SciFi Weekly: Patrick Stewart Returns to Star Trek; Spock On Discovery; Timeless Movie; Steven Moffat Returns To Time Travel; Humans Season Finale; Cloak & Dagger Season Finale; Marvel & DC Television News Briefs

After several weeks of rumors, it was finally confirmed at the Los Vegas Star Trek Convention that Patrick Stewart will be returning to Star Trek, reprising his role as Jon Jean-Luc Picard . Deadline reports:

The new series, which is not a Star Trek: Next Generation reboot, will tell the story of the next chapter of Picard’s life. It will be shepherded by Star Trek: Discovery co-creator/executive producer Alex Kurtzman who was tapped to oversee development of new Star Trek content under a big new overall deal with CBS TV Studios…

“I will always be very proud to have been a part of Star Trek: The Next Generation, but when we wrapped that final movie in the spring of 2002, I truly felt my time with Star Trek had run its natural course,” Stewart said. “It is, therefore, an unexpected but delightful surprise to find myself excited and invigorated to be returning to Jean-Luc Picard and to explore new dimensions within him. Seeking out new life for him, when I thought that life was over.”

“During these past years, it has been humbling to hear many stories about how The Next Generation brought people comfort, saw them through difficult periods in their lives or how the example of Jean-Luc inspired so many to follow in his footsteps, pursuing science, exploration and leadership,” Stewart continued. “I feel I’m ready to return to him for the same reason – to research and experience what comforting and reforming light he might shine on these often very dark times. I look forward to working with our brilliant creative team as we endeavor to bring a fresh, unexpected and pertinent story to life once more.”

We don’t have any specifics but it does appear that this will not be a reboot of Star Trek: The Next Generation, but will feature Picard after the events of the series. In other words, we will be moving forward, as opposed to the subsequent series which either took place in another part of the galaxy, or which have been prequels. This also avoids finding a way for him to appear on Discovery, as initial rumors suggested might be the case.

I think it is a safe bet that most Star Trek fans will be interested in at least checking this out, regardless of the nature of the series. (Although I sure do hope it is not Picard as headmaster at Star Fleet Academy.) This is also a wise move for CBS All Access. Presumably it will air at a different time than Discovery, making Star Trek fans more likely to subscribe continuously, as opposed to only taking out subscriptions part of the year to watch Discovery.

Jason Isaacs also appeared but was not talking about whether Lorca will appear on Discovery again:  “You can ask me any questions, any questions you like, including questions about any future sightings of Lorca, anywhere in Star Trek and I will probably continue to lie and keep secrets, like I did last year. You can ask anything you like, but you will get nothing out of me.”

Rainn Wilson discussed the Star Trek Short episode he will appear in as Harry Mudd: “It is very funny and weird. You see some alien situations you have never seen before in the Star Trek canon, and I am thrilled.”

Besides Jean-Luc Picard returning to television, we will have a different version of Spock on Star Trek: Discovery next season. Alex  Kurtzman discussed this with TV Guide:

Alas, Spock is definitely headed to Star Trek: Discovery in Season 2 but he won’t be the cool-headed Vulcan you know from the original Star Trek series. After dropping the big news that the OG character was headed to Discovery at Comic-Con, new showrunner Alex Kurtzman shared even more details about Spock’s much-anticipated appearance, and it looks like there’s some major family drama ahead.

“This is not entirely the Spock who has been formed enough to be the Spock that we know from TOS. There’s a lot of story about who Spock was before he becomes the Spock that is the yin-yang to Kirk,” Kurtzman told TV Guide. “What I’m so excited about is that we have an opportunity to present a version of Spock that’s both totally consistent with the Spock everyone knows but very, very different. And it’s all gonna tie to how we sync up with canon.”

Spock’s appearance on Discovery will be tied to his relationship with his adoptive sister Burnham, who he has never mentioned before in Star Trek canon. Kurtzman previously told us that Season 2 will explain exactly why Spock never brought up Burnham during his time on the USS Enterprisewith Kirk and the rest of the gang. And according to Sonequa Martin-Green, it looks like we’ll see firsthand some of the reasons why.

“We’re certainly gonna see Spock and we’re gonna be exploring those family dynamics,” she said. “We’re gonna see a lot between them.” Added executive producer Heather Kadin, “I think that like any brother or sister, there’s love. There’s deep wells of stuff. That’s what’s so great about exploring that relationship, is there’s a lot of tricky stuff that we get to dig into.” No word yet on who will play the famous Vulcan but we can’t wait to see him in action!

We will not get another season of Timeless, but we do have a shot at getting Rufus back. A deal has been made to bring back Timeless for a two-hour television movie to conclude the series. Entertainment Weekly quoted the show’s producers:

“While we wish we could’ve made another dozen seasons of Timeless, this is the next best thing,” said Ryan and Kripke in a statement. “We’re thrilled to take the Lifeboat out for one last spin and bring closure to our story. The studio, network, cast and crew are all doing this for one reason only: the fans. Because they deserve it. Because the fans made this happen and we thank them for their passion, support and helicopters. So? You guys want to get Rufus back or what?”

Steven Moffat is returning to time travel. Deadline reports that HBO has picked up an adaptation of Audrey Niffenegger’s novel, The Time Traveler’s Wife. Moffat, of course, is experienced in time travel from his work as a writer and show runner for Doctor Who.

Written by Moffat based on the novel by Audrey Niffenegger, The Time Traveler’s Wife is described as an intricate and magical love story about Clare and Henry, and a marriage with a problem… time travel.

“I read Audrey Niffenegger’s The Time Traveler’s Wife many years ago, and I fell in love with it. In fact, I wrote a Doctor Who episode called ‘The Girl In The Fireplace’ as a direct response to it. When, in her next novel, Audrey had a character watching that very episode, I realized she was probably on to me. All these years later, the chance to adapt the novel itself, is a dream come true. The brave new world of long form television is now ready for this kind of depth and complexity. It’s a story of happy ever after – but not necessarily in that order.”

Meanwhile, in the present, season 11 of Doctor Who has concluded filming. Some pictures from the season are available here.

Humans concluded on AMC a couple of weeks ago. While I downloaded it when it aired in the UK, I have held off on spoiling it until concluded in the US, especially with such a major event as (major spoiler) the death of Mia. Digital Spy discussed the finale with Humans creators Sam Vincent and Jonathan Brackley:

There’s only one place to start, really… When did it become clear you would be writing Mia and Gemma Chan out of the show?

SAM: Relatively early on. Obviously Mia is a completely central character to the show, and we took her on this journey – we were plotting her story, and it became clear that she was going to become this political symbol, a lightning rod, a face around which a group can gather.

And it was going to be about sacrifice. I remember, when we talked about her character, she’s always been extremely self-sacrificing. She’s always put others before herself, from Leo (Colin Morgan), and being a mother figure to him, to giving her life for Laura (Katherine Parkinson) in series two.

And we sort of felt like that self-sacrificing quality is the essence of the character in so many ways. And when we started her on this path, we felt that this could be the culmination of all of the stories of series three in many ways, in that every great movement, you could argue, needs a martyr.

I mean, I don’t necessarily agree with that, but many great movements have pivoted around a martyr. And when we had this idea that she could actually quite consciously make the decision to put herself in harm’s way because she understood the power of the world seeing that.

We felt like it was really exciting, because it was true to the character. It was meant to be moving, but it also was about how sophisticated and intelligent she was; that she makes a conscious choice to put herself directly in the firing line, because she knows the power of that image – that she had that kind of political savvy was really thrilling to us.

And obviously it was an extremely big deal to even contemplate killing off a central character like this. We spoke about it. Internally, when we were sure that this was the right story and felt true, we went and spoke to Gemma about it.

It was obviously extremely important to talk to her as early as possible, and to bring her into that process, and get her thoughts on it.

So it was a pure storytelling decision, then? It wasn’t motivated by anything else?

JON: No. It was purely borne out of storytelling decisions, from the very beginning…

Once you knew that you would be writing Mia out, did that impact on Niska’s arc for this series? Did her arc then become all about making her ready to become a leader?

SAM Yeah. That was very much in our thoughts. We’re always trying to do something new with the characters, and push something challenging on them. And for Niska, she has this great responsibility now. Literally, in episode eight, we see her say, “No, no, no – you’re thinking of Mia. She’s the mother of her species. She is the leader of the Synths.”

But for that baton to be passed onto somebody who’s not ready for it, or isn’t quite suitable, or is going to struggle to don that mantle… we felt that that was a really interesting point of connection between the two of them. And we loved that moment.

What exactly are Niska and V now that they’ve evolved into “Purple Eyes”?

VINCENT: Well, as the fans will know from season two, V is a near-omniscient AI programme that started off as a kind of template of the human mind, but has evolved and grown into something much more.

V isn’t limited by a body, and has this omniscience because she’s everywhere on the internet, and is connected to all things, and essentially, V has looped Niska into that.

So Niska now has a kind of similar all-seeing eye, and other abilities besides, perhaps, that we wanted to keep in our back pocket.

Let’s talk about Mattie, who’s giving birth to a human/Synth hybrid baby. What inspired that idea?

SAM: That child was referred to – and I can’t even remember why now, but throughout the whole story-lining process, that child was referred to as “the turbo baby”. I think it might’ve been our producer, the wonderful Vicky Delow who actually coined the term!

We’ve always had in the back of our mind that eventually there would be a synthesis – no pun intended – between humans and Synths, and that they would come together in some way. The great truth, the answer that we wanted to have, is that we’re not different to them and the future relies on mixing and melding [with] them.

It of course pushes the boundaries of just how science fiction we can be within the parameters of this show. But we wanted to find a way to examine how Synths and humans can come together.

Of course, we’ve had it before in Leo, who’s a central character. But when we struck upon this, we thought: it’s quite momentous, but it’s also very, very human, because it’s a young woman who’s fallen pregnant, with potentially extraordinary stakes.

We knew that we were going to have Mia’s death, and this huge battle, and the scenes with Niska and Odi, so we wanted to play all of that huge stuff, and then come back down to one of the most human things we have, which is Lucy Carless’s face, as she hears some impossible news.

We were always keen to have that as the final shot of this season. And fortunately, we were able to make it work, courtesy of Daisy’s writing and Richard’s great direction in this episode…

Cloak and Dagger completed its first season last week. TVLine spoke with executive producer Joe Pokaski:

TVLINE | Now that Tandy and Tyrone have finally gotten a taste of what they can do together, will that change how they operate next season?
Yeah, I think that’s exactly it. Season 1 was about understanding them as human beings, then thrusting them into a heroic role. Season 2, in our dreams so far, is about them choosing to be heroes, choosing to be vigilantes. We’ll look at the reality of it and how that bucks up against what you’re supposed to do — and what happens when you cross the line.

TVLINE | We’ve spoken about the pacing of the season. Will Season 2 follow the same gradual build, or will it be more hectic from the start?
Part of the reason we wanted to let it breathe was so you could really lock in on who these characters are. Having worked on a few genre shows, I know there’s an inevitability to it speeding up, which I think we saw begin around Episode 6. Part of the reason we deliberately lingered towards the beginning was because you can never go back. In truth, we’ll probably be at a similar pace in Season 2, or we might ratchet it up a little more. The training wheels are off a little in terms of storytelling, so we’ll be moving at a slightly quicker pace.

TVLINE | I guess it wouldn’t make sense for things to slow back down, especially since Tyrone is still wanted for murder.
Yeah, that’ll be a big obstacle. What we were excited to do — possibly because we’re masochists — was to take something away from Tandy and Tyrone at the end of the season. Tyrone’s main problem was that he was living in a gilded cage; in the first episode, he called his mom “smothering.” So when you do that on our show, it means that by the end of the season, you won’t have a mom anymore. We’re able to look at a different aspect of his personality and to knock him down and see how he gets back up. On the Tandy side, it’s the same sort of thing where she’s been in a little bubble — living alone and keeping people at arm’s length, which allows her to be cynical — but by the end, she’s seen what her mom’s gone through for her. She chooses to move back in, which is the right thing to do, but it’s going to be complicated. It’s going to recalibrate her morality, as well.

TVLINE | This is a potentially stupid question — and I’ve already told you I’m not a comic expert — but did Tandy and Tyrone break the curse of the Divine Pairing, or just prolong it?
They have broken the curse. We’re very excited about the idea of the next generation saving us all. We talked about it before Parkland and after Parkland. We love the idea that people have always said “This is the way it’s supposed to be,” and then our kids are the ones who say, “No. Just because you say this is the way it’s supposed to be, that doesn’t mean it has to be.” We take inspiration from Emma Gonzalez, the idea that we’re only going to be saved by young men and women who say “Enough is enough, we’re changing the rules.”

TVLINE | When Freeform announced that Season 2 will be “mayhem,” I figured we’d be getting a glimpse at O’Reilly’s alter ego. Was that the finished product, or will her look continue to evolve?
Everything we do with Mayhem, particularly in the first three or four episodes, is going to surprise the heck out of you. I don’t want to say too much, because I’m really excited about what we’re doing. It was a tease about how we’re turning up the volume in Season 2. Now that we’ve worked with Emma Lahana and we know what she can do, we’re going to present a Mayhem — and a character — unlike you’ve ever seen.

TVLINE | With a name like Mayhem, you’d think she’d be a villain, but in my research — again, not a comic expert — I found that she does a lot of good.
Yeah, she’s a little in the middle. The thing that excited me, in the most general sense, was the idea that if Tandy and Tyrone are choosing to be vigilantes, how do they react to the way that Mayhem operates? And how do they calibrate their own vigilantism, either away from or towards her?

Netflix has announced that season three of Daredevil will be released before the end of the year.

Moving on to DC television, and returning to Star Trek, Brent Spiner has been cast in a recurring role on Supergirl as the vice president.

CinemaBlend has a list of all of the new characters coming to the Arrowverse next season.

Arrow season seven will reportedly be closer in tone to the first season–which should be a big improvement over the last few seasons. Actually, if I remember correctly, I think that the second season might have been the best, but a desire to return to the tone of the first sounds like a wise move.

