychological level, her hatred of Sarah is because Sarah has had so many of the things that Rachel has not had. Sarah has freedom, whereas Rachel has been ordained to be who she is more than any of the other clones. Sarah has perhaps a slightly dysfunctional but certainly a nurturing family, a chosen family. And Sarah has the love of her sisters. This is the root of Rachel’s jealousy and bitterness and true hatred. It’s a self-hatred at its core.
Mr. Robot, the surprise hit from last summer, returns on July 13. If I wasn’t behind on so many other shows, this is one series which I would really like to re-watch before going into the second season. Definitely watch it if you haven’t. It is now available for streaming on Amazon Prime and with the USA Network app.
Collider interviewed the stars. Here is the start of the interview, with major spoilers present (which will probably not sound very coherent) for those who have not seen the first season:
Collider: Christian, now that everybody is in on what’s going on . . .
CHRISTIAN SLATER: I love that you think that.
. . . at least as far as who your character is, does that chance your approach to things?
SLATER: I always looked at it as though I was as real as Elliot imagined me to be, and that was pretty real. I am there as his partner, as his protector, and as his enemy. I’m there sometimes for the right reasons and sometimes for the wrong reasons. It’s a continual struggle between the two of us. It turns into a real psychological journey for Elliot.
Rami, things must be a bit different in Season 2, now that Elliot is more aware of what’s actually going on in his life. Does it feel different for you, as an actor?
RAMI MALEK: It changes him, entirely. It gave me heart palpitations because when you do something that people respond to, and then you start altering the blueprint for what worked, it’s pretty fear-inducing. But sometimes, you have to do that, in order to push the boundaries. For this character and story to be as provocative as it was in the first season, we can’t rest on our laurels. You really have to just take some more risks and chances that I don’t think are for the sake of just taking risks and being different. They’re grounded in the story that Sam [Esmail] has created, with the trajectory and arc of all of these characters. I happened to know where he was headed this season, so I took some big changes and I think the audience will be rewarded by them. Maybe they’ll end up on the editing floor, but that remains to be seen.
As an actor who’s been in this business a long time, and had ups and downs, what’s it like to get such great scripts, every week?
SLATER: It’s great, getting the scripts and working with somebody like Sam Esmail, who is such a great leader. He’s just so prepared and there’s so much attention to detail. And then, you add Rami Malek to the mix, and Carly Chaikin and Portia Doubleday. And in Season 2, we have Joey Badass and Craig Robinson, who are amazing. To get to play a character like this, there’s so much freedom and fun with it that it’s very exciting.
You’ve known what the twists and turns were with this, from the very beginning. Were you ever bummed that you were in on it?
SLATER: No, I liked being in on it. I felt in on it, from the get-go. When I read the pilot, there was something so mysterious about the guy that it made me very suspicious. And then, when I went and met with Sam and asked him about it, he asked me if I really wanted to know. I said, “Yes,” so he told me. And then, he told me more details and revealed the relationship that I have with Elliot. I think that helped to add a deeper layer, across the board, throughout the whole season. So, it was great to know.
The 2016 presidential election already looks like it should be an unusual one, with the Republicans likely to nominate a racist and xenophobic reality host star with shocking lack of understanding of the issues, and the Democrats breaking pattern in probably nominating a candidate who is both ultra-hawkish and quite conservative on First Amendment issues. It might get even weirder, with Cory Michael Smith who plays Edward Nigma, on Gotham, saying next season will parallel the election:
Gotham, like many superhero stories, is a parallel of today’s society, of what happens every day. And in the third season, in the fall, when the United States will stand preparing to face one of the most important presidential elections in their history, even Gotham will address in parallel the issue.
I certainly could see Donald Trump as a super-villain. Sample trailer above. If only we had Batman, or at least Jim Gordon, to save us from the real candidates.
Doctor Who now qualifies to be nominated for Emmy Award now that BBC America has joined the BBC as a co-producer. Variety reports:
BBC America’s “Doctor Who” has been submitted for Emmy consideration for the first time ever. Now that the American cabler has come aboard as a co-producer, the venerable Brit series is finally eligible for consideration. Although it was not submitted as a drama series, star Peter Capaldi is on the lead actor ballot, showrunner Steven Moffat and director Rachel Talalay are on the writing and directing ballots for the episode “Heaven Sent” and the series is a possible nominee for costumes, production design, prosthetic makeup, and visual effects.
