All charges have been dropped in the Freddie Gray case now that any convictions look to be very unlikely. Apparently Freddie Gray did not die of mistreatment while in police custody. He just died of being a black male. There is an epidemic of such deaths in this country.
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.
Who would have predicted that Donald Trump would clinch the Republican nomination while Hillary Clinton still has an opponent in the race after the Indiana primary, even if Bernie has a huge uphill battle to pull it out? Sanders’ only hope is that something major happens which erodes support for Clinton among the remaining primary voters and/or the superdelegates. While many Republicans continue to oppose Trump, it is hard to see any way to stop him now that both Cruz and Kassich have left the race.
While I do not want to give up all hope of an acceptable presidential candidate emerging from a major party, the pundits are concentrating on a Clinton versus Trump race, as horrible as those options are. Clinton certainly starts out with the advantage when you consider both the advantages for any Democrat in the electoral college, along with how Trump as alienated so many groups, including women and some minorities. On the other hand, the decline in Clinton’s support must raise the question of whether she can survive a general election campaign.
Some Republicans are even talking about voting for Clinton over Trump. Perhaps this will be like the PUMAs of 2008 with the majority ultimately voting for Obama despite initial threats to vote for McCain in protest over Clinton’s defeat. Trump is at a greater risk of a real defection this year. While he is wrong on many, many issues, Trump’s views are vastly different from the GOP mainstream. A neoconservative, DLC Democrat like Clinton is not very far ideologically from the faction of Republicans which are not outright bat-shit crazy, and the old Goldwater Girl would actually be a sensible choice for many Republican voters. Neocons have already been talking about supporting Clinton for quite a while, and she has received the endorsement of Robert Kagan.
It certainly makes sense for Clinton to try to attract Republican votes, and such votes might make up votes Clinton will lose from those on the left who will not vote for her out of principle. A small percentage of Sanders supporters might even prefer Trump over Clinton. On paper Trump is preferable on foreign policy, showing far less interest than the ultra-hawkish Clinton in military interventionism and regime change, but I would also fear that he would blunder us into a war. Many Sanders supporters prefer Trump over Clinton issues such as trade and legalization of drugs. Many other issues will make it unlikely for Sanders supporters to vote for Trump.
Sanders showed that his campaign is very much alive with his upset victory in Indiana. Many Clinton supporters are now calling on Sanders to leave the race, but they miss the point. Sanders has been facing an uphill battle from the start, but there is a need for a candidate to present an alternative viewpoint to those of Clinton and Trump. Hillary Clinton still has major negatives leaving a long shot chance of her campaign still being stopped, and even if she cannot be prevented from winning the nomination, voters in remaining primaries deserve an acceptable choice. This is also a campaign over principles and the future direction of the Democratic Party, regardless of whether Clinton wins the current nomination.
The Woman Who Lived works as a stand alone episode of Doctor Who which did not really need to fall directly after last week’s episode, The Girl Who Died. Maise Williams’ character is seen eight hundred years later. It was strange that she remembered the Doctor and Clara and not her own name or village. She also had a colder attitude which can be seen in this exchange:
The Doctor: Anyone is that village would have died for you Ashildr: Well, they’re all dead and here I am. I guess it all worked out
The show described the problems with immortality, and Ashildr’s frustration: “I have waited longer than I should ever have lived. I have lost more than I can even remember. Please Doctor, just get me out of this. I want more than this. I deserve more than this.”
While her life span was increased her memory was not so she had to resort to her journals, tearing out the pages of things she wanted to forget. She did keep the pages about her children dying of the plague, as a reminder to never have children again.
The Doctor did not take her with her, but did tell her , “I travelled with another immortal once. Captain Jack Harkness.” Will she ever meet up with Captain Jack (John Borrowman)? Plus Sam Swift may or may not also be immortal.
Nerdist reports that Maise Williams will return to Doctor Who:
Over the weekend, at London’s MCM Comic-Con, “Face the Raven” writer Sarah Dollard confirmed that Ashildr/Me would be back for her episode. During “The Woman Who Lived,” we find out that the character decided to be there for the people the Doctor leaves following his swoop-in/swoop-out style of day-saving. “Someone has to look out for the people you abandon, who better than me? I’ll be the patron saint of the Doctor’s leftovers,” she told him. She also says, “While you’re busy protecting this world, I’ll get busy protecting it from you.” When the Doctor expresses that he thinks he’s very glad he saved her life, she replies, rather ominously, “I think everyone will be.”
