“The government shutdown – no one knows when the government will be back up and running. So if you’ve ever wanted to cut the tag off your mattress, do it now.” –Jimmy Fallon
“The government shutdown is going to slash the budget for food inspection. That is bad news for health advocates, but great news for the new Japanese restaurant – Leap of Faith Sushi.” –Conan O’Brien
“Senator Ted Cruz announced he’s donating his paycheck during the shutdown to charity. Well, the charity is called Ted Cruz for President.” –Conan O’Brien
“People have events in the national parks and they’re canceled because of the shutdown. There was a KKK rally scheduled to be held in a national park that was canceled. This was bad news for the KKK but good news for the park’s black bears.” –Conan O’Brien
“Even the NSA is out of business. And while they’re closed, while the government is shut down, they are asking citizens to please spy on each other.” –David Letterman
“Well, last night we got to see how ‘Breaking Bad’ ended, and tonight we get to see how the federal government ends.” –Jay Leno
“So far the ones hit hardest by the government shutdown are tourists because all the national parks are closed. Where will people go for anonymous sex? We still have the airport bathrooms, but that’s only for Senators, and we can’t all use that.” –Craig Ferguson
“In one final burst, ‘Breaking Bad’ character Walter White broke into the House of Representatives and demanded that Obamacare be repealed or he would blow up the country. Wait a minute, I might have been watching CNN.” –Jimmy Kimmel
Here’s an expanded edition for quotes about the royal baby–because a compilation of Anthony Weiner jokes would just be too long. Here’s my favorite jokes about the royal baby from five different late night comedians.
“Buckingham Palace announced the child’s gender. I wish they’d do the same with Camilla.” –David Letterman
“The royal baby has a name now: George Alexander Louis. George is not the king yet. So for now, we just address him as ‘Boy George.’” –Craig Ferguson
“Everybody is still talking about the other baby, the royal baby. In fact, I saw that President Obama released a statement congratulating Prince William and Kate Middleton on the birth of their son. Then he said, ‘And whatever you do – hang on to that birth certificate.’” –Jimmy Fallon
“The royal baby has left the hospital. He will now go to one of the royal estates, where he will rest comfortably – for the next 80 years.” –Jay Leno
“The royal baby is set to inherit $1 billion. In fact, he’s so rich that he’s already dating a girl half his age.” –Conan O’Brien
Matt Smith appeared on Craig Ferguson’s show on July 24. Video above.
Steven Moffat says he will clear up some of the hanging plot threads in Doctor Who this year in an interview with I09:
When we caught up with Moffat last weekend at Comic-Con, we asked him, “Do you feel like you owe viewers some closure on the big questions, like who blew up the TARDIS? Or what the Silence was up to?”
And he responded, “Well, we are going to do it all. It’s going to end at Christmas. Yeah, [there will be closure]. But ‘owe them’? I don’t know about ‘owing.’ But yeah, there’s a plan, and we will end the Eleventh Doctor’s run with the answers to some of those questions.”
And what about the biggest dangling plotline in Doctor Who history? Back in 1986, the Doctor met a dark alternate future version of himself known as the Valeyard, who put him on trial and tried to steal his remaining lives. And the Valeyard was never mentioned again — until the most recent Who story, “The Name of the Doctor,” when his name came up.
How does the mention of the Valeyard tie in with the trend of the Doctor acting more dark? Are we going to see him again? We asked Moffat, and he responded,
Well, I couldn’t resist saying ‘The Valeyard,’ because we haven’t mentioned him in the new series. [Laughs] So I thought, ‘I’ll just put that one in.’ I never quite understood, in ‘Trial of a Time Lord,’ what he was meant to be. I never understood if he was a real Doctor, or [something else]. But in a story where we are hinting that the Doctor has a hidden chapter to his life, it was irresistible to mention the Valeyard. But you know, he’ll only ever get so dark, let’s be honest. He’s the Doctor. I think a man who worries about going bad is never really going to go bad. Maybe not.
As for the Doctor’s wife, River Song, she is not a dangling plot any longer — and in fact Moffat seems pretty happy with how he left her in “The Name of the Doctor.” At this point, he seems to feel as though he’s told the story he wanted to tell about her.
He adds that he’s “not quite sure” if we’ll see her again. We could, because we’re seeing her out of sequence in the past, “and clearly the implication is that she’s met more than two Doctors. But the question is whether or not we should” revisit her. He adds that “it’ll now be story-driven”: If he has the perfect idea for a story that involves River Song, she’ll be back. “But I quite liked where we got to at the end of ‘The Name of the Doctor,’ with him saying goodbye to her. So we’ll see.”
It doesn’t sound from this that the theories of the John Hurt Doctor being the Valeyard are correct, but this could also be misdirection on Moffat’s part. There are also rumors that a scene is being filmed showing the regeneration from Paul McGann’s Doctor to John Hurt’s Doctor, which might be shown as a prequel.
The BBC has figured out how to prevent spoilers from getting out after the initial airing of the 50th anniversary episode. It will be aired worldwide at the same time. (Unfortunately November 23 is a football Saturday and I still might wind up putting off watching until later in the day, depending upon the football schedule.)
Bryan Fuller discussed Hannibal with A.V. Club. Some of the question and answers from the four-part interview follow:
AVC: This is a prequel to stories we’ve already seen, and you’ve been very open about your plan for the series going forward. How do you keep the suspense? How do you keep overriding tension when we know where this is going?
BF: Well, we know that Hannibal is going to get caught and that he’s going to end up in the Baltimore State Hospital For The Criminally Insane, but a lot can happen to get there. I think the big move in there was to frame Will Graham and have him take the fall for a lot of these murders, which, right off the bat, introduced a completely new concept to the backstory, but also gave us a way to hold off incarcerating Hannibal Lecter for a while, because we have such a new twist to the story, where Jack Crawford is going to be bonding more with Hannibal Lecter, which really informs his distrust and disdain for this character when we get to the Silence Of The Lambs or Red Dragon era of the story. So it felt like we have now all of this opportunity to tell the specific details of a story that only existed between the lines of the book.
AVC: This episode really starts the relationship with Will and Hannibal together in therapy. You’re really interested in both presenting Hannibal as a credible therapist and in the process of seeing two people in a room talking together, which is different for a crime procedural. How did those two elements come to enter the show’s world?