The show has not been nominated in the best dramatic series category, where it would be up against quite strong competition in a category where genre shows do not do well.
The CW network has released the premier dates for their shows, which continues to be dominated by genre next fall:
October 4 (Tuesday) The Flash No Tomorrow
October 5 (Wednesday) Arrow Frequency
October 10 (Monday) Supergirl
October 13 (Thursday) DC’s Legends of Tomorrow Supernatural
October 17 (Monday) Jane the Virgin
October 21 (Friday) The Vampire Diaries Crazy Ex-Girlfriend
The 100 and iZombie will be starting in the winter.
Anton Yelchin, who played Chekov in the new Star Trek movies, was killed in a freak auto accident today. The New York Times reports:
Anton Yelchin, a charismatic actor best known for playing Chekov in the new “Star Trek” films, died early on Sunday in a car accident in Los Angeles. He was 27.
His death was confirmed by his publicist, Jennifer Allen.
Mr. Yelchin was struck by his own car as it rolled backward down his driveway in Studio City, the police said. The car pinned Mr. Yelchin against a brick mailbox pillar and a security fence.
He had left the car momentarily, but the police did not say why he was behind it when it started rolling.
He was on his way to meet friends for a rehearsal, the police said. When he didn’t show up, the group came to his home and found him dead.
Mr. Yelchin began his career as a child with roles in independent films and on television before breaking out in films like the crime thriller “Alpha Dog” and the teenage comedy “Charlie Bartlett.” His biggest role had been as Pavel Chekov, navigator of the Starship Enterprise, in the rebooted “Star Trek” films, the third of which, “Star Trek Beyond,” is to be released in July.
More at TMZ , which also linked to this video of the Best of Chekov:
“The NRA on Friday endorsed Donald Trump for president. I guess that reaffirms their commitment to absolutely zero background checks.” –Seth Meyers
“Hillary Clinton said yesterday that she would like to see the FBI investigation of her emails wrapped up. Hillary then said, ‘Or deleted, whatever is easiest.'” –Conan O’Brien
“Donald Trump tweeted that a Hillary Clinton presidency would be ‘four more years of stupidity.’ As opposed to a Trump presidency, which would be one year of stupidity followed by three years of war with Mexico.” –Conan O’Brien
“Meanwhile, Trump says that he’s narrowed his list of candidates down to four or five. Though, if it’s a woman, she’ll definitely be a 10.” –Stephen Colbertt
“Despite her promises to be tough on Wall Street, a new report has found that groups supporting Hillary Clinton have received $25 million from the financial industry using so-called shadow banks. Meanwhile, Bernie Sanders has received a new waffle iron for opening a savings account.” –Seth Meyers
“And last night he shocked the world when he gave his victory speech using a teleprompter. A teleprompter. This from a guy who got this far by shouting whatever comes into his mind. Trump using a teleprompter is like the Flash calling an Uber, Aquaman taking a ferry, or Bernie Sanders using a comb.” –Stephen Colbert
“NASA scientists have discovered over 1,200 planets that are possibly habitable — where humans could live. In other words, if Donald Trump does become president, Canada’s not your only option.” –Conan O’Brien
“One of the ways that Trump is treating the convention like a reality show is holding off announcing his running mate. As one Trumpling said, ‘Announcing the vice-presidential nominee before the convention is like announcing the winner of ‘Celebrity Apprentice’ before the final show is on the air.’ It’s an apt metaphor, because this year’s Republican convention will be the series finale of America.” –Stephen Colbert
“The latest polls show Hillary Clinton now leads Donald Trump by 12 points nationally. I guess she’s getting some traction from her new slogan, ‘Come with me, if you want to live.'” –Seth Meyers
The Americans concluded its fourth season (spoilers ahead) with the death of another charter, and presumably the end of the biological weapons story line. Technically William had not died by the end of the episode, but if he should survive into the next season it will only be briefly. This was a season which included the deaths of some characters, and the possible loss of others to the show. Notable deaths include Nina and Gantt, dying in quite different manners. Plus the finale introduced another character which was mentioned previously–Philip’s long lost son from before he began working with Elizabeth.
