After Mr. Robot won two Golden Globes for Best TV Drama and Best Supporting Actor (Christian Slater), cast and crew discussed the show at the Television Critics Association press tour. Here are some excerpts via Vulture:
The first-season finale ended with everyone’s favorite hacker confronting his painful delusions. The new season will begin with that struggle. “The whole show has been about Elliot’s emotional journey, and I really wanted to focus on that and less about the plot,” Esmail said. “And so, for me, the headline of season two is: How does Elliot reconcile the fact that he’s aware that he’s been seeing this fantasy?” Even as the first season entertained viewers with several twists and turns, Esmail said he’s not interested in “gotcha moments … Rami brilliantly plays Elliot in a way that he drops you into his psyche. So you’re learning it with him. As long as that is organic and that feels real, then I think the twists will come from there. But it’s not my agenda to keep shocking you. It really isn’t.”
Elliot’s past — and when his delusions began, and whom they involve — will become clearer in the second season. “There will be a lot more backstory that we’re going to show,” Esmail shared. “The timeline is going to get a little clearer. Not 100 percent clearer, because what’s the fun in that? But a little clearer.” Malek said Esmail has shared “enough” with him to help him start preparing for his performance. “With this character, I have to prepare for anything at any given moment. I go through every direction as to what possibly happened to someone like this because in his head we never know what has happened. And I think having to trace back the truth and discover the truth ultimately makes him more complex to play — just trying to decipher what he’s actually seen and where he’s actually been. When I think about that, it kind of haunts me as a human being, having to do that. And that’s the place he finds himself in approaching this next season.”
Elliot is an unreliable narrator, and yes, there are other things he’s shown viewers besides the identity of Mr. Robot that we shouldn’t trust. After Esmail revealed that during the panel, Malek asked him, “Do I know? Do we know?” The answer: “No.”
Krysten Ritter discussed the sex scenes in Jessica Jones during the press tour. Considering both the highly favorable reception for the show and discussion of season two in several years, I assumed that it was already decided. Apparently a second season was not official at the time, but Netflix has now made it official. Plus elsewhere there is talk about season two of Daredevil, and about Iron Fist,
Netflix has also announced that Orange is the New Black will return on June 17, 2016 and Unbreakable Kimmy Schmidt returns for its second season on April 15th, 2016. Kimmy Schmidt has also been renewed for a third season.
Person of Interest season 5 will air this spring, and CBS President Glenn Geller left open the possibility that it could be renewed. Perhaps airing in the spring, when there aren’t as many new episodes of network shows, will result in high ratings to justify renewing it. On the other hand, the show has an extensive back-story and a lot of episodes to catch up on which makes it difficult for new viewers to get involved. It would be interesting if someone could put together the parts of episodes dealing just with the mythology of the show and cut all the number of the week stories.
Homelandwill be coming back for a fifth season, taking place in New York. I finally gave in and completed watching the last season over the holidays. It was better than some recent seasons, but still far below the first season. There were also some vague references to Quinn’s fate:
The closest thing to a teaser came in the form of a cryptic update on Quinn, who was not having a good time at the end of last season. “Quinn is very damaged, no question about that,” the network’s president of programming, Gary Levine, said, according to Deadline. “If he should live, he won’t be in the shape and form he was.”
If this (and multiple other shows) don’t give you enough stories on fighting terrorism, Fox plans to reboot 24with a new case.
Heroes Rebornwill not be coming back for a second season, and there is no reason it should.
We sort of had a Supergirl/Flash crossover at the Golden Globes when Melissa Benoist and Grant Gustin presented an award together. (I wish they had the two race up the stage to see whether Supergirl or the Flash is faster.) There have been rumors and denials of a crossover on their television series for some time. CBS president Glenn Geller has now left an opening for such an event. I hope Arrow is included as I think that Kara and Felicity would get along very well together. More on the possibility of a crossover here.
The Flash and Arrow will be returning on CW, along with the premiere of DC’S Legends of Tomorrow. The producers have been denying internet rumors that Felicity will become Oracle. (I don’t think anyone really believes she was killed.) Some news here, including that the remainder of the season on The Flash will deal with Zoom and the show’s multiverse.
The Americans, one of the best dramatic shows on television the last few years, returns on March 16. Some teasers on the upcoming season and future of the show here.
The above teaser has been released for season 4 of Orphan Black.
Blacklist appears to have wrapped up the Lizzie on the run storyline which dominated the first half of the season. The Director turned out to be less powerful that initially suggested as the Cabal literally had him dropped. Reddington has said it was time to “take down the Cabal” but it appears to remain alive and well (even if weaker). Things are much like before except it appears Lizzie will now be working with Reddington as an FBI asset as opposed to an agent. Plus it is not clear if Reddington is now a part of the cabal. If so, does that mean they are still an evil group trying to get us into World War III with Russia? Will Reddington still be helping the FBI capture people involved with the Cabal?Plus is Laurel Hitchen in charge, or just the highest ranking person we see, and how dangerous will she be now that everyone is on to her?
12 Monkeys got off to a great start this week. The second episode is also available for streaming here if you have a cable subscription but I am writing this after only having watched the pilot episode which aired Friday. It was a strange concept which actually works. It began with an idea for a time travel show named Splinters (also the name of the pilot) which was altered to be a re-imagining of the movie 12 Monkeys. It somehow did work, altering many aspects of the movie in ways which will probably work better than the movie did as a weekly series. Considering both the many changes to the movie, and the pilot staring out at the beginning of the story, there is no need to have watched the movie to enjoy the show.
The basic premise is the same as the movie in that a plague has wiped out most of the human race, but in the television movie Cole is trying to actually stop this from happening, and the Army of the 12 Monkeys will be an important aspect rather than a red herring. This means that the entire theory of time travel is different. In the movie, the plague happened, time cannot be altered, and the goal is to go back in time to find information to help develop a cure in the future.
In the television series time can be changed. Not only does Cole believe he can stop the plague, he believes that when he changes time he will cease to exist. This is of no concern to him as he doesn’t see anything about his future worth preserving, with the human race appearing doomed to extinction. There are some aspects of time travel reminiscent of how it worked in Looper, except instead of a character losing body parts, scratching the past version of a watch causes the same scratch to appear on the future version. This gets a bit more confusing when we find that a character saw Cole in his past but Cole has not yet made the trip to 1987 referenced. This might contradict what was shown with the watch, but trying too hard to think about this only leads to”making diagrams with straws.” (That’s another reference to Looper, which seems appropriate considering that Bruce Willis played a time traveler in both Looper and the movie version of 12 Monkeys.)
It is a safe prediction that Cole cannot be successful in changing history, at least until the series finale, so the show must stand on how compelling the ride is. As in the movie, his relationship Dr. Railly is an important aspect. In the television show, she has a different first name and is a virologist instead of a psychiatrist. The show started out with Cole kidnapping Dr. Railly, but their relationship did improve from there. At times their relationship had a feel reminiscent of Ichabod and Abbie on Sleepy Hollow. Both Cole and Ichabod are characters out of their time and on mission which is of vital importance to humanity. Despite the importance of their missions, the little things provide the fun, such as Cole discovering cheese burgers with a reaction similar to Ichabod when discovering the wonders of modern times. Cole also noted that Dr. Railly looks like the women he has only seen in magazines, making her wonder which magazines he was referring to.
The Hollywood Reporter discussed the changes from the movie and plans for the show with showrunner Natalie Chaidez.
In the 1995 film, the Army of the 12 Monkeys served as a red herring. Originally believed to have spread the virus that kills billions of people, the 12 Monkeys in truth were nothing more than an activist group, led by Leland’s son, Jeffrey, who freed zoo animals and locked Leland away in a cage for conducting experiments on animals.
With Leland dead, 12 Monkeys showrunner NatalieChaidez shed light on what the audience can expect from the television adaptation of the Army of the 12 Monkeys and the 2043 timeline.
“Who the 12 Monkeys are, what they are trying to accomplish, how they relate to time travel is the big question of the series,” Chaidez told The Hollywood Reporter. “Unraveling that mystery is our series journey. Knowing where Cole fits in their plan is a big part of it.”
The mysteries, however, are not only related to the 2015 arc. While the movie did not spend much time exploring the future dystopia, Chaidez is set to bring 2043 and the dangers that come with it to the forefront.
“In the series, we have the time to explore what was around those dark corners that we couldn’t peer around in the movie,” she said. “We really get to dig into how people survive in the future and how they are living. We have a group of people called Scavengers. They are the people who have survived but not always with the best morality. They’ve done what they’ve had to do.”
Opening up the world and traveling past the walls of the Temporal Facility also will be a big part of the series. “You will see a little bit of that in episode four, ‘Atari.’ It continues to build in the next few episodes, and we refer to it in a big way at the end of the season,” she noted.
No matter how deep the rabbit hole surrounding the mystery of the virus and the 12 Monkeys goes, Chaidez admits Cole’s struggle will not always be against one force.
“Are there other evil forces at play? Are there other collaborators? Certainly, but the 12 Monkeys are definitely the mysterious force that Cole wrestles with and battles against over the course of the series,” she explained.
Control-Alt-Delete concludes the current trilogy on Person of Interest. It was an unusual ending if truly viewed as a trilogy, but putting aside the trivial matter of the structure of the trilogy, it was another excellent episode in a continuing storyline transforming the show from a procedural to a true genre show. Unlike the previous episodes in the trilogy, it concentrated on the character Control, with very little of Finch, and provided a view of Samaritan from the government’s view which we have not seen before.
I suspect that the key role of this episode isn’t really in completing a trilogy but as starting a transformation for Control. We saw more clearly that Samaritan is both dishonest and evil in its operation, such as with the manner in which it eliminated programers it recruited when they were no longer of value by telling government agents that they were terrorists. One of them asked Control to at least entertain the idea she was being lied to. At the moment she did not and shot the programmer, but she then went to investigate the scene of the shoot out in last week’s episode. She did find evidence that he area was freshly painted, suggesting a cover-up.
We have already seen major changes in which side a character is on in the series, and this has set up a natural progression which I believe will turn Control from an opponent to an ally of Team Machine as she realizes the harm which Samaritan poses to the United States. The currently futile search for Shaw also continued after the events of last week, and the possibility of an alliance with Shaw’s old partner, or at least a cessation of hostilities, was also raised.
There was also the return of the child avatar. I think the idea worked the first time, but now that the goal is to confront the president directly I would find it more realistic for Samaritan to utilize a different manner of communication.
Marc Guggenheim spoke with Nerdist about plans for an Atom spin-off series:
NERDIST: You just mentioned you’ve given some consideration to an Atom spin-off series…
MARC GUGGENHEIM: The thing that we’ve been talking about is just how do we further expand the universe; and we love Brandon and we love having him on Arrow.
N: He brings a new dynamic to the show in his scenes with Emily Bett Rickards’ Felcity, a kind of screwball comedy vibe.
