SciFi Weekend: Star Trek Discovery; Counterpart; The Gifted; The Magicians

I like how Star Trek: Discovery is rapidly providing payoff to the mysteries of this season rather than dragging them out too long. The Wolf Inside provided answers to two big questions, while showing more of the Mirror universe.

The big event of the episode centered around  the rebel camp where Firewolf, the rebel leader, had been hiding. (This briefly sounds more like Star Wars than Star Trek). Burnham’s logic for going to the planet didn’t make all that much sense but I’ll forgive it as 1) we’ve often seen that Burnham does not make the greatest decisions, even if she means well, and 2) it did a lot to propel the story. This led to a great scene for fans, seeing other Star Trek aliens, including Voq as Firewolf and seeing Sarek with the obligatory Vulcan goatee. I loved seeing the goatee enough to overlook the problem that this conflicts with the idea of a goatee representing an evil Mirror version.

This leaves open a lot for a possible novelization regarding Sarek as there are questions which I suspect are beyond the narrative on Discovery. Sarek must have learned a lot of interesting things about the two universes which he kept quiet about. I also wonder about the family dynamics. When we first learned in Despite Yourself of how xenophobic the Empire is, I questioned Spock’s position as seen on Mirror, Mirror. I rationalized that as being a rare exception, with Spock being half-human. I also suspect they are emphasizing the xenophobia more in the current incarnation of the Mirror universe as a reflection of our current politics. Spock’s position becomes even more complicated with Sarek and Spock being on opposite sides–not that the two were all that close in our universe. Presumably there was not a relationship between Sarek and Burnham in the Mirror universe, unless this is something being left unmentioned until a later date.

Meeting mirror Voq provided the trigger to finally reactive Voq in Tyler’s body, answering the question of how long until he was exposed now that Discovery finally revealed his identity. It turns out that the Tribble on Lorca’s desk did not play a part as many had predicted.

This also set up the solution to another dilemma. Somehow Burnham and Saru were able to easily communicate with holograms but she could not transmit the data she found back to the Discovery. While the problem is therefore questionable, it was a great solution to place the data on Tyler’s body before beaming it into space. Having Tyler/Voq in custody also raises questions should Tyler’s identity resurface as that part of the duo is innocent.

There were other good moments in the episode, such as Burnham’s interaction with Mirror Saru and Stamets meeting Stamets. Of course I did not believe that Stamets was dead for even a moment.

Ultimately the episode concluded with the answer to another question, confirming as I predicted that the Emperor would turn out to be Georgio. I still hope that, considering how Discovery frequently throws in references to past Star Trek shows, that them also mention a previous Empress Sato.

The huge question remaining is what Lorca is up to, including whether he is the Mirror version and intentionally brought the Discovery to the Mirror universe as part of a bigger plan following his attempt to assassinate Mirror Georgio. With the show appearing to be moving in this direction, Lorca’s decision to get Burnham on board Discovery does seem to fit into the dynamics of the Mirror universe power struggle.

Syfy Wire interviewed Shazad Latif about playing both Ash Tyler and Voq. Here is a portion:

This has been a huge few episodes for you. What is it like to play a character who’s so conflicted?

It’s one of the greatest gifts, and scariest gifts at the same time, that you can get as an actor. Just so much going on, double the amount of things that would normally go on with just one person. Getting to explore that, doubly, at the end of the day is stressful and scary, but very beautiful and very rewarding, as someone who likes to express themselves. It’s just crazy.

Ash has been through a lot, but I loved the decision to portray a character who believed he was experiencing, and was experiencing in many ways, PTSD.

It was always there. You think it’s because he’s been through this war stuff or this torture, and it’s not. He’s been in this crazy war zone, it’s just this trauma that you’ve never seen before. It’s this crazy alien operation.

Me and Sonequa, we always wanted to push it. Because you meet Tyler and he’s this guy who’s going through this trauma and we’ve seen that story many times. It’s amazing to explore, but we wanted to see him … With him and Michael Burnham, she’s always very strong. She’s the strong one and she’s the one looking after him, and he’s weak around her and he’s vulnerable around her, in the bedroom, in the hallway.

I wanted to make sure that that was clear because, to show a man’s vulnerability and weakness and show that you can still be a man and vice versa, that Sonequa is a very strong female character — it was very important to us in the scenes that we played that and we showed that. It’s nice to play the inner turmoil and suffering and weakness of the man as well, rather than being this classic sort of rogue action hero. There’s more to it than that.

Because when you first see him, he is playing that, we’re playing that sort of archetype. He’s this guy coming from the ship, he’s getting his job and “Aha! He’s a classic American hero,” but really he’s crumbling, and it’s very beautiful to watch.

There was a lot of fan speculation about Ash’s true identity. Was that hard to keep quiet about? You were doing publicity with so much of the cast towards the beginning of the show. People were like, “Wait til you see him,” but we had seen you but we didn’t know it yet.

It was my idea. I’ve been keeping it for a year now. It’s harder than any acting … That’s the hardest acting I’ve ever done; I did it terribly. I actually chose the pseudonym for the actor who played Voq in the beginning.

On the credits, it’s Javid Iqbal who played Voq, and we created a fake IMDb page, but that was my father’s name, who passed away about six years ago. I was asked to choose a pseudonym, so it was a shout out to him. He was a big movie lover, changed the film reels in the cinema when he was young. I just wanted to shout out to him. We kept that a secret for a long time.

It’s nice to have the buzz, still keeping a secret. You know people are going to find out, whether they find out in the first episode or the last episode.

The characters always find out secrets about the show and stuff like that, but it’s more about how you tell the story and execute. How it’s executed is more interesting. Even if you have figured it out, you still tune in to go, “Am I right or am I wrong? Or how have they done it?” Really, just to see the acting, to see the way they’ve cut the story…

Can you tell us anything about what’s coming for Ash/Voq?

It’s all coming to a head. This four-way love triangle in three bodies, basically. It’s L’Rell and Sonequa and Tyler. That’s gotta come to a head. The solving of the Culber case, all this kinda stuff. Some people don’t know, how are people gonna react to it? It’s a culmination of everything, and it’s going to be very exciting to watch.

One theme of the Mirror episodes of Star Trek: Discovery is to see how different versions of the same person turned out in a vastly different environment. There is another show starting with a similar theme. Counterpart (trailer above) is sort of a combination of a John le Carré novel and Fringe’s alternate universe stories. The Starz series premieres this month, but they have been offering the pilot for free since December. J.K. Simmons stars as a low level employee of some sort of spy agency, but we learn in the pilot that he has a double in the other universe who is far more important. From reviews coming from those who have seen episodes beyond the pilot, there are many characters whose lives were dramatically different due to a single change after the two universes diverged due to a Cold War experiment which went wrong.

The Gifted concluded its first season. While certainly not ground breaking like Legion, it was an entertaining X-Men spin-off. Unlike Inhumans, the show did have some success and will be back for a second season. The show did a good job of progressing over the season, initially centering around one family, and growing to develop a far more complex world. The Frost triplets made matters much more complicated with next season likely to feature a three-way conflict with different mutant camps and humans. The conflict between The Frost triplets and the original Mutant Underground somewhat parallels that of Charles Xavier and Magneto. It is made more complicated with members of the Mutant Underground joining the Frost triplets, including one member of the original family, creating divided loyalties.

The Magicians has started the second season with two strong episodes. I especially liked all the genre references–and how they were used to overcome surveillance. I didn’t notice in the first episode, but they stopped editing out the f-bombs in the second episode for the first run of the show as they had done previously.

Vox spoke with Lev Grossman, who wrote the novels the series is based upon, about seeing his stories being remixed:

Constance Grady

You’re someone who does a lot of remixing in your storytelling and is now watching your own stories get remixed. What’s it like having been on both sides of the process?

Lev Grossman

Well, the kind of remixing I did, The Magicians, and the kind of remixing it’s undergone on TV are not exactly the same kind of remixing. They’re not perfectly analogous.

I would say that I do very much think of The Magicians as a remixing kind of book. I was very conscious of that when I was writing it. In fact, I found it really energizing to imagine myself taking other people’s work, C.S. Lewis’s or J.K. Rowling’s, and — I don’t know if remix is actually the word I’d use, but recasting it, retelling it, in a way that was both an homage and a kind of critique at the same time.

I was conscious that I was doing something that gets done a lot in fanfiction. And then there’s a longer tradition of it; I also had in mind Rosencrantz and Guildenstern Are Dead by Tom Stoppard, or Wide Sargasso Sea by Jean Rhys, high-culture works that take another story and remix it, retell it, reimagine it. I was very aware of all that stuff.

I was aware I was doing something that legally was kind of a gray area right now in the culture that we write in, which was interesting. But I found it just incredibly energizing.

There’s a book called The Anxiety of Influence by Harold Bloom. He has this theory that the way in which artists and creators come into their own is through this act of remixing, which he sees as quite an aggressive act. I think he describes it almost in terms of an Oedipal struggle.

 I thought that was very true. I realized that through this kind of imaginary exchange, which was both aggressive and loving at the same time, that was how I was figuring out who I was as a writer. Which is paradoxical! Because we often think of working with someone else’s material as unoriginal and derivative, but at the same it was through taking control of someone else’s work that I came to understand what my own voice was.

Since then, I’ve seen The Magicians remixed in different ways. I’ve seen it be an influence on other books, I’ve seen fanfiction based on it, and of course there’s the TV show based on it. I’d love to able to say it was a completely joyful and unproblematic process watching The Magicians be adapted — and it was joyful and exciting and thrilling. But it definitely took some getting used to.

I realized that when you write novels, you have a lot of control over what’s going on. It’s not a collaborative art form. It’s one of those art forms where you get to do it all. You write all the dialogue; you point the camera where you want to; you dress the set; you do the costumes. So really, it’s a one-person act.