BF: Well, there’s a certain amount of budgetary restraints with the show, because we are not a big-budget show. In the path we had gone down initially, we laid out a version of the show for the network, and the network said that it wanted it to be much more case oriented and procedural. So we laid out that version of the show, and it was very, very expensive. And nobody wanted to increase the budget, so it was really a matter of going back to… fortunately the budget was our friend in that way, because I did want to tell a psychological horror story, and I didn’t want to spend a lot of time at crime scenes when I could be finding out what characters are going through. And the best, simplest way for that was for people to sit down and talk about it. We fortunately are dealing with psychiatrists, so [Laughs.] it’s a great platform to have people say what they mean and what they feel and have it feel relatively natural, given the context of where they’re having those conversations. So it was initially a budgetary thing, but I think for the benefit of the show—and the stories I was interested in telling—were much more psychological and could sustain sitting down and talking about them.
Before I was going to be a writer, I was going to be a psychiatrist, so I’m fascinated with psychiatry and how it can go wrong and how it can be incredibly helpful for the patient. So I thought it was a great opportunity to tell a story about psychiatrists. And we have a lot of psychiatrist characters on the show. [Laughs.] It felt like that’s our world and these are our characters, so they are going to be talking about psychiatry. And we tried to get the psychiatry to be as honest as possible, given what we needed to tell, story-wise.
AVC: Will she be able to be in future seasons? She has a new show at midseason on NBC.
BF: We absolutely want her to be. She absolutely wants to be. It’s going to be working out the schedule with the other show, and we know that it’s about the schedule. We were very flexible with her last year. Actually, she was in five episodes, and we filmed all of her material over three days. We got her for three days, got her in, did the five episodes, and got her out, because she has a family in London that she wants to spend time with. She’s very interested in coming back. Right now, she’s in the first episode of the second season, but we have to work out schedules and see if we can actually pull it off.
AVC: This episode brings Abigail’s arc to an end. Was she always going to die?
BF: We made that decision about halfway through the season. She wasn’t always going to die. It was one of those where we were going to kill off one of the regular characters, and the character that we were going to kill off, we felt like it wouldn’t be as devastating for that person to die, because we hadn’t fully serviced that character. Someone had said, “I don’t really care about that character dying, but if you’re going to kill somebody that’s going to make me upset, then Abigail Hobbs,” and I was like, “Yeah, that’s who we have to kill, isn’t it?” [Laughs.] It’s kind of as simple as, “Whose death would mean the most?” and it was Abigail’s.
AVC: Can you reveal who you were originally going to kill?
BF: No. Because we may kill them in the second season.
AVC: How important to you was it that he have that moment of realization somewhere in this season?
BF: Very important. Because the audience knows from the first frame, before Hannibal is even onscreen that we are telling the story of Hannibal Lecter, who is going to be caught by Will Graham and incarcerated, Will had to figure Hannibal out in the first season. Otherwise, it would feel like we were treading water and artificially distending the story to accommodate a television schedule, and I wanted each of these seasons to feel like a novel, as opposed to episodic television. It felt like, what a great way to begin the story and then end the story at that point. And end it iconographically with the Silence Of The Lambs shot of coming down the corridor of the Baltimore State Hospital For The Criminally Insane, to that last cell on the left and finding, not Hannibal Lecter, but Will Graham. And know that we are now taking a turn away from the canon that will somehow get us back into canon. But right now, we are departing from the literature into uncharted territory that will be unique to the television show. Then when we circle back into the timeline of the books and get to Red Dragon again, so much will have happened between these characters that will further inform their uniqueness to this show.
AVC: Will is incarcerated right now, and if you’re able to go on and do the later seasons, Hannibal will be incarcerated. How do you approach that question of writing a character who’s confined to a room, yet has to be one of the protagonists of the series?
BF: That’s the great thing about imagination is that Will’s imagination can transport him out of that room and into places, cinematically, that will allow him to continue being a pivotal part of the story, even though he’s locked up. One of the things that was really interesting in the books, is the concept of Hannibal’s memory palace, the place where he goes to survive incarceration with the virtual-reality system that exists between his ears. We’ll be seeing Will create his own version of the mind palace over the course of the second season.
AVC: How intricately did you think out Hannibal’s framing of Will?
BF: It was pretty meticulously plotted. We knew that there were certain changes along the way, like we were originally going to deal with both the copycat killer and the Chesapeake Ripper in the first season, and then it felt like, as we got further into this season, that the story should be about the copycat killer primarily, and that the Chesapeake Ripper should serve to complicate Jack Crawford’s character. Then we could spike that ball in the second season.
Vulture outlines what we know, and what is being rumored, about the next Avengers movie, Age of Ultron. The story won’t be based upon the recent comic arc with this name, and there will be a new origin story. Quicksilver and the Scarlet Witch will be joining The Avengers. Joss Whedon also says that Black Widow will have a larger role in this movie.
Under the Dome was disappointing last week (with the entire series so far not living up to my hopes for it). Did anyone really doubt that the mother of all bombs would hit the dome and nothing would happen inside? I could see where the inhabitants would be worried, but I would expect them to see the failure of the bomb to affect the dome as a possible outcome. I was not surprised to see Big Jim question whether to release Angie, and not all that surprised to see her back with Junior. The Hollywood Reporter conducted an interview with producer Brian K. Vaughan which answers some minor questions.
I’m glad I stuck with Defiance and finished the first season last week. It is not the best science fiction around, but the show did become more interesting at the end of the season with the lives of so many main characters getting shook up. Amanda is no longer mayor and Nolan is now a free agent, leaving the two characters with fewer limitations and more potential. Bastr has more:
But it sounds like the Tarr Family will be the major source of drama for Season Two. Murphy expressed that they are what he’s looking forward to the most, having left them in a precarious position at the end of season one after Datak was arrested after winning the election, leaving the Tarrs broken. He will be missing in the beginning of the season (as will be Irisa).
“The family is constantly changing because the balance of power keeps changing.” Curran explained. “As the second season starts and progresses, if Datak is to survive, wherever he is, he has to learn not to be such a hot head. He has to be more pliable instead of brittle. Like steel when it’s brittle, it snaps. He needs to be more manipulative in his approach. His attack, kill and ask questions later obviously isn’t working for him. You can’t demand respect, you have to earn it. Unfortunately his way is very demanding and the future is going to get him in trouble again.”
Curran has read a few scripts from the second season and shared his excitement for the interesting stuff within the Tarr family that he found to be especially compelling. “It’s a sci-fi show set within this immigrant drama, and a lot of it puts the mirror up to society in many ways for immigrants around the world. I have a wife who’s Vietnamese, she was an immigrant from French-Bosnia-Serbia. So many ways there’s a lot of similarities in a lot of those aspects that I find compelling in the sci fi world as it pertains to our society. I think we’re going to touch on that with a lot of back story.”