MG: He does. When we met with Brandon, the whole point of Ray Palmer for us — not the whole point but a big piece of Ray Palmer — was… Felicity’s voice is of a different show and we always say that Emily’s playing tennis against herself. [Laughs.] So we wanted to create a character that could vibrate at her frequency. And Ray really brings that and brings that energy and he’s so much fun to write. He’s a joy to write. Brandon’s so terrific and embodies the role so well that when we talk about how to further expand things, he’s a natural person to talk about. It’s like Brandon said on the panel, originally when we met with him we just wanted to bring a great character onto the show and we wanted a great actor to play him. That’s really how it always starts. With the exception of Grant Gustin on Arrow last year, there’s never been a [decision] to bring in a character with the intention to spin them off. It’s always, “What services the show the best?”
Fox has renewed Gotham for a second season in a move which some will be happy about and others will question. They are also considering even more controversial moves, including a remake bring back 24 without Jack Bauer and rebooting The X-Files.
Saturday at the Television Critics Association’s winter press tour, Fox confirmed that the network hopes to reboot The X-Files the way it did with 24. The followup would star the original duo David Duchovny and Gillian Anderson as Fox Mulder and Dana Scully. So far they’ve just been talking logistics, and trying to match up everyone’s schedules. The actors both have commitments to other shows, with Anderson in a recurring role on NBC’s Hannibal (and likely another season of The Fall) and Duchovny also starring in the peacock network’s show Aquarius.According to Deadline, Carter hinted that the show might return in the summer.
I think that the more important question that must be answered before getting the cast together is whether there is a coherent story they can tell after the mess the series wound up in.
The third season of Hannibal will be adding Will’s wife Molly as a character. She will not appear until the eighth episode, which will have a time jump to allow for the changes in Will’s personal life.
The Seattle Times has a review of Amazon’s television version of Philip K. Dick’s novel, Man In The High Castle. It sounds like the television series should go well beyond the novel in developing this alternate history in which Germany and Japan won World War II. If interested in reading such an alternate history, another novel I’d recommend is Fatherland by Robert Harris. In his novel, instead of being defeated and occupied by Germany and Japan as in Dick’s alternate history, the United States and Germany both developed nuclear weapons and were in a cold war while Germany controlled most of Europe. HBO has also made a movie version.
There was talk earlier in the week that Netflix would be losing BBC shows including Doctor Who. A deal has been reached to renew rights for multiple shows including Doctor Who and Torchwood, however Fawlty Towers, Blackadder, MI-5 and Red Dwarf will no longer be available on Netflix as of February 1.
In related news regarding a couple of these shows, filming has started on season nine of Doctor Who. John Borrowman is working on Torchwood radio plays. He says that Russell T Davies and executive producer Julie Gardner are involved: “It’s the team back together.” Hopefully this is a step towards reviving the television series, without making the same mistakes as in the final season.
Maureen Doud‘s column this weekend is about seeing Selma. She did praise the movie but did object to both the Oscar snubs and to its historical inaccuracies about Lyndon Johnson:
In an interview with Gwen Ifill on P.B.S., DuVernay dismissed the criticism by Joseph Califano Jr. and other L.B.J. loyalists, who said that the president did not resist the Selma march or let J. Edgar Hoover send a sex tape of her husband to Mrs. King. (Bobby Kennedy, as J.F.K’s attorney general, is the one who allowed Hoover to tap Dr. King.)
“This is art; this is a movie; this is a film,” DuVernay said. “I’m not a historian. I’m not a documentarian.”
The “Hey, it’s just a movie” excuse doesn’t wash. Filmmakers love to talk about their artistic license to distort the truth, even as they bank on the authenticity of their films to boost them at awards season.
John Lewis, the Georgia congressman who was badly beaten in Selma, has said that bridge led to the Obama White House. And, on Friday night, the president offset the Oscar dis by screening “Selma” at the White House. Guests included DuVernay, Lewis and Oprah Winfrey, who acts in the film and was one of its producers.
There was no need for DuVernay to diminish L.B.J., given that the Civil Rights Movement would not have advanced without him. Vietnam is enough of a pox on his legacy.
As I have written about “Lincoln,” “Zero Dark Thirty,” and “Argo,” and as The New York Review of Books makes clear about “The Imitation Game,” the truth is dramatic and fascinating enough. Why twist it? On matters of race — America’s original sin — there is an even higher responsibility to be accurate.
DuVernay had plenty of vile white villains — including one who kicks a priest to death in the street — and they were no doubt shocking to the D.C. school kids. There was no need to create a faux one.
Ascension was billed as Syfy’s big attempt to return to outer space based, hard science fiction, including the return of Tricia Helfer of Battlestar Galactica. It didn’t exactly do that, but despite some flaws it was mostly a success. Major spoilers here if you plan to watch this at a later date.
The show was billed as sort of Mad Men in space with the advertised premise being of a multi-generational ship sent from earth in the 1960’s. It would have been a lifeboat for the human race during the height of the cold war. The show took place in current time, half way through the ship’s one hundred year journey, with the mission complicated by their first murder. This allowed them to show a culture which did not move beyond the 1960’s, complete with a beach and stewardesses to provide sexual favors for the upper class. It was never clear why such a class difference developed in such a short period of time, but if did make it feel more like the true 1960’s.
During the first episode there were scenes on earth which did suggest that things were not as they seemed, but the big reveal wasn’t until the end of the first two hours. They never left earth with those on board being part of a huge experiment, unaware that they were still on earth and under constant observation. Nobody on board thought it was odd that they never had any jobs to perform outside of the ship.
If this reveal wasn’t until the end of the series it would feel like a cheap cop out, but coming relatively early it did work to provide additional drama for the remaining four hours. I did actually like this development because it was far more plausible than the billed premise. If a science fiction show is set in our future, I don’t mind if they invent technology which is well beyond us such as artificial gravity. However, as the show claimed to have developed this space ship fifty years in our past, I didn’t find it credible for them to have technology which we do not currently have. I could accept them fooling people on board to accept this when they were actually under earth’s gravity.
This twist also allowed for the earth-bound drama to be as significant as the drama on board Ascension, including the well-developed schemes to not only keep this secret but to control those who suspected the plot, or who knew and wanted to take action. While I did like the twist leading to Samantha’s betrayal, I also would have liked to see them succeed in going full Snowden.
I do have mixed feelings about the ending’s almost paranormal nature. However once they did establish that this was an elaborate trick, they did need a big reason for doing it. An experiment as to how people would react to being on a multi-generational space mission would not justify this, but the eugenics experiments which resulted in the creation of someone with Christa’s powers would provide a more plausible reason. Once we saw Christa teleport Gault to an alien world it all made sense. The ability to transport across the galaxy immediately would provide a far better lifeboat for humanity than to send people out on a one hundred year perilous mission in space, in which those who start out would never see the end of the trip. Unfortunately this all ended much too abruptly, and Ascension works better as the first six hours of a series than a self-contained mini-series. I bet that the plan was never to end the story here and those who believed this was a six-hour miniseries were being fooled, just like the crew of Ascension.
The last episode of Person of Interest was far heavier into the show’s mythology. Zap2it discussed Person of Interest, and the trilogy which began before the midseason hiatus, with Amy Acker. Here are some questions from the beginning and end–check out the full post for the rest of the questions:
Zap2it: I don’t know if you feel the same way, but I have been waiting for Samaritan and the Machine to face off all season. Amy Acker: It was funny because when we got that script everyone was kind of like, “Wait, this is happening now?” It did feel like that’s what this season was about, that Samaritan and the Machine are going to meet. I think that’s what the writers and Jonah [Nolan] and Greg [Plageman] really continuously do with this show is they bring up these things that would be a great season finale and they put them in the middle of the year. It really makes the whole second half of the season go in a different direction. I thought it was kind of cool that they did that when they did.
That scene was so great, and Oakes Fegley, who played the little boy Gabriel that Samaritan speaks through, was amazing.
Isn’t he so good? I have a 9-year-old, almost 10, that’s like the exact same age as him. I just kept looking at him going, “My son would never memorize some of those lines and then be able to deliver it.” [ laughs] He was very impressive. He was so smart and great, and he was excited about doing the scene and had ideas. The director [Michael Offer] was great with him too. He’s just really a special kid, and he was fantastic — and super creepy — as Samaritan.
There’s a little bit of a break until “Person of Interest” returns, so what can you offer as a tease for the next part in this three-part arc?
This is the second part of this trilogy of episodes which we’ve seen the beginning of. I would say this is the most dangerous of the three episodes. It’s a really unique episode. There’s not been a “Person of Interest” like this. When we all got the episode we were like “this is really cool,” and it was a really, really hard shoot. But as they’ve been putting it together, people have been saying this is their favorite episode that we’ve had. I’m excited to see it all together because it was kind of hard as we were shooting it to imagine how it was going to turn out.
The promo for the next episode makes it look like a lot of characters are in life-or-death situations. The last time “Person of Interest” had a big three-parter Carter died, so can we expect a similar game-changer this year?
Well everyone’s definitely in danger in this episode. With the beginning of the new year and the second half of the season, I think it’s going to really affect everything that happens from this point forward.
“Person of Interest” Season 4 returns on Jan. 6 with “If-Then-Else” on CBS. The synopsis reads: “Samaritan launches a cyber-attack on the stock exchange, leaving the team with no choice but to embark on a possible suicide mission in a desperate attempt to stop a global economic catastrophe.”
Marvel told Entertainment Weekly that the upcoming Daredevil series will be more about crime fighting than superheroes:
Forget Ben Affleck. Netflix’s Daredevil is ”the exact opposite” of Affleck’s much-maligned 2003 bomb, promises showrunner Steven S. DeKnight. Expect the classic origin story to remain unchanged: Blinded as a child, Matt Murdock (Charlie Cox) is a lawyer by day who hunts criminals by night (he apparently doesn’t get much sleep). But this new iteration of Daredevil is more influenced by 1970s mean-street films like The French Connection and Taxi Driver than traditional superhero titles. ”There aren’t going to be people flying through the sky; there are no magic hammers,” says Marvel TV chief Jeph Loeb. ”We’ve always approached this as a crime drama first, superhero show second.” There’s also more grown-up content here. ”It’s a little grittier and edgier than Marvel has gone before,” says DeKnight, ”but we’re not looking to push it to extreme violence or gratuitous nudity.” The ‘devil will eventually get his iconic red costume, but first he’ll wear black duds inspired by Frank Miller’s comic Daredevil: The Man Without Fear.
The above trailer for season three of Orphan Black, which returns on April 18, indicates that there will be war. I wonder to what degree it might be between the male and female clones or, probably more likely, between some clones and the groups which try to control them.
TVOverMind has a round table discussion on season three of Arrow.