And when it came to collaborating, to passing this story that I’d written on to other creators, it was definitely unnerving. It provoked a lot of feelings. It was exciting and thrilling and stimulating, but it was also a real gut-check feeling where I had to tell myself, “It’s time to let go, and to let other people find different kinds of meanings in this story, which you’re used to thinking of as your own.”

More on last week’s episode below:

SciFi Weekend: Top Ten New Genre Shows Of 2017; Doctor Who News On The Eve Of “Twice Upon A Time”

Doing top of the year lists in television has become increasingly difficult in this age of peak television when there are around 500 scripted shows and it is impossible to watch everything new which is on. I’ve even heard some of the professional television critics admit to this problem and that their lists should realistically be called the Top X Shows Which I Have Watched. As each season adds to the number of shows which deserve to be ranked which I have not seen, I have annually limited my lists to the top new shows of the year. (The Top Twenty New Shows Of  2016 is posted here). In past years I have included all types of television, with a bias towards genre in the rankings. I found that this year I have seen most (but certainly not all) of the new genre shows which I believe are worth seeing, but when all types of shows are considered the percentage drops significantly. Therefore I decided to make the main list the Top Ten New Genre Shows Of 2017 and will mention some additional shows afterwards.

Top Ten New Genre Shows Of 2017

10. The Gifted (Fox)

One of three new X-Men or mutant related shows (with the X-Men and Inhumans possibly to be united if the Disney purchase of Fox goes through). This is definitely the more conventional of the two included on this list, and the mid-season finale opens hope that the show will be expanded from what we have seen so far. It is worth seeing with the combination of Root (Amy Acker) and Vampire Bill (Stephen Moyer), both obviously in new roles.

9. The Defenders (Netflix)

The team-up of Daredevil, Jessica Jones, Luke Cage, and Iron Fist was more worth watching to see the interactions of these four than for the battle against The Hand. I previously reviewed the series here.

8. The Tick (Amazon Prime)

This was a far better than NBC’s attempt at superhero comedy with Powerless. More on the show here.

7. The Punisher (Netflix)

Technically there are no superhero or science fiction elements in the show but I will include it as it overlaps with the Marvel universe, with Karen Page playing a significant role, and with the Punisher having been introduced in Daredevil. Like the other Marvel shows which are set up as one long story, it might have been better if cut to eight to ten episodes as opposed to thirteen, but they did do a good job of intermixing two related stories in the present along with flashbacks to set up the backstory. I did prefer the government conspiracy story line over The Hand as in the other two new Marvel series on Netflix this year.

6. Runaways (Hulu)

Yet another show based upon a Marvel comic, Runaways in tone is somewhere between the network-friendly Agents of SHIELD and the more adult shows on Netflix. So far it has done a good job of setting up a conflict between a group of teens and their villainous parents.

5. American Gods (Starz)

Bryan Fuller and Michael Green have done an excellent job of adapting the first portion of Neil Gaiman’s novel, but it is now questionable as to whether this will survive with their departure from the show. There is a look at the season finale here.

4. The Orville (Fox)

The show initially appeared questionable when billed as a parody, but over the course of the season Seth MacFarlane learned how to tell serious science fiction stories while mixing in humor. I had brief reviews of each episode, often looking at how well humor was incorporated into the episode, in each week’s post. My review of the season finale was here, with a follow-up look at the first season here. The show is strongly based upon Star Trek: The Next Generation, and many who prefer more conventional Star Trek, as well as episodic television, might prefer this over the other new Star Trek show.

3. Star Trek: Discovery (CBS All Access)

While many fans feel more comfortable with The Orville, Star Trek: Discovery is the more ambitious of the two. Discovery does a far better job than Enterprise did in making a Star Trek show with a more modern television feel, including a serialized format. This is also different from previous Star Trek series in taking place during a time of war, and having a Captain who is far more morally ambiguous. There are also questions regarding continuity which I discussed here. I had weekly reviews of each episode while the show was on, with the review of the fall finale here.

2. Legion (Fx)

Noah Hawley provided a quite original take on the X-Men universe, providing something new and unique to prevent superhero fatigue. My post on the season finale was here.

1. The Handmaid’s Tale (Hulu)

This excellent dramatization of Margaret Atwood’s novel about a dystopian future could have been a great series any year, but its treatment of women seemed so much more relevant at the start of the Trump administration–at time when its horrors seemed a bit more plausible. More on the series here.

Among the shows which I saw but did not make the cut was Iron Fist, the weakest of the Netflix Marvel series. While flawed, it is watchable and does lead directly into The Defenders. If you still have a lot of Marvel shows to watch, put this off. If you plan to watch them all, it might make sense to still watch it before The Defenders.

Two genre series which debuted in 2017 were remakes of past series. The X-Files (Fox) was generally disappointing, but with all the excellent episodes in the past I will still give the next season a try. I previously discussed the show here and here. There was also the return of Twin Peaks (Showtime), which competed with Legion as strangest series of the year. I previously looked at the series here.

There are also some genre shows which I have not seen but which might be worth checking out, such as the time travel comedy Future Man and the anthology series Dimension 404, both on Hulu. The genre show which I haven’t seen which is receiving the most favorable publicity is the German series Dark, available in the United States on Netflex.

There were also a few genre flops in 2017. I gave up on Powerless (NBC) midway through the season. I didn’t watch The Inhumans (ABC) after numerous poor reviews. If interested, Io9 summarizes what happened on The Inhumans for those who stopped watching. Time After Time (ABC) was cancelled before I had a chance to give it a try.

Moving beyond genre, there were also many excellent shows in 2017. There were two excellent dramas dominated by women, Big Little Lies (HBO) and Godless (Netflix), which I am currently in the midst of watching. The three top comedies from 2017 which I have watched also are led by women: The Marvelous Mrs. Maisel (Amazon Prime) from Amy-Sherman Palladino, GLOW (Netflix), staring Allison Brie, and SMILF (Showtime).

While not genre, the CW also premiered another comic based series in 2017, Riverdale, which presents a new take on the Archie comics.

Tomorrow we have a major television event with Peter Capaldi having his last appearance before regenerating into Jodie Whittaker on Doctor Who. Doctor Who News has an interview with Steven Moffat about the show:

What does Twice Upon A Time have in store for us?

There are some new eerie creatures of glass haunting the Doctor and his friends throughout this story – but what their purpose and what their plan is, and what their time traveling machinations are, is going to be a big surprise to the Doctor.

Were there any sets or locations that you particularly enjoyed working on?

There’s a real range of spaces that we visit across the special. We have the inside of a giant stone spaceship full of creepy glass creatures. We’re in the first Doctor’s TARDIS – recreated and brought back from the 1960s to stand proud in the Welsh studios. We’re on a First World War battlefield. And at long last we go to a location that I mentioned in my very first episode of Doctor Who back in 2005, as we visit the ruins of Villengard.

How would you describe the tone of this episode?

This episode is somewhere between a coda and drumroll. It’s a coda to the time of the Twelfth Doctor played by Peter Capaldi, and a drumroll to usher in the Thirteenth Doctor, played by Jodie Whittaker. Approaching it, one issue I had was that The Doctor Falls (this year’s series finale) was the end of Peter Capaldi’s Doctor. That episode saw the Twelfth Doctor stating what he stands for and standing on the hill on which he was prepared to die.

That was the end of his story. But – as often happens in stories and real life – it didn’t end there. He kept going, he started to regenerate, so at Christmas what we’re going to see is a man weary and tired and, having made his point and having made his stand and given his life for something that matters, he has to learn just how to carry on after that. But of course this being Doctor Who and Christmas it’s much warmer and hopeful than that, so in perfect timing walking towards him out of the snow he meets earliest incarnation. The William Hartnell version of the Doctor – played now by David Bradley in an astonishing performance – and the two of them are about to regenerate. Tonally it’s about saying “to hell with dying, let’s get on with living”. And what’s more Christmassy that that? It’s the turn of the year, a time for new beginnings, it’s the time when we start climbing back towards the light.

How does the First Doctor look at the Twelfth Doctor?

Well the Doctor never gets on with himself. Arguably he doesn’t get on with himself when it’s just him alone – we had the whole plot of Heaven Sent (in series nine) about that – so he doesn’t get on with himself even when it’s just him. But here I think we have perhaps one of the most interesting instances of the Doctors meeting, because the First Doctor as we know from the show is quite different from the Doctor we know now.

Ultimately he’s the same person – he has the same set of impulses and ideals – but he hasn’t yet become at home with what he’s becoming. If you look at the original William Hartnell series, the Doctor’s starting to fight the good fight, but he’ll arrive in a spot of trouble and generally speaking he’ll only help others out because he needs to get back to the TARDIS. So often there’d be a plot contrivance to stop William Hartnell’s Doctor getting back to his TARDIS and flying out of danger. Slowly that started changing as the Doctor developed as a character. He’d start saying “No I can’t leave yet – not because I can’t get to the TARDIS, but because these people are still in trouble and this evil is still in control. I have to help these people.”

Without noticing it, or it ever being his plan or his intent, he’s starting to engage with the universe and he’d be horrified to think that he’s starting to become its protector. Now, at the end of that lifetime when the First Doctor is facing his end, he doesn’t yet realise that’s what he already is. He’s already the man who rides to the rescue, the saviour of the oppressed, but he doesn’t own up to that. Now he meets the Twelfth doctor, and the Twelfth doctor has been doing this for so long. He’s used to the idea that he’s already Earth’s protector – an idea that completely bewilders his younger – except kind of older self. The thing to focus on this time, alongside the flourishes that distinguish the two doctors – it that they are at very different moments in their lives. The First Doctor is not quite yet the hero we are used to.

How did you feel to be writing your final episode of Doctor Who?