Amy Sherman-Palladino’s show Bunheads has officially been canceled.David Weigel had previously called the best show on television. I wouldn’t go that far, but nobody other than Aaron Sorkin can write better dialog than her when she is hot. Unfortunately the show didn’t last long enough to rival Gilmore Girls.
John Williams is going to score the next three Star Wars movies. They wouldn’t be the same without his music .
Netflix is rapidly turning into a major source for new television material. Arrested Developmentwill return for another season. Netflix has also renewed Orange Is The New Black. It appears that HBO will be renewingThe Newsroom, perhaps with an official announcement coming soon.
It is looking like Rosamund Pike and Ben Affleck will be playing the leads in the movie adaptation of Gone Girl.
J.K. Rowling says a sequel to Cuckoo’s Calling should be out next year.
“During the cold war, West Berlin was an ‘exclave’ – a tiny outpost of liberalism surrounded by people who want to crush it. It was like Austin, Texas.” –Craig Ferguson during Barack Obama’s trip to West Berlin
A prequel has been released for The Bells of Saint John, next week’s episode of Doctor Who (video above). I bet pretty much everyone guessed how it would end pretty early in the clip, remembering how the Doctor also first met Amelia Pond as a young child. The Doctor is searching for Clara but I’ve already found her in a couple places:
As can be seen in the above trailer, the Doctor does find Clara. We still do not know who she is, and are unlikely to guess according to Doctor Who Producer Marcus Wilson:
What’s lovely this year is that we’ve also got a thread running through these eight very different, very exciting stories – the mystery of Clara. She’s the impossible girl. The Doctor has met her twice before and both times she died. This time he’s determined to keep her alive and to discover who or what she really is. It’s a riddle that won’t easily be cracked. I defy anybody to guess it. Steven Moffat has found a way to lead everybody down the garden path and then knock them over with surprise at the end.
Above Jenna-Louise Coleman interviews Matt Smith
There’s also talk of revealing the Doctor’s greatest secret, and of a love triangle involving Clara and River Song.
Jenna-Louise Coleman appeared on Craig Ferguson’s show last week (video above).
Doctor Who first made the cover of Entertainment Weekly in July 2012 in a cover story about cult television. Now he is on the cover twice more with two different versions of the cover for this week’s edition on the 50th anniversary. (I was happy to find that my home and office waiting room copies each had the different cover). Here are the two covers:
But what happens after the anniversary? There’s another round of rumors that Matt Smith will leave the show after the Christmas Special, along with Jenna-Louise Coleman saying there may be a delay until the next season due to Steven Moffat being busy writing the 50th anniversary episode and Sherlock.
Revolution returns on Monday–view the first eight minutes above. Between the action scenes Aaron questions what Elizabeth knows. Now that Elizabeth has been reunited with her family it would not make any sense for her not to explain what is happening. We will see everything revealed in the thirteenth episode, to air April 8. Executive Producer Eric Kripke says this will open the door to new mysteries:
On revealing why the power went out
Kripke: In episode 13 Rachel reveals pretty much every single thing there is to know about why the blackout happened and every time I watch that scene– and she’s brilliant in it — but that scene’s a hard swallow every time because you’re like wow we’re just saying it. And it goes against many of your baked-in sure-weather instincts are not to have the scene that reveals every single thing in three minutes. And so we reveal really why the blackout happened but the card I think we have up our sleeve is I think the explanation really opens the door to much greater story possibility.
On Rachel’s role going forward
So Rachel’s quest is specific and she’s incredibly proactive. She’s making a straight line towards what it is that she needs to do. And the fun part that, you know, Eric had talked about before is that she also unloads everything; the entire secret, the entire history in one crazy conversation in Episode 13.
So I think that people will enjoy the fact that she has a lot to say and that her admonition or her quest is very powerful and proactive which I love in a character. It’s always nice to see women, people, anyone – your protagonist going after what she wants full force. So I think that’s going to be fun.
On what comes after that secret is revealed
Kripke: I don’t think we box ourselves in a corner. I think we open a door to a whole new world. And then we ask more questions. Because for me the story was never about what caused the blackout. I think it’s for me it’s like the show isn’t just based on one particular mystery, it’s based on these characters and this world and this kind of transformed landscape that they have these adventures in.
One of the more disappointing plot lines so far on Revolution was seeing how Aaron left his wife, feeling she would be safer without him. Kripke answered a question on this at PaleyFest2013:
Zac Orth wasn’t in the house, but his character Aaron was a hot topic nonetheless. When an audience member told the panel that he wasn’t a fan of how Aaron abandoned his wife so quickly, Kripke promised that that plotline would be addressed. ”He sees her again, and they’re able to work out their issues, and they do have a face-to-face,” he says. “She’s in the present day and you catch up with what she’s been doing for the past decade or so.”
Mad Men is also returning with a two-hour season premiere on April 7. Promo above.
Last season Vincent Kartheiser (Pete Campbell) and Alexis Bledel (better known as Rory Gilmore) had an affair. Now the two are engaged in real life. With Bledel’s character undergoing the Eternal Sunshine of the Spotless Mind treatment it is doubtful that their affair will resume on the show. Plus Alexis Bledel is in a new pilot based upon the excellent UK sitcom, Gavin and Stacey, in which she will be dating Jason Ritter of The Event. Ritter was dating Lauren Graham (who previously played Rory Gilmore’s mother) last season on Parenthood. Meanwhile Pete Campbell’s wife on Mad Men, played by Alison Brie, is back on Community with an unknown future.
“Arnold Schwarzenegger has committed to appearing in at least one new “Terminator” movie. In the next movie, Arnold from the future will time travel to the past and tell Arnold from the past to wear a condom.” –Craig Ferguson
The season finale of Fringe, Brave New Worlds, could easily have been the series finale if the show was not renewed. While there will always be questions remaining on Fringe, the major story lines of the season were resolved. Knowing both of September’s warning and that Olivia was the source of power needed by William Bell, it came as no surprise that Olivia was shot. We also know that death is not necessarily permanent on Fringe, and her recovery due to high levels of cortexiphan around her brain was also predictable.
The season finale set up the situation for next season which we saw in Letters of Transit. We learned that Olivia was pregnant, William Bell was still around (explaining why he was in the Amber), and received the warning at the end of the episode that “They’re coming.”
Things will probably be more complex. Olivia seemed to hesitate before telling Peter that she was pregnant. At the time I was wondering if Olivia would say something suggesting she no longer had her old memories of Peter (or feelings for him). There is clearly something which Olivia held off on saying.