This could make her an interesting recurring character, and provides job security should she be killed off on Game of Thrones. She is present in the background of a picture at Clara’s school shown at the end of the episode. I’ll accept the coincidence that she is present in the first picture that Clara showed him after this encounter, but what about all the companions prior to Clara? While that probably cannot be shown on screen, she could be an interesting addition to books or fan fiction. With Jenna Coleman reportedly leaving after this season, possibly Maise Williams will play a part.
The above trailer announces that the long-awaited Victorian version of Sherlock will air on January 1 in both the UK and the Unites States and will be named The Abominable Bride.
I’m going to post this link without reading the article. I haven’t looked at the deleted scenes on the Blu Ray of Avengers: Age of Ultron yet, and will do so before reading this, but Den of Geek has a detailed description for those who might want to read about them without viewing.
After a bunch of teasers, Netflix has released a full trailer for Jessica Jones (video above).
I avoid watching Amazon pilots until a series is about to be released in full, but I am really looking forward to The Man In The High Castle. Reviews of the pilot have been fantastic. Now Amazon is going to make the first two episodes available, even to non-prime members, here from 12am Pacific on Friday, October 23rd until 11:59pm Pacific on Sunday, October 25th. The first two episodes will remain available to Prime members, with full release on November 20. While I already had an Amazon Prime membership for the free shipping, with streaming becoming a huge player, I now consider Amazon Prime, Hulu (commercial free subscription), and Netflix all essential (with HBO Go and comparable services from the other pay cable networks also available due to cable subscriptions). Many evenings I do not go beyond my Roku box for watching television.
This raised another thought. When traveling I prefer either a Roku box, or my Roku stick to travel more lightly, as it has all the streaming services I use set up conveniently. It includes Amazon Prime, while some competing devices do not. I also do have both a Google Chromecast and an Amazon Fire Stick. (This comes in handy when staying in friends’ condos in Florida which have televisions in the bedroom and living room). I have also found the Amazon Fire Stick essential when traveling to hotels which require a sign on to use their WiFi. Only the Amazon Fire Stick can handle this without resorting to making a hot spot with a travel router.
Danielle Panabaker of The Flash was on The Talk (video above). She discussed her transformation to the villain, Killer Frost.
All of the DC comic based shows have been off to a good start this season. Arrow, which just brought back Sara Lance to lead into Legends of Tomorrow, is much stronger this season, including a much bigger big bad. The flash backs are also more interesting with the return to the island. Plus someone will die in six months. Supergirl officially starts this upcoming week. The pilot, which has been available for months, was excellent and those who like The Flash and Arrow should also like this show. Over at Fox, Gotham has turned much darker, and is showing more potential than in the first season.
Also notable in the past week, You’re The Worst, while it has not been as good as the first season, has had many excellent moments. This included the revelation of what is wrong with Gretchen last week.
Hulu has renewed Casual for a second season. I highly recommend that show. I have not watched The Whispers, but I note that ABC has canceled it. CBS has ordered a full season pick up of Limitless. It is a lighter but entertaining show with a genre element.
I previously posted the video of Bernie Sanders on Jimmy Kimmel Live last week. Christopher Lloyd (Doc Brown) was also a guest, along with Michael J. Fox, for an opening skit for the date he came into the future in Back To The Future 2. Bernie Sanders posted the picture along with this caption on his web page:
“Tell me, future boy, who’s President of the United States in 2017?”
“Bernie Sanders?! From Vermont?”
So this our destiny. I think this is a fixed point in time which cannot be changed. The skit with Christopher Lloyd and Michael J. Fox is below:
Speaking of time travel, Simon Berry has provided some information following the Continuum finale. I will hold off a little longer to discuss the finale a second time to allow more time to see if further material of interest becomes available.
Plus we have something else from the past to look forward to. Netflix is planning a revival of Gilmore Girls. The current plans are for four episodes, ninety minutes each, which take place in real time, eight years after the finale. We will finally see the final four words planned for the show by Amy Sherman Palladino. While not finalized, Lauren Graham, Alexis Bledel, Kelly Bishop and Scott Patterson, along with many of Rory’s suitors, are expected to appear. Edward Herrmann obviously will not appear but perhaps the funeral for Richard Gilmore, taking place after the actor actually died, could be a good point at which to reunite the other characters. The series ended with Rory Gilmore covering Barack Obama’s campaign in Iowa. Might she now be covering Bernie Sanders?
This will not be the only case of Lauren Graham being united with a star from a previous show. She will reunite with Mae Whitman of Parenthood in an adaption of the The Royal We, a book on the courthouse of Prince William and Kate Middleton.