With The Americansrenewed for two more seasons, we can safely predict that Elizabeth and Philip will not be discovered in the near future, but this has been a major theme since Paige revealed their secret to Pastor Tim. Over the course of the season, Paige has developed into a reluctant but effective junior spy. The risk from Pastor Tim and his wife now seems much lower, but it will always hang in the background.
While William didn’t seek to betray Elizabeth and Philip, he did provide Stan with a small amount of information: “couple of kids…American dream. You’d never suspect them. She’s pretty. He’s lucky.” This fits far too many people for Stan to suddenly think of his neighbors across the street, but if he is ever given stronger reason to suspect them, he is bound to remember this.
Gabriel did strongly advise Elizabeth and Philip to leave the country, but left the ultimate decision up to them. If they are at risk, I think the greater risk would be that Philip might reach the point where he cannot go on. EST might help him, or it might lead him to question what he is doing even more. Of course he couldn’t fully explain his difficulties in leaving his job when he had to go with the travel agent cover. Plus the world will change for him with the Soviet Union heading closer to its collapse and the introduction of his son.
Instead of Elizabeth and Philip deciding to leave, Oleg made that decision to help his mother. Arkady appears to be leaving involuntarily. Martha has been in the Soviet Union for months. We may or may not see these characters again.
Joe Weisberg and Joel Fields were interviewed at Speakeasy:
The finale seemed to set a lot up for the fifth season, but at the same time, a lot of stories were left in a cliffhanger-y spot. So did you know when you wrote and shot the finale that the show had been renewed?
Joel Fields: Yes. FX is very generous and communicative about that stuff. They really helped us as we were turning a corner from the end of this season toward the last couple of seasons by putting the creative choice of how to end the show in our hands. And I think in a lot of ways we were able to be thinking through that as we were finishing up Season 4.
Was any of what happened to William in the finale based on a true story, the way he infected himself with the lethal Lassa virus to get out of the mission (and to get out of spending the rest of his life in jail)? There’s got to be tons of stories about spies like William getting disgruntled after all those years.
JF: We did a lot of research into disgruntled spies, into biological weapons. We never saw a story of someone intentionally infecting himself, but, there are stories of people who actually worked on these biological-weapons programs getting accidentally infected, and the horrible, horrible way that they died. So I think that that would be the closest thing to it being based on something real.
How long had you been planning to introduce the Philip’s son plotline?
Joe Weisberg: It’s funny, because we were reminiscing about season 1, when, in fact, [you didn’t know] whether or not Philip actually had a son. It was ambiguous. Was Irina making that up? Or was it true? And we didn’t have an answer to that, ourselves. We liked that ambiguity. We thought that was really interesting. So, introducing that plotline meant making a final decision that that was a real person and a real character, which is probably more satisfying.
JF: Yeah, and that’s that case where much of the time you really plan these things out years in advance, seasons in advance. But this part of the story unfolded organically, as the story was told, like in that first episode with Irina when she mentioned the son? That was something that blossomed out of the script, and these other pieces fell into place over the course of the seasons.
The most surprising development in the entire season for me was the relationship between the family and Pastor Tim. I’m surprised that he made it out of the season alive. But I’m even more surprised that he seems to actually be their friend now! JF: I don’t think we ever considered killing him off. As much as everybody was speculating that he was about to go, we were really exploring the question of how these characters would deal with being in this box, and how would that [situation] unfold?
Also, Tim is a character with whom we had a lot of sympathy. He really does, on some level, want to do the right thing — that’s been his whole problem all along. And the Pastor Tim thing also was an opportunity to explore a lot in terms of these character dynamics.
JW: It was pretty apparent to us early on that [the Soviets] couldn’t kill Tim because of the effect it would have on Paige. It would destroy her parents’ relationship with her. And that was it. The question then became, with that constraint of not being able to kill him off, what else could we do? The fact that he ends up being actual friends with them did take us a little bit by surprise, but [once we figured that out], that changed our sense of who this guy was, and how we would always see him from the moment we got to know him. And so we followed that through the season, and throughout the story, he just could not open his heart up to them.
JF: But it also led to one of my favorite lines in the season, which was in episode ten, when Paige was convinced that her parents had something to do with his disappearance, and Elizabeth says, “God, why would we do something as stupid as leave Allison, and, God, she thinks we would do that? If she only knew everything we did to not kill him!”