Was the timing of this warning just after William Bell’s failure to start a new universe for dramatic effect to set up the next season, or was there a connection between Bell’s actions and the plans of the Observers? Multiple explanations are possible. Perhaps the Observers had planned to live in Bell’s new universe and decided to conquer our world after this failed. Perhaps Bell knew of the plans and this was his attempt to save humanity the fate of living under oppressive rule by the Observers. Perhaps the Observers justified taking over the earth as a means of protecting them from mad scientists such as William Bell.
TV Guide has an interview with J.H. Wyman and Jeff Pinkner on how the season finale leads into season 5:
“They are coming!” Can we assume that the “they” is the Observers, and you’re lining up with what we saw in 2036? J.H. Wyman: Yes.
Are you going to stay in the current timeline, or will we see some flashing forward and backward next season?
Wyman: Well, let’s say that basically 2036 is extremely important to Season 5.It’s crucial, but having said that, everything that you have seen in Fringe from Season 1 all the way to 4 is really, really, really, really important to what’s going on in Season 5, and 2036 is part of that. It’s a 13-episode sprint; there’s no filler episodes. It answers some very bold questions. It culminates with a very satisfying type of crescendo that really is so important for the fans, that’s the biggest thing. That’s the only thing that’s really important is to make sure that they feel absolutely satiated.
Because Olivia did technically die in the finale, does this mean that was the moment September had envisioned? And, will she always heal rapidly and now never die?
Wyman: At the end of every season, we close a chapter, and you’ve heard us say that before, but this chapter being closed is a gentle closing for a reason. We wanted to allow the characters to be in the emotions that they fought for and deserved and allow them to experience a little bit of peace and understand where they are. Jeff Pinkner: Part of the answer to your question is yes, Olivia healed because of all the cortexiphan. At the end of Season 4, as Walter said on the screen, because of the wildly activated cortexiphan in her body, this experiment to heal her brain tissue would work. Because that’s not constantly the case, because that’s just a fleeting condition, absolutely, she could be killed. Wyman: They don’t know if anything is over. So they’ve been given that warning. I think that it’s best to have the audience not know either and be with them in that trepidation of going forward, going, “Well, maybe.” That’s more like real life, isn’t it?
Especially because the “X Man” who was supposed to kill her — as we saw in last season’s trippy animation episode — wasn’t very obvious.
Wyman: Basically, when Walter was going through the Nanites.From that episode when she was in William’s head, she said, “I know that’s the man who’s going to kill me.” She had a feeling that when she was in William Bell’s head, that there was a man and it manifested itself as a character in William Bell’s head in the comic that they’re experiencing and it had that emblem on it.
Then, ultimately, in this episode, you saw in the in the Nanites they had the emblem on it. When Walter recognized that that was William Bell’s creation by that mark, because that was the mark that William used to mark things with. So really, in a sense, it was William Bell who killed Olivia. You could argue, saying when she came out of William Bell’s head, she said, “That’s the man who’s going to kill me,” it was actually William Bell.
Now that Olivia is pregnant, will she worry about putting herself in the line of fire, or will Peter be worrying about her?
Wyman: You’ll probably understand that a lot more when you see Season 5, without spoiling stuff. That’s not something that’s going to be examined in the way you just laid it out. But keep in mind that in Fringe, when we say, “There’s going to be a love triangle,” it’s a weird show, so you can have a love triangle with two people, like two Olivias in the love triangle. So we can do some pretty freaky things, but it’s not going to be big issue.
Can we look forward to seeing the two universes bridged back together again? I actually like the other side now!
Wyman: We really appreciate you saying that because I think, no secret, that it was a really tough endeavor for us to actually introduce that. We fell in love with them and we were hoping that the fans would and we’re so glad to hear when people say that they missed them. Pinker: We had a conversation with Fox earlier in the season while we were closing the door, one of our Fox executive partners said, “I was so sad. I had tears in my eyes when we closed the door, and we said, “Yeah, these were characters that you never wanted us to introduce in the first place because you were afraid that nobody would care about them.” She said, “I was so wrong.” Wyman: Everything is a possibility on Fringe.
Will Walter feel a sense of responsibility for William Bell trying to destroy the two universes? Is that something he will be dealing with next season?
Wyman: We’ve always said that science is science and knowledge is knowledge; it’s how you use it that’s the evil. So while I don’t think he feels responsible, there’s many lessons Walter is learning and has learned since the first time we met him. If anything, it’s going to actually make him very positive that he did the right thing all those years by cutting a portion out of his brain.
Sometimes we are our own worst enemies, and hubris out of control like that is surely the end. Every civilization that’s ever fallen basically is because of some sort of hubris. It’s the overreaching of man, which is a huge, huge, huge thing in science fiction. How much knowledge is too much knowledge? He just feels, at this point, that they’ve made it through and averted this incredible disaster.
Before Olivia revealed to Peter that she was pregnant, she seemed to hesitate. Is there something she saw or something she learned when she died that will play into next season?
Wyman: You’re very perceptive. Let’s just say you will understand the hesitation.
There’s an indication that the Fringe Division will grow next season. What can you tell us about that?
Pinker: You will see changes, but you will see things that are familiar, as well. I know that’s a terrible answer, but the truth is, I just can’t say in specificity what exactly is going to happen.
Now that you know this will be your final season, what are you guys doing differently in your approach?
Wyman: We’re so thankful. Four years of everybody working incredibly hard, people have put their heart and soul in this show, and by some amazing miracle, we get a chance to get more canvas to paint on, and it’s like the biggest thrill and honor, and we’re just going into it knowing that we’re very fortunate.
The main concern is in no way shape or form are our fans going to be let down. That makes us feel really good that they’re going to be able to see a conclusion that is emotional, that is epic, that is going to make sense, that they can emote with and go through our characters and watch them on their final journey and put this show away in a manner that is worthy to all the hours they’ve invested in our characters. The only thing it does is make the pencil be a little bit more sharp, that’s all.
Leonard Nimoy says he returned to Fringe largely due to enjoying the idea of playing a villain, and might return next season.
Two additional genre shows deal in different ways with alternate realities–Awake and Once Upon A Time. Last week’s episode of Awake, Say Hello To My Little Friend, had Britten unconscious in the Rex world. He spent most of the episode in the world where his wife remained alive, unable to return to the other world until he figured out that the little friend he was having visions of was actually another police office who was involved in the conspiracy to kill him. Realizing there was a conspiracy sets up the two-part series finale.
There were a number of points of significance in this episode. It now looks more certain that the conspiracy was part of both worlds, but there is still no explanation as to why we have only seen talk of finishing the job in the Hannah universe should he not move to Oregon. Visions were once again a key part of an episode and the visions of Detective Hawkins were not completely limited to information which was already in Britten’s head. In one scene, the vision of Hawkins told Britten that the real world version of himself was outside, giving Britten information he otherwise would not have had. Another aspect of the series which has never been explained is timing in the two worlds. After living through a Monday in one world and going to bed does Britten then live through Monday in the other? In this case, Britten spent a long time in the Hannah world and then returned to the Rex world right after he passed out, by now on a previous day.