SciFi Weekend: More News From Comic Con Including The Orville, Star Trek Discovery, Doctor Who, The Expanse and CW Shows; Game of Thrones; Altered Carbon Renewed

Last week I began coverage of this year’s San Diego Comic Con, concentrating on Star Trek: Discovery, The Orville, and Doctor Who. This week I will add some additional information which came out at Comic Con on these shows, some information on other shows, and some news which came out later in the week.

Marina Sirtis will be guest staring in an episode of The Orville, which will be directed by Jonathan Frakes. John Billingsley (Dr. Phlox) is yet another former Star Trek actor who will be appearing in an upcoming episode of The Orville. More on plans for season two of The Orville in last week’s post and at TrekMovie.com.

Rod Roddenberry premiered a short film at San Diego Comic Con, which can be viewed here. More information at SyFy Wire.

Alex Kurtzman says that a new Spock has already been cast.

Last week I wondered whether Anson Mount would be taking command of the Discovery for the entire season, or just as an arc part of the season. This does not entirely answer the question of whether he will be in command of Discovery the entire time, but Mount did say how long he will be appearing on Star Trek: Discovery in this interview with TrekMovie.com:

They’re still shooting, so was it an arc or are you a season 2 character?

Oh yeah. I’m contracted.

For the whole season, I meant. Main cast, whole season?

Yep.

13 episodes.

Yep.

There’s something a little jaded about Pike when we meet him early on in “The Cage.” Would you say that maybe some of what he experiences in this is part of his arc that takes him to that point?

Editor’s note: The question was intended to touch on how “The Cage” informed Mount’s performance, and how it affects where Pike is now. The fast pace of the red carpet means sometimes questions aren’t phrased perfectly. To clarify, the events of “The Cage” took place in 2254, three years prior to DSC season two (2257).

You’re going to see some easter eggs that you’ll recognize about Pike, I can tell you that.

Michael Dorn says that there hasn’t been any talk yet about a Worf spinoff among the new Star Trek projects, but he is working on it:

“I think this Worf thing would be perfect — I mean, really perfect,” he says. “It’s just a matter of getting the phone number of the right guy or getting the email of the right person that can actually get you in there. It’s a little early in the game right now, but I still think there’s hope for it.”

Even though there’s a powerful mystique to being a Starfleet captain, Dorn’s idea isn’t to put Worf in charge of the Enterprise. Dorn is fascinated with Klingons and feels the race of warrior aliens could be explored even further. His idea is to put Worf in charge of a Klingon ship during a period of cultural change for their fictional empire. There would be different aliens — including humans — on the ship, and the shift toward diversity and inclusion would be a painful one for the Klingons.

“I’ve always liked the Klingons. I’ve always thought that they were the most interesting aliens outside of the Vulcans and all that,” Dorn says. “There’s a certain Shakespearian bent with the Klingons. They’re very nationalistic — there’s coups, there’s assassinations, there’s takeovers, there’s all these kind of things. Interestingly enough, they talk kind of Shakespearian.”

Chris Chibnall told Digital Spy why the upcoming season of Doctor Who will have three companions and be more of an ensemble:

“I love Doctor Who as a big, popular, mainstream, accessible show,” Chibnall said. “So I wanted to make sure that every member of the audience felt they had a relatable character, an access point. Hopefully it means that the show can resonate with the broadest possible audience.

“And of course, three companions with the Doctor… we’re really going back to 1963 – that’s the format of the show! You’re not changing the format, that’s how it started, really – which I only realised afterwards.”

The Doctor’s new friends – Chibnall says not calling them “companions” just feels “a bit more natural” but “is in no way a rule or edict from now on” – include Yaz (Mandip Gill), who is “in absolute awe of the Doctor” and Ryan (Tosin Cole), who “challenges the Doctor from time to time, gets it right sometimes, but wrong a lot of the time”.

“Ryan’s 19, Yaz is 19, and then you’ve got Graham who’s the oldest of the bunch, so we’ve got different generations, different genders,” Cole told us.

“People have an ‘in’, in three different ways,” Gill added. “We all bring something different to the group, with gender, race, everything. And just the personalities of the three characters are very different.

“They each have a very individual voice, where I think certain people will be able to instantly relate to Bradley Walsh’s character, instantly relate to Tosin’s… and hopefully just love us all!”

Walsh completes the trio as Graham, with Chibnall confirming that he thought of casting the star having worked together on ITV’s Law & Order: UK in 2009.

“He’s an amazing actor and that’s what I learned working with him on Law & Order,” he added. “He has an incredible emotional range. He’s able to be really funny, and break your heart. And these guys [Gill and Cole] are exactly the same, as is Jodie. It means you have a range of emotional flavours in the show.”

Io9 interviewed Naren Shankar, showrunner of The Expanse at Comic Con, and asked about the move to Amazon:

io9: Will fans be able to tell the difference with the shift to Amazon?

Shankar: I think we’re in real strong continuity at this point. Anybody who’s read the books know that the books change pretty radically, sort of season by season. We’re in book four now, and if you’ve read book four, that is set entirely on one of the alien worlds beyond the rings. We’re not going quite that far, to, just completely do that as the entire season. But I think one of the strengths of the show is that it keeps changing. But—hopefully we’re doing our jobs right.

It’s not like Ty [Franck] and Daniel [Abraham, who co-author the Expanse books as James S. A. Corey] stopped being involved in the show. [laughs]. So, it’s not that. [Show writers] Georgia Lee and Robin Veith have both moved on to other projects, but they’re still friends of the show and they’ll be part of it again, I have no doubt.

io9: Will working with Amazon give you more creative freedom, or at least release you from having to do things like bleep out swear words?

Shankar: Absolutely. None of those restrictions have to come into play, because those are all basic cable issues. What’s weird about it is that on Syfy all of that stuff was bleeped out, but if you happened to be watching it on Space in Canada, none of that’s bleeped out. It’s going to be, I think, terrific for the show, because we don’t have language restrictions, we don’t have nudity restrictions, we don’t have all of these things that conspire a lot of times to make, especially genre shows, not feel as adult as they should be. Not to feel real. In my mind, it sort of infantilizes genre [TV series] even more so. But that goes away on Amazon.

We also don’t have to jam the individual episodes into 43-minute chunks. There were a lot of times over the last few seasons that I’ve gotten a show through post, and it’s been like, “Man, it would much better if I could just open this thing up by two minutes.” But you can’t. That isn’t a problem on Amazon either. So I think there’s huge creative advantages. And honestly, this show was made for streaming. It was made for bingeing. That’s just what it is. And everybody [who works on The Expanse], I think to a person, would say the same thing. We kind of have found our home. This is the right place for the show…

io9: The third season had events from both book two and book three guiding its plot. Will there be any of book five in season four?

Shankar: Without giving too many spoilers [laughs]—there’s so much that is juicy from this point on. One of the great frustrations when we thought we’d been canceled at the end of season three was that the end of the third book is really the end of the first big movement of the series. Which is, after spending a lot of time inside the solar system, this gigantically important thing happens that opens up an entirely new frontier for humanity. And that starts happening in book four.

Yeah, the book itself is completely restricted to the storyline on this new planet, Ilus, and a huge portion of the new season [is based on] book four. But we’re also creating material [that takes place] back in the solar system, that reflects on the events on Ilus. It’s stuff that isn’t in the book, but it actually bridges books four and five going forward. There’s a whole bunch of things happening that are sort of referred to, obliquely, in the text, but we’re bringing them to life and actually playing storylines back in the solar system simultaneously.

io9: Can you name a couple of examples from past seasons when the show has added or changed material from the books?

Shankar: There’s a few examples, even going back as far as the pilot. Chrisjen Avasarela, she’s not in book one of the series. She actually comes into book two. Very early on, that decision was made to pull her into the original narrative to give Earth’s perspective of the events, so it’s not just Holden and Miller, which is the entire book one. Similarly, the character played by Elizabeth Mitchell, Anna Volovodov, she’s in book three but she’s not in book two at all. So because we knew that we would be bridging the end of book two and book three in the third season, we launched Anna at the beginning of season three—the backstory of Errinwright and her on Earth, that’s not in the books or the novellas. So we’re teeing up the narrative for future seasons of the show, but we’re creating new stuff that’s not in any of the published stuff. Ty and Daniel are right there with us, so we’ve talked a lot about how to bridge it. But I think people are going to be pretty psyched by what we do.

io9: Is the ultimate goal to finish the books?

Shankar: I would love to take the show to the end of book nine. Ty and Daniel have written a story that has a beginning, a middle, and an end. That is the perfect version of this for me—if we can keep the show going, and people like it, I think it would be remarkable to tell, because they are telling a story about the evolution of a species and sort of the fate of humanity in very, very big terms with a very particular point of view. I’d love to be able to take it to the end. That would be amazing.

Nora Allen said she made a “big mistake” at the end of last season, but it turns out that she made multiple mistakes per this report from ComicBook.com:

In an interview with Entertainment Weekly at San Diego Comic-Con this weekend, Helbing said that Nora (Jessica Parker Kennedy) has more than one mistake to deal with and that those additional mistakes are well on their way.

“There’s a bunch of big mistakes and they’re coming,” Helbing said. “It’s not just one.”

While Helbing didn’t elaborate on exactly what those mistakes were, during the show’s SDCC panel Helbing also revealed that the show, whose overall theme for season five is the concept of legacy, would be doing a younger version of The Rogues. If Nora, whose heroic codename is XS, is operating as a super heroic speedster in the future it would make sense that she would also have her own version of the Rogues, the iconic group of Flash villains in comics.

On top of the possibility of a Young Rogues, the season’s big bad, Cicada, has also been teased as art of Nora’s big mistake. A tease about the villain was supposed to factor into The Flash’s season four finale, but was ultimately cut for time, though it was confirmed that Cicada won’t be a speedster, something Helbing told ComicBook.com gave the show a way to change up the obstacles for Barry and the team.

TV Line looked at Legends of Tomorrow, including why they are not being included in next season’s Arrowverse crossover.

Supergirl will have feature television’s first transgender superhero next season.

Marvel’s Cloak and Dagger has been renewed for a second season.

It was revealed at Comic Con that the third season of The Man In The High Castle will premiere on October 5, with the entire season being released that date. Amazon has also renewed the show for a fifth season.

The final six episodes of Game of Thrones will air in the first half of 2019. A pilot for one of the prequel series will also start filming early in 2019. At present there are only plans to proceed with one series, with previous stories discussing several possible spinoffs.

TV Line has information on The 100.

Altered Carbon has been renewed by Netflix for a second season. Like Doctor Who, the show lends itself to the “regeneration” of the main character, or at least having a different appearance and star every season. Anthony Mackie, who has played The Falcon in Captain America and Avengers movies will play Takeshi Kovacs next season. It is not known if other characters from the first season will return.

Terry Gilliam’s Time Bandits is being made into a television series by Apple.

SciFi Weekend: News From San Diego Comic Con On Star Trek Discovery, The Orville, & Doctor Who

We learned from the Star Trek: Discovery panel at San Diego Comic Con that Christopher Pike will be taking command of Discovery, but it is not how much of the season this will apply to. Even before the second season of Star Trek: Discovery returns, CBS All Access will be showing more Star Trek in the form of shorts. From The Hollywood Reporter:

Called Star Trek: Short Treks,each of the four-episode series will run between 10-15 minutes and feature deeper storytelling surrounding the characters and themes from Discovery and the expanding Star Trek universe. The series will launch in the fall and roll out monthly, helping to keep awareness of Discovery high before its return in January 2019.

Rainn Wilson will reprise his role as Harry Mudd in a short he will direct. Aldis Hodge (Hidden Figures, Showtime’s upcoming City on a Hill) will star in another installment as Craft, a man who finds himself the only human on board a deserted ship. Additional episodes will explore Saru’s (Doug Jones) backstory as the first Kelpien to join Starfleet and Tilly’s (Mary Wiseman) journey aboard the USS Discovery and her friendship with an unlikely partner.

“There is no shortage of compelling stories to tell in the Star Trek universe that inspire, entertain and either challenge our preconceived ideas or affirm long-held beliefs, and we are excited to broaden the universe already with Short Treks,” Discovery showrunner Alex Kurtzman said. “Each episode will deliver closed-ended stories while revealing clues about what’s to come in future Star Trek: Discovery episodes. They’ll also introduce audiences to new characters who may inhabit the larger world of Star Trek.”

This should serve two purposes–keeping alive interest in Star Trek until Discovery returns, and giving fans a reason to continue their subscription to CBS All Access as opposed to only subscribing during the months when Discovery is on.

The following trailer was released:

Other news includes an announcement that Rebecca Romijn (X-Men) will guest-star as Number One. While Spock will be on the show, there is no answer as to whether it will by young Spock in flashbacks or Spock serving on the Enterprise. The trailer does indicate that Spock will be on leave at the start of the season, but will be involved in the problem which leads to Pike taking command of Discovery.

Alex Kurtzman was evasive when asked if Lorca will return after his apparent death last season. Culmets will be back, but we don’t know how. There was a hint that it had something to do with mycelium.

The video of the Star Trek: Discovery panel can be seen in the video above. Alex Kurtzman also discussed canon:

We know we owe you a lot of answers how Discovery connects to canon, and you will get a lot of those answers this season. Guaranteed. You’re just not going to get them the way you expect them. A lot of what the first season was about was about the crew finding each other, and coming together, and forming the foundation of a family. Now they really are a family. And so much of what’s will happen over the course of season 2 is going to test them constantly. And they’re even going to have to make choices between their real family and their starship family. So a lot of family pain is going to be a major part of it. As you may have seen in the trailer, there are these mysterious signals that appear. The signals are very significant, and form a lot of the investigative trail of why the Enterprise is here, and where they’re heading. And it will lead to a lot of surprises.

Earlier in the month I noted the plans for  James T. Kirk Straight Bourbon Whiskey. The next in the line of Star Trek themed spirits was introduced at SDCC: Ten-Forward Vodka. The manufacturer plans to send a batch into space, which will be blended with the larger stock so they can promote this by saying that every bottle contains a tiny bit of space-bound booze.

