This week’s Arrow, Seeing Red, deserves the lead for including a change to the show almost as significant as the recent change on Agents of SHIELD and for psychological horror inflicted upon the main character as disturbing as what we would expect from Hannibal. Initially viewers probably thought that the red in the episode title referred to Roy’s red hood as the Mirakuru had him go on a rampage. Instead the significance of the episode was how it ended with blood.
In retrospect it is clear the episode was both providing a farewell to Moira Queen and making her sacrifice plausible by concentrating on her love for her children. Susanna Thompson will certainly be missed. She dealt with Oliver getting a girl pregnant in a flashback, and in the main story almost dropped out of the race for mayor to try to repair her relationship with Thea. The only reason she remained in the race was the thought that it might help Thea more by being in the role of someone helping the city.
Late in the episode I thought the cliff hanger was going to be the secret Moira was about o tell about Malcolm Merlin when their car was hit, but the real drama of this week’s episode was still to come. Slade recreated the scene in the island with Sara and Shado, this time demanding that Oliver decide between Moira and Thea. Moira spared Oliver from making the decision in sacrificing herself. Slade ran his sword through her heart, telling her that he respected her courage, and saying that one more person still had to die. Is Felicity now in danger?
While Moira’s death was the major change in the show, there were others, such as the change to Roy. Now that it is established that Oliver has a son in Central City, there is no doubt that this will come up again, perhaps creating another connection to The Flash. I found it surprising that Sara would leave Oliver at a time of such danger and perhaps this will cause her to return, hopefully with reinforcements among her assassin friends. I wouldn’t be surprised if Sara dies in the final battle against Slade, or as his final planned last victim, leaving the way open for Laurel to become the Black Canary as in the comics (or perhaps they will differ from the comics on this matter indefinitely).
The Hollywood Reporter spoke with executive producer Andrew Kreisberg about Moira’s death:
“It wasn’t something we were talking about last year. I don’t want to give the impression that [it was like] ‘Welp! Somebody has to die; let’s spin the wheel. And, bad luck, Moira,’ ” he further explained. “Susanna has been with the show since the beginning, and she was one of our big gets early on that really signaled to the audience and to reviewers that this wasn’t your average CW show, it wasn’t your average superhero show. Like with Colin Donnell [whose character Tommy died in the season-one finale], these last episodes are her pinnacle.”
At the end of the day, the decision came down to the finite number of directions Moira’s story could go. From the producers’ perspectives, it seemed they had exhausted nearly all their options. After all, Moira was a part of the Undertaking, went to jail as punishment, ran for Starling City mayor, kept the identity of Thea’s biological father a secret and knew of Oliver’s Arrow life. And that’s just the half of it. “When we were talking about the future, knowing that it was only going to be powerful if Slade was going to change the game by doing something truly monstrous — if Moira wins the mayorship, if she makes up with her kids, what is Moira without a giant secret?” Kreisberg said. “If they all forgive her, and then there’s some other giant secret, for us it felt like we were becoming a soap opera.”
By allowing Moira the opportunity to sacrifice herself for her kids, “she could die a hero’s death,” he said. Even though she’s attempted to turn over a new leaf, just seconds before the car accident, Moira was about to reveal yet another secret. “You can’t change her. She literally goes to the grave despite the fact that she sacrifices herself for her children,” Kreisberg said, hinting that Moira’s final secret plays out “sooner than you think.”
Next week’s episode, “City of Blood,” opens with Moira’s funeral — and Oliver is missing. “There’s a line in the next episode where Walter says to Thea, ‘Your mother showed you how much she loved you in ways few parents can,’ and yet she was still lying,” Kreisberg previewed. “Ending it at this time left you with that great feeling of what a great character she was rather then let her become a caricature.”
As Oliver and Thea head into the thick of the storm, their personal loss drives them for the rest of the series. “That was the math — it was horrible math, it was tearful math but her death has a profound impact on everyone on the series,” Kreisberg promised. “It’s certainly what’s going to drive Oliver in these last three episodes. It’s going to drive Thea, not only in these last three episodes, but also into [season] three. Sometimes the worst thing you can do personally is the best thing you can do professionally.”