Once Upon A Time moves between our world and a fairy-tale world, where the stories are sometimes different from those we have heard. Since the start of the show I’ve feared that the premise could not survive several years, as should Emma ever be successful the story would be over. Over time the format could get tedious if we always knew that Emma could not reverse the curse. However, the show comes from the creators of Lost, raising speculation that there could be real game changers to rejuvenate the show each season. This is suggested in the video interview with Raphael Sbarge above. The show’s co-creators Eddy Kitsis and Adam Horowitz also suggested a Lost-style reset in this interview:
TVLINE | What other drama is going on in Storybrooke outside of the Henry thing? KITSIS | All of the stories in Storybrooke are going to be stemming from Henry falling. HOROWITZ | They all kind of converge around that pivot point. And the intensity does grow.
TVLINE | How is August doing? Is he flipping through termite control ads? HOROWITZ | We do check in on August and his condition, and that does play a part in the finale. Everybody’s agendas – Regina’s, Gold’s, August’s – all sort of intertwine around this crisis point.
TVLINE | What is Mr. Gold’s particular take on the Henry situation? KITSIS | We got his take in the last episode, where Regina says she came up with a sleeping curse, and he says, “All magic has a price.” So… magic has a price! It’s just a question of who pays it.
TVLINE | We’ve kind of come full circle on the Snow White story – she’s bitten the apple, and in the pilot Prince Charming rescued her. Or will the fairytale land be subject to a finale twist of its own? KITSIS | The finale will kind of tie up some loose ends to their story, and at the same time present a new avenue for Season 2. But…. Well…. HOROWITZ | “We don’t want to tell you,” is what it is. [Laughs]
TVLINE | I guess my bigger question here is: Should we prepare for some Lost-style “reset”? Will this be an instance of the playing field changing Sunday at 8:59 pm? HOROWITZ | How the audience perceives it, we can’t anticipate, but for us it does change the playing field. We like to think what we’re doing is evolving the show so that it remains true to what it’s been this year, but it takes a step forward into something new. KITSIS | I feel like the best way to experience the finale is to say, “What the hell are they going to do?” HOROWITZ | And one of our other goals with the finale – you’ll tell us whether we succeed or not – is that at the end of it you say, “What the hell are they going to do next?”
TVLINE | Will the finale introduce any new players to the canvas? KITSIS | It will introduce some new… story ideas. But as far as new characters, if you’re talking, like, Michelle Rodriguez showing up at the end of a Lost finale, no. That’s not to say there won’t be new characters next year; but this finale is about the characters we’ve introduced. HOROWITZ | And there may be some old characters seen in a new way.
TVLINE | What gamut of emotions will viewers be going through during, say, the final 60 seconds? KITSIS |All of them. HOROWITZ | Our hope is that in those final moments, there is a combination of satisfaction and also intense surprise. KITSIS | The emotion you’ll be feeling is, “Holy, holy, holy s—t.”
The Beatles have been mentioned on Mad Men in the past, but this week they managed to have a Beatles song played during the show. While Matthew Weiner has denied the exact figure, there has been speculation that it cost around $250,000 to get the rights to play Tomorrow Never Knows during the episode. Different articles on the subject quoted prices between $50,000 and $100,000 as typical for getting song rights for a television show. If Mad Men is going to provide a strong presentation of the 1960′s, it makes sense to pay what it takes to include the Beatles, considering how important they were to music of the era.
The big question after last week’s episode, beyond how they got the rights to a Beatles song, was why Rory Gilmore would hook up with Pete Campbell. Pete showed how creepy he could be when he returned to her house with her husband, but at least this was not as bad as when he tried with that high school student in a recent episode. You would think he would be satisfied with Alison Brie.
The Avengers showed considerable destruction in Manhattan (with much of it occurring just down the block from a hotel on 5th Avenue where I had stayed a few years ago). The Hollywood Reporter obtained the opinion Kinetic Analysis Corp., one of the leading disaster-cost prediction and assessment firms in the nation, as to the cost of the damage:
In an exclusive report for THR, KAC, led by Chuck Watson and Sara Jupin, employed computer models used for predicting the destruction of nuclear weapons and concluded that the physical damage of the invasion would be $60 billion-$70 billion, with economic and cleanup costs hitting $90 billion. Add on the loss of thousands of lives, and KAC puts the overall price tag at $160 billion.
For context, the Sept. 11 terrorist attacks cost $83 billion, Hurricane Katrina cost $90 billion, and the tsunami in Japan last year washed away $122 billion.
Although many buildings in the fight’s East Midtown arena suffered extensive structural damage, most were limited to the more superficial destruction of windows, facade and some interiors. Those buildings that had their tops crushed, though, would be especially costly and time-consuming to fix, as would be Grand Central Station, through which a warship crashed.
“The extensive damage to Grand Central Terminal could prove highly disruptive, depending on the subsurface damage to the subway system,” KAC notes. “Although such damage is unlikely, as the 9/11 events showed, collapsing buildings can cause significant damage to subsurface infrastructure such as gas, communications and electrical systems. Detailed site surveys will be required to assess the state of the subterranean infrastructure.”
KAC also predicts that liability would be a major issue. Who, exactly, will have to pay for the damage? S.H.I.E.L.D., they note, is likely protected as a government agency, though probes eventually will look into its role in predicting, preventing and responding to the invasion — just as they looked into the Ghostbusters.
“Most insurance policies have special provisions for acts of war, civil unrest or terrorism,” KAC adds. “Given the involvement of individuals considered deities in some cultures (Thor, Loki), there is even the potential to classify the event as an ‘act of God,’ though that designation would be subject to strenuous theological and legal debate.”
Watson said he was surprised by a lower-than-expected total. “Compared to the aliens in Independence Day, for example, these guys were amateurs,” he told THR. “Of course, the Chitauri/Loki alliance were more interested in conquest and ruling, whereas the ID aliens were just looking for lunch or something.”
Craig Ferguson is returning to Scotland for a week of shows. From the promo it looks like he might have used a TARDIS to get there.
Karen Gillan and Arthur Darvill have left the TARDIS. Here is a video of them leaving the set of Doctor Who for the last time. Jenna-Louise Coleman will be taking over. Steven Moffat has commented on the next companion, and what type of person becomes a companion:
Moffat has said that while the new character will “shock”, there will be familiar elements. He said: “I’ll answer you in the show about how it’s going to be different. But because it is going to be different. It’s going to be a shock, I think. In terms of the companions all being ‘the same’ – that’s not as phony or artistically crap a thing to say as it sounds.