Star Trek Discovery will be returning in early 2019 with exact date not yet announced.

Seth MacFarlane said at The Orville panel that the initial marketing for the show gave the wrong idea about it. From TV Guide:

“Initially, I think the show was a little misrepresented in Season 1. It was marketed as a comedy, a hard comedy. I’m not sure why. I think there was a little bit of worry that this was so new and weird and different that it wouldn’t land if it wasn’t put into a box. It wasn’t necessarily representative of the show,” he said. “The nice thing is that the fans stuck with it and saw what we were, the tonal balance that we were riding and they embraced it.”

MacFarlane clarified that the marketing team for Season 2 was staying more in line with what he believes is the core ethos of the show.

“The show was always intended to be what it is now. I’ll start this by saying that I think the work that the marketing team at Fox did on the season is stellar. They just did a knockout job with [the Season 2] trailer,” he explained.

The feel of Season 2 is going to be a lot bigger in Season 1 as MacFarlane says the writing team is taking more risks in their sophomore season.

“There are two huge changes — the experiment was a success so in Season 2 the storytelling is more assertive and bold. There’s some narratively bold stuff that was just amazing to make,” MacFarlane teased. “What you’re going to see in Season 2 is a show that’s even more comfortable in its footing as far as existing in that Goldilocks zone [between sci-fi and comedy]… Every episode feels like a movie.”

IndieWire adds:

“This show was a tonal experiment of sorts,” MacFarlane said. “Comedy and sci-fi when you blend them together, they don’t always mix well. In features they do, but television is kind of hard to sustain. The pleasant surprise for me was that fans and viewers were willing to let us tell a story. They weren’t waiting for the next joke to come.”

MacFarlane said “different stories call for different tones,” just like life has different tones, and the comedy in “The Orville” was always meant as a “garnish” more than the main course. To that end, he said early advertisements for the hourlong series weren’t in line with the final product.

“Initially, I think the show was a little misrepresented,” MacFarlane said. “It was marketed as a comedy… I’m not sure why. Maybe there was a worry this was so new and weird and different it wouldn’t land.”

Video from The Orville panel above.

The Orville will return on December 30. More on the second season here, including that the second season will be at least one episode longer than the first as one episode was held back.

We have known for a while that we will have a new set of faces when Doctor Who returns, and Den of Geek has some additional information. This includes that, “Chibnall is writing five episodes and that two of the five guest writers on this series are women, including the first-ever woman of colour to contribute to the TV show.”

Deadline interviewed Chris Chibnall and Jodie Whittaker:

DEADLINE: Jodie, besides this being your first Comic-Con, you are the first female Doctor Who. What is the significance of that for you?

WHITTAKER: Oh, it’s huge, really. I mean, your whole mind-set is programmed from being a kid that to play the Doctor, you have to be a man, and if you’re a girl you can be, could be a companion. So as an actor, for those rules to be thrown out the window at this kind of perfect time is really exciting.

DEADLINE: Why?

WHITTAKER: Because for the first time, the Doctor regenerates, but regenerates in this completely brand new way, which is really liberating. For me, now approaching the part it’s really liberating because there’s no rules for me in this way. Also, it’s a perfect job for any actor because even though there’s the 12 previous shoes that you’re filling, you’re able creatively to make it your own. So, I think rather than feeling the pressure of that, I feel the excitement of that.

DEADLINE: Was the heritage of the show an advantage?

WHITTAKER: Well, no season of Doctor Who is like the previous in many ways and neither is a new Doctor, so coming at it with fresh eyes was helpful in so many ways because nobody knows the character before born into this new body. I just wanted to, I suppose, use my newness in myself to be able to bring that energy to the show. Then also, you know, there’s so many references. You’re never going to have a Doctor Who series without references to things that have gone before. So, I obviously have done enough research to know what I’m talking about.

DEADLINE: Clearly, you know the 10th Doctor, David Tennant, from your mutual work on Broadchurch. Did you discuss the role and the show with him or other of your Gallifreyan predecessors?

WHITTAKER: (Laughs) I’ve known David for years, but at first, I wasn’t allowed to speak to anyone because I wasn’t allowed to tell anyone that I got the job. So, it was the only the weekend before it was officially announced that I was able to speak to, very briefly, Peter, Matt Smith and David.

DEADLINE: Did they have any words of Time Lord wisdom?

WHITTAKER: I think the thing that was the overriding message was that you are going to have the time of your life. Also, that this is like no other job, and it’s completely unique for every single person who plays the part.

DEADLINE: Speaking of playing the part, Chris, the two of you obviously worked together on Broadchurch and you have penned a number of Who episodes in the past. But what is it like working with Jodie on Doctor Who?

CHIBNALL: Actually Dominic, that was the brilliant thing about it, really. Having known Jodie and worked with her previously, I know that she is limitless as a performer and is incredibly funny and full of energy, which something that many people haven’t had a chance to see. Often, and some of this is my fault, she’s been crying in shows for years on British television.

So, now, I think what’s been brilliant is knowing how amazing she is as an actress, is to try and give her as much variety, and as much range, and as many challenges as possible to reveal her range and skills. Because the part of the Doctor can go anywhere and should go anywhere. So, in terms of us working together again, that’s been the joy of it on a show that, I think we can all agree, is pretty much the polar opposite of Broadchurch.

DEADLINE: Jodie, not just in terms of gender but generationally, you are a different Doctor than say Peter was. In that context, do you approach this with a clean slate point of view or as a continuation of the greater narrative that Doctor Who has built up over the decades?

WHITTAKER: It’s not so much of a clean slate because you take what’s gone before, and you honor it. But to make it your own season, and for me, to make it my own Doctor, I want to take those elements that’ve gone before in a new direction without losing any of the rich history of show.

DEADLINE: How do you mean?

WHITTAKER: Well, the way we’ve been operating is that if you’ve been a fan of this show for the last 20 years or 50 years, then this will absolutely carry on your passion, and engagement, and excitement. But if you’re brand new to it, that’s OK too. You don’t need to have an encyclopedic knowledge to come into this with fresh eyes, and that’s of any age or gender. I think that’s what’s been exciting for me, because I didn’t come at this as a Whovian, and this is a show that’s inclusive rather exclusive and that’s great.

The official trailer is above and video of the Doctor Who panel is below. So far the BBC is only saying that Doctor Who will return in Autumn 2018.

There was, of course, far more news from San Diego Comic Con which I will return to next week.

SciFi Weekend: The Handmaid’s Tale Controversial Second Season Finale; Discovery Shows The Enterprise Bridge; Emmy Nominations For Genre Shows; Doctor Who Teaser; HBO Picks Up New Show From Joss Whedon; Sweetbitter Renewed; Downton Abbey Movie Announced

The second season finale of The Handmaid’s Tale was quite controversial. I had mixed feelings when I saw June/Offred decide not to flee to Canada. It was frustrating, and unexpected, that she did not take advantage of this opportunity, but I was also concerned while watching the minutes leading up to this that we might be seeing a replay of the first season finale–June on the verge of escaping and then being dragged back again. At very least I am glad that they wound up doing something different.

The question is whether the surprise ending is believable with what we know about June. We would expect anyone to want to escape that country if possible. Last season, when given the opportunity to try to escape, June attempted to do so.  However, some things are different. She saw her first child, and had to face the question of why she did not try harder to remain with her. She even has information about her daughter, giving her a chance at finding her again. While fighting the system in Gilead appears to be too dangerous to risk, seeing that the Marthas have united to rebel does give more hope.

It might be argued that she was attempting to escape when she tried to get the car earlier in the season, however we don’t really know that her plan was to try to escape to Canada. She might have planned to try to free her first daughter first. Plus at that time she was pregnant, and escaping Gilead with her soon to be born daughter would be motivation to try to escape. At the end of the second season she had the opportunity to both send her second daughter to safety and remain behind to fight.

Ultimately whether I accept the conclusion of the second season as a realistic choice will depend upon what we learn was in June’s head in the time and what she winds up doing. After two bleak seasons, I hope that the third season does show further rebellion. Of course with this show there is no guarantee of success. There is the danger that June winds up being captured and in an even worse situation, or even that the entire series ultimately ends with the execution of the characters in Gilead who we care about. Hopefully we will get a more optimistic ending than that.

There are also questions about several other characters. Will Emily actually make it to Canada and, if so, what does she do there. How far will Serena go in opposing the system? Will Aunt Lydia survive her wounds? I bet she will be back. What happens to the relationship between Nick and Commander Waterford now that it is clearer that Nick is involved with the resistance? There must be a limit to how useful Nick’s knowledge of Waterford’s secrets are against a guy cruel enough to have his own wife’s finger cut off for reading the Bible. What will Commander Lawrence do now that we know where his sympathies actually lie? Will the authorities realize that the Marthas were rebelling, and what action will they take? It will be far easier to have a mass execution of Marthas than of handmaidens (as they threatened at the start of the season).

We have some hints as to the answers in this interview executive producer Bruce Miller had with TV Guide:

Did you know from the beginning that Offred was not going to escape at the end of the season? And did you get push back from anyone else about whether or not she should escape or stay?Bruce Miller: There was incredible amount of push back from me and from everybody else. All we want is for her to get out. So even though storywise you want to do one thing, emotionally all you want is the other answer. So I guess we all wanted her to get out personally. But yeah, I mean, I knew from the middle of Season 1 that this would happen. So because of that, we were working toward this. I mean, once we started to feel the kind of deep vein of regret that Offred was feeling, or June was feeling at the prospect of leaving Hannah behind and how it was tearing her apart, we felt like [that] after she saw her. And after she kinda was faced with the idea of, “I am going to be able to get one child to safety, and now I just have to decide what to do myself.” I don’t think it’s a choice about whether you’re gonna stay behind to try to rescue your child, I think it’s a needto. I wouldn’t be able to leave one of my children behind… When we got to it, it felt very natural to the character. It is an impossible choice but we are faced with those all the time, so it is interesting to see what she does.

Have we seen the last of Emily and baby Nicole or is there more story to tell for those two characters?
Miller: We have not seen the last of Emily and Nicole. I don’t know that we’re gonna see Nicole going to her first prom very soon, or Emily for that matter, but we have not seen the last of them. We’ll follow them on their journey after they leave Offred in the tunnel, in the finale, we will be following them… I think that Nicole is quite a popular young girl. There’s lots of people who want her including a whole country of Gilead if she happens to get out… It’s a huge, huge puzzle piece of our world. It’s June’s child, and just as much as Hannah has been a huge part of our show Nicole’s going to be a huge part of our show whether it’s in influence or whether it’s in corporeal reality with someone holding her in their arms. She is the force to be reckoned with. She is the next generation that they’re all doing all of this for.

Will Bradley Whitford’s character be coming back in Season 3, and what are we gonna learn about him and why he helped Emily escape?
Miller:
 Yes, Bradley’s coming back for Season 3. He was exactly the kind of character we wanted to start building in Season 2. We were hoping his schedule would work out that he could come back for Season 3. I think we’re gonna learn a ton about him. I mean, I think the fact is he’s our Oppenheimer character. The man who designed an atomic bomb and then saw what it could do. I mean, he’s a designer of Gilead, and now he’s seen what it can do. So he is a mass of contradictions and dangers, so you never know what he’s willing to do, what he’s not willing to do. He’s been protecting himself for a very long time. And his adventure to keep himself alive certainly is not always an adventure that’s going to keep the people around him alive. But now that June has crossed paths with him, she’s going to cross paths with him a lot more in Season 3.

What you can tell us about Aunt Lydia and her future? We don’t see her actually die but it looks really bad at the end of the season.
Miller: Aunt Lydia doesn’t die. I don’t think Aunt Lydia can die. I don’t think there are forces in the world strong enough to kill Aunt Lydia. And by extension the incredibly strong, fabulous Ann Dowd, I think is with us for a long, long time as well. Aunt Lydia doesn’t die, she’s transformed by this event. The fact that one of her girls who — [she thinks] that there’s a love between her and her girls — has literally stabbed her in the back. I think that that alters your workplace feelings on a day-to-day basis. You don’t wanna turn your back. So I think that in some ways there’s a lot of possible effects. But I think in her case, it makes her double down that she feels like she just wasn’t strong enough in her discipline. So she, I think, has decided it’s time to get tough.

It was exciting to see Rita take a decisive action in the finale. What can we expect from her character moving forward?
Miller: Amanda Brugel, has really done a remarkable job with Rita. The fact that she’s both incredibly strong and invisible in the house is just, it’s a miracle of acting that she really has made her both a powerful force and you just completely forget that she exists. And I mean, and that’s supposed to be mirroring the way the Waterfords and the people in Gilead just let her fade into the woodwork, on purpose, because that’s the role that she’s supposed to play. But it’s great that she uses it strategically, and so everybody forgets about her, and then all of a sudden she has this freedom to build this network with all the other Marthas. They trade things back and forth, information and cinnamon and cheese and all sorts of stuff. And so they have a life going on there and a resistance network. You know it’s used for other things, black-market things, gossip, but now she’s turning it and using it as a resistance network.

I think she’s gonna have to do some very deft dancing to get around her comeuppance for her complicity in this, and I don’t know whether she will, but she is our representative of this group of women who have been pushed into invisible domestic roles like so many women in real society, in our society. She is, but she is not invisible, and she’s not domestic. She is a woman in full, and you get to see kind of the power that brings to bear. And I think, in [Season 3], we’re going to see some of the results of her coming out of her shell and becoming a little more visible. But I think the key for me is that she is a very smart survivor, and that’s what she’s going to continue to be.