Michael Pitt is leaving Hannibal and Joe Anderson will replace him in the role of Mason Verger.
Fargo is going back in time to 1979 for season two, and EW has a first-look at a page from the season premiere script.
Expect another snow-swept rural crime drama loosely inspired by the Coen brothers’ film, only this time the action is set in Luverne, Minnesota, where humble married couple Peggy and Ed Blomquist (Kirsten Dunst and Jesse Plemons) find themselves caught in an escalating war between a local crime gang and a major Mob syndicate. (A character in season one cryptically described the 1979 case as “savagery, pure and simple,” with a massive pileup of bodies.)
“The scope of the story- telling this season is a lot bigger, it has more of an epic feel to it,” says showrunner Noah Hawley, who adds that the earlier time period and even more rural setting gives the show an almost Western-like quality. “It’s not the ’70s in a Boogie Nights kind of way,” he assures.
Gracepoint took advantage of staring David Tennant by including a few Doctor WhoEaster eggs. Look at who the messages were from which were left on David Tenant’s desk–D. Noble, Martha Jones, and R. Tyler.
Keifer Sutherland told The Telegraph that he doesn’t see going back to do another season of 24. Obviously this is not the equivalent of a Sherman statement.
The Newsroom ended last week with a mixed series finale. The episode largely contained flashbacks inspired by Charlie’s funeral but the plot did also advance in scenes between flashbacks. Unfortunately much of the plot advancement from this short season came from random events. Previously the storyline with Will in jail for refusing to reveal the identity of a source ended too easily when the source committed suicide. The finale too easily resolved the conflict from the changes made by then owner when scandals, which came out of nowhere, led to MacKenzie being named the new president of ACN. Despite these faults, Sorkin left me wanting to see another season with MacKenzie as ACN president, and even with Jim and Maggie trying to make a long distance relationship work.
The Fall completed its second season with a mixed ending which, like Ascension, ended too abruptly. It did not work completely because of relying on minor characters who have not been seen in recent episodes. The show would probably work better for those binging on both seasons at once, as opposed to watching the second season over a year later when some key events have been forgotten by most viewers. There is hope of them redeeming themselves as there is talk of a third season. It is not known if Paul Specter survived and whether Jamie Dornan will be returning, but Gillian Anderson has expressed interest.
The top show business story of the week, greatly transcending show business, was North Korea’s hacking of Sony and intimidation resulting in Sony deciding against the release of The Interview. On the one hand, the problems faced by Sony in releasing the movie under the threat of terrorist attacks are obvious, but we hate to such such intimidation succeed. Today on CNN’s State of the Union, President Obama called this an act of cybervandalism (video above):
President Barack Obama says he doesn’t consider North Korea’s hack of Sony Pictures “an act of war.”
“It was an act of cybervandalism,” Obama said in an interview with CNN’s Candy Crowley that aired Sunday “State of the Union.”
But he stuck by his criticism of Sony’s decision to cancel its plans to release the movie “The Interview,” which includes a cartoonish depiction of the assassination of North Korean leader Kim Jong Un, after the country threatened attacks against theaters that showed it.
Obama said in a Friday news conference that Sony made “a mistake,” and that he wished the company had called him first. That led Sony Entertainment CEO Michael Lynton to tell CNN that Obama and the public “are mistaken as to what actually happened.” He blamed movie theater companies that opted not to show the film, saying they forced Sony’s hand.
Obama shot back, saying: “I was pretty sympathetic to the fact that they have business considerations that they got to make. Had they talked to me directly about this decision, I might have called the movie theater chains and distributors and asked them what the story was.”
The President told Crowley that his problem wasn’t with Sony specifically, but with the precedent the company’s decision set.
Ideally the movie will be released in some way to ensure that North Korea is not successful in preventing the release of a movie they dislike. Many solutions have been discussed. There are now reports that Sony might release it for free on Crackle. Such a free release, along with all the publicity this has received, would probably lead to The Interview being seen by far more people than it would with a conventional theatrical release.
Matt Bai has discussed the “24 Effect” on how terrorism is viewed:
In a sense, “24” became a kind of virtual universe in which all of us could role-play — even if we happened to know more about the roles than the actors did. I recall a conversation with Bill Clinton in 2007 during which he brought up the show and spent the better part of a half hour dissecting the strengths and flaws in its portrayal of real-time decisions.
There was something comforting, too, about the portrayal of intelligence agencies in “24.” Even with the insipid station chiefs who cycled in and out of the show, CTU itself remained amazingly high-functioning and high-tech. State-of-the-art computers gleamed in brilliant new offices of steel and glass. Satellites saw everything, everywhere, and beamed it all flawlessly to Jack’s phone during the commercial break.
That false portrayal of our counterterrorism agencies was demolished by the 9/11 commission report in 2004, with its accounts of missed clues and outdated technology. And what we now also know, thanks to the new Senate report, is that it wasn’t the bureaucrats back in Washington who were balking at torture while the real Jack Bauers jettisoned the rules, but often the other way around entirely.
In truth, a lot of the operatives were apparently sickened by immoral tactics they knew weren’t working, but their bosses insisted on believing that the world was like TV, and the bad guys would break just as they did for Jack, if only our agents would do what they had to do. If the Senate’s investigators can be believed, those bosses were wrong — both morally and tactically.
This week the writer Matt Bai made the intriguing argument that the success of 24 might have shaped America’s whatever-it-takes approach to terrorism, at the very least allowing policymakers to believe that a US public that was cheering on Jack Bauer would have little objection to US agents engaging in similar behaviour in real life. It’s a thought I had – and worried about – at the time. But it misses something crucial.
It’s true that 24 struck a chord in that post-9/11 period. It channelled our collective id, ourdeepest, darkest urges. Caught up in the story, we wanted Bauer to, say, sever the head of the villain with a hacksaw. But that is not necessarily what we wanted from our governments. The state cannot be the sum of our collective impulses and instincts, no matter how base. It has to be better than that. It has to listen to cooler demands: the rule of law, basic rights and common human decency. Reality may outstrip fiction, but it has to behave better too. The alternative is the horror laid bare this week — and whose legacy we live with still.
I had also made a recent comparison to 24, and another source of fantasy as opposed to the reality of torture:
Doctor Who‘s third episode of the Capaldi era, Robot of Sherwood, was the lightest of the season. The episode, written by Mark Gatiss, almost seemed to be outside of the continuity of the season, being a story which could be watched at any time and which could easily have happened under Matt Smith or an earlier Doctor. The episode begins with Clara on the TARDIS, showing nothing of her home life, ignoring the recent addition of Danny Pink to the show. There are no scenes of Missy, but there was a brief reference to a space ship searching for the Promised Land.
The episode does have several references to classic Doctor Who. For example, the black and white still of Robin Hood from the TARDIS database is from a 1953 BBC show in which Patrick Troughton played Robin.
Despite the Doctor’s insistence that “I am totally against bantering,” the episode is amusing for its banter between the Doctor, Clara, and Robin Hood, along with its mocking of the traditional tropes of the action/adventure show. This was best seen in the dungeon scene as the Doctor and Robin discussed their plans to escape. They included the classics: “get interrogated and turn the tables” and “pretend to be sick so the jailer will come in.” Clara excluded one Doctor Who solution which is utilized too often: “Can you explain your plan without using the words ‘sonic screwdriver'”? For once, an enemy took the sonic screwdriver away.
The Doctor had his own unique answer to the hero who fights but carries no weapon: “I don’t need a sword. Because I am the Doctor. And this is my spoon.” There was also a look at the nature of legends and heroism. Instead of being compared to the Daleks in Into the Dalek, this week the Doctor was compared to Robin Hood, even if it took a while for the Doctor to acknowledge Robin’s”reality” within this universe. We knew from the title that robots were involved, but it was not clear until the end as to who would be real and who would be robots.
Above is the Doctor Who Extra for Robot of Sherwood. While I posted the Doctor Who Extra for Into the Dalek with last week’s review, I initially did not post the video for Deep Breath as initially it was available for view within the U.K. only. Doctor Who Extra has since been made available internationally. The video for Deep Breathcan be viewed here.
One scene was cut from the broadcast episode involving a decapitation in response to the recent decapitation of two journalists by ISIS. DoctorWhoTV described the cut scene:
In the original version of the final sword fight, the Sheriff gets the upper hand on Robin disarming him and putting his sword to his neck. Robin looks doomed but the Doctor throws a cloth tapestry over the Sheriff blinding him. Robin picks back up his sword and decapitates the Sheriff. His head rolling across the floor.
Clara congratulates Robin on his apparent victory, but the Sheriff’s severed head suddenly starts talking! He reveals that the skyship fell on him and the knights made him half-robot.
Behind Clara the Sheriff’s body gets back up and puts a sword to her throat ordering the Doctor and Robin to surrender. Robin picks up the Sheriff’s head and throws it back to the Sheriff’s headless body. He puts his head back on. And the fight scene resumes as was shown.
In total about a minute of footage was lost and of course the reveal that the Sheriff was a robot.
Next week’s episode, Listen, sounds much darker, despite reportedly containing Clara and Danny’s first date. The episode is being compared to perhaps Steven Moffat’s greatest episode so far, Blink. Trailer above.
Sleepy Hollow had poor timing with their National Headless Day promotion, and did not manage to get this canceled before seen as Doctor Who did with its beheading scene. For more mundane promotion, here is the official synopsis of the first episode of season two:
Episode 2.01 – This Is War (22-Sep-2014)
In Sleepy Hollow, it would seem as though the status quo has been restored, but things in the formerly quaint town are never truly as they appear. Even now, how Crane managed to escape being betrayed and buried alive by his son, Jeremy (aka Henry Parish, aka the newly minted Horseman of War), or how Abbie freed herself from Purgatory, remains a mystery… even to them. What appears certain however is that while both Katrina and Jenny have apparently been lost, the Two Witnesses have not abandoned their quest to fight tirelessly against Moloch and his minions. Meanwhile, Moloch’s malevolent forces use all the powers at their disposal in an attempt to locate a key – once belonging to Founding Father Benjamin Franklin – which is capable of unlocking the gates of Purgatory. After using his unique skills on an unanticipated prisoner, Sin-Eater Henry Parish discovers a clue which points him in the direction of the valuable artifact, but Crane is intent on finding it first. While in Purgatory, Moloch works to raise a demonic army in preparation for his invasion, but those who would prevent the hoard’s advent get help from an unexpected source. Meanwhile, we learn that Jenny and Katrina are both still alive, though each is being held prisoner for vastly different reasons, and Crane takes the inadvisable action of re-entering Purgatory in order to fulfill a promise.
Doctor Who is no longer the only time travel show on Saturdays. Even before Outlander began, critics who received the first six episodes were saying the sixth was by far the best. With the cliff hanger last night,next week’s episode, The Garrison Commander does look like it could be a major episode.