“What is the base group of people who would run away with the Doctor? They’re all going to be a bit mad. A bit dislocated. Not happy with where they are. Are they yearning for outer space? They’re going to be people who feel like they can take on the Doctor, who’s quite an intimidating sort of person. So, they’re going to be feisty – they’re going to be all those things. He sort of defines the people who are going to travel with him. The distinction comes very much from the various actors and actresses. So, you know, they’re the ones who create the differences between them. But you are always going to have the same sort of person, just because it’s the same man choosing them, and it”s the same person being chosen.”
Moffat also addressed the trend for the companions usually being young women. He said: “I think the function of a companion is pretty simple. I don’t think that’s very difficult. It’s just a question of who credibly is going to agree to go in the TARDIS? Who’s going to do it? Is it going to be a mother of 15 children? No. Is it going to be someone in their 60s? No. Is there going to be a particular age range? I mean… who’s going to have a crush on the Doctor? You know, come on! It’s more than a format. It’s evolved from good, dramatic reasons.”
This has not been a good time for renewal of genre shows on network television. Fringe is coming back for one final abbreviated season but shows including Alcatraz and Awake are not returning. Community also returns for a short season. While there is not official word as to whether this will be its final season, moving the show to Friday probably places it at greater risk.
“There is an HBO movie coming out about the 2008 presidential election. Apparently John McCain is very unhappy with the way he was portrayed. He said he came across as a clueless and angry man. No one had the heart to tell him he was watching the toaster.” –Craig Ferguson
Several new pictures from the Doctor Who Christmas special, The Doctor, The Widow and the Wardrobe, have been released, such as the one above. More can be seen here. The official synopsis has also been released, and the trailer was posted here.
It’s Christmas Eve, 1938, when Madge Arwell comes to the aid of an injured Spaceman Angel as she cycles home, in this year’s Doctor Who Christmas Special, starring Matt Smith as the Doctor.
He promises to repay her kindness – all she has to do is make a wish.
Three years later, a devastated Madge escapes war-torn London with her two children for a dilapidated house in Dorset. She is crippled with grief at the news her husband has been lost over the channel, but determined to give Lily and Cyril the best Christmas ever.
The Arwells are surprised to be greeted by a madcap caretaker whose mysterious Christmas gift leads them into a magical wintry world. Here, Madge will learn how to be braver than she ever thought possible. And that wishes can come true…
Madge Arwell is played by Claire Skinner, Lily Arwell by Holly Earl and Cyril Arwell by Maurice Cole.
Matt Smith told WalesOnline that he would like to see more action in Doctor Who:
Doctor Who star Matt Smith said he wants to see “more action” in the next series of the Timelord’s adventures.
The actor, who is reported to have recently split up with girlfriend Daisy Lowe, said the sci-fi show’s Christmas special had a “Narnia-esque shape and feel” to it.
He told the Radio Times: “Whereas last year felt more like a Christmas romp, there’s a slow-burning, ethereal magic to this. We’ve covered a whole forest in snow. The scale is vast and there’s just something wonderfully magical about it because it’s never that snowy in this country, except maybe in Scotland … and on the telly. It does it for you: all the snow and the lovely smell of the pine trees. I’m really, really looking forward to Christmas now.”
Smith also revealed he had been doing his stunts for the show – one of which involved him dodging a giant fireball.
He said: “Believe me, the fireball does so much of the acting for you. It was only afterwards that I realised I could have been seriously charred.
“I’ve been really enjoying it. Hopefully we’ll see more action/an adventure-y Doctor next season.”
The Christmas special also includes appearances from familiar faces including comic Alexander Armstrong, Arabella Weir and Bill Bailey.
Bailey, who is a devoted fan of the long-running BBC show, said appearing on it was “the equivalent of a knighthood”.
Smith has held several other recent interviews in light of the upcoming special and the release of the DVD box set from last season. Above is a video of his interview last week on BBC Breakfast. Stories include the presence of three Doctors (including himself) at a party for Steven Moffat’s birthday. Smith has confirmed that he will be returning for the upcoming season, next year’s Christmas special, and the 50th anniversary special of Doctor Who.
Karen Gillan said that Amy and Rory will only have a cameo role in the Christmas special, which reconciles previous reports that she will not be in the show along with reports of filming a scene outside Amy and Rory’s home.
Alex Kingston was on Craig Ferguson’s show earlier this month (video above).
This trailer for BBC1′s Christmas shows includes an appearance by Matt Smith, Karen Gillan, and a Cyberman.
Terra Nova revealed the shows’ big secret in last week’s episode, although there is the possibility that Taylor was lying. His claim is that his son and the Sixers are conspiring to make the portal two-way so that the resources from the past could be taken to 2149. The explanation given didn’t fully explain why only certain people were in on this. Possibly there is conflict in 2169 regarding who gets sent back. This make it especially important the the past shown in the show was previously revealed to be a different timeline.
Movie Overmind spoke to Jennifer Morrison and producer Steven Pearlman about Morrison’s key role as Emma on Once Upon A Time:
We’ve only seen four episodes of Once Upon a Time, but it’s become clear what type of show it is, as well as the format. Each episode is almost a self-contained story in the fairytale world, giving us another piece of the main characters’ backstory as fairytale characters, while introducing a few new ones along the way (like Cinderella). In addition, the Storybrooke characters continue to develop and grow alongside their fairytale counterparts.
But two characters don’t have fairytale counterparts in Once Upon a Time: Emma and Henry. Emma is clearly one of the central characters of the show, and it’s her relationship with Henry – and the other town’s characters – that has prompted this independent woman to put down roots and become part of a family. During a trip to the Vancouver set of Once Upon a Time last month, we had the opportunity to speak to Jennifer Morrison about her character and how Emma will develop throughout the first season.
Morrison acknowledged that there’s really no way to do the “Emma episode” of Once Upon a Time, because she doesn’t have a fairytale counterpart. However, that doesn’t mean we shouldn’t expect to gain more insight into her character. The writers will give the audience ”a slower, steadier revelation of who she is. She’s revealed a little bit at a time through her relationships as the story goes on. Her willingness to get involved with certain people and her way of connecting to those people in those moments ends up revealing parts of her past. Those story lines, in a sense, become her flashbacks by proxy.”