We saw Nick, too, take a stand against Fred (Joseph Fiennes) in the finale to help Offred escape. What are the consequences for that choice are going to look like for him next year?
Miller: Nick did take a stand and impulsively, which is not his best — not a Crayola crayon he does do very often. He’s not an impulsive guy in general. And I thought is was such a kind of a measure of the closeness of his relationship with Fred and how much he was willing to risk… But yes, there will be repercussions for Nick. The interesting thing about Nick and Fred is that power dynamic between the two men and the two positions that they hold. One is kind of outwardly a leader of Gilead, and the other, Nick, is quite a powerful person behind the scenes because he’s a spy, and because he has dirt on people, and because he knows all the good and bad things people are doing, going to Jezebel’s and all those things. So I don’t think it’s a hammer that the commander can bring down so easily on Nick, or would want to…

Is there a happy ending to this story? Is that in any way the end goal or is everything always going to be terrible?
Miller: I think there is a happy ending, and I don’t think everything’s always going to be terrible… I believe in June, and I believe that if The Handmaid’s Tale is the story we’ve decided to tell from this imaginary place of Gilead, if June’s story is the story we tell, we’ve told it because it’s a story of hope. I do feel like every episode where it ends and Offred is alive, June is alive, it’s a huge victory and a story worth telling. To see how someone in this world doesn’t just survive, but in their own way, find ways to live, find ways to actually have a life, have intimacy. She sees her daughter, which she never thought would happen. So all of these things are huge victories for me.

But in terms of an ending, I think this is a story of a woman getting out of bondage. So I think in the end that’s the story, whether she is able to get out herself or whether she’s able to get one or more of her children out, or reunite with her husband. Those are all details, but I think the story is bending, I hope, because it exists, it’s bending towards a happy ending because this account of what happened exists means that somehow some way, June got that account out. That to me sets a story of kind of the triumph of the human spirit and hope.

Miller had more to say about why June stayed in this interview with Deadline:

DEADLINE: I often like to start these at the end, so why does June stay in Gilead at the end of the finale?

MILLER: Because she’s a mother. She has one child who’s going off to safety and one child that’s still here so she stays for her daughter Hannah. Whether she’s going to help her daughter or whether she’s going to try her hardest to injure Gilead, it really comes from two things. One is her mom saying you’re stronger than you think, which is something she realized about herself throughout the season. The other is her daughter saying why didn’t you try harder?

When she finally sees Hannah, Hannah says why didn’t you try harder to find me?

And she’s going to try harder and I think that after having a season where all these things that were seemingly impossible have come to pass I think she’s willing to take a chance. She’s not so willing to leave her eldest daughter behind.

Elisabeth Moss also supported her character’s decision in an interview with The Hollywood Reporter:

“Speaking with The Hollywood Reporter, Moss explained her take on the season finale and the game-changing decision for June to stick around in Gilead, saying there are two primary reasons for the development.

“There’s really a couple answers to this, and they are equally important,” she says when asked why June’s decision feels like the right way to end season two. “Hannah is the first one. It’s as simple as that. She cannot leave her daughter there. She doesn’t know if she can get back in if she leaves. What can she do from the outside? She doesn’t know. But here’s what she does know. She just discovered that there’s a legitimate and strong underground network of Marthas working for the resistance. The wives led by Serena (Yvonne Strahovski) just rebelled against the men and government of Gilead. They are starting to resist. And she just saw a commander (Lawrence, played by Bradley Whitford) help his handmaid and her dear friend Emily escape. A commander. How deep does this underground network of resistance go? She knows now she isn’t alone. She doesn’t want to leave Hannah, but when she sees Emily and the commander, she realizes she can get her baby Holly out and stay to try to do the same for Hannah. And she doesn’t have a lot of time to make that decision. She does the riskier thing, which is stay, but she literally cannot leave Hannah in that place.”

(For what it’s worth, Moss weighs in on why June told Emily to refer to Holly as Nicole, the name Serena gave the baby: “It’s a show of love for Serena and a thank you for what Serena did in letting June get her out. It’s June’s baby, but it’s June’s way of acknowledging Serena’s true love for that child.”)

In terms of why June’s decision to stay was the right way for season two to end, Moss says, “She is staying to fight to save all the children of Gilead. It’s bigger than her now. It’s bigger than her and Holly and Hannah. It’s all about the sons and especially daughters of Gilead, and fighting for their lives. Seeing the Martha network and the commander have opened her eyes. She is no longer alone. She has an army, and she’s going to fight back.”

“I don’t want to fight from the outside,” she adds. “I think it would kill June. To feel helpless like that. There are people doing the work that needs to be done in other countries, particularly Canada of course, that we show legislatively and trying to find their families and fighting Gilead in that way. There are very few people who can fight from the inside, and you have to have both. There are very few people who are as smart and experienced with Gilead as June is, who are as connected to a high ranking commander such as Waterford (Joseph Fiennes) or Lawrence, who know the ins and out, who have someone connected like Nick (Max Minghella), who knows that there’s a network of Marthas. She has very particular qualities that make her the one who should lead the resistance. Being in Canada, trying to change things from the outside, would just be extremely frustrating for her. And there’s probably no one who gives less fucks about what she has to do to get her daughter Hannah out than June does.”

The final moment of the season sees June pulling her handmaid hood over her head, more iconically cloaked in Gilead than ever before. And yet, Moss agrees that it signals an end for June’s life as “Offred,” even if it also means the birth of someone new.

“It’s not the June that was captured and brought to Gilead,” she says. “It’s not the June in the flashbacks. It’s a new June. She has become stronger, smarter, braver. She has learned a lot. She has experienced indescribable physical and emotional pain. She has changed forever, and not necessarily for the better, but in a way that she needs to have changed to be able to lead the resistance. She has hardened. She’s gotten very tough. She’s maybe colder. But that’s what she needs to be. She will never lose her humanity, and she will never lose the capacity to love as a mother, but that mother’s love can be the fiercest thing you’ve ever seen.”

Promotional pictures for season two of Star Trek: Discovery are showing the inside of the Enterprise.  The above picture is of Burnham walking onto the bridge of the Enterprise. Sonequa Martin-Green is quoted as saying,  “…we’re really going to be digging into family. A lot of questions are going to be raised; some are going to be answered.” Will that include showing Spock? There has also been a picture released of a Saurian, an alien species first seen in Star Trek: The Motion Picture.

Star Trek: Discovery, with two nominations, is just one of several genre shows to receive Emmy nominations. Discovery’s nominations are in the categories of  Outstanding Prosthetic Makeup (Series, limited series, movie or special) and Outstanding Sound Editing For A Comedy or Drama (One Hour).

Other Emmy nominations of note include Tatiana Maslany (Orphan Black),  for Lead Actress in a Drama Series, Jesse Plemons (Black Mirror: USS Callister) for Lead Actor in a Limited Series or TV Movie, and multiple nominations for Westworld, Game of ThronesThe Handmaid’s Tale, and The Americans. The full list is available here.

The official teaser for Doctor Who series 11 was released during the BBC’s coverage of the World Cup Final. We got a look at Jodie Whitaker as the Doctor, the Doctor’s new companions, and perhaps a timey wimy way to replenish a pizza box.  From Entertainment Today’s cover story on Doctor Who:

The choice of Whittaker to play the lead role on Doctor Who represents a massive gamble on the part of new showrunner Chris Chibnall — who’d previously cast Whittaker as a grieving mother on his cop drama Broadchurch — and the BBC, which successfully revived the sci-fi series in 2005 following a lengthy hiatus. More than 18 million Doctor Who DVDs have shipped, 12 million action figures have been sold in the 13 years since its relaunch, and in 2013 a 50th-anniversary episode was screened in 94 countries. In the U.S., the show has become the flagship series for BBC America, which will premiere the new season this fall, simulcasting the first episode so it screens at the same time as in the U.K. There is a lot riding on Whittaker’s ability to make audiences around the world fall in love with a female Doctor, as the actress is well aware.

“There’s no rules, and it’s liberating,” she says. “But it’s equally terrifying.”

EW spent two days on the set of Doctor Who for this week’s cover story, hanging out with Whittaker and the trio of actors who are playing the Doctor’s new companions: Bradley Walsh, Mandip Gill, and Tosin Cole. Your writer also spoke with Chibnall who explained why he had made the decision to make the Thirteenth Doctor female once Whittaker’s predecessor, Peter Capaldi, decided to leave the series.

“I just felt the time was right,” said Chibnall. “I think if the show hadn’t done it, we would have been behind the world, and Doctor Who has got to be out front leading the world, and being a great example of all the amazing things that are in the world. So, it wasn’t even a question in my mind.”

Above is a cross over episode I’d love to see (via Doctor Who Today).

HBO has picked up a new series from Joss Whedon. TV Line reports:

The Whedonverse is expanding to HBO.

The premium cabler on Friday gave a series order to Joss Whedon‘s The Nevers, which is described as an “epic science-fiction drama about a gang of Victorian women who find themselves with unusual abilities, relentless enemies, and a mission that might change the world.”

Whedon — who previously toyed with creating a “Victorian female Batman” for the stalled comic book series Twist— will write, direct and executive-produce the HBO drama, as well as serve as showrunner. His previous live-action TV forays include, of course, Buffy the Vampire SlayerAngel and Firefly, as well as Dollhouse and the co-creation of Marvel’s Agents of S.H.I.E.L.D. (where his brother Jed serves as co-showrunner).

Totally non-genre (unless you consider the abundance of shows about someone moving to the big city or restaurant shows a genre), but I was pleasantly surprised to find that STARZ has renewed Sweetbitter for a new season. I won’t say it is must see, but at times shows with short seasons come in handy, sort of as a long movie. The first season is six thirty minute episodes, making it easy to watch in one or two sittings. It was the inclusion of Caitlin Fitzgerald in the cast which caught my attention.

In the historical television genre, a Downton Abbey movie is now official.

SciFi Weekend: Pike and Spock on Discovery; Why The Enterprise Looks Different; Robert Picardo Returns To The Orville; Steven Moffat Fills In Plot Holes In Doctor Who; Legends of Tomorrow; The Arrow; Jessica Jones Renewed; Killing Eve

Anson Mount has been cast to play Captain Christopher Pike on Star Trek: Discovery. We don’t know much of the Enterprise will be seen on Discovery next season, but did get some clues from Jonathan Frakes, who will be directing two episodes next season. Last season he was the first to reveal that Discovery would be going to the Mirror universe. Frakes more recently revealed at the El Paso Comic Con that he will be directing the second episode of season two. The episode will include both Captain Pike and Spock.

The catch is that Spock will appear in a flashback of his childhood years, including a view of Michael Burnham. There is no word about whether an adult Spock will ever appear on Discovery, but the producers have expressed reservations about recasting Spock in past interviews. I suspect that they will be keeping adult Spock off screen, whether or not he is aboard the Enterprise at the time, but it is also possible they are hiding their plans.

We also learned why the Enterprise looked slightly different than the original Enterprise in the season finale of Discovery, to the frustration of some purists. (My review of the season one finale was here). The reasons came down to the changes in ownership rights to Star Trek, requiring these changes.  John Eaves, one of the designers for Discovery, explained the process on Facebook last week:

Back in April of 2017 the task of the Enterprise making an appearance came to be and work was to start right away. The task started with the guideline that the Enterprise for Discovery had to be 25% different otherwise production would have most likely been able to use the original design from the 60’s but that couldn’t happen so we took Jefferies original concepts and with great care tried to be as faithful as possible. We had the advantage of a ten year gap in Trek history to retro the ship a bit with elements that could be removed and replaced somewhere in the time frame of Discovery and the Original series…

The changes between the two enterprises are as follows. The new ship has more TMP struts than TOS struts, the main hull and nacelles are shorter and more plump, the deflector dish now has one antenna vs two, the impulse module is thinner from side to side, the overall ship has a heavier plating detail, and the exterior has a more broader range in lighting and nacelle glow. I am sure there are subtle differences but I have not seen any more than you have to make a more detailed comparison so look at the calendar as concept art and all will be good and hope this quick breakdown helps.

He added in a comment:

After Enterprise, properties of Star Trek ownership changed hands and was divided,, so what was able to cross TV shows up to that point changed and a lot of the crossover was no longer allowed. That is why when JJ’s movie came along everything had to be different. The alternate universe concept was what really made that movie happen in a way as to not cross the new boundaries and give Trek a new footing to continue.

If the recent attempt by CBS to purchase Viacom had been successful, there could have been a resolution of some of the problems caused by this division in ownership rights. Perhaps Vulcan could be saved.

Update: After multiple blogs and media outlets posted similar stories, CBS issued a statement saying that the changes to the Enterprise were for creative and not legal reasons, and that CBS does have the rights to use the original design of the Enterprise.

Also in Star Trek news, Star Trek: Discovery has been nominated for a Peabody Award.  Star Trek: The Next Generation previously won a Peabody in its first season, for the episode The Big Goodbye.

ComicBook.com has a look at Robert Picardo’s return to The Orville during the second season and recaps his appearance during the first season.

Radio Times reports that Steven Moffat has cleared up a few plot holes from Doctor Who in his novelization of The Day of the Doctor. This includes sort of bringing the Peter Cushing movies into cannon. No, he did not add yet another unknown Doctor like the War Doctor. Instead he brought in the movies:

In one of the new novel’s more meta moments, Moffat also explains away one of the greatest canonical issues in Doctor Who history – where, exactly, do the 1960s Peter Cushing films fit in?

For those not in the know, these films (called Dr. Who and the Daleks and Daleks – Invasion Earth: 2150 AD) were a remake of some early William Hartnell Doctor Who stories, starring Star Wars and Hammer horror icon Cushing as a human scientist who actually invented the Tardis (losing the “the” to become just Tardis) and battled alien nasties.

Obviously, Cushing can’t be counted among the official line-up of Doctors, but fondness for the films has led Who fans to keep him in their hearts – and now the new book finally explains his place in the canon.

According to Moffat’s Day of the Doctor adaptation, the Cushing Doctor Who films do exist in the main Whoniverse, with the actor playing a fictionalised version of the real-life Doctor with the blessing of the man himself. The new book shows posters from Cushing’s films actually hanging in the Black Archive, which Moffat has previously said he wanted to do in the episode that aired on TV – plans which were scuppered when the BBC were unable to get the rights to the artwork.

“Seen them? He loves them,” UNIT boss Kate Stewart explains to Jenna Coleman’s Clara Oswald in the episode when discussing the films.

“He loaned Peter Cushing a waistcoat for the second one, they were great friends. Though we only realised that when Cushing [started] showing up in movies made long after his death.”