Are we ever going to see Martha again? JW: We’re not going to answer that!
JF: What kind of a spoiler-y question is that, Matt?
I’m sorry I disappointed you with that question, guys! I have no idea why I asked that. JW: Come on! Why don’t you just go ahead and ask us what the last scene of the show is going to be? [Laughs.]
Okay: So you have two more seasons to go after this one.Is two a number that FX gave you, a number that you asked for? And are you happy with it? JF: We’re thrilled with it. They came to us some time ago and said, “As you start thinking about the end of season four, we’re all thinking about how the show’s going to wrap up. What do you need? How do you want to tell the story?” That was something they really put on our end, which was generous and allowed us creatively to figure out what we thought would be best.
TVLINE | We’ve seen Elizabeth have some hesitation this season about the things she has to do, specifically with regards to Young-Hee. Is she starting to understand Philip’s point of view about the job? JOEL FIELDS | Philip has gone through a major personal transformation over the course of the show, [which] on a deep level is about marriage. When you’re in a marriage with somebody, you can’t help but be affected if your partner changes. She’s started to go through her own changes, although much smaller and at a much different pace than Philip. We’ll see how all of that plays out for them as a couple, her as a mother and her as an individual.
TVLINE | We’ve said goodbye to a lot of characters recently —Nina, Martha, Gaad, Arkady and possibly Oleg now. All the departures almost made it feel like you were reaching the end of the series. But then there was a two-season renewal. WEISBERG | We did not have any particular intention or idea [like], “Oh, let’s gets rid of a lot of characters. Oh, it’s supposed to end. Oh, let’s start over.” There was no thinking like that at all. Every bit of this is just following stories where they were going. The two major storylines of Nina and Martha were coming to their end, and they happened to be coming to their end at the same time, which is fundamentally coincidental. There is no reason one of them might not have come to an end in a different season, [but] they happened to come to an end in the same season. It is probably less coincidental, in terms of storytelling, that the Gaad storyline ended soon after the Martha storyline, but there’s certainly a world where we could have kept Gaad or not killed Gaad. But ultimately, after what happened with Martha, he just wasn’t going to survive any longer in that job. The choice to have him die and how that was going to impact other people and other elements in the story seemed like a better choice to us.
TVLINE | Martha wasn’t killed off, and you’ve had scenes in Russia with Nina and various other characters. Will we see her in that setting at some point? FIELDS | She’s not dead. So on The Americans, that’s something to hold on to.
TVLINE | What about Oleg? What can you say about his status? FIELDS | Also not dead.
TVLINE | But he’s leaving America? He hasn’t changed his mind? FIELDS | We’ll see. He was pretty clear on that
Clark Gregg has discussed his thoughts on the next Director of SHIELD, but does not seem to know very much about this and how it will play into the Marvel Cinematic Universe. From Entertainment Weekly:
“Since it’s clear that Coulson is Team Cap, Jed [Whedon] and Maurissa [Tancharoen] have fiendishly put Coulson on the spot, because Hive [Brett Dalton] turned out to be the living embodiment of all the reasons why you would be afraid of Inhumans,” Gregg says. “He was the greatest argument that the people who support the Sokovia Accords could ever have for locking them all up. Coulson had to ride the line where he was trying to respect these new iterations of humanity as friends and allies, and at the same time stop Hive at all costs.” Fortunately, S.H.I.E.L.D. was able to stop Hive, but it certainly came at a steep price with Lincoln’s death, Daisy’s disappearance and Coulson’s demotion.
So, who is the new director of S.H.I.E.L.D.? The executive producers played coy ahead of the finale, which means Gregg is in the dark, too. “I was not given a clear answer,” he says. “I don’t know that it’s been determined. I thought I was going to find out when I saw Civil War, but it’s not at all clear. It all depends when the glorious Nick Fury [Samuel L. Jackson] returns from the cold and the shadows. I suspect, in the wake of the Sokovia Accords and the end of Civil War, the people involved in choosing who the director of S.H.I.E.L.D. will be are other than in-house S.H.I.E.L.D. people. If I know my government bureaucracies, I have a feeling it will be someone somewhat less qualified than Coulson to run S.H.I.E.L.D.”