Once Upon a Time’s executive producer Steven Pearlman told us that Emma will spend the first half of the season “coming to grips with the fact that she has a kid and her relationship to Henry and what it means to be a parent, what it means to be a single parent and what it means to give up your kid for adoption.” While Emma has decided to indulge Henry’s belief that the Storybrooke characters have fairytale counterparts, she doesn’t really believe it. However, Pearlman says “…these things keep happening….suggestions that maybe [Henry’s stories] are true. She herself is kind of caught in this place of ‘am I a believer or am I not a believer?’”
The biggest problem I see in keeping this story going as a weekly series is dealing with the fact that Emma is the one who has the power to reverse the spell. They obviously cannot have Emma be successful at this or the series comes to an end. More on Once Upon A Time from Jiminy Cricket’s perspective here.
While Jennifer Morrison is probably best known for her role on House. she also played Winona Kirk in rebooted Star Trek movie.
Johnny Capps and Julian Murphy, creators of BBC’s Merlin series, answer some questions here. Beware, the interview and the episode descriptions at the link have a lot of spoilers for those who have not started season for yet. Here’s a few questions without spoilers:
Q: Is there any more info on the Merlin movie?
A: it’s in early stages – we’re discussing talent right now, e.g writers, directors
Q: Will there be a sixth series of Merlin?
A: We’ve always planned five series, but it depends on how popular the show is . There’s every possibility it could continue…
Q: Will we see either Arthur or Gwen confront Morgana this series?
A: Yes, there’s a very exciting confrontation coming up between Gwen and Morgana!
Q: Will we get a glimpse of redemption for Morgana?
A: The end of this series is very surprising for Morgana! Stay tuned…
Q: Do you feel that Merlin has become a stronger show each series?
A: Yes – fantasy shows often grow with confidence. The closer we get to the legend, the richer and more interesting it gets… The ambition each year is to keep pushing the envelope. We’re always working to make the show better!
There were also questions regarding whether characters who have died this season might return. To avoid spoilers I have not posted the full questions, but the answers included comments such as “Who knows?? There’s no such thing as real death in Merlin.” In an answer about another character, they said “We loved working with ***, we’ve got plenty of ideas as to how *** could return! But when, we’re not sure…” The identity of these characters is revealed at the link.
Matt Smith returned to Craig Ferguson’s show last week, wearing a hat but not a Fez or Stetson.Matt also made a contribution to Swedish lesbians. Craig Ferguson prepared this musical introduction to an earlier interview with Matt Smith but it could not air as CBS failed to get clearance in time from the BBC:
Planet Gallifrey has quotes some information from Steven Moffat on next season of Doctor Who:
On the Doctor’s fame: “We’re going to explore that properly next series. The Doctor’s project is to sort of erase himself from history because there’s only so many times you can stand and boast at Stonehenge”
On the heavier story arc: “I don’t think Doctor Who will ever be as arc-driven again”
Due to the increased interest from the title ‘Let’s Kill Hitler’, Moffat has told the writers to really “slut it up” and “write it like a movie poster. Let’s do big, huge, mad ideas”
On Amy, Rory and River: “I do have an end game for all of them”
On River: “You realise you’ve learned nothing. She may or may not be married to the Doctor, depending on whether that was actually a marriage ceremony, or whether it counts if he’s inside a giant robot replica of himself”
On his future as showrunner: “Even though I’m more tired than I’ve ever been, I don’t feel any impulse to leave”
Moffat also says the cancellation of Doctor Who Confidential was a bad decision.
The boxed set of series six will contain six mini-episodes. They are described here.
Once Upon A Time premieres tonight but the pilot episode has been leaked on line (probably intentionally by ABC to create more buzz for the show). The above video shows the first nine minutes and I found the entire pilot to be enjoyable. The show, by Edward Kitsis and Adam Horowitz of Lost, does have some features in common with Lost, as well as many differences. Like Lost, the show alternates between two different scenes. While Lost had flashbacks, flashforwards, and sideways flashes in the final season, Once Upon A Time alternates between our world and a fairytale world. The Evil Queen casts a spell on the inhabitants of the fairytale world, taking away their happy endings and forcing them to live in our world in a town name Storybrooke without memories of their identities. The only person who can save them is the daughter of Snow White and Prince Charming, who is lured to Storybrooke. More on the idea behind the show:
Their unique tale explores what happens when the modern world and the world of fairy tales collide. In Once Upon a Time, a 28-year-old bail bonds collector named Emma Swan finds herself returning young runaway Henry, a 10-year-old boy she gave up for adoption, to the town of Storybrooke. Henry believes that Emma and everyone in the town comes from an alternate world, a fairytale land that, thanks to a curse by the Evil Queen, is now trapped forever in time. The characters have been brought into our world with no knowledge of who they really are. The series, which premieres Sunday, Oct. 23, at 8 p.m., stars Jennifer Morrison as Emma, Jared Gilmore as Henry, Ginnifer Goodwin as Snow White, Lana Parrilla as the Evil Queen and Robert Carlyle as Rumpelstiltskin.
“What really [Lost's showrunners] Damon [Lindelof] and Carlton [Cuse] taught us was it’s character first, mythology second. And we took that really to heart, and it’s that lesson that led us to this, how to tell this story,” said Kitsis. “Because we’ve had this idea for eight years, and it wasn’t until we were on Lost that we really figured out how to tell it, because we didn’t want to do a pilot where every episode was about the first five minutes of the pilot. … For us, it had to be about the characters and emotion. If Lost was about redemption, Once Upon A Time is about hope.”
“The stories are amazingly difficult,” said Horowitz. “We try to set an incredibly high bar for ourselves, and we always want to try to top ourselves and to push the limits of what’s possible on a network television schedule and budget, and for us it’s really about ‘How do we keep telling the stories that excite us and that we really love, and how do we keep finding new things about these characters to explore and reveal to the audience?’”
Once Upon a Time will feature both the modern world of Storybrooke and the lavish fairytale land in every episode.
“Every week is going to kind of be exactly like the pilot,” said Kitsis. “We are going to go back and forth between the two worlds, and we’re going to focus on a character and … highlight what that character had going on in fairytale land, and in Storybrooke you’re going to see the void that the cursed replaced it with.”
Maureen Ryan has more on the show, including ways it is and is not like Lost:
The Ways in Which ‘Once Upon a Time’ Is Like ‘Lost’
1. There are parallel and connected realities, as noted above. Horowitz: “The typical episode will be a version of a story in Storybrooke, Maine involving the characters you have met in the pilot and focusing probably on one of them, and taking us into the fairytale land where we see a version of [that character's] story, and there is hopefully some thematic connection with what is going on” in both places.