That last bit, of course, is a reference to how the late Cushing was included in 2016’s Star Wars prequel Rogue One using cutting-edge CGI – though apparently it was just Tardis trickery instead.

Other questions answered include earlier meetings between River Song and the Doctor and why the stories about the first two Doctors were in black and white.

Legends of Tomorrow co-showrunner Phil Klemmer discussed last week’s season finale with TV Line and gave a hint about next season in a question about Mallus:

TVLINE | What is his agenda? What does he “want” most in the world?
He is a sort of bellwether of bad guys to come in Season 4. Up until this point, we’ve been dealing with earthly and historical bad guys, and we certainly had fun with all of that, but this year we dabbled in the world of the occult, through Damien Darhk and his enterprises. But you know that Constantine is coming onto the show [as a regular] next season, so we want to go deeper, we want Mallus to be used as “the tip of the iceberg.” He is not human, and we want to start playing with the idea that Earth hasn’t always belonged just to our kind.

We want to get into the world of fantastic myths and monsters a bit more. It’s kind of presumptuous for anybody to think they have ownership of this Earth or any part of it. Not to get deep into immigration metaphors, but Mallus is an ancient evil, he doesn’t understand humans and doesn’t understand why we have any claim to controlling this world of ours.

Of course this will work out well with the addition of Matt Ryan (Constantine) to the cast.

Arrow still has a few weeks to go, but I do like the idea of Oliver going more solo as we saw last week (as long as Felicity is still around, of course). Marc Guggenheim discussed the upcoming finale with Entertainment Weekly. ComicBook.com summarized:

“It’s gonna be interesting,” Guggenheim said. “It’s very, you know, I’ve been saying it’s an unconventional kind of finale. It still feels very much like a season finale. When I first started talking about it we hadn’t written the darn thing yet, but now we’ve written it and we’re in prep on it and on Monday we start shooting. And it’s a real game-changer.”

To a certain extent, the season five finale was also a game-changer for the show with Adrian Chase/Prometheus’ (Josh Segarra) end game resulting in Lian Yiu being blown up, Oliver Queen/Green Arrow (Stephen Amell) becoming a single parent after the murder of his son’s mother, as well as setting into motion some of the events this season — Thea (Willa Holland) in a coma, Oliver trying to find a work-life-vigilante balance, and the splintering of Team Arrow. However, what’s coming for the season six finale will go even further and Guggenheim teased that the aftermath of “Lian Yu” as seen in the season six premiere will play a role as they’ve been plotting up to this game-changer from premiere.

“The show fundamentally changes in the finale and I think you’ll see there’s stuff that we were seeding back in the season premiere that finally comes to fruition here in the season finale, so you’ll see that there was a very specific plan to the entire season,” Guggenheim said. “We always knew that this is where we were headed to. So, hopefully in subtle ways have been teasing this all along without you realizing it. My hope is that people are surprised, but also look back and are like oh, that was kind of the only way that they could have ended the season.”

There are also reports that Colton Haynes is returning to Arrow, which is a bit odd after Thea left the show to supposedly go with Roy.

Jessica Jones has officially been renewed for a third season on Netflix.

HBO has renewed Silicon Valley for a sixth season

SciFi Weekend has frequently gone beyond science fiction. At present two of the hottest new shows on are not science fiction, but instead both deal with killers, the reluctant hitman on Barry and the much more enthusiastic assassin played by Jodie Comer on Killing Eve. A discussion with the creator of Killing Eve,  Phoebe Waller-Bridge, and its stars,  Sandra Oh, and Jodie Comer, can be seen at Vulture.

One reason Killing Eve works so well is by the acting job done by Jodie Comer. Collider has an interview with her:

Will we get to know more about why she ended up in this profession?

COMER: Yeah, you do. As the story goes on, you definitely do see a little bit more of an insight into that. As the investigation progresses and they find out more information, you do learn a little bit about her. I don’t think her past excuses what she does, but I think it definitely gives you a little bit more of an understanding, as to who she is and where she’s come from, definitely.

It’s one thing to kill people and it’s another thing entirely to enjoy it, which she seems to do.

COMER: Yeah, absolutely! It’s like a life force for her. I feel like her job gives her purpose, for sure, and she wants to do a good job. She’s had so many conversations with Konstantin (Kim Bodnia), where she’s like, “Did you see what I did?! Did you see how good that was?! Are you impressed with me?! Because I’m impressed with me!” She’s so self-confident. She’s brilliant.

Do you think that will also get her in trouble?

COMER: Yeah, absolutely! I think she become quite careless. Konstantin is certainly in charge of her, and he sees this going on, so she loses a little bit of her independence and she can’t deal with that. Konstantin says, “Listen, you do what you’re told, and you don’t ask any questions.” She doesn’t abide by that, and there are consequences to that. What’s so lovely about their relationship is that he’s the only person who understands her and sees through her games. He’s like a father figure, in a lot of ways. It’s nice to see her actually have what seems to be a genuine relationship with someone, who she may actually care about, maybe.

Do you think she would still kill him, if need be?

COMER: I don’t know. I wouldn’t put anything past her, at this point.

Does she have a moral code? Is there somewhere that she would draw the line?

COMER: First off, I think she puts herself first, so if her life was threatened, then she would absolutely do anything. I think her independence is what’s most important to her, and why that is, you will discover.

How threatened does she feel by being looked into?

COMER: At the beginning, she thinks it’s just a game. She feels invincible. Maybe there’s a realization that they are actually getting information. She doesn’t speak Russian anymore. That’s the part of her life that she wants nothing to do with, and yet it’s getting dragged up by everybody else. That is not something that sits well with her, at all. What she does about it, you’ll have to see.

What does Villanelle think of Eve, and what can we expect from how that dynamic develops?

COMER: Villanelle lives this luxurious life, and I think she’s intrigued at how ordinary Eve is. She lives her life with her husband. The narcissist in Villanelle is like, “This chick wants to know about me? I’m gonna show her!” She wants to make sure that Eve gets to her. She wants to make sure that they meet. It’s a funny relationship. I feel like Villanelle is seeking something from Eve. Nothing material, but spiritually, there’s something. There’s a connection there that they’re both not sure of, but it’s undeniable. It’s there. There is a connection with Eve, on a personal level for Villanelle, because she reminds her of someone who is very close to her, in her past. It brings all of these emotions up.

Above is the official trailer to Killing Eve. At present it is still easy to catch up with both of these shows if you have not seen them. The second episode of Killing Eve airs tonight and the first episode remains available on line. The fourth episode of Barry will be on HBO later tonight, but as episodes are only slightly over thirty minutes it won’t take long to catch up.

SciFi Weekend: Agents of SHIELD and the MCU; Arrow; The Americans Return For Final Season; Hugo Award Nominees; Trish Walker Music Video From Jessica Jones

 

The last two episodes of Agents of SHIELD have been excellent, tying into the events of last season and fitting into the upcoming events in Avengers: Infinity War. This week’s episode, Rise and Shine, jumped back in time twenty-eight years to further tie HYDRA into the history of the MCU, including the upcoming war. TV Line has summarized Easter Eggs in the episode.

The episode did provide a compelling argument for SHIELD and HYDRA to unite, but I am appalled by HYDRA’s view on dogs. I am glad that General Hale put an end to that when it came to her daughter’s dog.

Earlier in the season I had heard speculation that SHIELD was moved into space and the future this season in order to avoid conflicting with Avengers: Infinity War. Instead they came back prior to the movie’s release, and are now tying into it. At WonderCon the showrunners gave a different reason for going into space:

Jed Whedon: Last year was a real kitchen sink year. We had a lot of stuff going on. We did alt world. We did Ghost Rider. We did LMDs. So we did two different versions of alternate versions of ourselves and so we were thinking ‘Where can we go that’s different.’

Maurissa Tancharoen: Mack’s line sort of reflects what we were thinking in the writer’s room. He turns to Coulson and goes ‘We’re in space. It’s the one thing we haven’t done yet.’ So it was definitely an area that we had been contemplating for a while.

In other words, they went into space as it is something they had not done before. Screen Rant suggests that they venture into alternate dimensions next season.

The future for the series is unknown. The show is on the bubble at ABC, and the season finale was written to be a series finale if the show is not renewed. Besides the usual factors involved in making such a decision, it is possible that the failure of Inhumans will give Disney reason to continue SHIELD with the absence of Marvel on ABC. This might not be enough with Marvel having shows on Freeform, Netflix, and Hulu.

Another factor is that Clark Gregg will be co-staring in Captain Marvel. As the movie takes place in the 1990’s, this will not conflict with his death in the Avengers movies. It does raise the question as to whether filming the movie would interfere with SHIELD returning. While they have been hinting at the possibility of Coulson’s death on SHIELD, which would bring the television show in line with the MCU, I doubt they would bring the show back without Clark Gregg.

The last two episodes of Arrow featured the return of Roy Harper and ended (spoilers) with Thea Queen leaving town with him. Many characters have left the show, and Thea did have a reduced role this year, but it was unexpected that they would eliminate one of the few remaining stars who have been with the show since the start.

Entertainment Weekly discussed the decision with Marc Guggenheim:

ENTERTAINMENT WEEKLY: What came with the decision to write Thea off the show now and whose decision was it? 
MARC GUGGENHEIM: At the end of season 4, Willa had come to us and basically said that she would like some more time for herself, and would like to reduce her role on the show. And we did, we reduced the commitment that she was making to us in season 5, and carried that over in season 6. Season 6 is the end of her contract, and going into season 6, with all of us knowing it was the end of her contract, Willa expressed the desire to move on, not re-up. She expressed a desire to be written out at a certain time in the season, which is around episode 16, so we accommodated her on that front as well. Look, we love Willa, we love working with Willa, we love the character of Thea, we particularly have always loved Thea’s relationship with Oliver. That relationship is one of the things that we deviated from the comic book early on. It was one of the very first major creative decisions we made in terms of adapting the Green Arrow comic for live action television. So it’s always been an incredibly important, critical part of the show for us.

At the same time, this is what happens when a show goes past five years. Actors start to reach the end of their contracts, they start to look towards greener pastures or new opportunities. I think this is true across all the shows. We never wanna stand in the way of someone wanting to express themselves creatively in a different way, on a different show, or through a different medium. So we took Willa’s request and took it seriously, and decided “Okay, well, if this is the hand we’re dealt, how do we play it as best we can and write off Thea in the most emotional and interesting way possible?”

Instead of getting a happy ending, Thea has set out to right her father’s wrongs. Why was this the most fitting ending?
This was something that came out of the writers’ room and it excited us for a variety of different reasons. For one thing, we really like the idea of writing Thea off in a way that suggested a larger story for her. One could imagine us, at some point in some medium, exploring the story of Thea, Roy, and Nyssa working to find these other Lazarus Pits. We tend to, as writers, gravitate toward stories that suggest other stories. As a showrunner, I got enamored with the notion of writing out a series regular in a way that didn’t suggest the end of a story, but rather the beginning of a new one. That’s not something that you typically see. Normally when a character’s written off, a series regular’s written off, it always feels to me like an ending. Sometimes it’s a literal ending and you’re killing off the character, but a lot of other times it’s like, well they’re going off and just living a much quieter life and there’s no more story to tell about them. I really like the idea of actually going the opposite route and suggesting a greater and bigger story for Thea. I just think that’s both interesting and unexpected.

You’ve always said you didn’t want to kill Thea, but was that seriously considered? Were there alternate possibilities for Thea’s exit?
There were. We talked certainly about the low-hanging fruit of “Well, the simplest thing to do is bring Colton back and have her and Roy ride off into the sunset together,” sort of the way they do at the beginning of the episode. That to me was the obvious choice. That’s the thing that you would expect given the story that we’ve told with Roy and Thea since season 1. But because it’s the obvious choice, that was one of the first choices we immediately discounted, because we never wanna do something that’s so patently apparent. Killing her off was never on the table. I’ve always been very sincere and consistent in my view that Oliver just can’t lose his last remaining family member. So that was never even on the table.

Is there a chance we could see her on the show in the future? And will we get an update on the destruction of the Lazarus Pits, whether Thea returns or not?
Really, honestly, it’s totally up to Willa. One of the things that I love about Arrow — and I think this is true for the other superhero shows as well, but I think Arrow‘s really shown a capacity for it — is no one is ever gone. Even the characters who have been killed off are never gone. People can come back in a variety of different ways here. In Thea’s specific example, there’s a whole storyline left to explore. We haven’t started thinking about how to do it in season 7 or beyond. I think we know Willa’s just finished Arrow, she’s looking to see what other opportunities are out there for her. But I love this idea of Thea, Roy, and Nyssa making an unlikely trio, exploring a different part of the Arrow-verse, a different corner of the Arrow-verse. It would be a shame not to revisit it. At the same time, we’ve also shown that we can tell Arrow-verse stories in other mediums: animated, comic books, and prose novels. There are those avenues open to us as well. So I don’t know what the future holds, but there are potentials out there.

It has become commonplace on the show for characters to leave and return, so I would not be surprised if they were to do an arc with Thea returning. They even brought Katie Cassedy back after her character was killed, and now Stephen Amell is teasing that Colin Donnell (Tommie Merlin) will be returning. Supposedly this will not be a flashback, but there are all sorts of ways they could have Oliver imagine the return of people from his past, without even having to resort to either a flashback or Tommie from another earth.

Caity Lotz will also be returning in the season six finale of Arrow, in addition to her regular role in Legends of Tomorrow. There is no word what her role will be, or how she will respond to the earth-2 version of Laurel.

The Americans has returned for its final season, with a jump to 1987. Throughout the series, the speculation was that, assuming there is no happy ending for the main characters, the show might end in the arrest of the Russian agents. The season premier has raised other possibilities. Elizabeth and Philip Jennings might turn on each other. Even worse, Elizabeth’s end could come from the pill she was given now that she is in a position where she cannot be arrested. Philip has left the spy business and Paige has entered. The season premiere also showed the importance that Elizabeth places on her daughter’s safety, suggesting that this might also be the one thing which could lead her to disobey orders from Russia.