The truth about writing anything is that it’s always difficult. You can change the reason why it’s difficult, but the fact is it’s just always difficult! Throughout writing this I wanted to feel more about the fact it’s the last one I’ll ever write, and I wanted to feel more about it’s the last one Peter will ever play, but the truth is that the technicality and the difficulty and the demands on your creativity – all that overwhelms you to the point where you’re just trying to write a great Doctor Who story! That’s enough to contend with – you can’t have the real life drama of two old Scotsmen making their way to the door.

Once we got into shooting it, however, and especially when we approached filming Peter’s last moments as the Doctor which were done at the end of the shoot, we did talk more about how exactly he should meet his end. We were both very pleased with that final section of the script already, but as we went through piece by piece we thought there were ways to improve it so I’d be banging out new pages each night for us to discuss on set each day. That was so enjoyable and exciting to do – to really feel that we were getting his send off right – that in a way it took whatever emotions we were both having about leaving and put them on screen where they belong. By the time we got to that part of filming I think Peter and I were probably the least emotional on set because we’d put it all in the show!

David Bradley has some advice for Jodie Whittaker:

“Keep it light. Keep it funny,” he offered, adding poignantly: “Have a sense and wonder about the universe and everything in it.”

David Bradley previously told Digital Spy that he had high hopes for his former Broadchurchco-star Jodie’s tenure as the denizen of the TARDIS.

“I was delighted [by the casting],” Bradley told us. “I was wondering if [showrunner] Chris [Chibnall] would pick someone from the Broadchurch cast.

“As we saw in Broadchurch, she’s got this emotional reserve that… there’s no limits. She’s capable of great emotion and passion.”

The TARDIS Yule Log video has some glimpses of Twice About A Time.

Yahoo TV talked with Pearl Mackie about her year on Doctor Who. Here is a portion:

What were the characteristics about Bill that jumped out at you right away?
Well, she’s quite cheeky, which I liked. But she’s also intelligent and doesn’t feel the need to brag about it. It’s very much a part of her, and she’s not ashamed to just say things. She has this confidence that I really engaged with; she doesn’t let her life or experiences get the better of her. She also wants to learn more and is very inquisitive.

We see that in the way she challenges the Doctor from their first meeting. That’s a different dynamic from past companions.
Yeah, and that’s the energy that I felt when I first read the script. There’s an irreverence between her and the Doctor, even though there’s also a lot of respect and they grow to be very close by the end of the series. She’d never be like, “I bow to your superior knowledge.” It’s more akin to, “Well, actually I don’t agree with that. What about this?” I think he respects her for that; they both enjoyed the verbal sparring they had. It’s enjoyable to watch that dynamic.

How quickly did you establish that rhythm with Peter Capaldi?
I met him for the first time in my second audition — my callback essentially. Before that, I’d been reading the script on my laptop with the Facetime camera on, responding to a recording I’d made of myself doing a version of Peter Capaldi reading his lines! The real Peter is a much better actor than that — much more dynamic. [Laughing] When I went into the room, I was absolutely terrified because Peter is not only an incredible actor, but he’s also been playing this character for a long time. We read the first scene of Episode 1, this mammoth six-page scene, and I spent most of it standing there just hoping that what I was doing was right or at least interesting.

Then we did the scene where Bill goes into the TARDIS for the first time, and Peter said, “Do you want to stand up?” I went, “What? OK, sure.” In auditions, you’re supposed to sit still and keep your face as still as possible, but if you’re me, your face tends to move of its own accord. Steven enjoyed that and used it a little bit in the first episode when Bill is standing at the window in the Doctor’s office and says, “I see my face all the time. I never liked it; it’s all over the place — it’s always doing expressions when I’m trying to be enigmatic.” But, yeah, I mainly remember standing there aghast at being in a room acting with Peter Capaldi. Luckily, Bill was supposed to be pretty aghast when she walked in the TARDIS, otherwise we may not be having this conversation today! I think we were both responding to each other quite honestly and seemed to work in a very harmonious fashion.

BBC America posted this thank-you video for Peter Capaldi.

CinemaBlend said Capaldi had this to say about the Doctor’s real name: “I also know his real name. It’s not pronounceable to humans. It’s a frequency that can only be heard of people with good heart.” They went on to add:

To date, that’s one of the best answers someone connected with Doctor Who has given to the question. It’s far better than Matt Smith’s answer from long ago that it was “Drasicanawhocius” or some long name similar that is easily abbreviated by saying “Doctor Who.” It’s also more interesting than the some diehard fans’ explanations that the Doctor’s name is actually a rather hard-to-pronounce set of Latin letters to varying powers. Given that, Peter Capaldi’s response to Radio 2’s Access All Areas (via Digital Spy) should win as it gels with the awesomeness of the Doctor and doesn’t risk the spraining of the tongue muscle trying to pronounce.

While he has some very interesting ideas regarding the Doctor’s name, Peter Capaldi also holds an opinion that may sound like hot take to many Doctor Who fans. In fact, it may trigger some of those fans fans who have battled to keep those outside the fan community from referring to him in a certain way. Capaldi may indeed ruffle some feathers with this statement:
We can get into a fight about whether he’s called The Doctor, or Doctor Who. The reason I call him Doctor Who is because when you’re in the street, people don’t shout out, ‘There’s The Doctor!’ They go, ‘Hey, Doctor Who!’ That’s his street name. His street name is Doctor Who.

SciFi Weekend: Orphan Black; Dark Matter; Stranger Things; Star Trek: Discovery; Legion; The Flash; The Magicians; Doctor Who; And Other News From Comic Con

There’s a lot of lat minute news from San Diego Comic Con which didn’t make it into my run down last week, but first there was a major event Saturday night. With only two episodes left after last night’s episode, Guillotines Decide, Orphan Black is rapidly moving towards a conclusion for its mythology, and is free to kill of characters. (Major spoilers ahead.) There have already been deaths, such as M.K. and Susan Duncan, but this really accelerated last might. First Gracie was shot by people from Neolution after trying to protect Helena. Last week I noted a change for the better with Rachel.  Ferdinand, however, came to save her but did not realize her change in priorities, and almost got killed when Rachel betrayed him as part of her plan to take down Neolution.

Ferdinand survived the first threat and appeared like he was going to strangle Rachel, who should have been better prepared for the possibility of him surviving. This led to a showdown with Mrs. S. in which each got off a fatal shot at the other (sort of like what happened to one of the major characters in this season’s finale of Fargo). It is commonplace on television for major characters to not really be dead despite appearances but Maria Doyle Kennedy did confirm that he character was dead in an interview with TV Line.

Despite the three deaths, the episode also managed to have the type of fun sequence which is often most enjoyable for the show–seeing the clones and major cast members living their lives and interacting Felix had his art show, introducing what looked like various versions of his sister to those unaware of them being a set of clones. At the end, however, Sarah did feel the disruption in the Force with the death of Mrs. S.

The best lines in the episode came when Donnie complained about Alison being too controlling. She responded, “I’m not going to micromanage you, Donnie.” This was quickly followed by, “Is that what you’re wearing?”

Entertainment Weekly discussed the episode with Graeme Manson:

ENTERTAINMENT WEEKLY: How dare you go and depress all these people on a Saturday night. What’s wrong with you, for chrissakes?
GRAEME MANSON: Because if you track the story and you track the story of Sarah and Mrs. S, we’re telling a generational story now. Ultimately, we’re telling that story about Sarah’s journey, and to step into those big shoes of her mother is really the strongest journey that Sarah can make. So, there was a drop in the writer’s room. There was one of those moments of deep breath when the idea came up because it’s our final season. Someone has to go, and this made sense. And the first phone calls that we made were to Tatiana and to Maria to talk about this, and everybody had the same reaction — that gut reaction that this was the gut punch the series needed.

So why was this the time and place and way to do it and kill off Mrs. S?
We have two episodes left, and it was the most traumatic point that we could do this and complete the journey of the girl that we saw step onto the train tracks in the very first episode of Orphan Black. And it’s time to set the stage for the final two episodes now. We’ve got a two-parter coming up, and what is Sarah’s reaction going to be? Is she going to be the impulsive Sarah that we’ve known so much? Is she going to be beaten down? How are her sisters going to get through this together without the mother figure of this chosen family? We’re just tremendously excited to see this play out and see how our girls will take the hardest thing that we could throw at them…

Of course, Mrs. S not the only character who died. You also killed off Ferdinand and Gracie, who have been big characters on this show. Are you guys like, the end is near, let’s just start offing everybody now?
[Laughing] Well, it’s definitely ramping up, and it’s ramping up in real time with Helena’s pregnancy, so the crux of what’s coming is about new life, as well as the loss that we’ve just experienced. I just can’t wait for these final two episodes. It’s a great two-parter.

What if Ferdinand had taken Rachel up on her offer to go off the grid? Would they be sipping Mai Tais somewhere right now?
Yes. And so I think she would have left Kira. But that was the moment when Rachel chose to stand with her sisters, and it’s more than just the I. Rachel and Mrs. S had a moment where they connected, and Mrs. S had told her before — there will come a time when you need us. So Rachel’s journey over the last couple of episodes has been one of our favorites as well, certainly one of Tatiana’s favorite to play. Episode 7 was very deep, and in episode 8 we see the results. Rachel is stepping to our side, what’s going to happen now? Rachel and Sarah the old arch enemies. This is what the death of Mrs. S does. It throws everybody together…

And looking ahead a little bit to that, what can you say about Helena? We see her taken — I’m guessing being taken to the island now. What can you say as far as that?
End game. It’s coming from all ends. Now, the crux is all coming down to Helena’s babies. Rachel did the right thing and saved Kira, but now we’ve got Helena out there, and she’s about to have those valuable genetic children that everybody wants. So, the stage is set, my friend. Next week’s episode is really about getting back together, closing the circle with Rachel. Is Sarah going to murder Rachel? There’s a lot of stuff up in the air, and it all hinges on Sarah’s reaction to this event. So, it’s a great episode that ends in a huge, huge cliffhanger that’ll lead us into the finale.