Claire was left with a big decision. She could tell the Red Coats that she was willingly with Dougal and stick with the enemy she knows, knowing she does have Jamie to protect her, or risk the unknown of seeing whether the British would really treat her any better. From the previews it looks like she does wind up with the Red Coats, but that doesn’t explain the situation under which this occurs or what her answer is. The episode also had added interest when Claire understood that Dougal’s motives were more noble than she first thought, but that he and his clan were ultimately doomed. She experienced the frustration of being a time traveler and being unable to do anything about the future.
ABC has released a synopsis for the second season of Agents of SHIELD:
Marvel’s Agents of S.H.I.E.L.D.” returns for a dynamic, action-packed second season, with newly appointed Director Phil Coulson (Clark Gregg) – now the keeper of the secrets — charged with rebuilding and restoring government and public trust in S.H.I.E.L.D. in the wake of the events of “Marvel’s Captain America: The Winter Soldier,” where it was revealed evil Hydra agents had infiltrated the organization. Ever since the existence of super heroes and aliens became public knowledge after the Battle of New York, the world has been trying to come to grips with this new reality. Agent Phil Coulson, who had died at the hands of Loki during the battle, was resuscitated and brought back into action, assembling a small, highly select group of Agents from the worldwide law-enforcement organization known as S.H.I.E.L.D. (Strategic Homeland Intervention Enforcement and Logistics Division). S.H.I.E.L.D.’s mission: to protect those who cannot protect themselves from threats they cannot conceive.
But the biggest threat was growing from within, as S.H.I.E.L.D.’s old enemy, Hydra – a dangerous extremist group Captain America fought against in World War II – had secretly infiltrated and infected the organization at the highest levels. Once revealed to the public, S.H.I.E.L.D., including Coulson and his team, was discredited and made to look like the enemy. The world now views S.H.I.E.L.D. as untrustworthy, and it’s Coulson’s job to change that opinion.
After helping to thwart Hydra, Coulson was appointed as Director and tasked with rebuilding the agency. This won’t be an easy job to accomplish with the majority of S.H.I.E.L.D. agents either killed, secretly working for Hydra or free agents. Agent Melinda May (Ming-Na Wen), expert pilot, martial artist and longtime friend, will continue to look after Coulson in the wake of the mysterious etchings he’s been carving into walls. What do these etchings mean, and can Coulson be trusted? Grant Ward (Brett Dalton), highly trained in combat and espionage, was found to be a Hydra mole and a traitor to S.H.I.E.L.D. and locked up away from the world and his former teammates. But this isn’t the last we’ve seen of him… After being left to die in the middle of the ocean by Ward, Agent Leo Fitz (Iain De Caestecker), brilliant engineer, and Agent Jemma Simmons (Elizabeth Henstridge), genius bio-chemist, found a way to escape their watery grave. But all did not go well for Fitz, who was left in a coma and may never regain his full cognitive functions; a devastating blow to Simmons. And computer hacker Skye (Chloe Bennet), now a full-fledged S.H.I.E.L.D. agent, discovered her origins as a 0-8-4 — an object of unknown origin – and that her parents were considered “monsters.” Could Skye have darkness lying dormant inside of her? Also joining Coulson’s core team is Lance Hunter (Nick Blood), a dashing mercenary sharp shooter with a quick wit. Since he didn’t rise up through the ranks, does he have an ulterior motive for helping out the team?
Who can Coulson trust?
Fox has released a teaser for Gracepoint, staring David Tennant and Anna Gunn. It just feels like Broachchurch where they got things wrong.
There are some spoilers for season two of The Blacklist here.
The Nerdist has a look at what is known about the planned DC cinematic universe which follow Superman, Batman, and Green Lantern. Future movies include the Justice League of America, Shazam, Wonder Woman, and Aquaman. AV Club has more on Shazam on how it will differ from other DC movies.
Syfy is planning a six part miniseries adaptation of Arthur C. Clarke’s Childhood’s End. If done well, this could be one of the network’s greatest features to date.
Revenge tried to drag out the storyline from its first season way too long, and it looks like they are making the right decision in changing the show around. BuddyTV has some spoilers as to what will change next season:
With David Clarke’s name cleared, will Emily’s quest for revenge be over? Conrad was imprisoned and is now presumably dead and the great Victoria Grayson has been left to rot in a mental institution. Plus, Emily’s father is actually alive!
That will be an awkward reunion. Emily went against her father’s wishes and left the sweet Amanda Clarke behind and became a ruthless killer instead. Her life will be turned upside-down with the news.
Executive Producer Gretchen J. Berg teased, “The drive of season four will be Emily discovering who Amanda Clarke is and Emily figuring out her new life with her father in it. I don’t want to say when she’s going to discover that, but that’s going to be our arc for the season.”
In addition to Emily unraveling her true identity, it looks like she’ll have to contend with being the target of someone else’s revenge. The tides have turned!
Victoria does the voice over for the first RevengeSeason 4 Trailer, “My name is Victoria Grayson and I have a story to tell. Over the past three years my family was destroyed, the love of my life murdered, my freedom taken away. When everything you love has been stolen from you, someone has to pay. Emily Thorne, I’m coming for you.”
…When we last saw Jack, he was being arrested for Charlotte’s kidnapping. He’ll take the cuffs off and become the one putting them on others when he becomes a cop. Yes, Jack likely will be donning a uniform!
What will happen when Emily and Victoria find out David’s alive? Executive Producer Aaron Harberts told EOnline, “He may not be the most emotionally and psychologically stable and if Victoria is the first person to get to David, she might be in control of that guy, which sort of presents her power running through the season,”
Copies of the promised alternate ending to How I Met Your Mother have been appearing on line but have been taken down. I don’t know how long it will be here, but at the time of posting I have found the above video of the entire final episode, with alternate ending to the finale starting around 37 minutes in. The options are somewhat limited as it can only contain what was already filmed, but it does have new narration from Bob Saget. While the alternate ending therefore could not show any new scenes of Ted and Tracy in the future, it was still a far better ending for the series than the one that aired.
As I discussed in my review of the finale, the ending made sense when first filmed early in the series run, but no longer made sense from where the show ultimately wound up. Viewers had too much invested in Tracy in the final season to just see her quickly die. Having Ted and Robin ultimately get together was the obvious ending during the first season, but it no longer made sense to have Robin and Barney break up for this to occur after spending so much time making this implausible relationship make sense, and spending the entire final season at their wedding.
While we were denied more scenes of Ted and Tracy leading up to the moment when Ted was telling the story to his children, there remains the opportunity to see Cristin Miloti alive, but in a different relationship, on the upcoming sit-com, A to Z. The pilot has been released for early viewing.
Doctor Who returns next week. Here is the official trailer for the first episode, Deep Breath, the first episode staring Peter Capaldi. A spoiler-free review can be read here (but avoid if you want to be totally surprised while viewing).
There is also an official synopsis for the second episode, Kill List:
A Dalek fleet surrounds a lone rebel ship, and only the Doctor can help them now… with the Doctor facing his greatest enemy, he needs Clara by his side.
Confronted with a decision that could change the Daleks forever, he is forced to examine his conscience. Will he find the answer to the question, am I a good man?
Entertainment Weekly has their movie preview issue out, including pictures from Christopher Nolan’s upcoming movie, Interstellar. From Indie Wire:
And that’s about the only new bit of info, with Nolan and co. continuing to stay silent about the plot, only confirming what we know: the Earth is running out of food, forcing everyman Matthew McConaughey to go to outer space to save mankind, read poetry and cry a lot. But John Lithgow (bet you forgot he was in the movie), offers up a pretty interesting quote about the thematic texture we can expect. “It’s a thrilling interaction between grand spectacle and intimate, intense relationships,” he said. “More so than many films of this genre, Chris found a way to make fantastic drama out of cosmic ideas and current human anxieties.”
Robert Orci will be directing Star Trek 3 with J.J. Abrams busy with Star Wars (a franchise which I think is a better fit for Abrams). It sounds like Star Trek fans might be happier with the next movie from this description from Screen Rant:
Star Trek 3 will take place during the Enterprise’s five-year mission (first depicted in the original Star Trek TV series), according to Orci. As a result, the film is expected to offer more of the philosophical elements (see: sci-fi allegories) that were lacking in the Abrams movies. Those films certainly offer their fair share of entertaining sci-fi action and adventure, but there’s not a whole lot of Kirk (Chris Pine) and his crew “trekking” across the galaxy – something that seems to have more to do with Abrams’ directing approach than Orci’s contributions, mind you.
The traditional Star Trek optimism and spirit of exploration is something Orci intends to resurrect with the next film installment, by the sound of it. For such reasons and those highlight by Pegg, Orci is arguably a fine choice to serve as the helmsman on Star Trek 3. Furthermore, Orci in part learned his directing trade on the Abrams Trek films, which means this could be the first Trek movie to have a modern blockbuster visual template and the traditional Star Trek thoughtful mindset.
Harley Quinn doesn’t get naked and have sex in any of the Batman video games that she’s appeared in. But the Joker’s psycho girlfriend does exactly that in the new animated movie tied to Arkham Asylum and Arkham Origins. It’s not the only surprise in there either..
Yet, because it’s villain-centric, this one goes saltier than most DC animated fare. Characters getting punched in the balls, cussing (the s-word) and two very gruesome deaths are some of the surprising events that happen. It’s much more fun in tone than the games it’s connected to. The grim emotional reticience that’s become part and parcel of today’s Batman execution gets loosened up. Batman even makes a joke in here. The film does noticeably stumble with its portrayal of its female characters. They’re props for the men to play off of, primarily. In particular, Assault on Arkham feels like a missed opportunity to add a few layers of complexity to Harley Quinn’s character. Instead, she remains the wacky moll to the Joker and attaches herself to another man without exhibiting any independence of her own.
George R.R. Martin says that women write him requesting more explicit sex scenes in Game of Thrones, including gay sex. He also says that some fans have guessed how his series ends.
The scene opens in 1945, just after World War II has ended. Claire Randall (Caitriona Balfe) and her husband Frank (Tobias Menzies) are busy trying to put their marriage back together. They both have scholarly backgrounds—she’s a botanist, he’s a historian and a former intelligence officer—and they’ve just endured a long wartime separation. They attempt to rekindle their romance by researching Frank’s ancestry together, visiting historical grounds in the Scottish highlands that might tell them more about his family. While exploring an abandoned castle, Claire jokes that “a troll or two” might’ve lived there, though Frank argues that trolls don’t live in pairs, because they’re solitary creatures. “Pity,” says Claire, smiling flirtatiously. “All this, and no one to share it with.” He looks at her, catching on. “You’re a bit dirty,” he says, in the most blatant double entendre ever. “You can give me a bath,” she replies.