Maureen O’Hara, the spirited Irish-born actress who played strong-willed, tempestuous beauties opposite all manner of adventurers in escapist movies of the 1940s and ’50s, died on Saturday at her home in Boise, Idaho. She was 95…
Ms. O’Hara was called the Queen of Technicolor, because when that film process first came into use, nothing seemed to show off its splendor better than her rich red hair, bright green eyes and flawless peaches-and-cream complexion. One critic praised her in an otherwise negative review of the 1950 film “Comanche Territory” with the sentiment “Framed in Technicolor, Miss O’Hara somehow seems more significant than a setting sun.” Even the creators of the process claimed her as its best advertisement.
Yet many of the films that made the young Ms. O’Hara a star were in black and white. They included her first Hollywood movie, “The Hunchback of Notre Dame” (1939), in which she played the haunted Gypsy girl Esmeralda to Charles Laughton’s Quasimodo; the Oscar-winning “How Green Was My Valley” (1941), in which she was memorable as a Welsh mining family’s beautiful daughter who marries the wrong man; “This Land Is Mine” (1943), a war drama in which she was directed by Jean Renoir; and “Miracle on 34th Street” (1947), the holiday classic in which she played a cynical, modern Macy’s executive who tries to prevent her daughter from believing in Santa Claus…
The first season finale of Mr. Robot took place after two weeks of big revelations including Darlene being Elliot’s sister and, not only was Mr. Robot imaginary as many suspected from the start of the season, he was based on Elliot’s real father. The hack planned by fsociety took back seat those two weeks, almost feeling like a McGuffin for the season, and it wasn’t clear if this was ever going to be completed. In the finale we never saw the completion of the plan. Instead Elliot awoke to find a changed world with his plan having been successfully completed. For a while I wondered if it was all going to be a dream, but if so it is a dream Elliot never woke up from.
It is often unclear as to what is real in this show, as captured by the return of Mr. Robot and Elliot’s reaction:
You’re not real.
What? And you are? Is any of it real?
The episode was notable for the return of Mr. Robot after confirming that he was not real, and for the absence of Tyrell Wellick. The scenes with Mr. Robot take on a different meaning now that we know that it is all in Elliot’s imagination. Thus we saw the scene in which Mr. Robot provoked someone into beating him up, with Elliot winding up taking the beating.
The episode also has Angela not only working at Evil Corp, but appearing to have much more influence there than expected. Will she be on the opposing side to Elliott next season, or a major ally from within the enemy? Scenes involving Evil Crop also included the suicide scene which led the the finale being delayed a week. Plus the finale included a reference to Ashley Madison, which made it seem more like something really happening in the present.
Mr. Robot was renewed for a second season at the start of the first so we know we will be able to see the ramifications of the hack working, and the economic breakdown this appears to be leading to. Like Hanniballast week, the episode also ended with a surprising scene added on.
That was a very surprising last scene, with the return of White Rose. What were you trying to illustrate with that very last scene?
The fact that it became a post-credit scene was more out of a negotiation on how to end the season. Do we end on Elliot? Do we end on this scene that sets up what the next season arc is going to be? The story has always been about Elliot, and it should continue to be about Elliot, so I felt weird ending the season on this other scene that had nothing to do with any of our main characters. I was trying to figure out structurally where to put it in the last episode, and because it does such a good job of queuing up our next season arc, I basically came up with the idea of putting it after the credits, which is something not typically done on television shows. I just thought, “OK, that’s a great way to use the classic strategy of creating a coda, which is exactly what it is, and allowing me to end the season properly on Elliot.”
Like you said, that’s not done a lot on TV. How receptive was USA to that idea?
When I wrote the script, I finished Elliot’s scene, and I wrote, “Fade to black, credits.” Then I wrote, “After end credits,” and then I put in the White Rose scene. Then when we got on the phone, their reaction to me was, “You can’t end a season on White Rose. You’ve got to end it on Elliot.” I said, “No, I agree, guys, but it’s after the credits. Don’t you think that would work?” They had no idea. They skipped those two lines, and then there was this moment where it clicked with everyone: “That’s f—ing perfect.” They were so into the idea that they figured out a way to do it.
How does that last scene set up next season and where you’re going with the show?
I’ve always said that the first season was the first act of my feature, so this is what I meant. I wanted the story of Mr. Robot to be Elliot actually accomplishing his goal, setting the world into chaos. What would happen to society if something like this occurred where, basically, if the consumer-debt industry were to be erased? What are the economics of that? What would the world look like? Would there be a revolution? Would governments take over? Would businesses take over? To me, that canvas was something I was interested in exploring, so, for me, that’s what that last scene sets up. We’re about to watch Rome burn. That’s the world Elliot’s going to enter next season…
I think once people figured out Mr. Robot’s real identity, they worried about how much Christian Slater would still be seen on the show. From what you just said, it sounds like he’ll be as much of a presence in season two as he was in season one.