Who would have predicted during the first season that the end game would be about rescuing Helena?

Also this weekend, Dark Matter continued to cycle through all the major genre troupes, this time with the time travel episode in which their actions led to the technology they depend upon. Plus they did the Stranger Things homage including kids, and there were video games.

Speaking of Stranger Things, ScreenRant report that it was revealed at Comic Con that the upcoming second season will help set up the eventual end point for the series, whenever that may be. More news on Stranger Things last week.

Last week we also learned that Michael Emerson will have a recurring role on Arrow next season. Spoiler TV reports that he will also have a recurring role on Mozart In The Jungle:

Emerson plays Morton Norton, an eccentric collector of classical music ephemera and curiosities who prefers the past to the present. He spends his days alone in a gothic mansion surrounded by classical music relics, dressed as a 16th century homicidal composer named Gesualdo (a composer he finds very underappreciated). When Rodrigo (Gael García Bernal) arrives, he will be pulled into Norton’s bizarre world, taking a tour of his collection.

The Star Trek: Discovery panel begins with the video above. TrekMovie.com has coverage including here, here, and here. Quotes include the producers considering both long time fans and a new audience:

We are very, very attentive of the divergence between audience bases. We know that there are folks like us – who know way too much – and folks who know little or none at all. So the barrier to entry has been reduced. We are trying to be welcoming to people who have never seen an episode of Trek, but also really delightful to those us who can’t stop seeing them. So that is our outcome goal. Star Trek is always about a world that is for everyone. Our show tries to be for everyone…

The fact that we are on a streaming channel allows us to tell the stories in a different way. These are serialized stories. They are not stand-alone stories. So there there is an emotional continuity and characters are learning as they go. They don’t forget what happened last week. And that is really exciting. So in the way you would watch any series for the characters and for that approach we get to do that here and that is really exciting…

With the increased tensions between the United States and Russia, I am happy to see that Discovery is getting away from the idea of the Federation vs. Klingon conflict being analogous to the United States vs. the Soviet Union:

We are also talking about not only war, but something that is really bubbling up in the United States right now, isolationism. Our country has so many different philosophies. Do we extend a hand? Do we shut it down? And that is also two viewpoints that are being expressed. The Klingons are not necessarily the Russians anymore. The Klingons – I think we will see far more in, frankly, people in the United States and different factions in the United States.

And that is not to say they are bad, but what we really wanted to do too is understand two differing points of view and really explore it. And I think when people look at the Klingons – I frankly love what they represent. Not in terms necessarily of all the messaging, but in terms of learning about them and learning why they are who they are and making sure they aren’t just the enemy.

And then finding a way to come together. How do we bring everyone back together? What do we do? What does it take? It is a big challenge for us, but that is what season one is all about.

The biggest news revealed was that Sonequa Martin-Green revealed that her character, First Officer Michael Burnham, is actually the adoptive daughter of Spock’s parents Sarek and Amanda. That explains earlier reports that Sarek will be included on the show, and leaves open the possibility of a younger Spock.

While they have taken liberties with the look of the Klingons and giving it a more modern look than The Original Show, they are considering canon. A video has also been released with producer Alex Kurtzman discussing the show and canon:

If you are a fan of Trek you are going to see a lot of things which hearken back to the original series and elements of the original series. I am not just talking plot, but the spirit of what that show was. We are going to be revisiting a couple of things on Star Trek: Discovery that I think people are going to find familiar. Without spoiling anything we are adhering to a timeline and sticking to the rules, but also I think finding some new areas and avenues that have only been alluded to, but never fully explored…

You have got a roomful of people with very different and very devoted relationships to Star Trek in that writers’ room. And that carries on a pretty proud tradition of Trek being written by fans.

You have to respect canon as it’s being written. You cannot say, “That never happened.” No, no no, you can’t do that, they would kill you. Star Trek fans would kill you. No, you have to respect canon. You have to understand the timelines and what the different timelines were and what the different universes were and how they all worked together. You have to keep very meticulous track of who, what, where, when and why. And we have people in the writer’s room whose sole job is to say, “Nope, can’t do that!”

We also learned more about Bryan Fuller leaving the show, and his initial plans to make Discovery an anthology show.

International Business Times summarized what was learned about season two of Legion at San Diego Comic Con:

Hawley already revealed that the second season will spread across 10 episodes. At the Comic-con, he revealed that he was not sure when the show will end but he confirms that it will come to an end when it has to.

“I have a structure, I have a kind of endpoint in my mind, but I don’t know yet how many episodes or seasons that is. I never want to overstay the welcome and I never want the show to become predictable. There will be an ending, that we know,” he told Comicbook.com.

Discussing the second season, David actor Dan Stevens told the website that the new season will most definitely explore David’s mind and things will become more complicated.

“We haven’t even really scratched the surface of the number of characters or entities that are contained within Legion. The Shadow King was obviously one of them and a large part. But there’s a lot more going on and anyone who knows the comics knows the scope of the world in which it set. So yeah, there’s a lot more to dig out of his head,” he told.

So will fans get to see Professor X aka Patrick Stewart in the upcoming episodes? According to Stevens, he surely will be a part of the show. Talking to ET Online, the actor revealed that the new season will talk about David’s dad. And according to Stevens, Stewart seems interested in reprising the role of Prof X in the show.

“He seemed very unaware of the show, but I mentioned that he was my dad, and he seemed pleasantly surprised. I think we want to address that,” he said.

“It’s normal when you learn you’re adopted to want to know who your real family is. He doesn’t yet know the identity, so I think it will be a process to get there. There’s quite a lot of explaining there, that your dad is Professor X,” Stevens added.

While the mystery about Professor X remains to be seen in the new season, Hawley did confirm that Wonder Woman star Saïd Taghmaoui will be donning the role of Shadow King. “Theres going to be a lot of things that are going to happen that I can’t tell you. But what I can tell you is that Saïd Taghmaoui, who was recently on Wonder Woman, will be playing Amahl Farouk a.k.a. the Shadow King,” Hawley confirmed.

Last week I had posted trailer and some news on the upcoming season of The Flash. Comic  Book has more on the changes in Barry Allen after spending time in the Speed Force from Grant Gustin:

“We’re not necessarily going to see Barry’s experience in the Speed Force. We’ll see kind of the effects that the Speed Force has had on Barry, and he’s been in there six months real-time,” Gustin started.

“I suspect the Speed Force is kind of nonlinear with time, so Barry has experienced his entire life from star to end infinity times over since he’s been in there.”

Continuing, the actor said, “He’s going to have kind of an awakening when he comes out. He’s going to have some knowledge that he probably doesn’t even quite understand yet. He’ll also be little scrambled; He won’t really be himself the first time we see him.”

Fans won’t be too surprised to hear about the Speed Force’s effect on the Flash; After all, Barry was well-aware during the season three finale that his sacrifice wasn’t going to be an easy one. Being stuck in the Speed Force is damaging, and The Flash went so far as to prove that by trapping Wally West there for a spell. When Barry exits the Speed Force, he will not be the same man he was before he stepped foot into it, and Gustin said that truth makes his job a bit more exciting next year.

“It’s almost like a fresh start for me as an actor,” the actor said, nodding to how different Barry will be in season four.

The Flash movie will deal with Flashpoint, and there has been speculation that this will provide a way to do a reset for Batman from the Ben Affleck version.

IO9 reports on next season of The Magicians:

The Magicians took the chance provided by Comic-Con to reveal the Muntjac, a magic, living ship that will play a huge part in season three of the Syfy show. In a press event that same day, executive producer John McNamara said, “It will kind of be our Fury Road season. No resources. What do you do?”

Season two ended with Quentin (Jason Ralph) and Julia (Stella Maeve) causing a bit of a problem for everyone. “Quentin and Julia kind of killed magic,” explained executive producer Sera Gamble. “It’s still called The Magicians, so we felt a certain responsibility to bring something cool and magical. It just comes from completely unexpected and different places in season three,” she continued.

Gamble also revealed a bit about where certain characters would be starting the season, with Quentin thinking about how much he would like to have magic back, while Alice (Olivia Taylor Dudley) is trying to figure out who she even is without it. There’s also the question of Julia, who was shown in the end of the season to still have at least a bit of magic. Gamble added that Margo’s (Summer Bishil) story was, and is, about how when you are in charge and have to make decisions, sometimes there is no perfect answer and people you love get hurt…

Interview with Olivia Taylor Dudley in the video above, discussing what happens with Alice now that she is human again. 

Jodie Whittaker already had a run in with the Daleks at the BAFTA awards ceremony in 2013. See the video above. Curiously the next Doctor showed that she recognized the Daleks, but they did not appear to recognize their most powerful enemy.

Steven Moffat certainly foreshadowed the upcoming regeneration into a woman, leaving open the question of whether he knew that it would be as soon as the December? Moffat revealed that he knew all along at Comic Con: “I’ve known for the entire series I’ve been working on that the next Doctor was going to be a woman. I didn’t know that it would be Jodie. I didn’t know that until the Friday before the announcement. I didn’t want to know until Peter knew. That was my rule.”

Den of Geek has several excerpts from Peter Capaldi’s comments in his last appearance at SDCC as the Doctor.’

While not at all genre, I can’t resist noting this additional bit of television news: Megyn Kelly’s show on NBC has been cancelled after just eight episodes due to poor ratings.