What happens next? Frank hikes up Claire’s skirt, teasing, “Why, Mrs. Randall, I do believe you’ve left your undergarments at home.” And then, let’s just say that, as the New York Times so tactfully put it, they engage in a sex act that’s “not necessarily the one you’d expect in a scene set just after World War II.” (You can watch it here, by fast-forwarding to somewhere around 18:33.) According to the Times, the women are loving it: At a preview screening in New York, Mike Hale writes, “the women in the audience loudly expressed their approval.”
Outlander‘s writer and producer, Ron D. Moore, knew what he was doing with the scene. “I’m guessing that I wanted to show Claire as empowered sexually as a person and having her own appetites and desires,” he told Zap2It. Which makes sense: she’s the one who makes the first move, telling Frank what she wants (even removing her own underwear ahead of time!) so she’s also the one we get to see enjoying it.
Obviously, sex scenes that focus on women getting off are still generally seen as taboo. In the documentary This Film is Not Yet Rated, Kimberly Pierce, who directed Boys Don’t Cry, reveals that the MPAA pressured her to cut a similar sex act from her film to prevent it from earning an NC-17 rating, even though the brutal murder at the film’s end was acceptable under an “R” rating. Pierce believes the MPAA was particularly uncomfortable with a shot that featured no nudity at all—it was a close-up that lingered on Brandon Teena’s ecstatic expression—because it was such a clear departure from more traditional sex scenes, which have a clear endpoint as their goal, and tend to finish whenever the guys involved do. Maybe that’s why it feels somewhat radical that the camera pans upward during the Outlander sex scene so that we can see Claire’s face.
Consideration of this sex scene leads to the even more extreme question asked by Damon Linker, What if your daughter was a porn star?
We’re living through a libertarian moment.
No, libertarianism hasn’t consistently changed how Americans think about taxation, government regulation, or foreign policy. But it is transforming how we think about morality. We can see it in rapidly changing views about gay marriage, in the growing acceptance of recreational marijuana usage, and in the rise of a non-judgmental outlook on sex and pleasure more generally…
This moral libertarianism even extends to pornography — not just watching it, but “acting” in it, too. That’s the subtext of discussions surrounding Miriam Weeks (stage name: Belle Knox), the Duke University undergraduate who has chosen to pay her way through college by performing in porn videos. At first she was subjected to harsh attacks on campus, but since her story went national, she’s become a breakout celebrity and folk hero to some libertarians and feminists who see her choice as an act of empowerment for women and sex workers.
There’s just one complication to this happy story: no one, or almost no one, actually believes it. People may say they see nothing wrong with or even admire Weeks’ decision to become a porn actress, but it isn’t unambiguously true. And our ease of self-deception on the matter tells us something important about the superficiality of the moral libertarianism sweeping the nation.
How do I know that nearly everyone who claims moral indifference or admiration for Weeks is engaging in self-deception? Because I conducted a little thought experiment. I urge you to try it. Ask yourself how you would feel if Weeks — porn star Belle Knox — was your daughter.
I submit that virtually every honest person — those with children of their own, as well as those who merely possess a functional moral imagination — will admit to being appalled at the thought.
I don’t really see this concept of the libertarian moment and being appalled by this situation to be contradictory. There are a lot of things which I believe should be legal which I wouldn’t want my daughter doing.
Getting back on topic, Starz has already decided to renew Outlander for a second season. It took a while, but HBO has decided to have us go through a second season of The Leftovers with no explanation as to what happened.
It is hard to believe 24 won’t be back now that they are no longer confined to the series per year schedule. Kiefer Sutherland is keeping talk of this alive:
Despite prominent rumours that the most recent season of ‘24’ would be the huge show’s last, star Kiefer Sutherland is now hinting that there could very well be another series to come.
In a recent interview with the Daily Star, Sutherland, who plays Counter Terrorist Unit agent Jack Bauer on the hit, said “I’m missing Jack already, I love playing him. I can never say never, the role is in my blood.”
We lost Cristin Milioti too soon on How I Met Your Mother, but she will be back this fall in an new romantic comedy sit-com, A to Z. It isn’t necessary to wait until October to see her again. The pilot is widely available on line and on demand. Please tell us the series doesn’t end with her dying.
TV Line has a their first impressions of The Amy Pond Show (or, as it is officially called, Selfie).
Yahoo! has release a teaser trailer for season six of Community.
If we had to lose Craig Feguson, I was at least happy when I heard that James Corden was replacing him. Besides his work on Gavin and Stacey, Corden will preserve the show’s interest in Doctor Who after Ferguson leaves. Corden appeared twice in Doctor Who, playing Craig Owens on The Lodger and Closing Time. Now it turns out that television doesn’t have to lose Craig Ferguson as he is close to a deal for a syndicated talk show.
TV Guide interviewed Andrew Kreisberg about the third season of Arrow:
Can Arrow‘s consummate hero have it all?
The third season of The CW series will dare to answer that question when Oliver Queen (Stephen Amell) attempts to have his cake and eat it too — in this case, that means being a superhero that the residents of Starling City actually respect while also trying to have a personal life. It’s harder than it sounds — something that Ollie will learn fairly quickly into the season.
But Oliver’s love life won’t be the only thing that’s complicated this season, especially since two of his ladies will actually be getting love interests of their own! TVGuide.com tracked down executive producer Andrew Kreisberg to get the scoop on the new season, including a surprising return from the dead, the future for Team Arrow and new villains ahead:
Will there be a time jump when the show returns?
Andrew Kreisberg: We’re going to jump the same amount of time that we did last year. It’ll be real time. It’ll be seven or eight months later. For Oliver, things are good. As we like to say, everything is coming up Arrow. Crime is down. At the end of last year, there was victory. A lot of this season is about what happens when you win and how winning isn’t always as easy as it looks.
What does it mean for Oliver now that the city actually accepts him?
Kreisberg: In the premiere, Lance (Paul Blackthorne) actually disbands the anti-vigilante task force in his new role as Captain. The Arrow is free to do his thing and it’s different for Oliver. He spent the first two years being hunted and distrusted. Now, he’s starting to feel like he has this under control. And then, of course, as Joss Whedon taught us all, you let your characters have a moment of happiness and then you take it all away from them.
You seemed to be setting the stage for Ra’s al Ghul to be the villain in Season 3. Is he actually the villain? Can you say anything about the new villain?
Kreisberg: It’s big. I can say that he’s big and he’s bad. We’re still figuring that stuff out. As far as the Big Bad, there will be a Big Bad. Even last year, everybody was a subset of Slade’s (Manu Bennett). Slade was the Big Bad. We will meet other villains along the way, as always. We’ll have recurring villains and new villains we’re starting with this year and people who are coming back from the previous two seasons.
Felicity (Emily Bett Rickards) and Oliver are going on a date in the season premiere. How do you avoid the TV trope that a hero can’t be with the woman he loves just because of his duty?
Kreisberg: When you see the premiere and you see how things shake out, you’ll come to a very sympathetic understanding of both of their positions. The premiere last year was a microcosm of what was happening for the whole year. In the same way that the premiere of last season was really about Oliver struggling with whether or not he should be the Arrow, in this season premiere it’s, “Can I have everything I want?” That quest is going to take up his entire year, and hers.
How much of a foil will Ray Palmer (Brandon Routh), Felicity’s new rumored love interest and head of Queen Consolidated, be to Oliver?
Kreisberg: A big foil. It’s Season 3, and Season 3 is typically when you add that game-changing character like Buffy did in adding Faith or Everwood did with adding Scott Wolf. First of all, getting Brandon — he couldn’t be nicer, he couldn’t be sweeter. It’s just such a different energy that he’s bringing to the show. A lot of what’s funny about Felicity and Oliver is that he’s so straight and she’s the funny one. With Brandon, you get somebody who’s as tall, square-jawed and handsome as he is [and] he’s a really funny comedian. He and Felicity can have that verbal repartee that we haven’t typically had on the show. As much as the show is getting darker, it’s gotten a lot funnier. It’s just such a different energy. He and Felicity are really cute together.
The second season ended with the Black Canary giving her black jacket to her sister Laurel. This fed speculation that Laurel will become the Black Canary as in the comics. Kreisberg has a good point that she is not ready for this yet: “As always with all of these things, you can’t just put on a mask and go running around. You’ll get killed. Laurel is still just an attorney. She’s an attorney with a jacket. I think Katie Cassidy fans are going to be very, very excited about her trajectory this year. Laurel is going to have a new love interest this season.” Caity Lotz will be returning for three episodes next season. One of the many good things about Arrow is that there is now a huge supporting cast, and even more characters are to be introduced. This allows them to have a variety of characters for parts of a season as opposed to having exactly the same characters from week to week. There will also be a cross over with The Flash next season in the eighth episode of each show, and Felicity will appear in the fourth episode of The Flash.
There has been contradictory information as to whether The Flash and/or Arrow will cross over with the DC cinematic universe in the manner in which Agents of SHIELD does with Marvel. The latest story is that DC Entertainment Chief Creative Officer Geoff Johns says the television shows and movies will be kept separate. Presumably this will mean that the Flash seen in the Justice League of America movie would be a different character than on the television show. While it would be entertaining to have the television and movie universes combined, there are advantages of keeping them separate. This allows for greater flexibility with the television shows not being confined by the movie universe, avoiding the problems faced by SHIELD most of its first season.
Agents of SHIELD executive producers Jeffrey Bell, Jed Whedon, and Maurissa Tancharoen were interviewed about plans for the second season, now that the show is no longer constrained by waiting for Captain America: The Winter Soldier to reveal HYDRA’s infiltration of SHIELD.
Will there be consequences for Grant Ward for all that he had done last year?
“I would assume so,” Maurissa Tancharoen said. “Let’s put it this way: They’re not gonna just drop him on a farm and let him run wild.” Jed Whedon added. “When last we left him, he was in our custody. What does that mean? You’ll have to see,” Maurissa teased.
What are you specifically excited about for Season 2?
“I think the fact that when we left them, S.H.I.E.L.D. had completely crumbled… so just the idea of Coulson and our team, sort of left with nothing, or limited resources… I think we’ll be rooting for them to rebuild S.H.I.E.L.D.,” Tancharoen said.
“It’s a lot harder to protect the world when you don’t have any resources. Last year we saw how giant and all-consuming S.H.I.E.L.D.’s reach was, and they don’t have that anymore, so it’s much more of a struggle. They’re much more the underdog this year, which we’re really excited about that, and the tone that it sets, and what it does to our characters.” Whedon added.
This “ragtag team” has Maria Hill as a contact and she’s working for Tony Stark. Couldn’t she talk to him to hook them up with some money?
“We hope so! That’d be so cool!” Whedon responded. “Maybe so,” Tancharoen said. “That’s a good question.”
“Tony Stark doesn’t know Coulson’s alive, so it might be really awkward. It’d be weird,” Jeffrey Bell chimed in. “They could set up a Coulson Memorial Fund and channel that into S.H.I.E.L.D.,” he joked.