It’s almost more so. It’s freeing because now Elliot is aware that Mr. Robot is this alter ego that he has to deal with. So it actually takes more of like a Jekyll and Hyde trajectory because now the audience is in on it, as well as Elliot, and now we’re going to basically go into that realm. But the story is really about the relationship that he has with his dead father, and how he could never reconcile the pain that caused him? How is he reconciling now as an adult male? Especially in the way that it’s manifesting itself.
It was very interesting to see how the outside world perceives Elliot when he’s having that confrontation with Mr. Robot in the restaurant and specifically Elliot holding himself up against a wall. Why was it important to show that?
Because I want to start stripping the subjectivity of Elliot’s world a little bit, giving us glimpses into what an objective version of this story might look like, even if it’s just slivers of that reality. Because I do think, in terms of telling a show that’s so deeply subjective into this unreliable narration, it can become untethered to a certain extent. As long we have those glimpses, I think that helps us keep track a little bit better and keeps the audience in check. But don’t forget, this is still in the eyes of Elliot, so we’ve started discovering these objective realities along with him. When Mr. Robot says that line, “This looks a little weird,” Elliot’s sort of realizing he’s doing this to himself. And then he proceeds on. So we’re still figuring this out with him, but I think that’s going to be part of this whole journey for Elliot, is trying to get into a more grounded reality…
It also was revealed recently that Darlene is Elliot’s sister, but we haven’t learned a lot about their relationship and why they weren’t close. How much will we learn in season two?
That goes into the whole idea of the emotional journey that Elliot [takes]. We haven’t even cracked the surface of his past. What were the court-appointed therapy sessions all about? What was his family history was all about? Why Darlene helped Elliot create fsociety? There’s a whole backstory. Going even further back to childhood and what his relationship with his father was and how did that devolve? We got a little taste of it at the beginning of episode nine. Not to mention their mother. All of that is still in the wheelhouse of what we’re going to explore in the next few seasons because that’s all going to inform Elliot’s journey and how he battles his demons, aka Mr. Robot.
Angela made a lot of big moves in the finale. Why do you think she chose the path that she did? What can you say is the next step of her evolution?
Because this show is really about identity and about change and about these young people who are trying to find themselves, who are trying to find who they are and how they fit in the world, Angela’s character arc is really fascinating because she’s the path of the American dream. She is the sort of person that has the mentality of, if you work hard enough, you’ll get the big job offers, you’ll get the big job promotions, and you’ll work your way up the ladder. If you want to affect change, you do it within the system because the system allows for that, allows the younger generation to come in and influence society, and the point is to have a bottom-up strategy of having change come from the younger generation. Angela has that levelheaded, American idealism of trying to affect change from within. That, to me, is a very interesting parallel to have running through the series in contrast with Elliot, who’s very much trying to affect change from outside the system. We never try and spell out what’s right and wrong and who the clear good guys are versus the bad guys, and I just think that both the approaches of Elliot and Angela, you can look at from both good and bad sides, and that, to me, is interesting. When those two parallels collide, I think that’s just going to make for great drama and great story.
Can you say how long after the events of the season finale the season-two premiere will pick up?
We will have a continuous storyline, meaning we won’t necessarily time-jump in story and not ever give you the gap. I don’t know where exactly season two will pick up.
ENTERTAINMENT WEEKLY: For the finale, you skipped the hack and threw the audience into the deep end. What was the thinking behind that choice? SAM ESMAIL: We’re shifting down gears into this new world where we’re aware, along with Elliot, that Mr. Robot is his alter ego and that he sort of is this demon that lives inside of him and that Elliot can’t account for all of his actions because of him. That opens up this whole interesting can of worms that we’re basically setting up for next season, one of them being this element of time loss. Let’s not forget that in episode 9, Darlene mentions that he was the one that created fsociety with her. We’re not even aware of that, neither is Elliot. There’s that to explore. Now we’re missing three days. In those three days, what happened? Where is Tyrell? What was the deal between him and Tyrell that allowed the hack to still continue? All of that sets up really interesting questions for the second season. One of the things that I love about the finale is that it’s essentially queueing up where we’re going to go and on top of that, shifting the direction of our story. Now it’s not about this mystery within himself that Elliot’s trying to resolve. Now it’s grown more external. He’s aware of what’s going on inside of him, and it’s leaking out. How’s he going to deal with that?
Is the mystery of those three days the immediate conflict once season two picks up, or is that something you’ll explore over time?