Screen Rant has information on a new character being added on The Flash. Supergirl has had a casting call for five new characters including Lex Luthor’s sister, plus they are finally going to show Superman. Vicki Vale is being added on Gotham. As for the comics, Bleeding Cool looks at the relationship between Batwoman and Rachel Madow (who once discussed the character on Seth Meyers’ show).
FXX has announced that You’re The Worst will return on Wednesday, August 31.
The CMT has picked up Nashville following its cancellation by ABC. It sounds like a good fit. Cable and streaming services have provided multiple ways for canceled shows to return. I still haven’t given up hope that The Food Network will revive Hannibal.
Screen Rant reports that Peter Capaldi has teased the possibility of the Doctor and Clara meeting again:
Speaking at a Doctor Who panel at Awesome Con in Washington, D.C., Capaldi hinted that there might be more to the Clara situation than what we saw at the end of season 9. While Clara won’t be returning as the Doctor’s companion, she may not be completely forgotten either. Capaldi stopped himself before he revealed too much, however:
“I think that the thing about the Doctor is that he’s quite mysterious – hence the name, Doctor Who – um, and I’m not sure how successfully Clara was able to wipe his mind. And in fact, I just did a… I was about to tell you something I can’t tell you yet.”
Sherman-Palladino’s dramedy The Marvelous Mrs. Maisel, which she wrote and executive produces, is about a 1950s housewife who decides to be one of the first female standup comics. Sherman-Palladino is currently in post-production on the four Gilmore Girls movies for Netflix, which serve as a sequel to her signature dramedy series.
When we think of greedy and power hungry families, some of the first to come to mind are the Bushes, the Clintons, and the Lanisters. Donald Trump might not have a family history of seeking political power, but he has now joined these other power-hungry families. At least a Lanister always pays his debts. Donald Trump does not.
Donald Trump casts himself as a protector of workers and jobs, but a USA TODAY NETWORK investigation found hundreds of people – carpenters, dishwashers, painters, even his own lawyers – who say he didn’t pay them for their work…
At least 60 lawsuits, along with hundreds of liens, judgments, and other government filings reviewed by the USA TODAY NETWORK, document people who have accused Trump and his businesses of failing to pay them for their work. Among them: a dishwasher in Florida. A glass company in New Jersey. A carpet company. A plumber. Painters. Forty-eight waiters. Dozens of bartenders and other hourly workers at his resorts and clubs, coast to coast. Real estate brokers who sold his properties. And, ironically, several law firms that once represented him in these suits and others.
Trump’s companies have also been cited for 24 violations of the Fair Labor Standards Act since 2005 for failing to pay overtime or minimum wage, according to U.S. Department of Labor data. That includes 21 citations against the defunct Trump Plaza in Atlantic City and three against the also out-of-business Trump Mortgage LLC in New York. Both cases were resolved by the companies agreeing to pay back wages…
The actions in total paint a portrait of Trump’s sprawling organization frequently failing to pay small businesses and individuals, then sometimes tying them up in court and other negotiations for years. In some cases, the Trump teams financially overpower and outlast much smaller opponents, draining their resources. Some just give up the fight, or settle for less; some have ended up in bankruptcy or out of business altogether.
Hillary Clinton might consider calling him Deadbeat Donald in addition to Dangerous Donald. On the other hand, Ron Fournier has provided justification for Trump’s use of Lyin’ Hillary with some examples in an article entitled Hillary Clinton’s Truth Problem for The Atlantic
There are some Sanders supporters who might be hoping to see Trump win. I hardly see Trump as an acceptable alternative, but when both choices are so awful, I’m not going to dwell on how people plan to vote in November. The important thing is that we stick together to try to keep the country from sliding further into oligarchy, and oppose the extension of the warfare/surveillance state which we will probably see with either presumptive major party candidate. While in some ways Trump is probably worse than Clinton, at least there is the potential benefit if Trump is president that many Democrats will oppose his policies while justifying comparably odorous polices from Clinton. Quick medical fact: People who die in wars started by a Democrat are just as dead as people who die in wars started by a Republican.
With only three episodes to go, Jonathan Nolan was free to do almost anything for the 100th episode, and he did. Major spoilers ahead. Those who were behind this season might not even have been aware that Elias was still alive but in hiding. His actual death this episode was overshadowed by the far more significant death of Root. At least she lives on in some manner with the Machine choosing to make her voice her own.