So with Phil Coulson now being the head of S.H.I.E.L.D., the Avengers still don’t know he’s alive?
“That’s a complicated question. One might assume, but you can’t assume anything, and they have their own movie that exists…” Whedon said, with his brother, of course, directing Avengers 2: Age of Ultron to come out next year.
“At least on screen so far, that hasn’t happened,” Bell said.
Will we be seeing Fitz (Iain de Caestecker) sooner rather than later?
“That’s a good question. When last we left him, we didn’t know exactly what happened to him. We just know he’s alive,” Tancharoen teased.
There will be no cape. There will be no cowl. Nevertheless, Fox’s Gotham intends to stay true to the Batman comics that fans have come to know and love over more than seven decades.
Based on DC Comics characters, Gotham explores the origin stories of the Caped Crusader’s eventual ally James Gordon (Benjamin McKenzie), a detective with the Gotham City Police Department, and his battle with the villains who made the city famous.
“What we won’t do is break the canonical iron truths of the mythology,” executive producer Bruno Heller told reporters at the Television Critics Association’s fall previews on Sunday. “It’s not a whole new mythology. But issues of chronology, we will play with in a fun way.”
Instead of Bruce Wayne (David Mazouz) taking center stage in the effort to save Gotham, James Gordon will be the central focus as he fights the ever rampant corruption and crime alongside his partner and mentor Det. Harvey Bullock (Donal Logue). “Gordon is the lynchpin of the show,” Heller explains. “He’s the guy who creates Batman or gives permission for Batman to exist in this world. Gordon will still remain at the central, but it’s very much about [the origin stories of every character], but Gordon is the moral center that you can identify with.”
Though Heller said that Batman won’t appear on the series, he doesn’t believe that will drive the fanboys away. “I don’t think so because the really interesting parts of the stories is the origin stories,” Heller says. “As soon as you’re into the capes and the costumes, it’s less interesting than how the people got there.
“If there is a superhero in this show, it’s Gotham,” he continues. “That’s a larger than life character that’s a central part of the show. To me, heroes are more interesting than superheroes because precisely the difference is superheroes do the impossible, and drama is really about the physically possible. This is about people and people trying to overcome real problems as opposed to trying to learn how to fly.”
But where do Gothamites find hope when the city’s villains of are running free with nary a hero (or the hope of one) to stop them? After all, Bruce Wayne hasn’t even started shaving yet! “That’s the situation that the show is all about,” Heller says. “How do you deal with crime of this level when there are no superheroes? It’s as much about the hope and the struggle that they’re engaged in… It’s about men and women, not about superheroes.”
And those men and women truly will be overrun. Though the first season delves into the rise of the Penguin (Robin Lord Taylor), the series pilot introduces a fair amount of villains for the show to play with, including Catwoman (Camren Bicondova), The Riddler (Cory Michael Smith), Poison Ivy (Clare Foley) and Fish Mooney (Jada Pinkett Smith). “You have to front-load the pilot with the best that you’ve got because that’s the way that you’ve got to open big,” Heller says of introducing so many villains. “As the show rolls on, we’ll be far more … careful with how we roll out the villains and in what way.”
Trailers for the upcoming season of Doctor Who above (one official and one from a fan).
With Laurence Fishburne having a roll on a new show next season, Black-ish, there has been speculation that this might mean that he did not survive the massacre in the second season finale of Hannibal. Fishburne says he is returning, and will do both shows part time. He also says the third season of Hannibal will be very dark–as if the first two seasons were so light and cheerful.
Looking back quickly on some genre shows of the past week, I was happy to see True Blood end some of its weak plot lines and get rid of some of the superfluous characters. This almost gives them yet another fresh start going into the final episodes of the series, and I hope they take advantage of this to end with a better story line.
The Leftovers dealt with Christopher Eccleston’s character. As we know that it will not deal with any sort of explanation of what happened to the missing people, to be successful the show will need to get viewers interested in the characters and how they responded to the other people disappearing. So far they have not done the greatest job of introducing the characters and adequately explaining their motivations. Earlier episodes dealt heavily with the police chief and his family, but it is not clear why his family is so affected considering that nobody in their family disappeared. Entertainment Weekly compared The Leftovers to Battlestar Galactica in the way in which both shows dealt with a loss of a portion of the population. Both the disaster and the manner in which the response were handled was greater on BSG.
While The Leftovers does have that in common with Battlestar Galactica, The Last Ship has far more in common in dealing with a ship of people surviving after mass deaths. It remains more of an action/adventure show than hard science fiction, but remains entertaining summer television.
Under the Dome remains weak (to put it gently), yet somehow remains interesting to watch. The same problems persist with the Dome having powers with no apparent limits but no clear motivations for those using the power. Now it was able to bring a girl who died years ago back to life. Plus Junior’s mother was also confirmed to be alive after her reported suicide.
24: Live Another Day concluded its short season. A shorter season was a plus, but it would have been even better if it ended a few episodes earlier when the main terrorist plot was tied up. In the past, full seasons suffered from the need to move from one plot line to another to keep things going for an entire twenty-four episodes. Now that they were freed from those constraints it would have better to tell one single story well, regardless of how many episodes it took. Then they had to tag on yet another quick story at the end to put Chloe in danger to set up Jack’s fate. The producers of 24 have not yet said whether the show will return. I’m sure that depends upon a lot upon the ratings.
Extant remained interesting in its second episode. I still fear it will turn out to be a network television rehash of old science fiction (and Spielberg) troupes but I’m willing to give it a chance to prove me wrong.
Penny Dreadful ended earlier this month and I should note that after seeing the entire first season that it was well worth watching. The plot was not the strong point but it did excel in creating its characters and a world where fictional characters including Dr. Frankenstein, Dorian Gray, and others interacted. The show had a strong cast including Timothy Dalton, Josh Hartnett, and Billy Piper, but by far the strongest was Eva Green. The actual story such as fights with vampires weren’t terrible significant except as ways to introduce the characters and set up future events. Early episodes showed some violent deaths and, while there were some clues, the probable identity of the killer wasn’t revealed until the finale, undoubtedly influencing the second season. The show also made good use of episodic television, both having continuing stories and using some episodes to reveal character back stories or past events.
James Gardner, star of shows including The Rockford Files and Maverick, died yesterday at 86. Reports from Variety and The New York Times.
We were spoiled by the high quality of television shows airing in late spring, including Orphan Black,Continuum, Hannibal, Fargo, and Game of Thrones. The summer season does not look like it will come close, but at least we have come a long way from the days in which we were limited to the major networks which only aired reruns. So far Extant appears to be the most promising. Sure, being a network science fiction show it is bound to degenerate into all the standard cliches, but the first episode was interesting and well made. If nothing else, it looks better than Under the Dome and True Blood (which I’m only sticking with because it is the last season). It might help that Mickey Fisher, who wrote the pilot, says he was inspired by Steven Moffat and Doctor Who.Spoiler TV lists seven facts you need to know about Extant.
My next show on my list of new summer shows worth viewing (of those which have actually started) is The Last Ship. It is certainly not a must-see genre show at this point, but it has been entertaining. The show does have a little of the early Battlestar Glactica feel in which one military ship is on their own. Instead of Cylons, they are being chased by a Russian ship which is after the research they have so far, and the scientist working on it, regarding the plague which has killed off most of the planet. Sure, one would think that with the possibility of the crews of only two ships left alive on earth (along with some isolated people elsewhere) they might realize there is no point in fighting and that they can work together, but that would leave out most of the drama. Besides, ultimately the surviving humans and Cylons did learn to work together. With 24 concluding tomorrow, The Last Ship might be a good replacement for fairly mindless action. The shorter season of 24 has certainly helped the storyline on 24, with it not dragging events out for weeks (or hours on the show) as was often the case in the past.
After watching the premiere of The Almighty Johnsons I plan to pass on the show unless I hear more favorable reports on it. This is a show from New Zealand now carried by Syfy about a family in which the members learn they are reincarnations of Norse gods when they turn twenty-one. Their powers are rather limited, sort of matching the low-budget feel of the show. One brother has the power to convince people to believe his stories, and uses it to get women into bed. Another has the power to turn things hot or cold, and uses it to make a woman’s nipples become erect under her shirt. That’s hardly enough to sell me on the show so far, but the pilot does suggest a more serious storyline is beginning.
In other upcoming shows, SpoilerTV has an advanced look at The Strain. The Wall Street Journal also reviews the show. BBC America will premiere The Intruders on August 23.
Based upon last season, the best show of the summer is probably returning tonight, Masters of Sex. Hitflix reports that the second season is better than ever.
The fate of genre comedy for the upcoming year is now becoming clearer. The Big Bang Theory has been renewed for three years. Community will no longer air opposing The Big Bang Theory but was saved by Yahoo last week, and Joel McHale sounds happy about the opportunity of setting Dan Harmon free without the constraints of network television:
McHale told The Hollywood Reporter that the show’s fans will be pleased by Community‘s shift from NBC, where it has aired for the past five seasons, to Yahoo Screen. “I’m so excited because now there will be no commercial breaks, the restraints I’m assuming will be way less and it’s like this just playground now for [show creator] Dan[Harmon].” Added McHale: “Unencumbered Dan Harmon is very exciting.”
The actor said that Yahoo Screen execs “really believe in the show” and have the marketing muscle required to spread the word about the show’s new home. He doesn’t have trepidation about airing new episodes on an unproven original-content provider, given how much success Netflix has had with its original programming. “I think Community fans have proven that they will find the show,” he said.
Sony Pictures Television has committed to 13 new episodes of the series, launching this fall, although McHale said that more episodes could get made “if [the first batch] goes well.” The entire cast will appear in all 13 episodes, and as far as the contracts are concerned, McHale said he won’t be making less money from Sony per episode than he was from NBCUniversal. “I really like money, so it works out great,” McHale joked.
According to McHale, all of his co-stars are looking forward to bringing the show back. “I know the cast is excited because it’s a whole new frontier, and we wont be up against Big Bang Theory, and we know Yahoo’s really excited to get us out there, and that is incredibly helpful when the people who are paying for you to make it are excited about it,” he added.
Now that Community fans are getting their sixth season, what about that movie? “People are already talking about” the possibility of streaming the much-hoped-for film on Yahoo Screen, McHale said. He added that Harmon and executive producer Chris McKenna plan to make the movie “epic” and not just “like an episode,” although McHale doesn’t think that anyone has started working on the film’s script yet.
Of potential new comedy shows with a genre connection which I have preciously discussed, one was picked up to air in the fall and the other wasn’t. The Amy Pond Show, officially called Selfie, was picked up by ABC. I’ve heard questions regarding its quality, but of course I’ll check out any show staring Karen Gillan and John Cho.