I think everything is going to be looked at over time. The whole backstory of fsociety, as well as those three days, is something that I think we’re going to delve into in the next season. I don’t know exactly when yet, but we’re definitely going to show it…
The finale also pivots Angela and the perspective we’re getting from her, which is from within Evil Corp. Is that something we’ll more of in season two?
Absolutely. The thing about Angela that I think is interesting is that she parallels Elliot in an interesting way because she’s actually embracing the more traditional route of the American dream. You work hard. You’ll get the job offers. You’ll get the promotions. If you really want to affect change, you do it by having a good work ethic and sticking to your principles. Maybe then you can influence and make changes from within the system, whereas Elliot is on the other side of it and trying to change from outside the system. I can see the good and bad of both. You can make arguments for both sides equally. It’s almost 50-50. That morally ambiguous gray area is where I love the show to be, especially where we see those paths collide. That makes for a really interesting story…
The Ashley Madison reference had me laughing. Was that a clever bit of ADR [automated dialogue replacement]?
It was. The weird thing is that in the pilot, Ashley Madison was one of his vices. When this whole thing happened, it was something that I was going to use in the season finale, when I wrote that scene, but then I was like, “Well, I already mentioned Ashley Madison. How many references can we have?” So I kind of edited it out. When we were reshooting it, this whole hack happened, so I thought this was perfect. In post, I thought, “I have to put this back in.”
An additional interview at Vulture, including that final scene:
Is that why season one ends with that B.D. Wong single-take scene? To keep the audience truly guessing? I always knew I wanted to end the first season like that. I didn’t want the audience to come away thinking FSociety had won because they took down the bad guys. Evil Corp is done, so the stakes are gone. But I always knew there was another layer. We’re not even half-peeling this whole thing off yet, and we are going to show you a little bit of it. I always had that scene in my head as the last scene of the season, because I wanted to tell the audience the stakes are going to go even higher.
But I felt weird ending the scene not on Elliot. It didn’t feel right to end on these two other characters we barely knew, and that’s when I came up with the idea of putting it in as a coda. It always kind of was a coda, and we put it in the post-credits. It wasn’t trying to break new ground, but it felt natural for that kind of scene.
You’ve spoken about Joanna Wellick having a larger role for season two, but are there any other hints you can give about what to expect next season? The good thing about the show is that we surprise you. One thing people have been asking is if Christian [Slater] will be around for the second season, and I will say 100 percent. Maybe to add a bit more spice: We will explore a little bit of Elliot’s family life.
In terms of his mother? His mother, and even Darlene. Also, this show is about this person discovering that he has this disorder. That was what the original feature was going to [be] about, that’s what this show is just about to scratch the surface of. What we are really setting up for the second season is what happens when you become self-aware of your own disorders
We are approaching the fall season with many trailers now coming out. Arrow Season 4 Trailer above. The season starts October 7.
Agents of SHIELD trailer, which returns September 29.
iZombie returns October 6.
Doctor Who returns September 19. The trailer is above and the other big news is that River Song will be returning for the Christmas Special.
The first episode of season four of Continuum, Lost Hours, has aired on Showcase, and has been available for streaming for a while. It can even be seen on You Tube. As it has not aired in the United States I will avoid any spoilers. The episode does begin immediately after the season three finale and largely serves to reset things after the confusion of a new time line being established last season. It will be interesting to see how they both tie up the issues raised at the end of season three and conclude the entire season.
While Continuum has five remaining episodes to tie things up, Under the Dome ends for good after this week. A wise move on the part of CBS.
Donald Trump signed the pledge that he will support the Republican candidate and not run as a third party candidate. He says, “no circumstances under which I would tear up that pledge. … I have no intention of changing my mind.” However, there is no way to hold him to it. It is not as if they could penalize him by taking away delegates at the convention if he loses the nomination and goes decides to run as an independent. At the moment Trump has a strong lead in the polls. The question remains as to whether the party will unite behind someone else as the weaker candidates are driven from the race.
By now I’m sure that everyone has heard that Kim Davis is to be jailed for contempt of court for refusing to obey the law and issue marriage certificates for same-sex couples. Republicans, who see religious liberty as the freedom to impose their religious views on others, are upset with this. GOP candidates including Mike Huckabee and Rand Paul are coming to her defense. The main reason I am bringing this up is that I’m seeing a lot of comments on social media suggesting that the logical move would be to fire her. She is an elected official and cannot be fired.
The other major legal decision of the day was that a federal judge has thrown out the four game suspension of Tom Brady over deflategate. The NFL is appealing the decision.