TV Line discussed the episode with Jonathan (Jonah) Nolan and Greg Plageman. Here is a portion:
TVLINE | For starters, why Root? Why was she the big loss entering this final salvo of episodes? GREG PLAGEMAN | Root has always implored Harold Finch to make his machine more assertive in this war, and now, faced with what they’re up against, Root ultimately is the one who makes the sacrifice to save the father of The Machine, and that’s Harold. I think it’s true to Root’s character — her first love was The Machine. She always believed people were “bad code,” and more than anything she wants Harold’s machine to win this war. Her going down in this matter seemed apropos.
TVLINE | She did go down in a blaze of glory, after making one of the sickest kills in TV history. JONAH NOLAN | Yeah, I was holding onto that one for a movie, but I decided Amy Acker was worth it…
TVLINE | In the million months since you filmed this episode, a controversy arose about TV shows killing off LGBT characters. But I think that in your defense, Root was a richly realized character, over four seasons. And as you have said, she died meaningfully. NOLAN | Thank you for that. We haven’t seen these other shows [that killed LGBT characters], so I can’t speak to that, but it’s really just about characters getting their due and not feeling disposable, and not feeling like the audience’s investment in a character is being used against them, or that they’re being set up for it. This was always the end of Root’s story, this was always where we were going. It became clear at the beginning of the season that this was the end of the ride for us… and Root’s journey has always been getting ever closer to The Machine, so the end of her story was always basically becoming The Machine. That’s another thing I thinks separates this from the pack, and this is how Root feels about it — it’s an evolutionary step. We’re not trying to sucker-punch the audience. PLAGEMAN | We’re aware of the objections now to that [“Bury Your Gays”] trope, and I think we circumvent that in many ways. This is a real relationship between [Root and Shaw]. Not only was it consummated but there are real feelings there in subsequent episodes. Not to mention, as Jonah said, we’re heading down the final stretch here. This is not the only loss that Team Machine is going to encounter.
TVLINE | On the topic of consummation, although what we saw a few weeks ago was just a simulation, did I read somewhere that you said Root and Shaw actually first got “together” in Season 3, Episode 6…? NOLAN | We definitely implied as much at various moments. Look, we’re on CBS, there’s only so much we can show, a lot of that is left to the imagination…
TVLINE | Elias similarly went out as a hero. How important was it for you to “resurrect” him and get back Enrico Colantoni, if only for a short bit? NOLAN | Enrico Colantoni is a f–king magnificent actor, and has been such a fun collaborator for us over the years. We’ve always managed to make it work, when he’s available, and he’s had some great moments here. It was always the plan to fake his death and bring him ever closer to our team. If there’s one thing about the season I regret it’s not having a little more time to play with relationships like these, and spend a season with him on our team. But again, we’ve had to get to the end a little sooner than we wanted. We wanted to spend a little more time with Elias all the way inside the team, though we’d have to be careful with that — Elias isn’t much of a joiner! [Laughs] But that relationship between him and Finch has been so much fun to develop over the years, from the sort of chess conversations to really bringing him all the way in. The idea in this episode was that it’s almost like an avalanche of grief and loss bearing down on Finch, and the cumulative impact of it for Finch is watching as this set of decisions that he’s made, this sort of plan that he has held into all of these years, comes literally to grief with the death of two of his allies and friends.
TVLINE | The Machine actually speaking at the end, springing Harold from jail…. I almost feel like that’s Rocky getting up from the mat before pummeling Apollo Creed. Is our team about to rally? PLAGEMAN | I got chills, man. One of the things that Elias really served to do…. When a character with that power says to Harold Finch, “You’re the one that people should be afraid of,” he gives that a certain weight and heft that we understand something’s coming for Harold Finch, because Elias told us so. NOLAN | And at Comic-Con three years ago, when asked, “When will The Machine get a voice?,” we did say, “Someday, but you won’t like how it happens.” I think we fulfilled that mandate.
I was suspicious of Felix’s sister Adele when she showed up on the show, suspecting she worked for Neolution or some other group. After this week’s episode, she just might be what she seems. She filled a needed role of an attorney Donny and Alision could call on. She also had one of the best lines of the episode when she met Alison and noticed how she looks so much like Sarah, “with less anger and more hygiene.” Next week Helena returns. I’d love to see Adele’s take on her.