But it was Moira’s surprising admission that she knew of Oliver’s secret life as the vigilante that was eyebrow-raising. “We had always talked about the idea that Moira knew Oliver was the Arrow,” Kreisberg said, revealing that there were “a couple of other places” where the producers thought Moira should inform Oliver. But he pointed to a pivotal scene in “Sacrifice,” where Oliver essentially talks to his mother as the Arrow amid the Undertaking, as her moment of revelation. “She’d be borderline low IQ if she wasn’t like, ‘Wait a minute!’ We liked that she had never told him, and everything just felt like it came together in this one episode.”
Arrow wasn’t done with the bombshells. It was revealed in flashbacks that Oliver had fathered a child before his time on the island and that Moira paid the woman $1 million to disappear and lie about losing the baby. “The seeds for season two were planted in season one and again, the best part of the success that the show has had is knowing that we were going to make more and knowing that we could drop these things in and pay them off later,” Kreisberg said. “This is something that will be paid off in season three.”
Watching Orphan Black is essentially a matter of finding answers to questions and then having still more questions. Governed by Sound Reason and True Religion had Sarah searching for Kira, Alison looking into the identity of her monitor, and Cosima looking into their genome for explanations about her illness and why Sarah is the only one of the clones who can have children. We also learned more about Helena and the Prolethians.
I was happy to see that Sarah’s search for Kira was resolved without dragging it out for several weeks. They made good use of the relationship between Sarah and Kira by having Kira make the final decision to run after Kira told her things did not feel right. The episode included the return of Mrs. S, who we were given reason to be suspicious of late in the first season. Mrs. S’s motivations appeared questionable at one point, but ultimately it was her “friends” from the old network who previously helped them disappear who were deceiving them and at it does look like Mrs. S really has been on Sarah’s side as she claimed.
Allison looked like she might fall apart after realizing she was mistaken in thinking Aynsley was her monitor and not acting to save her from choking. She wound up working far better with Felix than we would have guessed from Allison’s initial introduction first season. They managed to trap Donnie, who isn’t the brightest of Leekie’s people, by having him overhear a conversation about meeting Sarah, who turned out to be a different Sarah from her community play. I’m not sure about a play with lines such as “We must heed the call, picking the brains off the wall,” but remain glad that it is not Cats.
While Cosima’s major role is to look into the science, her most notable scene was meeting Rachel, who was assaulted by Sarah pretending to be Cosima last week. “I’m Cosima. The real Cosima. Not the one who kicked your ass or whatever.” Rachel acknowledged seeing Cosima kiss Delphine by saying “So, you’re gay?” with Cosima responding, “My sexuality is not the most interesting thing about me.”
We also learned that Helena survived a shot to the heart thanks to dextrocardia, or in her case being a mirror image of her twin Sarah. We have a new sect of Prolethians who have a different view of the clones, and no qualms about killing those who do not follow their views. The Hollywood Reporter interviewed Peter Outerbridge, who plays new Prolethian leader Henrik Johansson:
Henrik has a line in this episode where he says Helena’s existence is “God opening a whole new door,” which seems to sum up his motivations, his beliefs and his desires pretty well.
Exactly. He doesn’t see the clones as an abomination at all. He thinks they’re fascinating. In fact, perhaps the next phase in evolution. If that’s the case, it’s all part of God’s plan and he’s going to a part of it.
Is Henrik’s assessment of the clones correct? Is this a question that toggles between right and wrong for much of the season, or is there a gray area?
That’s always the case when you’re talking about big issues like this. The idea of cloning human beings has been on the decade for at least a decade now and the ethics behind it are questionable. Bottom line, if you were to clone a human being in a laboratory, does that constitute a soul? Does that constitute a human being? Or because it’s created by humans it’s a manufactured thing that we can [use] to do whatever we want? Is the clone property because the laboratory made it or once its born, does it have free will and is it its own thing? That’s what the show is exploring. Henrik has cut through the ethics by saying, “Look, the clones are here on the planet, so I’m going to embrace that and I’m going to say that it’s part of the whole plan and I’m going to be its chief advocate.”