Mr. Robot continued with the revelations started last week. Once again, there are major spoilers for anyone who might be behind on the series. At the start of Mirroring, it was revealed that Elliot’s father did work as Mr. Robot, repairing 1990’s era computers. In a flashback to 1994, Elliot stole money from a customer. His father decided against punishing him saying, “Even though what you did was wrong, you’re still a good kid. And that guy was a prick. Sometimes that matters more.” This appears to have influenced Elliot’s moral code, providing justification for his current activities.
The story jumped ahead to present, and appeared to center around Elliot and his father. At the end, in a common television trope, Elliot wound up at his father’s grave. He was confronted by both Angela and Darlene, and was forced to confront the truth. “You’re going to make me say it aren’t you? I am Mr. Robot.”
It was confirmed that his father really had died years previously, as previously stated on the show. Elliot and his sister Darlene had formed FSociety. Apparently at some point Elliot as seen in the show had forgotten all of this and created Mr. Robot in his head, looking like his dead father. The scenes in which Elliot interacted with Mr. Robot were all taking place in Elliot’s head. It would now be interesting to go back to the rare scenes showing Mr. Robot actually interacting with others, most notably his recent conversation with Tyrell. Most likely this was Elliott speaking with Tyrell, but not having memory of this when seen as Elliott. I also wonder if some of the scenes with Tyrell, possibly including his conversation with Mr. Robot, were actually things imagined by Elliott.
The episode also included more on Angela and Tyrell, but it was Tyrell’s story which was more interesting. Tyrell has now lost his job, and at the end really is working with Elliot, but not how it was suggested at the start of the season.
Nerdist interviewed Carly Chaikin (Darlene) after it was revealed that she was Elliot’s sister.
Nerdist: Speaking of controlled vision: the reveal in “White Rose” had everyone I know going “wait whaaaaaaaa—”!
Carly Chaikin: Well I knew from the beginning that I was his sister. From the very, very beginning Rami [Malek, who plays Elliot] and I both knew—Christian [Slater], Portia [Doubleday] and I all knew, pretty much. All I knew, though, was that Sam [told me], “Yeah he tries to kiss you and then you’re like, ‘I’m your sister.’” So I didn’t know how that was going to play out, or any details or anything, so I’d been waiting for episode 8 to see how it happened. It was exciting to see it, for real, in the script. There’s so much craziness that happens and it’s so hard to keep it in. Especially with something like that. People would say to me, “OK how do you fit into the show? Why are you so weird?” and all I could say was, “Well, you’ll see.”
Nerdist: Was it hard to navigate that—leaving clues but not projecting that you knew the twist—while still bringing a fully realized Darlene to the scene?
CC: Really, the way I played it is like he’s my brother and he knows it. Because how could he not know it, you know? It was just a natural brother/sister relationship. Like in episode two when we’re on the subway and Elliot says, “How do you know where I live?” And I gave him a look like, “Why wouldn’t I know where you live?” But because nobody knew and were seeing it through a different set of eyes, it wasn’t something that necessarily read as that.
Now that we sort of know what is going on, there is one more episode this seasons to see what becomes of it. Fortunately the show was already renewed for a second season.
The Number of the Beast is leading towards the finale of the Red Dragon arc on Hannibal, and possibly the end of the series. As of now, next week’s episode is the series finale on NBC, with some speculation of the show continuing on a more irregular basis elsewhere. It was not a good week for Frederick Chilton, with Bedelia probably being right in telling Will, “Maybe you wanted to put Chilton at risk.” While the arc is showing the transformation of Francis Dolarhyde, Will Graham has been slowly undergoing a transformation of his own for the entire series.
Alana and Jack think they are in control when they devise the plan involving Chilton, Graham, and Freddie Lounds, but once again it is Hannibal who is really in control. This includes Hannibal getting Dolarhyde to burn Chilton’s body in the same way that Freddie Lounds’ body was apparently burned in a previous attempt to trap Hannibal.
The manner in which scenes were edited helped emphasize the message of the episode. Will asked Alana, as they devised their plan, “Are you volunteering?” Alana replied, “No, I’d have to be a fool.” Then they cut to Chilton. We know the series is not ending well for Chilton, but I suspect that not many characters will come out in good shape after next week’s finale.
Yvonne Craig, best known as Batgirl on the 1960’s Batman series, died last week of metastatic breast cancer. She also played an Orion slave girl on the Star Trek episode, Whom Gods Destroy.
Alfre Woodard has been cast in a major role on the upcoming Netflix series Luke Cage:
Woodard will play a lead character listed on the breakdown as Minetta, a powerful woman in local politics who will have an impact on Luke Cage’s life. No one is commenting, but I hear she may actually be playing a version of Marvel villain Black Mariah, a nemesis to Luke Cage as well as Iron Fist. In the comics, she is a professional criminal and a drug dealer.