Oleg has also returned to the United States. In the past there were jokes of a Stan and Oleg spin off. Now will it be Oleg and Phillip?

No matter how things play out for the Jennings, we know that the Soviet Union is heading towards its end. Their travel agency is also an anachronism, with the internet likely to change it in the near future.

This is all just speculation as the final season can go in a number of directions. Regardless of how it plays out, I am very happy that The Americans is back. It has consistently been among the top network dramas for the last several years. Plus The Americans shows that Russian attempts to influence the United States, and vice versa, are nothing new. This is a long-standing situation which is not about why Hillary Clinton lost an election that any decent Democrat could have won, and not a reason to panic and restrict free speech. We have survived Russian attempts to influence the United States in the past and can continue to do so if we can ignore cable news hysteria.

The 2018 Hugo Award nominees are out. Television shows nominated include episodes of Black Mirror, Doctor Who, Star Trek: Discovery, and The Good Place. Following are the nominees for movies and television shows:

Best Dramatic Presentation – Long Form

  • Blade Runner 2049, written by Hampton Fancher and Michael Green, directed by Denis Villeneuve (Alcon Entertainment / Bud Yorkin Productions / Torridon Films / Columbia Pictures)
  • Get Out, written and directed by Jordan Peele (Blumhouse Productions / Monkeypaw Productions / QC Entertainment)
  • The Shape of Water, written by Guillermo del Toro and Vanessa Taylor, directed by Guillermo del Toro (TSG Entertainment / Double Dare You / Fox Searchlight Pictures)
  • Star Wars: The Last Jedi, written and directed by Rian Johnson (Lucasfilm, Ltd.)
  • Thor: Ragnarok, written by Eric Pearson, Craig Kyle, and Christopher Yost; directed by Taika Waititi (Marvel Studios)
  • Wonder Woman, screenplay by Allan Heinberg, story by Zack Snyder & Allan Heinberg and Jason Fuchs, directed by Patty Jenkins (DC Films / Warner Brothers)

Best Dramatic Presentation – Short Form

  • Black Mirror: “USS Callister,” written by William Bridges and Charlie Brooker, directed by Toby Haynes (House of Tomorrow)
  • “The Deep” [song], by Clipping (Daveed Diggs, William Hutson, Jonathan Snipes)
  • Doctor Who: “Twice Upon a Time,” written by Steven Moffat, directed by Rachel Talalay (BBC Cymru Wales)
  • The Good Place: “Michael’s Gambit,” written and directed by Michael Schur (Fremulon / 3 Arts Entertainment / Universal Television)
  • The Good Place: “The Trolley Problem,” written by Josh Siegal and Dylan Morgan, directed by Dean Holland (Fremulon / 3 Arts Entertainment / Universal Television)
  • Star Trek: Discovery: “Magic to Make the Sanest Man Go Mad,” written by Aron Eli Coleite & Jesse Alexander, directed by David M. Barrett (CBS Television Studios)

My post on USS Callister is here, Twice Upon A Time is here,  Magic to Make the Sanest Man go Mad here, and Michael’s Gambit here.

The full list of nominees is here.

Netflix has released a pop-up musical video of Trish Walker’s video hit, Want Your Cray Cray. This was seen in season two of Jessica Jones, which both more on Jessica and Trish’s earlier years and foreshadowed Trish’s future.

SciFi Weekly: The X-Files Finale; Agents of SHIELD And The MCU; Star Trek Discovery Season Two Plans; The Ninth Doctor; What They Wear Under Those Cloaks On The Handmaid’s Tale

There are so many reviews already out there about how bad My Struggle IV was that I won’t spend much time piling on here. It is especially disappointing that this is not only the season finale of The X-Files, but it might also be the series finale. I gave them the benefit of the doubt after watching My Struggle III, hoping that essentially retconning last season’s finale would give them the opportunity to end this season in a better way. While they got rid of the alien invasion, the episode was not the season or series conclusion which fans were hoping for. At least there were some worthwhile stand alone episodes during the season.

For the benefit of those who gave up watching but have passing curiosity as to how it all ended, the episode centered around William, who was previously described as the son of Scully and Mulder. The episode ended with Scully telling Mulder, “William was an experiment. He was an idea, born in a laboratory. I carried him. I bore him. But I was never a mother to him. William wasn’t…”  This led to Mulder asking, “What am I now if I’m not a father?”

Then the big shocker to end the season: “You are a father!” Scully grabbed Mulder’s hand and put it on her abdomen.  “That’s impossible…”  “I know, it’s more than impossible,” Scully responded.

Chris Carter had this to say about the pregnancy in an interview with The Hollywood Reporter:

Given the twist about William’s paternity this year, can you confirm this is biologically Mulder and Scully’s kid that she is carrying?
I will confirm it is their child. But I will also confirm Scully has alien DNA.

Syfy Wire interviewed Chris Carter about the episode:

Did it feel different this year bringing the season to a close?

Chris Carter: No. I don’t think we’re at the ending as much as a new beginning. Or, it’s not a conclusion for me. It’s maybe one of the biggest cliff-hangers we’ve ever had. Certainly, with the carnage and the revelations. We did six last time, and 10 this time. Even though it took a year of my life to do it, it happens much faster. So, the arc is much quicker, and that struck me again.

When did the concept of the four-part “My Struggle” episodes come to you? Obviously, you had your Season 10 pick up, but did you know then that you wanted to tell this particular through line in four pieces?

Yeah, I had four stories to tell. They were the characters that were most central to the mythology being Mulder, Scully, the Cigarette Smoking Man, and Mulder and Scully’s son, William. Those are the stories I wanted to tell, so I’m glad everyone stuck with it.

Gillian had a very specific announcement this year saying that she was retiring from the character. Did that affect the tail end of the season?

No, it’s what I wanted to do always. I wanted to reveal William’s immortality. I wanted to bring Mulder and Scully back together in the most emotional way. So, I had all those cards to play.

Some showrunners have an idea of a last image that they want to end with. Was Mulder and Scully hugging on that dock with the knowledge that she’s pregnant set, or did that come from telling that story this season?

It was in my head and I couldn’t wait to shoot it. But that’s not the last image. (Laughs)

True. It was indeed William in the water alive. But was it Mulder and Scully or William you were moving towards the whole season?

You know, I’m so invested in these characters. I’ve lived so much of my life with them, and it’s a moment we’ve seen twice. We’ve seen it at the end of the second movie, and we’ve seen it now at the end of the finale. The revelation about the first child was a different situation. I really feel like emotionally they are connected in a way that we haven’t ever quite seen.

The X-Files has always been very subtle about portraying the romantic relationship between Mulder and Scully. But you let the writers lean into it this season with some really poignant moments. Why was it important to show that now?

I think that there was some part of us that heard the fans. There was another part of us that saw them both getting older and thinking about the future, and thinking about retirement and old age, and what their lives might be together. So, I think that these are poignant moments for two characters who have known each other for 25 years…

What was the wrap shot for the season?

I think the final shots that I shot were with some of the additional stuff that I had to do with Mitch for that action sequence. The sequence on the dock with Mulder and Scully was the second to last night. We tried to put it on the last night, but we were unable to do that.

Speaking of Skinner, we’re very well trained by you that unless you say someone’s dead, they aren’t dead. So, we see part of Skinner’s body. Do you want to say if he’s dead or not?

Well, you see him lying under the car. But you did see him fall before the car hit him, so while he’s motionless it certainly begs many questions…

I’ve got a nerdy question: In “My Struggle part II”, we get Scully’s vision of the end of times. And it showed CSM in a very different physical state. And then we see in this season that he looks fine. Are we supposed to assume his regenerated appearance is a result of his involvement with the various alien projects?

CSM’s had access to science that no one else has access to, and if he is a part of William’s immortality, what’s to say that he doesn’t hold the key to that in his cells? And when he went off the end of that pier, what does that suggest?

I’m going to assume until I see his dead body that he could be coming back at any point.  So let’s shift to the fact that Kersh closed the X-Files again. Are we supposed to take that at face value?

My feeling is that The X-Files has been closed before. They closed it in Season 1 actually, long ago. So, it’s not the first time. Practically, those files still sit down there in those drawers. And someone is going to investigate them. And if that’s Mulder and Scully, they’ll do it with the same passion they’ve always done it with. But the fact is that those files sit down in those drawers to be investigated.

David posed to me once that The X-Files should live on with a show about William. With Gillian retired from Scully, is that more of a credible direction for you to ponder as a spin-off?

No, I guess you could take that approach. I hadn’t really considered it. I like Miles Robbins (William). I think he’s interesting, I think the character of William is interesting, but that’s a different kind of show. That would really be starting from scratch. It’s more of a superhero show. That might be an undertaking, but I’m too tired to think about it right now.

Additional interviews with Chris Carter are available on TVLine and Entertainment Weekly.

The showrunners for Agents of SHIELD were asked how Avengers Infinity War would affect the show at WonderCon. While there was nothing very specific, they did discuss how the movies have changed what they do on the show (beyond the obvious first season response to the first Avengers movie). From Deadline:

“If you watched the trailer, a lot of sh*t goes down!” exclaimed Whedon. “These are the kinds of questions we can do everything but answer.”

However, he did provide us with something to chew on. “The movies blaze a path,” he continued. “When Doctor Strange came out it introduced us to magic which gave us Ghost Rider; when [Guardians of the Galaxy] came out, we were introduced to space. We are waiting for that movie to come out so it can open a new playground for us.”

TrekMovie.com listed what was learned about Star Trek: Discovery season 2 at WonderCon. Here’s some excerpts:

Regarding being in the Prime Timeline:

Aaron Harberts: The idea was to always be in the Prime Timeline. Obviously, there are questions and concerns and things that are different. Our technology is a little different. We have a ship that runs very differently. We are our own show in a lot of ways. Season two is really exciting for us. This is our opportunity to really show how Discovery fits into this Prime Timeline. We are firmly committed to that.

Regarding the dark tone of the first season:

Gretchen J. Berg: We are aware it is a different era and a different format for the show. I don’t think we are gunning for shock value. Everything always comes out of character and story. If it feels like something that would happen in that world and in that context, we go in that direction. It is not a group that leads with wanting to shock people or horrify people.

Aaron Harberts: [Season one] was an interesting season because it was set against the backdrop of war. One of things we are looking forward to in season two is a tone that we can now be in a more exploratory phase and a more diplomatic phase – maybe a bit more of a Trekian chapter…But, everything for us is really driven by character.

About the USS Enterprise seen at the end of the season:

Tamara Deverell: For the Enterprise, we based it initially off of The Original Series. We were really drawing a lot of our materials from that. And then we particularly went to more of the Star Trek movies, which is a little bit fatter, a little bit bigger. Overall, I think we expanded the length of it to be within the world of our Discovery, which is bigger, so we did cheat it as a larger ship.

Jason Zimmerman: It starts with them giving us designs to work with and then there is a lot of back and forth between VFX and [Tamra’s] department to make sure that we get everything right. There were a lot of conversations and more emails than I could remember about how the design would evolve and sort of match our universe, and that is how we sort of arrived where we are

About the uniforms:

Gretchen J. Berg: Well, we are in the same timeline. This is the prime universe and we are pretty close to when TOS happens.

Aaron Harberts: Well, we bump up against the Enterprise at the end of our [season one] finale, and we know what kind of uniforms they wear. So, we will leave it at that.

Regarding Saru:

Aaron Harberts: You will learn more about Saru this season. We had to lay some pipe early in episode 2 [of season one]. What are those threat ganglia. What do they do? What do they represent in the Terran Empire and a lot of that stuff will fold back in when we are back on the air.

ScreenRant has a clue as to what might be coming in the second season. They report on a deleted scene in which Section 31 recruiting is recruiting Mirror Georgiou.

Steven Moffat has released portions of an early version of the script for The Day of the Doctor, the fiftieth anniversary episode, in which Christopher Eccleston’s Doctor appears. Radio Times has some excerpts.

Eccleston recently told The Guardian that he was blacklisted by the BBC after he left Doctor Who:

“What happened around Doctor Who almost destroyed my career,” he says. “I gave them a hit show and I left with dignity and then they put me on a blacklist. I was carrying my own insecurities as it was something I had never done before and then I was abandoned, vilified in the tabloid press and blacklisted. I was told by my agent at the time: ‘The BBC regime is against you. You’re going to have to get out of the country and wait for regime change.’ So I went away to America and I kept on working because that’s what my parents instilled in me. My dad always said to me: ‘I don’t care what you do – sweeping the floor or whatever you’re doing – just do the best job you can.’ I know it’s cliched and northern and all that bollocks, but it applies.”

He described tensions on the show before he left with Radio Times:

“My relationship with my three immediate superiors – the showrunner, the producer and co-producer – broke down irreparably during the first block of filming and it never recovered,” Eccleston says in the latest issue of Radio Times.

“They lost trust in me, and I lost faith and trust and belief in them,” he continues.

Eccleston starred in the sci-fi series when it first rebooted in 2005 with Russell T Davies as showrunner.

Describing the situation as “very” stressful, Eccleston claims that he felt out of place playing a lighter role, and believes it may have contributed to on-set difficulties.

“Some of my anger about the situation came from my own insecurity,” he says. “They employed somebody [as the Doctor] who was not a natural light comedian.”

He adds, “Billie [Piper], who we know was and is brilliant, was very, very nervous and very, very inexperienced. So, you had that, and then you had me. Very, very experienced, possibly the most experienced on it, but out of my comfort zone.”

In the interview, Eccleston goes on to reveal why he’s only elected to speak on the subject in recent months, with the Salford-born actor suggesting he’d made an agreement not to “damage” the reputation of the series.

“When I left, I gave my word to [then-showrunner] Russell T Davies that I wouldn’t do anything to damage the show,” he says. “But they did things to damage me. I didn’t criticise anybody.”

Asked if Davies was aware of the issues, Eccleston says, “If you’re the showrunner, you know everything. That’s your job,” adding that he “never will have” a working relationship with the screenwriter again.