Gillian Anderson has had some major genre rolls, including The X-Files, The Fall, and Hannibal. She will be working with Bryan Fuller once again on Amerian Gods. Variety reports:
Anderson will play Media, the mouthpiece for the New Gods, functioning as their public face and sales representative, by taking the form of various iconic celebrities. She lives off the attention and worship that people give to screens — to their laptops, their TVs, to their iPhones in their hands while they watch their TVs. Ever the perky spokesperson, and always in control, she spins stories in whatever direction best suits her.
The attack of the White Walkers on the cave was one of the most memorable scenes on Game of Thrones recently. The above video discusses the making of that scene.
Outlander has been renewed for two additional seasons. This will also make it possible to have less of a delay between seasons. Homeland has been renewed for three additional seasons by Showtime, who will also be doing a series based upon Jonathan Frazen’s novel Purity. Amazon has renewed Transparent for a fourth season.
TV Line has news on next season’s big bad on Arrow:
Arrow‘s latest evil mastermind is heading to Star City by way of Baltimore. TVLine has learned exclusively that the CW drama’s upcoming fifth season will introduce a new villain loosely inspired by Idris Elba’s Wire drug kingpin Stringer Bell.
The character, tentatively named “Anton Church,” is a ruthless crime lord who sets out to fill the sizable void left by 960Damien Darhk and H.I.V.E. The initial casting notice describes him as an “apex predator” who “cuts his way through the shadows” by taking down “the biggest threat first.” (Um, he’s looking at you, Ollie Q.). While the role is being likened to Elba’s classic Wire baddie, the breakdown also references ex-Game of Thrones actor Jason Momoa as a physical prototype.
Arrow had a great big bad last season, but sure didn’t conclude the story very well. Hopefully the quality of Arrow will get back to what we saw the first two seasons.
Here’s something for fans of both Doctor Who and Marvel. David Tennant of Jessica Jones does Ask Marvel in the video above.
In other Doctor Who news, Steven Moffat recently revelaled that the role of The Doctor was once offered to a black actor, but it didn’t work out.
There have been a lot of changes in both the Marvel and DC comics over the years. After the last two Captain America movies showed SHIELD to be infiltrated by Hydra, and now has Captain America and other Avengers on the run, there is an even more radical change in the comics. Steve Rogers is apparently an undercover Hydra agent. Of course, in the comics, this could be a trick, or just something to go on for a while until they reboot again.
Both The Flash and Arrow concluded their seasons with the hero defeating the big-bad of the season. The ending of Arrow was rather disappointing, with Damien Darhk being defeated far too easily after previously looking unbeatable. Team Arrow was broken up, but it would be an easy matter to reunite some or all of them.
It was gimmicky to have The Flash end the season with a race, but it does fit into the series. There was a little trickery involved in defeating Zoom, but it was far better than how the Arrow defeated Darhk. (Major spoilers ahead). We learned the identity of the main in the iron mask–Jay Garrick of Earth 3, played by John Wesley Shipp who played the Barry Allen Flash in the 1990’s series. I assume we will see him again, possibly playing into the plans to tie the Justice Society of America into Legends of Tomorrow. It will also be interesting for Barry to have a copy of his dead father–assuming his father remains dead.
The ending of the episode had major ramifications (and more spoilers ahead) for the future of the series as Barry went back in time to save his mother, and saw another remnant of himself disappear. Possibly this means that he never becomes the Flash. On the one hand, this would change the scene between Barry and Iris before he went back in time. On the other hand, if Barry never lived with the Wests, there would no longer be the feeling of incest (even if not biological) in their relationship.
There are reports that Tom Cavanagh will be returning to the third season of The Flash. His first season character was killed at the end of the season and his Earth 2 character returned home at the end of this season. One logical explanation for Cavanagh being present seems to be that if Barry’s mother remained alive things were changed so that the original Harrison Wells was not killed by Eobard Thawne.
There is further speculation that the third season will start with a version of the Flashpoint storyline from the comics. Screenrant has further discussion of the finale. There is more at Den of Geek, including this summary of the Flashpoint story:
All signs point to Flashpoint, a Geoff Johns-penned comic book arc from 2011 that saw Barry waking up in a present day that he didn’t recognise. His mother was still alive, Captain Cold was the big shot hero of Central City and The Flash did not exist (neither does Superman or The Justice League, and Thomas Wayne is Batman instead of Bruce).