SciFi Weekend: Doctor Who, World Enough and Time; Carrie Coon In Ambiguous Finales On The Leftovers & Fargo

World Enough and Time was an excellent way to move into the season finale of Doctor Who, and a near final chance for Steven Moffat to go meta. The episode began with a scene of the Doctor regenerating, which presumably will be continued next week. The actual story got underway with Missy exiting the TARDIS saying, “Hello. I’m Doctor Who.”  Moffat has often liked to play with the show’s title by setting up situations where people ask “Doctor Who?” as a question. Missy said she was “cutting to the chase,” saving time from having to go through the introduction and follow up question, but then went on to claim it is his real name.

Bill had struggled with this issue in Pilot arguing that, “The Doctor’s not a name. I can’t just call you Doctor. Doctor what?”

In recent years you could often tell that people talking about the show were not actual viewers when they made reference to the lead as Doctor Who as opposed to the Doctor. Now we have Bill questioning why Missy called herself Doctor Who. Missy claimed it was his real name and the Doctor did not deny this. DoctorWho TV says that Hartnell, Troughton, Pertwee, Baker, Eccleston, and Tennant were all credited as “Dr. Who” or “Doctor Who.”

Moffat also played with the role of the companion. Missy called them her assistants, which was more common in the classic shows. When Bill objected to being called Missy’s “plucky assistants,” she asked what he does call them, “companions, pets, snacks?” Neither the words “assistant” or “companion” are actually used very often on the show and Bill said that the Doctor called them friends. Missy claimed that only Time Lords can be friends to each other and “anything else is cradle snatching.” Missy also saw them as “disposable” with their names not mattering. Instead they had their roles, “exposition and comic relief.”

We learned via flashbacks that this was all a test for Missy. The Doctor not only wanted Missy to be good, he has unrealistically wanted her to be like him. While Bill objected that Missy is a murderer, the Doctor showed a different moral code, noting that Bill could similarly be seen as a murderer from the perspective of the pig who died for her bacon sandwich. The Doctor decided to graze for distress calls and look for a good one, like their usual Saturday. This might also refer to how the show airs on Saturdays. The Doctor explained how Missy is “the only person I’ve met who is only remotely like me.” This could refer to them not only being Time Lords, but also both being renegades in their own way. After all, the Doctor did steal the TARDIS and has often been at odds with the Timelords.

The Doctor spoke about Missy as having been his best friend from when they first met at the Academy. “She was my man-crush.” He further explained, “I think she was a man back then. I’m fairly sure I was one too. It was a long time ago, though.” He also told Bill, “We’re the most civilized civilization in the universe. We’re billions of years beyond your petty human obsession with gender and associated stereotypes.” Bill noted that despite this, they still call themselves Time Lords She hasn’t had the experience with them to also question how advanced the Time Lords really are.”

This might be Moffat’s answer to the controversy over whether there will be a woman playing the Doctor. The actual decision is no longer in his hands but if the regeneration of the Master as Missy was not enough, this scene firmly sets in cannon that it is possible to have a woman Doctor. It is not actually possible that the Doctor could have been anything but a man at the Academy unless he had another regeneration which we are aware of, and has not been counted like the War Doctor. While there were questions in the past whether William Hartnell played the first Doctor, the count was established during the Matt Smith era (with the War Doctor creating some wiggle room). While it is unlikely the Doctor was ever a woman, we have seen other woman in a near-Doctor role. This includes Moffat having River Song, Clara Oswald, and Ashildr (the guest role played by Maisie Williams) all pilot a TARDIS.

Bill did not feel safe playing Missy’s companion, and asked the Doctor to “promise you won’t get me killed.” He could not do that, with this flashback scene played right Missy was shot.

The first sixteen minutes of this episode were a great opening sequence. Unfortunately the ending of the show suffered because the realities of the modern world. It would be impossible for them to have filmed scenes with the Cybermen without this news getting out and spreading rapidly on line. Therefore they made no attempts to keep this a secret, announcing that both the original Mondasian Cybermen and the John Simm Master would be present. Stephen Moffat had also warned that one of the trailers would give away a lot.

The episode certainly would have been even greater when watching if we were not aware that the Cybermen were present. The episode set up a fascinating scenario in which a four hundred mile colony ship caught by a black hole had time pass at a far greater speed at the far end than at the other.  Again going meta, this later allowed Bill to view the Doctor in slow motion on a monitor and explain his actions. It also led to a situation in which people trapped on the ship were driven to drastic measures, giving a new explanation for the genesis of the Cybermen.

There were many clues throughout the episode that Cybermen were involved. The hole in Bill’s chest was fixed, with the surgeon saying, “full conversion wasn’t necessary.” Words such as “conversion” and people being “upgraded” provided clues, along with people partially through the process with Mummy-like facial covering like the original Mondasian Cyberman. Later Missy found that the ship was not from earth but from Mondas. It became increasingly obvious when the rod-like headgear was shown to be added to those converted so they would not care about the pain. If someone had not known going into the episode that it was about Cybermen, I wonder how long it took to figure it out.

The other surprise which was tipped off was that Razor turned out to be the Master in disguise. In the past, the Master has used names which were anagrams. In this case, presumably the destructive nature of razors has some meaning in the choosing of the name.

On a personal level this could be one of the most evil acts by the Master–facilitating the conversion of Bill while the Doctor was on his way to save her. She had listened to him and waited, like a tragic variation of The Girl Who Waited. This betrayal seems even more evil  on the part of the Master considering that, due to the effects of the black hole, Bill had spent years with the Master before the Doctor could make it down the elevator to come after her.

The John Simm version of the Master was certainly playing a long game here, but I imagine that is no different than Matt Smith defending a planet before his regeneration or Peter Capaldi agreeing to guard the tomb (even if he didn’t follow through with that). The Master has a lot at stake: “I’m very worried about my future.” Missy does not recall being on the ship previously. While difficult to understand, there have been similar memory issues on episodes involving multiple versions of the Doctor.

We have a certain symmetry here. Steven Moffat has seen Peter Capaldi, an older actor, as being like William Hartnell. Harnell played the first Doctor, while Capaldi is the first of the new regenerations granted to Matt Smith. There have been references to the first Doctor, such as with the picture of Susan on the Doctor’s desk at the university. The Mondasian Cybermen were introduced in the 1966 episode, The Tenth Planet, in which the first doctor died and regenerated.

A big question here is whether the Doctor dies next week, or if this is to occur in the Christmas episode. In some interviews Moffat has suggested he is going to handle the regeneration differently, and questioned if Christmas is the best time for a death. We already know that the first Doctor will be appearing in the Christmas episode, to be played by David Bradley who played William Hartnell in the documentary An Adventure In Space In Time.

It is just a guess, but I’m speculating that the Doctor really does die and go into a regeneration cycle next week. This could have his meeting with the first Doctor as an adventure inside  his own head, comparable to one’s life passing before their eyes. It could be like a longer version of Peter Davison’s regeneration scene in which his companions appear in his head begging him not to die, while the Master encouraged him to do so. Alternatively it could be a final trip through time for the Doctor in his final moments, just as David Tennant visited his past.

We also do not know for certain if Bill will be returning, but it is believed that Chris Chibnall will be starting with a clean slate. Pearl Mackie stated in a radio show that she has met with Chris Chibnall and gave no indication that her status was final, but she might have just been avoiding spoiling the season finale. Her conversion to a Cyberman could very well be Bill’s fate, although this still would not prevent her from helping the Doctor next week. On the other hand, Steven Moffat has avoided killing companions who are leaving, and also might not want a fate like this for her. Amy Pond went into the past and Clara Oswald went on to explore the universe with Ashildr despite being on her last heartbeat. River Song not only escaped death, but appeared multiple times afterwards (at earlier times in her timeline). Perhaps the conversion isn’t final for Bill. Even if she cannot become human again, maybe she can go off and travel through space and time with her friend from Pilot.

There have been multiple season finales to discuss recently, including American Gods, Gotham, and Better Call Saul. I’m going to begin with two this week, The Leftovers and Fargo, as they both have something in common. Both end with Carrie Coon sitting at a table and telling a story to a male lead on the show, with the episode ending in ambiguity. Both are in the tradition of The Sopranos in having an ending which people might be talking about for a long time afterwards.

The finale of any show by Damon Lindelof is going to be compared to the conclusion of Lost. Lindelof handled matters much better with The Leftovers. Neither series could ever have a finale which tied things up. While The Leftovers did not have anywhere near as many episodes and mysteries to tie up, it is based upon a novel which specifically avoided giving any answer for its central event–the rapture-like disappearance of two percent of the world’s population. The episode actually gave more of an explanation than I ever expected, even if not clear if true, leaving me more satisfied than after Lost, while still leaving plenty to wonder about.

For a while the series finale of The Leftovers  was very hard to figure out. After Kevin found Nora he acted as if most of what the two had gone through together on the series never occurred. Was this yet another reality, or perhaps she had gone over and there was another version of Kevin there. Were they in purgatory? Later it became clear that this was our earth when Nora spoke with Laurie on the phone. Ultimately this was explained as Kevin telling a story as a way for them to start over after being apart for several years.

The episode ended with Carrie Coon’s character, Nora, telling a remarkable story to Kevin, but not necessarily any stranger than what we have seen on the show. Two things make it hard to tell if the story is true. She went into a chamber which supposedly was going to send her to where the missing two percent were. At the final moment, as the chamber was filling up with a fluid, she opened her mouth. Was she gasping to hold her breath as instructed, or was she exercising the option of telling them to stop? Those controlling the device had made a point of saying they could hear her the whole time.

It is also not possible to determine if the story was true because we never saw any of the adventure described. All we know is what Nora said.

The description of the episode was “Nothing is answered. Everything is answered. And then it ends.” This is exactly what happened with an answer which felt good at the time but which actually left key matters unexplained, and which may or may not be true.

Nora told a story of going to another place which was exactly like our world, except that to the people there ninety-eight percent of the world had disappeared, instead of two percent like in our world. Naturally their world was changed far more.