How I Met Your Dad, the spin off of How I Met Your Mother, was not picked up, with CBS insisting upon some changes in the pilot. Initially there were reports that rather than changing the pilot, Thomas and Bays planned to try selling it elsewhere. It looks like it is dead for now, with the possibility that they might revive plans to try to sell the show in the future. I wonder if it might not be better to develop a new comedy with a new idea rather than rehashing what they already did.
The synopsis for the first episode of season three of Arrow reveals that Detective Lance remains alive, and that Oliver finally asks Felicity out on a date:
In the aftermath of this victory, Season 3 opens with Arrow now a hero to the citizens of Starling. Crime is down, people feel safer, and Captain Lance even calls off the Anti-Vigilante Task Force. Basking in his success, Oliver believes he can finally have a private life and asks Felicity out on a date. But the second Oliver takes his eye off the ball, a deadly villain reappears in Starling, forcing Oliver to realize that he can never be Oliver Queen — not as long as the city needs The Arrow.
There may be more superheroes in season three, including the casting of Brandon Routh (who played Superman in Man of Steel) as Ray Palmer, The Atom.
An unparalleled scientist and inventor, Ray will play an unexpected role in the lives of Oliver and (rumored love interest) Felicity as the new owner of Queen Consolidated. Palmer’s plans for Queen Consolidated’s Applied Sciences Division will be shrouded in mystery.
News came out last week that Orphan Black has officially been renewed for a third season. We also found that Tatiana Maslany was snubbed for an Emmy award a second time.
Besides having a movie versions of Gone Girl coming out in October, earlier books by Gillian Flynn are being filmed. Dark Places will be released as a movie in September and her first novel, Sharp Objects is now being made into a television series.
Five scripts of episodes of the upcoming season of Doctor Who have leaked on line. Steven Moffat called this, “‘horrible, miserable and upsetting’. Since then unfinished black and white versions of the first two episodes of the season have also leaked on line.
First we heard that Better Call Saul would be a prequel to Breaking Bad. Next there were reports that it would take place over different eras. Now it reportedly will be a prequel series taking place in 2002. Now we might never learn if Jesse made it to Alaska.
J.K. Rowling has posted a short story about Harry Potter set during the Quidditch world cup final at the Pottermore site. Apparently there might be some marital problems between Harry and Ginny.
If you miss Continuum now that it is finished for the season, here’s another time travel story, Time Travel Lover: It is about a guy about to hook up with a girl who is then visited by his future self:
Sakizuki, the second episode this season of Hannibal, did an excellent job of blending a serial killer of the week story with the overall mythology of the show. Hannibal did track down the killer the FBI was hunting, but finished the killer’s job before the FBI got there. Only Hannibal could look so fashionable in a plastic suit, or convince the killer to become a part of his own work. Will Graham is doing an expert job of playing a cat and mouse game with Hannibal. He purposely looked beaten when saying, “I am the unreliable narrator of my own story” and asking for Hannibal’s help, but looks far stronger when alone, contemplating his next step.
The biggest tension of the show involved Hannibal and his psychiatrist, Dr. Bedelia Du Maurier played by Gillian Anderson. There were moments when it was not clear if she would come out alive, with this tension increased by the knowledge that Anderson is involved in two other shows this season. Instead the episode made it plausible for Dr. Du Maurier to disappear for a while (or have a reduced) role without winding up visiting Hannibal for dinner. I suspect she will return towards the end of the season and be involved in Hannibal’s downfall, as foreshadowed by the start of last week’s episode, especially with her telling Will she believes him at the end of this week’s episode.
Bryan Fuller discussed the episode with A.V. Club. An excerpt:
AVC: Bedelia leaves town at the end. Obviously, you had limited time with the character because Gillian Anderson has another show…
BF: Another couple of shows!
AVC: What did you want to do with bringing her back, and how much of her backstory with Hannibal do you, as writers, know?
BF: There was a much bigger, broader, longer story to be had with Bedelia that I’m hoping we get to play out in some form in the future, but because of Gillian’s schedule, we were only able to get her for a couple of episodes at the beginning of the season, and we’re desperately trying to figure out how to get her to navigate her schedule and get her back to wrap up her story. Though we want the audience to think when they see the trailer for episode two that she’s going to get killed at the end. The idea would be to get her back. There’s so much cool stuff with her backstory and her relationship with Hannibal and how closely it parallels Will’s relationship with Hannibal, which would be explored in an episode toward the end of the season if we can figure out schedules.
AVC: She also tells Will that she believes his story. How important was it to you to give Will an unquestioning ally at this point?
BF: I think he needed it, because there was so much despair, and everybody was just assuming he was guilty of all of these crimes. I think he needed someone to say simply, “I believe you.” When I was writing that scene I teared up, because something so simple as someone saying, “I understand you, and I believe you,” when you’re in a dark, lonely place is such a beacon of hope. I love Gillian Anderson as a human being and as an actress. And I love Hugh Dancy as a human being and as an actor, so I was excited to get them in a scene together, especially one that was so still and eerie and wrought. I’ve always been inspired by this line from Damaged that Juliette Binoche says, which is, “Damaged people are dangerous, because they know they can survive,” and I paraphrased that in the last scene with Dr. Du Maurier and Will Graham, where there is a camaraderie in the damaged. You may feel you are alone in your damage, because it is such an interior experience to be damaged in that way, and then to have somebody come along who you know can know you in that way, it’s a beautiful thing. It’s a glimmer of hope. So I was really excited about that moment, writing it, and even more excited when I saw the actors perform it, because I do think that there is a bond between Will and Bedelia that I hope we get to explore.
Arrow picked up in The Promise where it left off last week with Slade in the Queen Mansion, but Team Arrow came to the rescue. The bulk of the episode, reversing the usual pattern, took place back on the island. Once again the show has greatly surpassed most other attempts at bringing superheroes to the screen. The manner in which the back story is fleshed out on the island makes comic book scenarios in the present seem plausible, taking far less suspension of disbelief than is generally necessary to accept the conventions of superhero series. The scenes on the island also showed the first time Oliver ever put on his hood and Slade ever put on the Deathstroke mask in their attack on Ivo’s freighter. I wonder if we will see more of Dr. Ivo.
Dreamcatcher was a fun episode of Revolution, with the nanobots putting Aaron in the Matrix. Aaron was back in a world with electricity, seeing people he knows but who initially do not know him. Some took active roles in the story while Giancarlo Esposito was seen as a sleazy insurance salesman on billboards and television commercials. Although fun, the episode could have been much better if not for so many plot holes and being so predictable.
The premise was that the nanobots were trying to trick Aaron into solving a formula which would allow them to survive. As viewers we know they must survive as the destruction of the nanobots would mean they would not be around to eat all the electricity, ending the show (which might not be a bad thing). Just as we must suspend disbelief in the premise of nanobots which eat electricity which powers devices while ignoring the electricity in our nervous systems, we must grant the premise that the nanobots can mess around in Aaron’s brain but could not just force him to solve the equation or extract the information they needed.
Aaron’s mind fought back, first in the form of Charlie. Seeing her shot in the head was one of the highlights of the episode. After being chased by Horn, who represented Aaron’s greatest fears, he managed to wind up with Rachel, Miles, and Monroe. Aaron gave the nanobots the information they needed to manipulate him by telling Rachel he would never harm her. At first Rachel, Miles, and Monroe did not recognize Aaron, creating some drama, but then suddenly they knew everything. It was too easy. They came up with the idea that if Aaron fell in this “dream” he would wake up, unconcerned about horror stories in which death in one’s dreams results in death in the real world.
From here it was so predictable. Aaron appeared to wake up. Rachel was placed in danger, and Aaron gave in and solved the equation. Then (coming as no surprise) it was revealed that he was still in the Matrix. I would have expected Aaron to have seen enough science fiction to see that one coming.
T.A.H.I.T.I. was revealed on this week’s Agents of S.H.I.E.L.D. to be not the Island where Agent Coulson was rehabilitated after being brought back from the death but a room with possibly alien science which was used to save him. The show is certainly more fun to watch than in the early episodes, but remains a disappointment. Ignoring the superhero and science fiction elements, the show just remains impossible to believe. Among other problems, there are no consequences as would be expected in an agency of this nature. In a previous episode, Simmons knocked out a superior with no repercussions. It appears that this was totally consistent with the world in which Agents of S.H.I.E.L.D. operates.
The show opened with faux drama in having Bill Paxton as Agent Garrett coming to board Coulson’s plane for disobeying orders in keeping custody of Ian Quinn. False drama and no consequences once again as Paxton and Coulson worked things out. The handling of Quinn made me wonder if S.H.I.E.L.D. is really supposed to be the good guys or a parody of our worst fears of the Bush administration. It is understandable that Coulson would place a high priority on saving Skye’s life, but absurd to expect that he would attack a base, and kill those working there, when the base had to either be part of S.H.I.E.L.D. or another facility they were working with. Then more false drama when Coulson suddenly decided they should not inject Skye with the drug, followed by the drug magically healing her wounds.
Fortunately The Americans presented a spy story which seems much more grounded in reality as it continued to deal with the repercussions of another undercover family being killed last week. Philip went to check if they guy in the drop knew anything but things didn’t go well between Philip and Fred at first. Philip’s efforts to gain Fred’s trust was far more compelling to watch than the relationship between Phil Coulson and Agent Garrett on SHIELD. I loved seeing Elizabeth’s fear as the construction truck pulled up outside of their home, along with her side trip to help out another agent. What will Paige walk in on next? Once again, there are so many story lines being expertly intertwined.
I was a little puzzled by Nina telling Stan about the walk-in at the Soviet Embassy. Certainly her handlers would realize that the embassy was being watched and the FBI would figure out who it was. Did the Russians have no real interest in Bruce Dameran? Did they just make a mistake allowing Nina to mention this, was it a mistake on Nina’s part, or on some level did Nina still want to help Stan?
One problem that Almost Human faced is that episodes were aired out of order. While there was no major continuing story line which required viewing the episodes in order, the most enjoyable aspect of the series was the relationship between John and Dorian. Seeing them out of order led to a couple of recent episodes which lacked this dynamic which had been filmed earlier. Fortunately the final two episodes of the season were done later when this relationship was better established.
It is unfortunate that, despite hints of developing an ongoing storyline, little came of this and the final two episodes were again essentially stand alone cases of the week. The season finale did concentrate on the dynamic between John and Dorian, with Dorian’s performance review. I had feared that they might run a cheap cliff hanger of having Dorian fail and be scheduled to be removed as John’s partner, only to have this reversed next season. Fortunately they did not succumb to a feeling they had to do a cliff hanger as far too many shows do. With or without a cliff hanger, this show was entertaining enough to return to next season. I just hope they do more to expand on some plot lines they hinted at this season, such as what really happened in the ambush at the start of the season and what is beyond the wall.