Barry does not have his powers. America is at war with Aquaman and Wonder Woman. Cyborg is the world’s biggest superhero, and is failing to unite a strong enough defence. Essentially, the whole world has gone to hell.
This timeline was spawned – you guessed it! – by Barry going back in time to save his mum. It’s the ultimate worst-case scenario, when Barry thought he’d been doing a good thing. For season 3 of The Flash, it seems logical to expect a similar chain of events.
Obviously there would need to be a scaled-down version for television, but it is easy to see Barry returning home to an entirely different world. They could possibly also use this to bring about the collapse of other Earths into Earth 1, bringing Supergirl into the same earth to facilitate the planned cross over after the show moves to the CW Network next season.
The second season finale of Gotham left the city an even stranger place than it has been. Comic Book Resources interviewed executive producer John Stevens. While the interview took place before the finale, it still provides information leading into season three:
CBR News: Throughout the season, Hugo Strange has been playing Dr. Frankenstein. What exactly is his endgame?
John Stephens: We’re going to understand his endgame in the finale. We’re going to understand that he received a directive from his employers, who gave him a very specific directive, specifically about reanimation. That is something which his employers, who we know are the Court of Owls, is going to be paid off in Season 3 when we understand why they wanted him to do this thing. We will understand in this season what exactly he was supposed to achieve, although part of that we will pay off next year, too. It plays into our overarcing Court of Owls’ mythology.
Strange refers to his employers as “masters.” Who are the Court of Owls, and how much are we going to learn about them in the finale?
The Court of Owls is like an Illuminati. They are a shadowy group of powerful people who have controlled Gotham for centuries. They might, or might not, be behind the Wayne murders. They have financed and directed Indian Hill and Hugo Strange’s research. We will not learn all that much about them in the finale, save for the fact they are the people behind Hugo Strange and are most likely the culprits behind Martha and Thomas Wayne’s murders. Bruce will learn of their existence, but not necessarily their name. That will obviously push him forward.
As part of Strange’s experiments, he brought Fish Mooney back to life. What makes the resurrected Fish deadlier than before?
Hugo Strange had to modify Fish’s DNA in order to being her back to life, and it had the side effect of giving her certain abilities. Those abilities are going to manifest in the finale. She goes from the real of reality to grounded sci-fi, becoming a quasi-supernatural character in the finale.
The Americans has been one of the best written shows on television in recent years. The writers have taken a long view, with situations often not playing out for many episodes, or sometimes seasons later. Joe Weisberg and Joel Fields, the co-showrunners, have indicated in various interview that they have about two more years of story left. Now that is official. FX has renewed The Americans for two additional seasons beyond the current season. While I hate to see it end, it is quite satisfying to know that the show will be ending based upon the ideas of the writers, and the story will be allowed to continue until it is completed.
Limitless has been officially canceled by CBS. While not at the level of The Americans (few shows are), it is entertaining and there is certainly more story to tell. There is still the possibility of it being picked up elsewhere.
Steven Moffat responded to a question about the lady in the barn in the season 9 finale of Doctor Who, Hell Bent:
Responding to a fan question in issue 496 of Doctor Who Magazine as to whether the old barn lady was the Doctor’s mother, Moffat answered:
“We’ve no idea who she is, nor should we. But a quick glance at the evidence, would remind you that the Doctor is a ‘high born Gallifreyan’ so that would seem unlikely. So what was he doing in that barn, and who were those people? The Doctor won’t tell me. It’s almost like that nameless wanderer in time and space likes a bit of mystery…”
The showrunner added:
“Oh, it’s funny, writing stuff about the Doctor’s past. You always have to leave options – you can’t be definitive. Or at least that’s how I feel about it. I like the audience to have a choice. If, in ‘Listen,’ you’re happy that the little boy in the bed is the Doctor, then great. But if you’re not, that’s fine too. I keep saying, Head Canon is important, because that’s where the show really happens: in the hearts and minds of all the people watching.”
When I saw her on Hell Bent, and previously on The End of Time, I saw this more as a Gallifreyan version of a boarding school, as opposed to showing his home and mother.
In other Doctor Who news, John Barrowman has shot down rumors that he will be returning to play Captain Jack Harkness in the Christmas special.