If her story was true, we know nothing about how this happened, or about events such as the world Kevin seemed to go to in two episodes when he died and returned. However, we would know that there is a physical explanation for reality being divided in two, with a physicist even developing a way to travel between the two realities. Instead of a religious rapture, people were not divided into those taken and left behind. They just wound up in one of two possible places.

Damon Lindelof had even spoken in interviews of filming such a scene in the pilot showing everyone else disappearing from the perspective of one who disappeared from our earth, giving some plausibility to Nora’s story on a meta level. Within the episode, there are arguments both for believing and disbelieving Nora. She even seemed surprised that Kevin believed her. She said, “You do?” He responded,”Why wouldn’t I? You’re here.”

In various interviews Lindelof discussed how this was written to leave things open for interpretation, how those on set changed their minds about whether Nora was telling the truth, and also claims there was a clear intention as to whether she was telling the truth–which he will not reveal. From USA Today:

…Lindelof reveals the episode was designed in such a way that left the truth open to interpretation — one last mystery for fans to chew over. “We all came to the conclusion that Nora telling the story of where everybody went was going to be the best ending, as long as we didn’t show it. And then the audience would get to decide whether they believed her story. We have a clear intention as storytellers as to whether or not the story is true, and if you watch the episode or the season again, perhaps that intention becomes more clear.”

What matters at the end of the day? That Kevin is just glad to be in the same room again with a tearful Nora telling him, “I’m here.”

“Whether he actually believes her or he wants to believe her because this will allow them to be together, that’s the $64,000 question,” Lindelof says. “But what is very clear at the end of the series is that these two people are going to be together and they’ve suffered enough. I hope.”

However, Lindelof reveals the episode was designed in such a way that left the truth open to interpretation — one last mystery for fans to chew over. “We all came to the conclusion that Nora telling the story of where everybody went was going to be the best ending, as long as we didn’t show it. And then the audience would get to decide whether they believed her story. We have a clear intention as storytellers as to whether or not the story is true, and if you watch the episode or the season again, perhaps that intention becomes more clear.”

Watching the show I thought it is possible that Kevin only said he believed her because he wanted to be together and didn’t really care what had  happened. An interview with Lindelof at The Daily Beast  does confirm that Kevin does believe her:

They’re together, but Nora never actually reunited with her kids.

There’s a number of different ways of looking at that. One potential interpretation is that that didn’t happen at all. That she chickened out and got out of the voice and put herself in self-induced exile and made the story up because it was the story that she needed to tell herself and the story that Kevin needed to hear for them to be together. That’s a cynical interpretation, but it’s one that I’ve heard.

Yes, I’m sure there will be a lot of people who think she made it all up.

Another interpretation is that when she saw her children and they were happy that she suddenly realized, “Who am I to come jamming into their happiness after seven years. There’s not a place for me in this unit anymore.” Not to mention that her husband has been cheating on her and he’s with another woman and her children have learned to be without her. So she must learn, too.

But if you take her story at face value, there’s nobility in her gesture. I think Nora is an incredibly brave and stoic character, and the idea that she went all the way to the top of Everest and then just didn’t plant her flag there. She realized, “Oh. Why did I need to climb Everest again? I think it’s time for me to go back down to the mountain and reevaluate things.” I think there’s nobility in that, too.

Kevin says he believes her. Does he?

Yeah!

Should we believe her?

I can’t tell you what to believe and what not to believe in a show that is based on people telling insane stories. I think that Kevin does believe her and he is the audience’s proxy. Nora is surprised. She’s like, “You do?” Because the story is so incredible, if you really sit and listen to what she says happened to her and, more importantly, how she says she got back. But hopefully it becomes, over time, less and less important whether it is literally true and more and more important that it was emotionally true. I’ve learned the hard way not to tell the audience what to believe and what to think and what to feel.

Lindelof had this explanation in Esquire:

We don’t know if Nora’s story was true.

If we showed it, you would know that it was true. By not showing it, you have to believe that it’s true, if that makes any sense. I think that what’s important is Kevin says that he believes her, and she seems surprised by that. She says, “You do?” And he says, “Why wouldn’t I? You’re here.” That’s kind of everything we have to say about how relevant the truth is, because if a belief system works for you, if it brings you together with the people that you love, it’s actual veracity is secondary to what that belief system basically gets you. That’s not like self-help guru promise bullshit, that’s the way that I think things work. I think that this finale and this season and this series is packed with people who are telling stories. Part of the territory, the very rich territory that we wanted to explore was: Are any of these stories true? Or do these stories have an added veracity because they’re told in a world where this crazy supernatural event happened? Or are they all bullshit? We want the audience to be thinking and feeling and wrestling with all of those questions.

What our intention was in writing the scene is 100 percent clear. I would never be like, “Well, that’s up to you to decide. It’s all in the eyes of the beholder.” No. The writers had a clear intention. I will bring with me to my dying day exactly what our intention was in whether or not Nora’s story is true by the metric of “did it actually happen.” That said, Carrie Coon and I never talked about that. She just read the script and then played it. Mimi Leder and I never talked about whether or not it was true. She just read the script and directed it. And so the more interesting question is: When the same scene is basically interpreted by multiple artists, what is the truth, even? I think it is sort of a fascinating Rorschach test in a sense that if you’re an agnostic or an atheist and you didn’t want an answer to where all the departed people went, you’re probably not going to believe Nora’s story. Even if you had been multiple times that you weren’t going to get the answer, but when Nora gave it to you and you felt relief, you’re probably going to want to believe her story. Again, all that matters to us is that Kevin really does believe it. There’s no ambiguity about that. And his belief in her story is going to allow them to be together, because now they’re both present, probably for the first time.

There are arguments both for and against believing Nora. She certainly had this story down and was ready to tell it when Kevin arrived. At one point during this episode Nora had even said, “I never lie.” She left Kevin at the wedding after she couldn’t handle the story Kevin was making up, appearing to be opposed to dishonesty. However we have seen her lie, such as in initially denying that she knew Kevin when she was told he was looking for her. Much of the series has been about the stories people tell themselves to explain events.

I wonder if Lindelof was giving away the answer when he said in the interview from The Daily Beast that, “the story is so incredible, if you really sit and listen to what she says happened to her and, more importantly, how she says she got back.” There were  points in the story when I did question it. It is a little hard to understand how she could arrive in the other place naked and with no money, but ultimately make it from Australia to the United States, but this felt more like the type of suspension of disbelief which is commonplace in genre stories. It was a realistic touch that, with only two percent of the world’s population left, it was not possible to support an airline industry.

I found it more surprising when Nora described returning to her old house. While it was no surprise that her husband and family had moved on and were involved with someone else, it is questionable that in such a world, with its infrastructure destroyed by the loss of so many people, her family would still be living in the same house. Most likely there would be a tendency for those remaining to join up into communities with others. It is also hard to believe that the physicist would, and could in this world, remake the machine just to send her back. If two-way travel had been developed, it is also hard to believe that there would not be others coming back here and word getting out.

Many arguments can be made for whether Nora was telling the truth, and my answer would probably be that there is no answer if Lindelof hadn’t messed with our heads by claiming there is an answer.

Fargo typically ends each season, which tell an independent story, with characters receiving punishment in some form. This was more ambiguous this season, and also ended with Carrie Coon sitting at a table saying something which may or may not be true. In this case her character believed what she was saying, but we were then given reason to question if she was right.

The beginning of the end occurred when Nikki confronted Emmit Stussy and it appeared that she was going to kill him to get revenge for Emmit having killed his brother (and Nikki’s boyfriend). Instead there was a freak shoot out between Nikki and a police officer who came along, with both killing the other. This is definitely believable in the world of Fargo. Emmitt appeared to have a happy ending, until years later when he was shot in the head

This left Varga, the real villain of the story, at large. In the jump forward, Carrie Coon had moved on to another job at the Department of Homeland Security. Varga was identified at an airport and pulled into a room by Coon’s character, Gloria Burgle. Her talk with him led up to her telling him what was going to happen next:

Let me tell you what’s going to happen next. Three agents from homeland security are going to put handcuffs on you and take you to Rikers and then we’re going to charge you with felony money laundering and six counts of conspiracy to commit murder. And then I’m going to go home to my son — it’s his birthday tomorrow. I promise I’d take him to the state fair.

It appeared that justice would prevail. Then Varga responded:

No. That’s not what’s going to happen next. What’s going to happen next is this. In five minutes that door is going to open and a man you can’t argue with will tell me I’m free to go. And I will stand from this chair and disappear into the world, so help me god. Trust me the future is certain. And when he comes you will know without question your place in the world.

The camera then looked at the door and the episode ended, like The Sopranos ending by going to black without revealing what happened. We never saw whether three agents from homeland security came through next and put him in handcuffs, or if a lone man came through and ordered him to be released. Varga was right so many times during the season, and appeared to be in control. It is impossible to ignore the possibility that he could be right.

There is no correct answer here, and perhaps it does not matter. Whether or not Varga gets away with his crimes, there will always be those who do.

Deadline had this information on Noah Hawley and the finale:

Hawley said it was always his intention to leave the ending open-ended for us to decide. Typically the tragedies in Fargo have happy endings: Marge gets in bed with her husband in the movie, Molly (Allison Tolman) gets to be police chief at the end of Season 1, and Patrick Wilson’s Lou Solverson takes his daughter (the younger Molly) fishing. But for Hawley, the cliffhanger ending tonight stems from “Our living in a complicated moment in time,” he says, referring to the President Donald Trump era.

“If I present you with a choice, you have to decide how that door is going to open and if it’s going to end well. It still has a happy ending if you’re an optimist. It just becomes a more active process. It’s an allegory to the conversation we’re having at this moment. How will we treat each other? Is it American carnage?” adds the EP.