We finally got an answer as to what the cast of The Handmaid’s Tale wear under those cloaks:

Keeping in mind that the show is being filmed up in Canada where it can get quite cold in some regions it’s not too much of a surprise that some of the women have said that they either wear granny panties that cover nearly their entire abdomen or resort to wearing multiple layers of long johns to stave off the chill. Some of them even manage to tape heating packs to their bodies to keep warm as the cloaks don’t do much for warmth in the colder climate in which they film

There are also clues as to what happened to Offred after the cliff hanger ending of season one here.

SciFi Weekend: The Magicians Musical Episode; Black Mirror Renewed; Timeless Returns; Michelle Gomez on Returning To Doctor Who; The Expanse; Agents of SHIELD; Gotham; Lost In Space; Jessica Jones; Altered Carbon; Episode of Black-ish Too Controversial For ABC

Last season The Magicians went into battle with a musical number from Les Miserables (video here). This season they topped that in an episode with four muscical numbers, which also revealed where Josh has been.  The most talked about musical scene was Under Pressure where the entire cast was involved but my favorite was Kady (Jade Tailor) singing All I Need Is the Boy (adapted from All I Need Is the Girl from Gypsy). While most of the cast members have no experience singing, Jade Tailor does have experience with burlesque.

I have not been able to find a stand alone video of Jade Tailor’s song. Video of the entire cast singing Under Pressure follows:

The producers discussed All That Josh with Entertainment Weekly:

ENTERTAINMENT WEEKLY: In approaching the episode with so many musical numbers, where do you start — with the songs or the story? 
JOHN MCNAMARA: God, I wish it was that linear. [Laughs]
SERA GAMBLE: John, I remember you talking about the David Bowie song, like, the previous season. Am I remembering this right, that you kind of had this image in your head of everybody singing that song long before we got to this episode?
MCNAMARA: Yeah, I think the music was first. Initially, I think it was a much looser, even lighter, less menacing plot. At first, the design was almost going to be like a singing contest where there are high stakes to be lost. That didn’t really hold water, it just didn’t seem to work. [We realized] it had to sit in the serialized narrative of the show, it had to be about the quest, it had to be about something and someone you really cared about, and it had to also serve several ongoing threads that had nothing to do with this musical pocket universe. That just took a lot of trial and error. This was one of those episodes — you have one every season — where the normal episode will take anywhere from three days to two weeks to break the story, get all the beats on the board, and my recollection is this took six weeks. It stopped the [writers’] room. It literally stopped all forward momentum. Fortunately, we’d been on schedule with our other scripts and we kind of planned out. This was the knot to untangle at the end of the second third of the season. All hands were on deck. I give a lot of credit (or blame, depending) to my two co-writers Jay Gard and Alex Raiman. This was their debut professional script.

For me, one of the breakthroughs — which fortunately happened while I was out of the room, so it wasn’t my idea, but I immediately approved it — was the idea that it was a universe where there were dangerous consequences if you didn’t behave exactly the way the leader, Todd/the demon, wanted you to behave. That was a really important breakthrough, I think, for all the writers because it gave it a lot of bottom. It wasn’t just going to be like jazz hands.

When I got to this episode, I was surprised that it became about the group uniting. How did you land on taking it in that specific direction, where it’s about Josh feeling left out? 
MCNAMARA: Part of it was just an accident. We realized we hadn’t had Josh in a bunch of episodes. He sort of got bumped out of a block of episodes through no fault of his own, just that we have a lot of characters and a lot of plot, and that in a way felt fortuitous, that you could then make the show about what happened to Josh.
GAMBLE: Whether or not the episode we’re working on happens to have half a dozen musical numbers in it, we are always playing within the structure of a classic fairy-tale quest this season. Quentin especially is very, very cognizant of how these epic quests work and how each step of the quest challenges the quester in a different way. From the beginning in this case, the quest has been a group effort, and when Eliot is given the quest in the first episode, he’s both encouraged and warned by the fact that everybody is part of one whole, and that means that these different keys, as you try to get them, will challenge you in different ways. If they’re a team and they forgot Josh, that’s a problem for the quest. So that was really one of the first things that we could sink our teeth into. Unlike John, I really don’t have a brain for musical theater. There are a lot of hilariously ardent musical theater fans in The Magicians writers’ room, as you can tell, starting with John, and I am not one of them. I am sort of the grumpy person in the corner who’s drinking coffee and saying, “Explain to me how this would work if no one was singing.”

You had “Under Pressure” in the back of you head for a while, but how did you pick the other three songs for the episode?
MCNAMARA: We knew the opening number would have to reintroduce Josh in a big way. It would have to be a big, inexplicably well-choreographed number that tells you why he’s so happy to be here, how integrated he is into this universe. The dance tells you something nonverbally about the world and the character: He is the center of this whole little universe. He’s the lead singer, he’s the lead dancer, and Todd is kind of his enabler, and we later learn why. That to me felt like we needed something big and upbeat and party-ish. We listened to a lot of songs, I can’t remember the titles of all of them. Some of them were insanely expensive and popular, and the song “Wham Bam” I thought was really catchy and a lot of fun. I thought it was like a really good introduction. It then gave Alice, Quentin, and Kady something to stare incomprehensibly at.

Another [type of musical number] that I’m very fond of is cabaret, where most of the musical numbers take place on a stage, so that you’re seeing a character perform for an audience that isn’t the audience in the theater, it’s the audience of the Kit Kat Klub, and character and milieu are revealed through a little more of a sideways way in. On the surface, it’s not as revealing of character, but if you do it right, it’s very revealing of character. So that informed the decision to have Kady sing her song. All I knew about that song early on was I wanted it to be a Sondheim song, because I love his work and I think it’s really intelligent and it always has layers to it, and I knew that it had to be a torch song because I had an instinct early on that we do a kind of classic Mata Hari move wherein she would do something outrageous to distract all of these creatures, and mollify and entertain them while our heroes were off doing something nefarious upstairs with Josh. I thought the [“All I Need Is the Boy”] lyrics were just as good if not better than “All I Need Is the Girl,” which has pretty good lyrics. I thought that’s the perfect torch song and definitely for our really hardcore musical theater aficionados, who may number in single digits, it’s kind of a treat to hear what is kind of, for 99% of the world, a brand new Stephen Sondheim lyric and, in my opinion, does not disappoint when you want cleverness, emotion, and a not-sentimental emotion and depth from Sondheim.

Then I came to discover with Sera, Jay, and Alex was now we have to explain why it is Kady would choose to sing this song and do a striptease. Then we thought, well, her mom, who we met in season 1 and was a bit of free spirit, might have had a year where she decided to be a stripper and maybe she did this burlesque number and Kady remembers it and recreates the dress. Without necessarily intending to, suddenly the song and the number and the moment and even the suspense it creates all illuminates Kady’s character to a greater degree.

“Car Wash” was just that we wanted something fun for Josh to use to distract, but also to slowly reveal to him how empty and repetitive this life has become and how false it is. I thought disco was a pretty good route to get to the death of the soul. If you’re just doing disco for months and months and months, you’re going to see the emptiness of it. As I said, “Under Pressure” was always in the back of my head before there was anything like a story as something that all eight characters could sing as we intercut between their various worlds and their various problems. None of us started out knowing how or why. That was just always on the board as the big number. In a weird way, the only one that we planned ahead of time was “Under Pressure.” Everything else was kind of trial and error, and selected to either illuminate character or move the story forward.O

Inside the Magicians (video above) has more on the episode, including a very brief look at Jade Tailor singing All I Need Is the Boy.

Black Mirror was officially renewed for a fifth season. There is no word yet as to how many episodes

Timeless returns tonight. Spoiler TV has a preview of the episode here.

In an interview with Doctor Who Magazine, Michelle Gomez says she might return to face Jodie Whittaker’s version of the Doctor. She had this to say about the character:

I think it’s going to be really hard to shake this one off. Missy has made quite a big impression on me, and hopefully on the fans as well. She was such a great fit. Even though, for now, she has been laid to rest. I don’t think she’s ever going to be that far away. I loved playing this character so much, and it was really hard to see her go. But I think that in many different shapes and forms, she will be back. I can’t really say much more than that. I have never had this response to anything else that I’ve done, and I’m really grateful for that.

While her character appeared to be killed and left unable to regenerate, the Master has a long tradition of returning from apparent death. Plus time travel would allow for seeing her at a different point in her time line.

Syfy has released the above trailer for The Expanse season three, which returns April 11.

There were big moments last week for the 100th episode of Agents of SHIELD (discussed and spoiled here), and on Gotham. Although it was during a drug induced hallucination caused by Poison Ivy, Bruce Wayne had a vision of his future, with might be the only view of Batman we are likely to see on the show:

The Librarians has been cancelled by TNT, with there some talk of trying to have it picked up elsewhere.

Netflix will be releasing another remake of Lost in Space on April 13, and released the following trailer:

Jessica Jones is out on Netflix now. I have a four more episodes to go, but so far it has been excellent, showing more about Jessica’s backstory. While the series is slow moving, I haven’t minded. I would much rather spend time with Jessica, Patsy, and the rest of this cast than in the far less interesting world created in Iron Fist.

Altered Carbon is another show highly worth binging which came out recently on Netflix. It also starts out a little slow, but once I got to the second half it was hard to stop until the end.  While it has not been renewed for a second season, I would not be surprised if it returns after the success of the first season. They have the options of adapting the sequels to the novel, or writing new stories set in the universe created.  Joel Kinnaman, star of the current season, will be staring in Hanna on Amazon, and may or may not be available to return for a future season. However, somewhat analogous to Doctor Who, this series has a built-in way to cast a new lead. In this case, as occurred in the novels, Takeshi Kovacs could receive a new sleeve and have his consciousness placed in a new body, played by a different actor. If desired, they could continue this series with a different lead actor every year.

Black-ish has often dealt with political matters, but the episode originally scheduled for February 27 was not shown due to “creative differences.” Variety has some information on the episode:

Shot in November and directed by Barris, “Please, Baby, Please” features Anthony Anderson’s patriarch Dre caring for his infant son on the night of an intense thunderstorm that keeps the whole household awake. Dre attempts to read the baby a bedtime story, but abandons that plan when the baby continues to cry. He instead improvises a bedtime story that, over the course of the episode, conveys many of Dre’s concerns about the current state of the country.

The episode covers multiple political and social issues. In one scene, Dre and oldest son Junior (Marcus Scribner) argue over the rights of athletes to kneel during the performance of the national anthem at football games.

SciFi Weekend Time Travel Edition: Legends of Tomorrow Does The Time Loop; Doctor Who News; Timeless Season 2

Having the characters of a science fiction show enter a time loop as on Groundhog Day has been a common trope on science fiction shows. Last week’s attempt at this on Legends of Tomorrow might not have been the best version, but it turned out to be a great homage to the sub-genre. Tala Ashe (Zari) did an excellent job of expressing her frustration of repeating the same events repeatedly.

In some ways this was most like the version seen earlier this year on Star Trek: Discovery. The overall scenario was quite different from Magic to Make the Sanest Man Go Mad, but they were similar in having one character realize they were in a time loop, and having their ship explode at the end of each cycle. On both shows, one person realized what was going on, but had a hard time convincing others.

On Discovery, Stamets beat the time loop by convincing Burnham that he was telling the truth by showing that he knew everything she was going to say, and subsequently others were brought in.

On Legends, Zari initially had no success convincing others she was telling the truth. I was actually thinking at one point that time loops are such a common science fiction trope that the obvious thing to do is to tell people that things were happening like on Groundhog Day. Moments later Zari came close to this in a conversation with Nate. Actually she explained the scenario and Nate recognized it as Groundhog Day. Having it explained like Groundhog day was enough for him to believe her, and he and suggested that she only had to tell him that to get him on board next time. She did botch by saying Hedgehog Day, but she ultimately got the message across.

Groundhog Day is hardly the only example of this. Subsequently Ray was brought in, except that he related the scenario to Cause and Effect, an episode of Star Trek, The Next Generation. Other recent shows to use this trope have included the fourth episode of season three of Dark Matter, and the movie Edge of Tomorrow. While I did not watch the show, I also recently read that Xena: Warrior Princess had their own version entitled Been There, Done That. With this being such a common trope, it really should not be hard to explain what is going on if one encounters a science fiction fan while in a time loop.

The episode used the time loops partially for fun, and showing more about the characters. This included another rare occurrence of seeing Amy Pemberton give Gideon a human form. Other fun aspects including learning that Mick writes romance novels (and goes to great lengths to keep this secret). One time Nate suggested that Zari take a break and go though a cycle and just have fun, knowing she would have another chance to try to prevent the Waverider from exploding afterwards.

When Doctor Who returns next fall, major changes in how the show looks and feels are inevitable, between a new show runner (Chris Chibnall) and the first female Doctor (played by Jodie Whittaker). The show will also have a new logo, pictured above. A BBC America press release states that, “all official Doctor Who merchandise featuring the new logo will be available at selected retailers from February 20th, 2018.”

There will also will might be significant changes to the sound of Doctor Who. Murray Gold, who has been composing the music for Doctor Who since its return in 2005, is leaving.

Another rumored change might be moving the show from Saturday to Sunday. I hope this is the case as I regularly download Doctor Who as soon as possible after airing in the UK, except for when it conflicts with college football–as it inevitably will when moved back to the fall.

There are also rumors that an episode next season will deal with Rosa Parks.

Now that old television shows are easy to watch I suspect that there is far less interest in novelizations of episodes, but if people are still interested, Russel T. Davies and Steven Moffat are writing novelizations of some of the episodes they wrote.

For those interested in podcasts about both science fiction and Doctor Who, I recently discovered one worth subscribing to. Imaginary Worlds deals with a wide range of science fiction topics, and is currently running a series on Doctor Who. The first episodes was on the Doctor, the second was on the companions, and the third is on the Daleks, with briefer mention of other villains. The stories have a feel sort of as if This American Life was covering Doctor Who. The coverage includes both the original run and the new series. The podcasts would be great for someone new to the show to get a feel for its background, but long time viewers are also likely to find it interesting.