The Manhattan season two trailer has been released by WGN. For those who have not seen the series, I recommend binging on the first season before the second starts in October, but do not watch the above trailer or continue reading here. For those who have watched the first season of this excellent series, the trailer does show a little of what becomes of Frank Winter after the season one finale. He is shown in prison, and this has me wondering if when he set himself up to be arrested he also left some contradictory evidence and had a plan to ultimately get out.
Molly’s carnival dream scenes in last week’s episode of Extant rank among the low points of the series. I’m really not sure why I continue to watch this show.
Last year there were reports of an Agents of SHIELD spinoff staring Adrianne Palicki to be shown in the midst of the season like Agent Carter last year. Instead ABC renewed Agent Carter and this show was put on hold. Variety reports that it is back on:
Titled “Marvel’s Most Wanted,” the drama will focus on popular “SHIELD” characters Adrianne Palicki‘s Bobbi Morse (also known as Mockingbird) and Nick Blood’s Lance Hunter. The two actors will topline the pilot and prospective series.
“SHIELD” producers Jeffrey Bell and Paul Zbyszewski co-created the project for Marvel and ABC Studios, co-writing the pilot. They will serve as showrunners and exec producers together with Marvel’s head of television Jeph Loeb also exec producing.
Insiders say the series is not a spinoff, per se, but rather an entirely new project solely focused on the two characters to continue their story. Though plot details are scarce at this point, “Marvel’s Most Wanted” will follow the pair and their adventures together.
The 2015 Hugo Awards have been announced. The Three Body Problem by Cixin Liu won as best novel. Guardians of the Galaxy won for Best Dramatic Presentation, Long Form. An episode of Orphan Black, By Means Which Have Never Yet Been Tried, won for Best Dramatic Presentation, Short Form. The Orphan Black episode which won was the second season finale which I discussed here. This included the classic clone dance party scene (above).
There has been considerable controversy surrounding the Hugo Awards this year. Wired reports:
But in recent years, as sci-fi has expanded to include storytellers who are women, gays and lesbians, and people of color, the Hugos have changed, too. At the presentation each August, the Gods with the rockets in their hands have been joined by Goddesses and those of other ethnicities and genders and sexual orientations, many of whom want to tell stories about more than just spaceships.
Early this year, that shift sparked a backlash: a campaign, organized by three white, male authors, that resulted in a final Hugo ballot dominated by mostly white, mostly male nominees. While the leaders of this two-pronged movement—one faction calls itself the Sad Puppies and the other the Rabid Puppies—broke no rules, many sci-fi writers and fans felt they had played dirty, taking advantage of a loophole in an arcane voting process that enables a relatively few number of voters to dominate. Motivated by Puppygate, meanwhile, a record 11,300-plus people bought memberships to the 73rd World Science Fiction Convention in Spokane, Washington, where the Hugo winners were announced Saturday night.
Just before 8 PM, in a vast auditorium packed with “trufans” dressed in wizard garb, corsets, chain mail and the like, one question was on most everybody’s minds: Would the Puppies prevail?
Though voted upon by fans, this year’s Hugo Awards were no mere popularity contest. After the Puppies released their slates in February, recommending finalists in 15 of the Hugos’ 16 categories (plus the John W. Campbell Award for Best New Writer), the balloting had become a referendum on the future of the genre. Would sci-fi focus, as it has for much of its history, largely on brave white male engineers with ray guns fighting either a) hideous aliens or b) hideous governments who don’t want them to mine asteroids in space? Or would it continue its embrace of a broader sci-fi: stories about non-traditionally gendered explorers and post-singularity, post-ethnic characters who are sometimes not men and often even have feelings?
The Guardian also notes that this dispute led to a record five categories with no awards.
Last week I pointed out that Donald Trump was refusing to rule out running as a third party candidate. Several days later The Hill received the same response in another interview:
Donald Trump says the chances that he will launch a third-party White House run will “absolutely” increase if the Republican National Committee is unfair to him during the 2016 primary season.
“The RNC has not been supportive. They were always supportive when I was a contributor. I was their fair-haired boy,” the business mogul told The Hill in a 40-minute interview from his Manhattan office at Trump Tower on Wednesday. “The RNC has been, I think, very foolish.”
Pressed on whether he would run as a third-party candidate if he fails to clinch the GOP nomination, Trump said that “so many people want me to, if I don’t win.”
“I’ll have to see how I’m being treated by the Republicans,” Trump said. “Absolutely, if they’re not fair, that would be a factor.”
Typically primary candidates remain in the race until they drop out of money. Donald Trump differs as he will not run out of money, not being dependent upon contributions from others. He has the ability to remain in the race as long as he desires–including after the conventions are over if he should feel that the RNC has been unfair to him.