But poor Nikki. Did she really have to die? “There was a degree of playing that by ear,” explains Hawley. “I wanted to save her, but I also didn’t want it to feel like a movie twist. At the end of the day, Fargo is a tragedy.”

In regards to Emmit, he’s a standard Fargo archetype; the guy in the middle, a la Martin Freeman’s Lester or William H. Macy’s Jerry, who always has to choose between right and wrong. The accidental murder of Emmit’s criminal-like brother Ray (also portrayed by McGregor) early on urged viewers to have an ironic respect for Emmit. We only sympathize with him further as the underdog as he remains under Varga’s thumb. But with Nikki dead, Hawley relied on Mr. Wrench, a deaf henchman from Season 1, “as the final arbiter of justice. He’s not in their story, he’s an outsider, and he can dispense the cosmic justice that Nikki tried and failed.”

“There aren’t any real heroes and villains, especially if I can make you empathize with these people,” Hawley says of his storytelling technique. “It complicates the violence that’s going to come, and I don’t want people cheering for the violence.”

The article also reports that it is undetermined whether there will be a fourth season:

“I always agreed with FX that the only reason to do another Fargo is if the creative is there,” says Hawley, who at the moment is drawing a blank in regards to what Season 4 would center around.

“It took 15 months to get Season 2 off the ground, and 18 months to get Season 3 on the air. I have to turn my attention to the second season of Legion and a film potentially the winter after next. We’re looking at three years from now,” the EP about a rough timeline for a Fargo Season 4.

It  makes sense that any decision on a fourth season be based upon whether there is a story idea good enough to justify it. Many shows have been continued far longer than they should be. It  is also a good thing that there is no pressure on FX to make a decision by next season. It is better to wait until any future seasons can be done right.

The article also reveals that, in addition to his work on Legion, Hawley will be doing a limited series adaptation of Kurt Vonnegut’s 1963  novel Cat’s Cradle.

SciFi Weekend: Doctor Who and The Two Masters; Legends of Tomorrow Breaks Time; Surprises On The Magicians; A Wedding On Orphan Black?; Hugo Award Finalists; Netflix Marvel Shows; Renewals and Returning Shows


Thanks to time travel, there have been many episodes of Doctor Who which featured two or more Doctors from different regeneratons. In the upcoming season, not only will there be the return of Missy, but John Sims will be returning as The Master. The BBC reports:

John Simm will return as the Master to battle the Doctor (Peter Capaldi), new companion Bill Potts (Pearl Mackie) and Nardole (Matt Lucas) in the forthcoming series of Doctor Who.

John Simm says: “I can confirm that it’s true, thanks to the power of time travel I’m back. It’s always a pleasure to work with this great team of people and I can’t wait for you all to see what the Master gets up to in the next series. “

Steven Moffat, writer and executive producer, says: “Nothing stays secret for long on Doctor Who but you’ll have to wait a little bit longer to see exactly what the Master is up to and how he makes his return to face the Doctor. It’s been a huge pleasure to have fan favourites John Simm and Michelle Gomez face to face in the same role! It’s not often you get to see a solo personality clash.”

John Simm was last seen as the Master on New Year’s Day 2010. Viewers will have to wait to see exactly when and how the Master will return to the new series, which starts on Saturday 15 April at 7:20pm on BBC One.

As previously announced, Doctor Who series 10 will also star Michelle Gomez as Missy – a later regeneration of the Master. Other returning foes include the Daleks, the Ice Warriors and – returning for the first time in over 50 years – the Mondasian Cybermen. An exciting line up of new faces and adversaries will debut across the series, including adorable-but-deadly Emojibots and David Suchet as the Landlord.

Steven Moffat has also been teasing a huge spoiler, to be revealed in a trailer to one of the episodes:

“This is just a public warning,” said a playful Moffat. “Some people hate spoilers and some people love spoilers – and everybody hates me whatever way they think about it. So this is my last attempt in this role to avoid hatred.

“At the end of the episode there will be yet another awesome trailer for Doctor Who… at the very end of the trailer there is, frankly, an enormous spoiler, a spoiler that may actually melt your brains. But I promise you, you’d be better off not knowing because awesome though it will be here, it will be even more awesome in a few weeks’ time. So we’re gonna give you the option, in our frankly camp and ridiculous way…

“There will come up a warning and then there will be a countdown to the spoiler, and then there will be a warning to ‘blink now’. If at that point you close your eyes and wait until you hear the cliffhanger noise, you will have a better experience in a few weeks’ time.”

Den of Geek has a spoiler-free review of the season premier.

Series ten will finally reveal the location of the TARDIS toilet. (“It’s down there. First right, second left, past the macaroon dispenser.”) It remains unseen.

Doctor Who TV has links to series ten interviews with Steven Moffat and the cast. In an interview elsewhere,  Peter Davison discussed how the regeneration scenes were hard for both himself and David Tennant.

There have already been shows such as Broadchurch and Victoria which include at least two actors who had previously appeared in the Doctor Who universe. Another example is coming. Look at the cast in this show discussed at Deadline:

Netflix has come on board BBC Two’s contemporary thriller Collateral as co-producer and will release globally outside the UK. As Deadline revealed last month, Carey Mulligan is starring in the David Hare created drama that explores the spiraling repercussions surrounding the fatal shooting of a pizza delivery man. New cast includes John Simm (Life on Mars), Nicola Walker (Spooks) and Billie Piper (Doctor Who, Penny Dreadful).

Rose and The Master, plus staring Carey Mulligan, who played Sally Sparrow in Blink.

Legends of Tomorrow was considerably improved in the second season. After an apparently happy ending, the Legends wound up in a Los Angeles with a changed skyline with futuristic buildings and buildings from Victorian England, and dinosaurs. I wonder if they are intentionally using things which the Legends have encountered previously.  Screener discussed the aftermath of breaking time with showrunner Phil Klemmer:

It’s no secret that the Legends revisiting an event they’d already changed is bad news — and now in the Season 2 finale, that’s exactly what’s happening. What can you tell us about the episode?

I guess I’ll say this: We have to follow through on our promise. I think people would hate us if the Legends were able to perform this feat without any consequence… If this were a typical “Legends” episode, and ended with, “Alright, we didn’t get a lot of style points but we succeeded.” This really has to be different than a random episode throughout the season.

As a show, it’s always been designed to reinvent itself at the end of every season, whether that’s with the mythology or the characters or the stakes. The blocks that we build with are not designed to last from one season to the next. We’ve loved Season 2 and could continue writing this forever, but I don’t think that would be true to the spirit of the show, which is supposed to be wildly unpredictable and zany.

We had to have a seismic shift for our story, and one that will leave people scratching their heads for the next five months or whatever. I think the show is at its best when you watch an episode and honestly don’t know how the hell you got there. We never could have predicted that we would do an episode about George Lucas, or “Land of the Lost” dinosaurs. You can get a little too comfortable and we got good at doing the Season 2 thing. That’s precisely the moment where you have to blow the canon up again, you know? Crash this beautiful ship of ours and see where you land.

It’s scary — but it’s a challenge that I know, when we all sit down in the writers’ room for the first day of work, everybody’s going to be on the edge of their seat and eager to start talking, because nobody knows where we’re headed. And that’s exciting and terrifying.

While ‘Legends’ is telling a unique story, it still exists in a shared universe — your actions can be felt on other shows. Is that a line you have to walk — debating how much to blow up so it doesn’t impact ‘Arrow’ or ‘The Flash’?

It is funny. Kevin Smith said at Paleyfest how Barry has suffered endlessly for making one mistake, and we’ve sort of made a habit out of it. Usually when we’re in the Waverider and we’re traveling through time, we’re thinking the crossover is really the only time we have to make our worlds harmonious.

But you’re right, we have maybe made a really difficult challenge for ourselves. You’ll see in the last 45 seconds a different kind of mistake than we’ve ever made before — and the challenge of Season 3 is going to be coming up with a new mission-of-the-week… Because it’s not as easy as going back in time and keeping George Lucas in film school. That’s going to seem like a very two-dimensional surgical strike, compared to the historical messes that we have to clean up as a result of what we do in this finale. It’s exponentially more complicated.

Despite the changes on Legends of Tomorrow, Marc Guggenheim says we will not see dinosaurs in Central City on The Flash next season.

Last week’s episode of The Magicians had a dragon, a visit to the underworld (with bowling), and a lot of surprises. Eliot was surprised to find he was not going to get laid because a bunch of Fillorians and Lorians were turned into rats on Eliot and King Idri’s wedding day. Margo surprised Eliot when the truth serum forced her to confess, but then, surprisingly did something risky to try to fix everything. Eliot was also surprised to return to Brakebills. Senator John Gaines was surprised to learn why some people did what he wanted, and further surprised when he gave another Senator a heart attack. Julia was surprised to learn that Elysium is run by Miss Persephone. The biggest surprise was the sacrifice Julia made for Quenton, presumably now opening the door to bringing Alice back.

The Dragon got the best lines of the episode:  “You have 24 hours to return to the portal.” “Or…” “I sit patiently, waiting for you to come back. No, I eat you, I’m a fucking dragon, what do you expect?”

Deadline had a panel with cast and crew, and had some teasers for the final two episodes of the season:

With just two episodes to go, the team promised to go out with a bang (“They’re insane,” said Maeve. “Quite insane”). Added McNamara: “There’s been something for the entire season, and there’s a perpetrator behind these things that are going on, and you don’t know who it is… It’s kind of a giant whodunit.” Ralph confirmed that the April 19 finale will pull the rug out from under its characters, saying, “Just as these people think that they have real control over their lives and have made real decisions and have forward momentum and feel like they’re taking responsibility for things for the first time, we draw back the curtain and reveal that they’ve had no control – they’ve been pawns.” Gamble smiled. “Don’t you love a cliffhanger?”