Another time travel show, Timeless, returns March 11. This was a rare case of a show being cancelled, and then the network reversing the decision and renewing it. Any chance someone went back in time to change the future for the show?

As Timeless ended on a big cliffhanger, which I looked at here, I am happy that it will be returning.

Following is the official synopsis of the season from NBC:

From Eric Kripke (“Revolution,” “Supernatural”) and Shawn Ryan (“The Shield”), season two of this thrilling action-adventure series will pick up right where we left off with our heroes. We continue to race throughout history with our beloved team: Rufus (Malcolm Barrett), a scientist; Wyatt (Matt Lanter), a soldier; and Lucy (Abigail Spencer), a history professor, in an attempt to prevent the destruction of our world as we all know it. This season they’ll find an unlikely ally in their quest to ruin Rittenhouse, a deadly organization with plans to change history and reshape reality — even though Lucy’s family has been a part of Rittenhouse for centuries. Still making every effort not to affect the past themselves, they will visit 1692, 1917, 1941, 1981 and more.  We’ll be introduced to the likes of Marie Curie, Hedy Lamarr, William Randolph Hearst and a multitude of other influential people throughout history. 

SciFi Weekend: Star Trek Discovery; The X-Files; Time Travel: Doctor Who, Timeless, and Legends of Tomorrow

With Vaulting Ambition I feel that Star Trek: Discovery has moved on from what was predictable and discussed in previous posts to new surprises. As I, and probably most of the internet, previously guessed, Ash Tyler is Voq, Lorca is from the Mirror universe and caused Discovery to wind up there, and Georgiou is the Emperor. All of this was finally confirmed, additional details provided, and new questions raised.

If you accept the logic of the Mirror Universe, most of the remaining revelations in Vaulting Ambition make total sense. In the Prime Universe Burnham was an orphan, was close to Georgiou, and betrayed her. In the Mirror Universe, the specifics are different, but this basic framework exists. As we learned last week that Sarek was not the one who adopted Burnham, it was not all that much of a surprise to learn that Georgiou was the one who adopted her.

It was already pretty obvious that Lorca had a special need for Burnham considering how he not only arranged for her to be on Discovery, but also acted very protective of her. Their connection was explained. Presumably the Lorca of the Prime Universe and the Mirror Burnham are dead, but having one or the other show up isn’t impossible. The writers sure played with the audience in both surprising us in the dinner scene with the revelations that Burnham was adopted by Georgiou, and subsequently that Burnham had betrayed her with Lorca. They also played with the viewers when Lorca was in the torture booth initially pretending not to know the name of the sister, as would be expected if he was from the Prime Universe. Then he suddenly gave it away.

There were already many clues. While there was already speculation that Lorca was the Mirror version to explain his very un-Starfleet like behavior, including leaving Harry Mudd behind with the Klingons, I became convinced of it in Lethe. The clues included him not remembering details of past actions with Admiral Cornwall and his behavior towards her, including attacking her and sleeping with a phaser. Another clue in this episode was finding that both Georgiou and Lorca eat Kelpiens, after Burhnam picked one out as we pick lobsters. Again this is consistent with Kelpiens being a prey species in the Prime Universe (even if not prey of humans). The clincher for Burnham was finding out about the shared eye problem between Georgiou and Lorca.

The confirmation that Lorca is from the Mirror Universe provides an answer for critics of Discovery who complain that what we have seen is not consistent with Star Trek. Lorca was not acting like a Starfleet Captain because he was from the Mirror Universe. The fact that his actions were found to be suspicious and he was at risk of losing his command shows that the rest of this universe is like the Star Trek universe we are accustomed to.

Burnham, who has frequently made bad decisions from her initial attack on Georgiou in the pilot to going to the planet last week, seems to have made another one in quickly informing Mirror Georgiou both that she is from a different universe and about the spore drive. Georgiou was far better at keeping secrets, including the use of her killer fidget spinner to make sure none of the witnesses to the conversation will talk. Burnham was also easily conned by Mirror Georgiou’s claims of being honorable as the Georgiou she knew was honorable, but the whole point of the Mirror Universe is that we are seeing the evil versions of Federation characters.

Also in the episode, Stamets did get to see Culber again, but it hardly left me optimistic that Culber will actually be seen alive again. The issues in the mycelial network might provide yet another reason why the technology is not being used by the time of the original show.

It was surprising that  L’Rell both revealed so much about her plan with Voq, and gave in to work on him. This still leaves the question open of what she is actually doing, and who will remain when she is done.

There are many remaining questions including the specifics of Lorca’s plan. In a battle between the Mirror versions of Lorca and Georgiou, is one preferable, or are both entirely evil? Will learning about how Lorca got into the Prime Universe provide another way home for Discovery? Regardless of how the battle between Lorca and Georgiou turns out, where does this leave Star Trek: Discovery in the future?

It is hard to see Lorca being Captain in the future, unless the Prime Universe version is locked up in Lorca’s menagerie and will be ready to retake command (after a hiatus between seasons). One of the original ideas discussed for Discovery was for it to be an anthology series. I wonder if it is even a possibility that next season will be an entirely different story with a different ship and crew. That possibility also means that we cannot even be certain that the Discovery will return to the Prime Universe. It might be stuck in the Mirror Universe, wind up in yet another universe, or leave the Mirror universe at a different point in time.

If you only watch one episode of The X-Files this season, watch The Lost Art of Forehead Sweat. The episode was written by Darin Morgan who wrote classic episodes such as Jose Chung’s ‘From Outer Space’ and the best episode of last seasonMulder and Scully Meet the Were-Monster.

The episode appears to be inspired by both The Twilight Zone and Donald Trump. It is about gaps in collective memory, a phenomenon known as the Mandela effect–except in the episode it is also misremembered as the Mengele effect. Examples begin with Mulder finding evidence that his favorite episode of The Twilight Zone, The Lost Martian, doesn’t really exist. When Mulder couldn’t find it anywhere Scully suggested it might have been an episode of The Outer Limits. Mulder was shocked: “Confuse The Twilight Zone with The Outer Limits?! Do you even know me?”

Elsewhere in the episode Mulder set everyone straight as to who he is: “Do you know who I am? I’m Fox Mulder! I was fighting the power and breaking conspiracies before you saw your first chemtrail, you punks! I’m Fox Freaking Mulder, you punks! I’m Fox Mulder! Fox Mulder!”

Much of the episode involved meeting a guy named Reggie in a parking garage, with other faux historical information provided about manipulating collective memory. This included Dr. Thaddeus Q. They, who had worked on making astronauts forget home, but wound up making them think they were chimpanzees. His best scene was siting on top of the Washington Monument (as there were no other seats available) wearing a “Make America Great Again” cap. It was mocking Trump’s claims about the inaugural crowd by pretending that the public was manipulated into forgetting how many people actually attended.

This was the perfect episode for the Trump era, called the POCO age in this episode as “We’re living in a post-cover-up, post-conspiracy age.”  This might describe the POCO age:

No one will care whether the truth gets out, because the public no longer knows what’s meant by the truth. No one can tell the difference anymore between what’s real and what’s fake. Take this Mandela Effect. In the old days, I never would have come out and admitted to you that yes, I can change people’s collective memories.

Dr. They gave Trump credit: “Our current president once said something truly profound. He said, ‘Nobody knows for sure.’”

The episode had Mulder attempt to explain discrepancies in memory based upon parallel universes, while Skully explained it by faulty memory. When Mulder’s memory of watching television of a child was shown, there was a child sized Mulder with adult Mulder’s head.

The invasion of Grenada was shown to be a cover-up of an alien visit. We later later learned that, “We’re not alone in the universe, but nobody likes us.” The alien returned to say that a wall, which will be “beautiful, albeit invisible,” will be built around our solar system to keep humans from infecting the rest of the galaxy. The rationalization sounded like one from Donald Trump saying the Earth is  “not sending us your best people. You’re bringing drugs, you’re bringing crime, you’re rapists.” To make up for this restriction, Mulder was given a book entitled All the Answers, which answers all the questions raised by the X-Files. Of course Mulder did not want the book, wanting to continue his search for the truth.

Ultimately the entire series was retconned to include Reggie as a third member of the team, with scenes from classic episodes edited to include Reggie Forrest Gump style. The idea was set up earlier this season in This when Mulder and Scully were flipping through the electronic X-Files and there was a badge for Reggie. Reggie was ultimately taken away in a straight jacket. Skinner then came out asking where they were taking Reggie, adding a question as to how real his story was.

With the recent talk of a secret society in the FBI working to undermine Trump, I do hope that Gillian Anderson reconsiders and returns for another season of The X-Files so that they could do an episode on this. The likelihood that this talk is largely nonsense in no way reduces the possibility that The X-Files could use the idea for an episode.

SyFy.com interviewed Darin Morgan:

With the renewal of The X-Files for a Season 11 and your call back to write another episode, did it start with asking yourself, “What do I want to explore?”

Darin Morgan: Well, you know my last episode [“Mulder & Scully Meet the Were-Monster”] was kind of about coming back to the show, and reflecting back on what did it all mean and how did I feel about that?

 have to say, it was a unique exploration of those themes via comedian Rhys Darby’s out-of-sorts monster.

Yeah, Rhys was great. So this one was more of like, ‘Okay, you’ve reflected, so what’s going on now with the world?” And the whole idea of, if this show’s main thing has been ‘The truth is out there’ and we have a president who…

For him there is no truth.

Right. Or you have Mulder, who’s been a conspiracy nut from the get-go, and now you have essentially his boss [President Trump] is even a bigger conspiracy nut.

Mulder actually looks sane for the first time compared to where the world is right now.

Exactly. So that was the main approach. How would Mulder respond to all that’s going on around him?

David and I talked about that too, in that over the 25-year span of the show, the world has achieved peak surreal. As a writer, how do you distill that into this world?

Good question. I don’t know. This may not directly answer you, but I found the hardest thing was in terms of Trump, every day he does something that you go, “I can’t believe he said that. I want to address that.” But a week later, no one remembers that thing. There were so many things when I first started writing that if I had referenced it I don’t think people would have remembered it now. So I ended up focusing on the wall and his lying. Those two things will always be around as long as he’s president. I sort of focused on those two things.

Having Reggie as the third partner is fantastic. Where did that idea come from, and also Brian’s casting?

Brian was great. He’s a lot of fun. I came across the… I was going to say the Mengele Effect, but it’s The Mandela Effect. (Laughs) From that it was figuring out what I was going to do with that. It’s this idea — and I think this is where the third partner idea came in — was like if someone has never had an experience, like I don’t have a memory other people do, the only way to make them understand what that might feel like is if someone was watching the show, The X-Files, and the someone goes, “There was always another character.” And you go, “Wait, no, no. It was just Mulder and Scully.” And they say, “No, no. There was Mulder and Scully and Reggie something.” That would put them in a position of going, “Oh, how would I react if a memory I have that I cherished of my past, suddenly nobody else believes me?” So that was the way to do it.

Did you come out of the other end of it feeling like the phenomena is something more?

No.

No?

I still think it’s just people misremembering. I have a really bad memory myself. It’s interesting to go, “Oh, try to come up with some theory to explain it.” But it’s just people not remembering. I guess that’s why I probably didn’t do as thorough and in-depth exploration of that phenomenon, because, to me, there wasn’t a lot to run with. Other than that, I get parallel universes, which is one explanation…

Are you doing any episodes in the back part of the season?

No. Once is enough.

After all these years, do you feel like new X-Files stories still come to you easily?

Oh, God no. No. It’s always tough. Writing for the show is so hard because you have to come up with a completely different story and it’s not in an anthology show, which in some ways makes it easier. But it’s also difficult because you have to do Mulder and Scully investigating a story on something completely different. It’s just always difficult. I’ve never had an episode where, “Oh, that one was easy.”

I am glad that the 13th Doctor won her first battle. From Digital Spy:

The BBC gender pay gap was one of the biggest stories of last year, and one person who is not afraid of fighting such inequality is Jodie Whittaker.

The actress told Digital Spy and other media outlets that she made sure that she got paid the same as her Doctor Who predecessor Peter Capaldi.

Speaking backstage at the National Television Awards, Whittaker said: “It’s an incredibly important time and the notion [of equal pay] should be supported.

“It’s a bit of a shock that it’s a surprise to everyone that it should be supported!

“I know I do not speak just on behalf of the women here, I speak on behalf of the men and the women,” she added, stating that people of both sexes believe they should be paid equally.

When asked how she was enjoying working on the iconic sci-fi show, the actress said: “Yeah, it’s great. I love it, I absolutely love it, yeah. It’s amazing! I get to see all the best places!”

Den of Geek looked at the unanswered questions of the Peter Capaldi era.

Radio Times summarized what is known about the first season of the Jodie Whittaker era here.

NBC has announced a return date for Timeless. The second season will  start on Sunday, March 11th at 10 p.m. with an episode entitled, The War to End All Wars. Needless to say, it involves a trip back to World War I. I hope they don’t give away the fact that we call it World War I as the Doctor did on Twice Upon A Time. Spoilers.

On another time travel series, Legends of Tomorrow, Wally West (Kid Flash) is going to become a series regular. Constantine will also appear on the show when it returns February 12. Following is the synopsis of the episode:

After Sara’s (Caity Lotz) encounter with Mallus, the Legends are paid a visit by John Constantine (guest star Matt Ryan), a demonologist detective.

The Legends agree to accompany him to a present-day psychiatric hospital and they are surprised to discover who Constantine is trying to help.

During the exorcism, Sara, Leo (guest star Wentworth Miller) and Constantine go missing, leaving Ray (Brandon Routh) and Zari (Tala Ashe) to try to take care of Constantine’s client.

Meanwhile, Amaya (Maisie Richardson-Sellers) and Nate (Nick Zano) once again come face to face with Kuasa. Dominc Purcell also stars.

The CW Network is staggering its superhero shows, having recently started Black LighteningMark Pedowitz, the CW’s president, realizes that there is a limit to how many superhero shows can survive at once, and has placed a limit of four. Good idea, especially considering that other networks also have superhero and comic-based series at present.