We learn at the end of the episode that Henrik’s prime reason for wanting Helena is simple: He believes she can conceive, like Sarah.
One of the definitions of life is something that is able to recreate itself. Something like a rock can’t recreate itself so we say we say a rock doesn’t have a life force to it. But as soon as an organism is able to replicate and duplicate, and recreate itself, we define that as having some sort of life to it in terms of organic life. That gets even stranger when you get into species because in order for it to be a species, it has to be able to procreate. If a clone can’t procreate, it’s not a legitimate species, ergo it’s not really a part of the planet. Henrik is fascinated with the idea that if he can find another clone that is capable of conceiving like Sarah — the whole question is, is Sarah the clone or is Sarah the original and the fact she has a daughter suggests she’s the original — then it’s a legitimate species and a legitimate creation. That’s what he becomes fascinated with and that’s what he finds with Helena.
What is Henrik’s ultimate end goal if Helena can do that?
There is an endgame, but it’s simpler, it’s not so sinister as world domination. It’s more megalomaniac than that. He wants to be a part of the new wave of humanity. Once he finds a clone that’s capable of conceiving — he thinks that’s the spiritual movement — he is going to be the father of all of these children.
This week’s episode of Hannibal, Shiizakana, dealt with how Hannibal dehumanizes and manipulates other people, including making them kill. Thanks to this episode I also learned that dire wolves are extinct animals which actually existed, and not just creations of Game of Thrones. Besides manipulating Randall Tier, the protagonist in the case of the week, we saw Hannibal manipulating Margo, who then compared notes with fellow Hannibal victim Will Graham.
Hannibal told Randall Tier what to say to avoid arrest by the FBI and then sent him to his death by having him attack Will. Will saw this as Hannibal repeating his attempt to hill him while Will was in prison. “I sent someone to kill you. You sent someone to kill me. Even Stevens.”I thought that Hannibal’s goal was not to actually have Will killed but to force Will to kill, perhaps to further bring out the monster in Will. Bryan Fuller had this to say about the scene in which Hannibal nods after Will gave the above line, appearing to acknowledge his actions to Will”
AVC: When Hannibal makes that tiny nod at the end of the episode, do you see that as a tacit admission of guilt or is it just him saying, “That’s certainly one theory”?
BF: [Episode] nine really starts an arc that will reach a crescendo in 12, which is one of our best episodes of the season. I just think it’s fantastic and bonkers and hilarious and deeply disturbing. So the end of nine is sort of the beginning of 10, and it’s answered very quickly at the top of the next episode, but it absolutely is an acknowledgment, “Yeah, I sent him to do this. Yeah, you did exactly what I thought you were going to do. And now we can have a conversation,” which we will have at the beginning of the next episode.
The Backlot interviewed Bryan Fuller about descriptions of the show as homoerotic, rooting for the villain on television, and prospects of returning for a third season.
Agents of SHIELD wasted Amy Acker’s talents in a (super) villain of the week storyline, with this mainly serving the purpose of getting a few members of the team away so that Ward and Skye would be alone after Ward killed Koenig (Patton Oswalt). Fortunately Person of Interest makes much better use of Amy Acker.
Ward faked his way through a lie detector exam by doing far more than Nina did in squeezing her anus to pass a more primitive polygraph exam on a recent episode of The Americans. We also learned what each cast member would want if stranded on an island. Simmons had the best idea with the TARDIS. Chloe Bennet did the strongest acting in the episode, quickly progressing from being terrified when she learned about Ward to deceiving him, and setting up the cliff hanger of the two flying off together.