2. What the show is really about is not very high-concept. Kitsis: “That was what was so funny about ‘Lost’ — everyone was like ‘[It's] high concept!’ Not really. A plane crashed and now they’re stuck.” Similarly, ‘Once’ can be stripped down to very basic themes of loss, acceptance, community and connection. Horowitz: “Ultimately, it’s about these people in this town — what are their conflicts going to be, how are they going to find love or not find love, how are they going to find happiness or not find happiness.” Kitsis: ‘Lost’ “was not ‘Let’s come in and start pitching craziness!’ It was character. Hurley was a guy who was frightened of change in any form, so every episode, we were like, ‘Well, what is he frightened of in this one?’… It’s character first, mythology second.”
3. There’s a mythology, but each episode will work on its own. Horowitz: “There will be an ongoing story, but …each episode is a self-contained. …But if you’re watching the show, you’ll also be enjoying Emma’s ongoing struggle against Regina over [Regina's son] Henry and there will be those [continuing] elements.”4. Storybrooke isn’t an island, but it might feel like one at times. Kitsis: Fairy tales “were moral tales to teach children, and in a lot of ways, ‘Lost’ was about redemption. For us, ‘Once’ is about hope and that’s what we’re interested in [exploring] … It’s about an enclosed group of people trying to get over things.”
5. It’s ultimately optimistic about the possibility of change and redemption. Kitsis: “What I love the most about fairy tales … is, it’s why you buy a lottery ticket. It’s that your life can change. One day you’re Cinderella and you’re sweeping up for your evil stepmom and then the next day you get everything, and that’s what I love about these stories. When Charlie gets the chocolate factory… what I love about writing is it’s wish fulfillment. We try to write in a real way, but like at the end of the day, I want the chocolate factory and I want the golden ticket and we wanted to write a show about hope, especially in a time where I feel like it’s needed.”
6. It won’t be perfect. Embracing mistakes as learning experiences was one of their chief lessons on ‘Lost.’ Horowitz: “Anything that someone else may look at and say ‘Oh, that didn’t work’ or ‘It was a problem’ or whatever, to us simply was part of the journey. It was part of how we got to the endpoint that was the show. So there is nothing from the show I would say ‘Oh, I didn’t want [that],’ because it all organically [allowed] us to get the whole thing to be what it was.”
7. One of the show’s wizards is named Lindelof. Kitsis and Horowitz said that Lindelof was a huge help when they were working on ‘Once Upon a Time.’ Kitsis: “His name is not on this pilot, but he is in the DNA of it in the sense that like he has really helped us realize our vision of our show.”
The Ways in Which ‘Once Upon a Time’ Is Not Like ‘Lost’
1. Horowitz: “We’re not bringing Nikki and Paulo onto the show.” Kitsis: “Yeah, not yet.” Horowitz: “Season 3, episode 5.”
2. There are no polar bears, hatches, Others or downed airplanes. Kitsis: “For us, you can’t repeat ‘Lost’ because ‘Lost’ was its own unique thing, so why would anyone try?” Having said that, eagle-eyed fans will be able to spot little shoutouts to ‘Lost’ in some of the details of the Storybrooke world.
3. Their storytelling surrogate is a 10-year-old Storybrooke boy named Henry (Jared Gilmore) who’s really nothing like Hurley (or Walt). Kitsis: “Henry is us at 10, who’s into things that no one else is. … All the things that later in life, people celebrate about you are the exact same things that made you eat lunch alone when you were young, and that’s what we write about because that is where we came from.”
Another new series, Grimm, also deals with fairytales but sounds much less interesting to me. The premise is that the protagonist is a Grimm, whose family has the ability to see and track down fairytale monsters. It sounds like just another police procedural drama with a twist, and we already got one of those this season with Person of Interest.
Terra Nova shows potential, but to remain interesting will have to do more with the conflict with the Sixers and revelations as to the real motives for setting up the colony in the prehistoric past. It appears that this is the direction the show will be moving in based upon this interview from Entertainment Weekly with Brannon Braga and Rene Echevarria:
ENTERTAINMENT WEEKLY: Congratulations on the ratings uptick. I hear the show is going to get more serialized from here on? RENÉ ECHEVARRIA: It does. We’re going to roll out the whole Sixer mythology this season. You’re going to see who sent them here and why, and it all comes to a head in the season finale. BRANNON BRAGA: Whether it’s the strange markings on the rocks, or even the new thing we introduced Monday night with the container, all these things will culminate and be explored by the end of the 13. And it’s been fun doing that. As the episodes go on, the momentum will build with the ongoing storylines.
It was almost like you had these serialized elements in the pilot, then Fox said “make it more stand-alone.” BB: Are you sleeping with a network executive? Do you have spies?
That’s sort of what happened on Fringe. RE: It’s true in the first couple episodes, you do want to cast a wide net. And we are picking up those threads now. The story with Josh picks up a lot of heat about what he’s willing to do to get his girl here, and he gets way in over his head. It was an unexpected discovery as the season went along that this was a way to play scenes with the Sixers, but not with the adults. And it gives Josh and odd romantic triangle with Skye — how does she compete with an idealized person?
BB: The question was asked in [Monday's] episode — which we thought was a good template for what the show really is going to be like moving forward, with a mixture of stand-alone elements and ongoing storyline — there was a question asked: “What is Terra Nova really all about?” That’s a question we’ll begin to answer. Things are not what they appear to be. Clearly Taylor has secrets. Jim is keeping things about his Sixer visit from Taylor. And there’s something big going on that Jim finds himself in the middle of.
Will we see more of 2149? RE: We don’t see a lot of 2149. We come to see the conspiracy with the Sixers is being orchestrated in 2149, and as we get toward the season finale we will go to 2149 and see that more explicitly. But most of our storytelling takes place in Terra Nova.
BB: When we do go there, it’s very cool.
The ‘Help’ actress believes many movies that were made in the 1970s would not be commissioned these days as studio bosses are too afraid of “offending” anyone.
She said: “It concerns me that movies seem to be getting more and more conservative and watered down.
“I see movies made in the 70s such as ‘Network’ that I really don’t think would get made today. A movie that calls the audience to task for sitting glued to their screens, believing everything they’re told by the media? That would be considered too challenging today. Nobody wants to risk offending the viewers.
“Movies need broad appeal to succeed and bosses don’ want to alienate anyone.”
Emma, 22, believes many actors censor themselves to an extent where it has a severe impact on their performances.
She added: “I even hate it when people censor themselves. You can always tell when an actor has grown a ‘rhino skin’ to protect themselves. It comes across on screen and they aren’t believable.
“They’re dead in the eyes because they’ve been told a million times that they’re the greatest actor that ever lived. If you don’t realise what’s happening and get your feet back on the ground, it can be the worst thing that ever happens to you.”