The survey shows that in a hypothetical three-way race, Clinton is at 46 percent, Bush is at 30 percent and Trump is at 20 percent among registered voters.
Trump takes more support away from Bush than Clinton in such a contest. In a head-to-head matchup, Clinton tops Bush by 50 percent to 44 percent among registered voters.
The current polls suggest that the Republicans will lose if they nominate Trump, or if someone else wins and Trump decides to run as a third party candidate. These numbers can change quite a bit by next November, but in this poll the vast majority of the votes taken by Trump come at the expense of the Republican candidate, and I would expect that pattern to continue. Possibly the magnitude of Trump’s vote will decrease by then, but this suggests there is an excellent chance that he could take at least five to ten points from the GOP candidate, which would probably tip the balance towards the Democrats should the race become closer (as other polls suggest it might be).
The same pattern is likely to also hold should Sanders or someone else manage to beat Clinton for the Democratic nomination, or someone other than Bush be the Republican candidate. It is certainly premature to assume Bush will be the Republican nominee. If he is, the Democratic candidate might not need any help from Trump in winning if Bush keeps taking about phasing out Medicare.
The prospect of Hillary Clinton becoming the Democratic candidate has many liberals increasingly worried considering how out of step Clinton is with liberal views on foreign policy, social issues, government ethics, and the economy. If it comes to it, I believe most liberals will hold their nose and vote for Clinton as opposed to risking another Gore v. Bush campaign in which the Nader votes helped determine the result. However that would be a purely defensive vote for a candidate who does not share our values to prevent a greater evil from being elected. While we are still in the nominating process, many liberals do prefer to see the Democrats nominate a liberal candidate.
There has been considerable excitement around Elizabeth Warren, including recent calls from the Boston Globe, and just recently Lawrence Lessig, for Warren to run. There is even a draft Joe Biden web site. Martin O’Malley might not be as exciting to the grass roots as Warren but he does have one thing going for him. Unlike Warren, O’Malley is actually talking about running.
Former Maryland governor Martin O’Malley took a swipe at likely 2016 contenders Hillary Rodham Clinton and Jeb Bush on Sunday, saying that “the presidency of the United States is not some crown to be passed between two families.”
Appearing on ABC’s “This Week,” O’Malley, who is weighing a possible run against Clinton for the Democratic nomination, called the presidency “an awesome and sacred trust to be earned and exercised on behalf of the American people.”
O’Malley — who at times has been reluctant to take on Clinton directly — declined to say whether he thought the former secretary of state would stand up to Wall Street and other special interests. “I don’t know where she stands,” he told host George Stephanopoulos. “Will she represent a break with the failed policies of the past? Well, I don’t know.”
O’Malley is trying to position himself as a more liberal and forward-looking alternative to Clinton, who holds a commanding lead in early polls among Democratic voters and is expected to make her bid official next month.
Chris Cillizza is among the journalists who see O’Mallley as getting more aggressive against Clinton:
So, what’s changed? Well, for one, O’Malley and his team quite clearly see an opening — no matter how small — caused by Clinton’s unforced error on her e-mails. Ramping up the rhetoric is a probing attempt by O’Malley to see whether there really is a plausible path to beat — or at least seriously challenge — Clinton in a primary. Could a liberal’s liberal without a famous last name have a chance — if that person was willing to push (and push hard) the idea that Clinton represents an unnecessary compromise of ideals and an unnecessary continuation of the dynastic politics that people say they don’t like?
Many front runners have lost in the past, including Ed Muskie, Joe Lieberman, Gary Hart, Rudy Giuliani, and Hillary Clinton in 2008. Clinton does have an unprecedented lead, but she is also in an unusual situation. Her support comes from a combination of her name and gender, but her views are to the right of the party base which turns out in primaries. She has been a poor campaigner, including stumbling in her book tour and response to the email controversy, in addition to the problems in her 2008 campaign. She remains the most likley winner, but not inevitable.
On the other hand, while O’Malley looks like an unlikely winner, the Democrats have often nominated governors who were not well-known nationally before the campaign. This includes ultimate general election winners such as Carter and Bill Clinton, and losers such as Dukakis. O’Malley has a long-shot, but not impossible, chance at winning just by showing up in the nomination race if more Democrats reconsider whether they really want to see the party move to the right, under a leader with a history of poor judgement and loose ethics.
An alternative-universe Downton Abbey which shows what would have happened if Lord Grantham had never lived, in an homage to It’s a Wonderful Life. Features appearances by Jeremy Pivens and George Clooney. It is part of a Text Santa fund raiser on ITV.