While only half of this episode really worked, the series might be off to a strong finish for the season. Cobie Smulders returns next week as Maria Hill, and is expected to be seen more regularly assuming the show returns next season now that she is no longer busy on How I Met Your Mother. TV Guide summarized the season finale which airs May 13:
Now that Hydra has revealed themselves and S.H.I.E.L.D. has been disbanded, Coulson and his team are on their own to take down the now-missing Clairvoyant. But how will they react when they learn Ward is actually a member of Hydra planted in their group? The finale will address Ward’s true allegiances as well as answer questions about Skye’s lineage, who’s controlling Deathlok and what the Clairvoyant wants with Coulson. “We think the audience is waiting for a showdown between Coulson’s team and Garrett’s team and they’re going to get a satisfying payoff to that epic conclusion,” executive producer Jeffrey Bell says, hinting there could be other sleepers. “If they win, it comes at a price.” Plus: Nick Fury returns!
I was happy to see the story advance more rapidly on The Blacklist. Once it was definitely revealed to the audience that Lizzie’s husband is not what he seems, it didn’t take long for Lizzie to figure it out. This week he realized that Lizzie knows, and the episode ended with a major cliff hanger. Speakeasy has some theories as to what Lizzie found in the safe deposit box.
The Americans went to the Contra training base and received so much assistance from Oliver North on the episode that he received a writing credit. Philip also took on the church which Paige has been attending, but I questioned if it was wise for an undercover agent to risk drawing attention to himself in such a manner. There was more of Martha at work. Stan’s biggest scene was in asking American scientists about their secrets to prevent them from being compromised, unaware of how he has become compromised.
I wouldn’t expect the second episode of Fargo to be as good as the first, considering all that happened, but it still left me optimistic that this will be an excellent series.
I did like the second episode of the season of Mad Men better than the first. While Don Draper has his faults, I do hope he recovers, and was happy to see him improve his relationship with Sally by being honest with her.
Alyson Hannigan described a cut scene from the finale of How I Met Your Mother (which I reviewed here):
Speaking with TVLine at Friday night’s Taste for a Cure event in Los Angeles, HIMYM vet Alyson Hannigan said that the finale that aired last month was some 18 minute shorters than the script they worked off of at a “perfect” table read. “But [the full script] was also much more heart-wrenching,” she shared, “which maybe people wouldn’t have liked.”
Among the deleted scenes was what Hannigan described as a “one-second” montage of title character Tracy’s funeral. Instead, viewers only learned from Narrator Ted that the kids’ mother had become ill, then passed away — some time before he decided to rekindle things with their “Aunt” Robin.
“Honestly, if you saw [that] cut, it would be even more heart-wrenching than what the finale was,” Hannigan noted. “They were like, ‘No. It’s just too gut-wrenching.’ And I was like, ‘That’s what I want. I want my heart ripped out and slammed on the floor and, like, stomped on!’”
Hannigan also believes that missing moment “would have been better for the audience, so that then they can process, ‘Oh, [Ted] mourned. He got closure’ — and then they’d be happy that [he and Robin] got together. Rather than be like, ‘Oh, wait. She died? What? They’re together, huh?’ And credits. That’s what I think was too fast.”
Meg Ryan has been cast to be the future voice of the lead character in the spin off, How I Met Your Dad. I’m not sure of the point of a different person playing the narrator. Ted Mosby still had the same voice in the final scene of How I Met Your Mother which took place after telling the story to his kids.
The rape scene by Joffrey’s body in last week’s Game of Thrones was controversial, between the circumstances and the manner in which the scene was changed from consensual sex in the book to rape. I discussed this further in a separate post.
Aaron Sorkin has apologized to those who misinterpreted a decision he made on The Newsroom:
“I think you and I got off on the wrong foot with The Newsroom and I apologize and I’d like to start over,” Sorkin told the audience at a Tribeca Film Festival event Monday, referencing the criticism over his choice to set the show in the recent past. “I think that there’s been a terrible misunderstanding. … I wasn’t trying to and I’m not capable of teaching a professional journalist a lesson. That wasn’t my intent and it’s never my intent to teach you a lesson or try to persuade you or anything.”