How I Met Your Mother is winding down and this week’s episode, Vesuvius, did a lot to promote a fan theory which has been going around that the Mother had died before Ted began his stories, possibly with Ted actually winding up with Aunt Robin. The first episode of the series had viewers expecting it was a typical love story about Ted meeting Robin and eventually marrying her until the ending, That’s how I met your Aunt Robin.
There have been scenes suggesting that the Mother might not remain alive, but all have alternative explanations and are far from definitive. The most compelling was in The Time Travelers in which Ted was outside his future wife’s apartment and said, “Exactly 45 days from now, you and I are going to meet. I want those extra 45 days with you. I want each one of them.” If the two were really to meet in 45 days and live a long life together, there would be little reason for Ted to be so concerned about getting those 45 extra days together.
In a fifth season episode, How I Met Everyone Else,Ted, Marshall, and Lily are seen at a reunion in 2020 and it was awkward when Ted asked, “Where is my wife?”
There are pictures of Neil Patrick Harris on the set of the final episode in regular clothes. Barney has said that the one time he doesn’t wear a suit is to funerals. Could he have been filming a scene of the Mother’s funeral?
All of these items, along with suspicious answers by the cast about the finale, could be explained in other ways. Vesuvius keeps theories that the Mother will die alive. Throughout the episode there is a sense of sadness in the way Ted looks at his wife in scenes of the two from 2024. The most suspicious scene of all was when there was mention of the present when Robin’s mother made it to the wedding. The big question, with tears filling both of their eyes was, “What kind of mother would miss her daughter’s wedding?” Were these tears of happiness for Robin as they thought back on her wedding day, or tears of sadness as the two realized that Ted’s wife was dying and would never see her daughter’s wedding? Was she dying in 2024, or worse was Future Ted revising the Inn with the ghost of his wife?
It wouldn’t be at all surprising if Barney and Robin either wind up not getting married or if their marriage doesn’t last. In the final twist of the series, it could turn out that Ted and Aunt Robin are married. Then it would not matter as much that Robin could not have her own children as she might wind up eventually becoming the mother to Ted’s children. The series could easily be seen as an explanation to the children why Robin was the one he was meant to be with if their mother could no longer be with them.
This plan would have made a lot of sense when the series was first developed and fans rooted for Ted and Robin to get together. Now fans are strongly hoping it is not the case. Too much has changed. As absurd as the pairing of Barney and Robin was at first, fans now want them to succeed together. More importantly, fans have fallen in love with Cristin Milioti’s still unnamed character this season and having her die would be far too sad a way to end the series.
Another possible explanation for the scene in Vesuvius is that Carter Bays and Craig Thomas want to make us believe the Mother does have a serious illness in 2024, but in the end she survives. Perhaps they even changed their original plans after seeing how this season has played out.
Moving on to another series involving time travel, Rachel Nichols and the cast of Continuum discuss season 3 in the video above.
An updating of Cosmos was already a big event. We know so much more than when Carl Sagan first aired the show. As an example of how important this show is in an age of such tremendous misunderstanding and denial of science, the show is going to be introduced by Barack Obama.
Extended clip above of Captain America and Black Widow from Captain America: The Winter Soldier
With the Olympics over many weekly series have returned and two of the best shows from last season which aired in the spring or winter have started their second seasons. Hannibal and The Americans both began their second seasons. Hannibal began with an extended fight scene between Hannibal and Jack Crawford which foreshadows what we know must eventually occur before moving backwards twelve weeks in the narrative. The brutality of the fight indicates it is not a simple temporary falling out between friends, such as Watson being angry at Sherlock for pretending to be dead. Jack must have found out the truth about Hannibal. As the series is part of a seven year plan (should it last that long) to retell the Hannibal novels (with some variations), we know that eventually everyone will know that Hannibal, and not Will, is the serial killer. (More on Bryan Fuller’s seven year plan for Hannibalhere.)
After the fight scene we go back to just after the first season ended, with Will in jail for the murders committed by Hannibal. So far only Will, and some of Hannibal’s victims who did not live to tell what they know, really suspected the truth about Hannibal. Now that Will is healthy and no longer suffering from encephalitis, he can begin what will probably be a season-long cat and mouse game with Hannibal to reveal the truth. Hannibal has essentially taken over Will’s role in advising the FBI in serial murder cases, but we know he will not be able to resist Will’s request for Hannibal’s therapeutic help. Hannibal might even realize what Will is up to, but based upon his relationship with Will in the first season, this will be irresistible for Hannibal. We know where everything is leading and have already seen how the season ends. The suspense will be in seeing how we reach that point.
The Americans returns to 1982 with two Soviet spies living undercover as an American couple. Elizabeth has returned home two months after she was shot in the first season finale, claiming to have been caring for a sick aunt. We immediately see that 1) not everything works out perfectly for spies and 2) even the spy we have been led to root for (even if from an enemy nation) can be a cold blooded killer when there is an innocent witness around. While the first season centered around the relationship between Philip and Elizabeth, the second season will deal more with the entire family.
Elizabeth and Philip have tried to keep their children safe from their activities and we saw how important this is as another undercover couple were killed, along with their daughter. We know Paige is suspicious, but so far instead of learning the truth about her parents she caught them having sex. It is not certain which revelation will ultimately be more shocking.
The Americans did an excellent job of working all of this into the season premiere, along with returning to other subplots. We saw the fake marriage between Martha and Phillip (or Clarke as she knows him) in order to spy on the Americans. Their FBI agent neighbor Stan continues to use Nina, unaware that she is now really using him. The nature of Stan’s relationship with Nina came up as they watched a pirated copy of The French Lieutenant’s Woman before Stan went to see the same movie with his wife and a friend. We also learned that Claudia has remained in the United States and she will have an influence on the season.
Arrow, yet another excellent genre show in its second season, returned after the Olympic hiatus with Time of Death. With Sara now making out with Oliver in the Arrow-Cave, it was time for Felicity to more firmly establish her importance. (“You’ll always be my girl, Felicity.”) The episode introduced another worthy opponent, The Clock King. It also brought the present day and island stories together further in the final scene where Moira brought Oliver in to introduce her son to the man she was meeting with–Slade. The first photo has also been released of Barry Allen in costume as The Flash in the planned spin off.
Yet another sophomore show, Revolution, is well below the quality of the other shows discussed above. They do try to keep coming up with new things to keep the show fresh, but in the end they just wind up without anything really compelling happening. The supposedly upcoming battle to the death between Monroe and his son sounds guaranteed to disappoint. Having Aaron wake up in an alternative reality in 2014 with the power on after trying tying to upload a virus into his nano-bot children (or are they now Gods?) made for a good final scene, but will anything significant really come from this? At least it sounds it might make for a good episode. In this alternate reality, Giancarlo Esposito will be back in his old life as a sleazy insurance salesman. If they were really creative, the episode would take place in a different alternative universe where instead he runs the Los Pollos Hermanos restaurant chain.
Hannibal, The Americans, and Arrow were all excellent new series which began last year, but the best of all the series to premiere last year was Orphan Black. BBC America has released the above sneak peaks, with the show returning on April 19. More news on season two here.
Aaron Paul has again expressed interest in appearing in the Breaking Bad spin off, Better Call Saul. Bryan Cranston and Jonathan Banks have also expressed interest. Dean Norris is not interested, failing to understand that one episode of anything by Vince Gilligan is far more significant than an entire season of Under the Dome. (The series finale of Breaking Bad was reviewed here.)
Disney has always excelled at their synergy in using each of their holdings to make money for others. ABC will be running a documentary (extended commercial?) March 18 on Marvel Studios: Assembling a Universe.
“The enormous impact ‘Heroes’ had on the television landscape when it first launched in 2006 was eye-opening,” said NBC Entertainment President Jennifer Salke. “Shows with that kind of resonance don’t come around often and we thought it was time for another installment. We’re thrilled that visionary creator Tim Kring was as excited about jumping back into this show as we were and we look forward to all the new textures and layers Tim plans to add to his original concept. Until we get closer to air in 2015, the show will be appropriately shrouded in secrecy, but we won’t rule out the possibility of some of the show’s original cast members popping back in.”
I don’t care either way about Heroes but am happy to see that an American network is getting away from the usual season format. Heroes itself would have been much better as a miniseries rather than continuing it beyond the point where Tim Kring seemed to know what to do with the show. Note that almost all of the shows I mentioned above were aired for short seasons, generally on cable, which I think helps make a better quality show. Fox is also doing something similar with 24.
While I don’t care whether Heroes returns, I am looking forward to the return of Farscape. A movie is planned:
Set to follow the awesome comics written by our favorite Keith R.A. DeCandido, the film would follow John and Aeryn’s son, D’Argo (or Little D, as we will always refer to him). Because their baby was exhibiting a set of interesting powers that made him a magnet for galactic villains, we find that John and Aeryn hide their son on Earth to grow up. Now the kid is 19 and ready to go into space with his parents.
Last week I questioned making US versions of British shows as opposed to airing the same shows here. Steven Moffat has had experience with cases where that did not work. His excellent sit-com Coupling flopped when an American version was aired, but I would highly recommend watching the original on Netflix. It is sort of a combination of Seinfeld, Friends, and Sex in the City with just a little bit of The Big Bang Theory thrown in. Moffat wisely says it would be insane to make an American version of his current shows, Sherlock and Doctor Who:
Not just popular on a worldwide level, it’s so distinctively local in outlook that a remake of any sort would destroy what makes it work in the first place.
“Doctor Who’s everywhere,” he said. “You can bump in to the Doctor anywhere,” adding that the series has, “probably penetrated enough that it’s no longer regarded as an import, it’s just that show.”
“Sherlock and Doctor Who are both doing rather well but they couldn’t be more definitively British. They’re obtusely British. They’re about as British as it gets. You shouldn’t be afraid of being British because that’s what you’re selling.”
And of course, if a remake were to be proposed and the Doctor were no longer British in demeanor (albeit British via Gallifrey), would he even be the Doctor?
“If anyone were to ask me, I’d say it’s an absolutely insane idea. You couldn’t have more than one Doctor Who in the world. It would just be dreadful.”
This has not been a good season for new sit-coms, especially for NBC but last week’s episode of The Crazy Ones (on CBS) was its best episode of the season. The cast put on both a Bar Mitzvah and a musical. While far from a great series, Robin Williams has kept the show amusing through a lot of otherwise weak scripts. I actually don’t mind that the new NBC sit-coms were flops. It just increases the chances that Community will be renewed.
Mixology premiered last week, showing some promise even if the premise is far-fetched. Personally I’ve always found the prospect of successfully meeting anyone in that type of bar to be less realistic than most of the shows discussed in this post. Besides, if I can spend the entire final season of How I Met Your Mother showing a weekend at the inn where Robin and Barney’s wedding is taking place, I can try a series taking place all in one night in this bar. It will be interesting to watch to see if the idea works or turns into a flop.