Orphan Black returns for its fifth and final season on June 10. Several pictures and clips have been released, including this one which suggests that Cosima and Dephine are getting married:

 

The 2017 Hugo Award finalists are out. The awards will be presented on August 11, 2017. Here are the nominees for the two categories which include television shows and movies:

Best Dramatic Presentation, Long Form

  • Arrival, screenplay by Eric Heisserer based on a short story by Ted Chiang, directed by Denis Villeneuve (21 Laps Entertainment/FilmNation Entertainment/Lava Bear Films)
  • Deadpool, screenplay by Rhett Reese & Paul Wernick, directed by Tim Miller (Twentieth Century Fox Film Corporation/Marvel Entertainment/Kinberg Genre/The Donners’ Company/TSG Entertainment)
  • Ghostbusters, screenplay by Katie Dippold & Paul Feig, directed by Paul Feig (Columbia Pictures/LStar Capital/Village Roadshow Pictures/Pascal Pictures/Feigco Entertainment/Ghostcorps/The Montecito Picture Company)
  • Hidden Figures, screenplay by Allison Schroeder and Theodore Melfi, directed by Theodore Melfi (Fox 2000 Pictures/Chernin Entertainment/Levantine Films/TSG Entertainment)
  • Rogue One, screenplay by Chris Weitz and Tony Gilroy, directed by Gareth Edwards (Lucasfilm/Allison Shearmur Productions/Black Hangar Studios/Stereo D/Walt Disney Pictures)
  • Stranger Things, Season One, created by the Duffer Brothers (21 Laps Entertainment/Monkey Massacre)

Best Dramatic Presentation, Short Form

  • Black Mirror: “San Junipero”, written by Charlie Brooker, directed by Owen Harris (House of Tomorrow)
  • Doctor Who: “The Return of Doctor Mysterio”, written by Steven Moffat, directed by Ed Bazalgette (BBC Cymru Wales)
  • The Expanse: “Leviathan Wakes”, written by Mark Fergus and Hawk Ostby, directed by Terry McDonough (SyFy)
  • Game of Thrones: “Battle of the Bastards”, written by David Benioff and D. B. Weiss, directed by Miguel Sapochnik (HBO)
  • Game of Thrones: “The Door”, written by David Benioff and D. B. Weiss, directed by Jack Bender (HBO)
  • Splendor & Misery [album], by Clipping (Daveed Diggs, William Hutson, Jonathan Snipes)

Screenrant has looked at how the television version of Legion differed from the comics.

On a somewhat similar topic, Vulture compared how the ending of Big Little Lies compared to the book.

Netflix has revealed that The Defenders will be released on August 18, 2017.

Daredevil will start filming season three later this year, to be released in 2018.

Iron Fist has received a number of poor reviews, but I doubt I will go entirely without seeing it before watching The Defenders. Nerdophiles has a possible solution–listing the must see episodes and recommendations for those to skip. They even have a synopsis of the episodes they recommend skipping. It won’t save all that much time, only recommending skipping three episodes (the second, third, and twelfth). The first also also gets a poor review, but I assume the author recommends watching as it is the first episode and presumably does set up the show. In other words, it appears that the series doesn’t really become all that watchable until the fourth episode.

In this era of peak TV, there are many shows I have not had a chance to see which others say are worthwhile. I’ve heard a few people say great things about Wynonna Earp. Screen Rant gives fifteen reasons to watch. The first season recently became available on Netflix, and the second season begins on Syfy on Friday June 9. Syfy has announced that Dark Matter will also return on June 9 with two episodes. Killjoys will return on  June 30. I finally manged to binge watch Dark Matter in December, when other shows were on hiatus, and really enjoyed it. I didn’t get into Killjoys, but I only watched one episode and will give it another chance if there is another slow period.

Hulu has released the first three episodes of an anthology series entitled Dimension 404, which appears to be influenced by The Twilight Zone and Black Mirror. I09 says these episodes are bingeworthy.

Netflix has renewed A Series of Unfortunate Events for both a second and third season. USA has renewed Colony for a third season.

SciFi Weekend: Legion and Sleepy Hollow Season Finales; The Magicians; Legends of Tomorrow; Doctor Who; Batgirl; Renewals & Cancellations; Tina Fey Unintentionally Shows Why Democrats Keep Losing

Just when we seemed to be suffering from super-hero fatigue, Noah Hawley showed that there is more which can be done in the genre. This was helped by excellent performances from the cast, especially Dan Stevens and Aubrey Plaza. The first season concluded an eight episode story last week and then, Marvel movie-style, used a scene during the credits to introduce a new problem for the second season.

Deadline interviewed Noah Hawley about the finale:

DEADLINE: Let’s start at the end and that orb that captured David. Where is that taking him and us going into Season 2?

HAWLEY: Well, it means that Season 2 is beginning. It means that we’ve completed this story and we’re starting a new one. You know, my goal is always that the first season would be about fighting the enemy within and, you know, learning about this entity that was inside of David and about getting it out of David, and Season 2 will be about then the enemy without and this entity now we know is a person.

But for us it’s never a simple straight line between point A and point B, so you know I wanted to complicate it some by having David disappear just at the moment where he’s about to go off in pursuit of the Shadow King. As for who’s behind the orb and who sent it, I think that’s one of the mysteries we want to explore in Season 2.

DEADLINE: Very deliberately vague of you on a show that specializes in anxiety and the surreal…

HAWLEY: I try to let the show speak for itself. It’s about everyone’s individual experience of it, and you know, so I don’t want to say too much.

DEADLINE: One thing you have spoken of, so to speak, in the last few episodes is the parentage of David Haller, and reaffirming the series’ connection to the Marvel Universe and the comic legacy with the divulging of that wheelchair from The X-Men: Apocalypse movie that Charles Xavier is Haller’s father. You started out so far from the canon of the comics, why did you come in so close to it near the end of this season?

HAWLEY: I certainly played very loosely with a lot of the canon as it relates to this character of David Haller, but one of the things I always felt was off-limits was his origin story. I didn’t really feel like there was any way that I could change who his father was, I mean that seemed like a sacrilegious thing to do.

So, it was always my intention to acknowledge who his father was. The question was when we would do it and how, obviously, we would do it. So you know I think in this case we’ve nodded to it and obviously as to any child who was adopted, he’s going to want to figure out who his father and mother were and there will be that journey.

DEADLINE: Does that mean we are going to see Professor X showing up in Season 2?

HAWLEY: I don’t know about Season 2 but I know that there’s that story will need to be addressed at some point in the future. It’s not something that I want to shy away from, but I also want to make sure that when it’s time to tell that story, we can really tell it and not dance around it.

DEADLINE: So, would you bring in a Patrick Stewart or a James McAvoy?

HAWLEY: Well, some of that is a little more logistically complicated just in terms of would we try to use either Patrick Stewart or James McAvoy. Would they be interested in doing the show? Would 20th Century Fox?

I have to consult with them about the X-Men characters and which characters they want to protect for the future franchise and which ones are available to me. So, there’s a lot of conversations I haven’t had yet but we’re willing to be had. I’m not stressed out about it. I think we all get along quite well and it’s just going to be a question of how and when…

DEADLINE: In real time, Season 1 was eight episodes on FX, and Season 2 looks to be 10 episodes. So will that change your storytelling approach?

HAWLEY: I was the one who asked for eight in the first year and I did it because I wanted to tell a single story. I wanted to tell a story of David Haller who was institutionalized and then was rescued and is told that his powers are powers and not a mental illness. Then we discover that what’s going in his mind is much more complicated, and then we rediscover what is inside his mind. Then we get it out and that’s the first season and that works the eight hours.

But I wanted to do that because I felt like the show’s very complicated and it’s very different. But I wanted the audience to feel like they got it through the coherent story.

Going forward I think that the audience now knows the show and they understand our style, our original language. It’s obviously a large ensemble and so we can expand our story in Season 2. In order to understand David, we can understand Syd more or the other characters. We can expand that universe so that we’re still telling a single story, but we’re taking our time a little bit more and with a little less singular-minded focus.

DEADLINE: Noah, it sounds like you are thinking far beyond a Season 2 like a Season 4 or 5. Is that how long you’ve planned out Legion going on?

HAWLEY: Certainly I have a sort of beginning, middle and end to this David Haller story in mind. What I don’t know is how many hours of television that is, whether it’s 20 hours or 30 or 40, so that’s part of the exploration of it over time — one that I’m very excited to keep going on.

I gave up on Sleepy Hollow before the third season ended. I began watching again this season, but around mid-season was questioning whether I would continue. I’m glad I stuck it out as the season did end well. The series has always suffered from the problem that it can create supernatural problems, and then solve them by just writing in a supernatural solution, and is most watchable due to the interaction between characters. The addition of Seychelle Gabriel as Lara gave the show what it needed to keep the last few episodes interesting. (Spoilers ahead).

I initially reacted negatively when the show brought back the Four Horsemen (who are most powerful when all four are together, like The Beatles), but this did work out well to conclude the season’s story  line. I was happy to see that Ichabod did not remain War very long as there was never any doubt they would invent a supernatural way to save him. Ichabod wound up in a bigger jam as he had to sell his soul to the devil in order to defeat Malcolm Dreyfus (with a little help from Henry agreeing to a truce in the name of freedom). There is no doubt that they will find a way out, but hopefully it does not come across as too much of an easy cheat, as so much does on this series.

The season ended with Ichabod Crane getting set up for faster internet as well as becoming an American citizen. Agency 355 has increased in importance, and size, and now reports directly to the president. If the series is renewed for a fifth season, the concluding scenes give the impression that the show might deal more Agency 355 with handling monsters and supernatural threats, along with efforts by Ichabod to get out of his contract with the Devil.

Entertainment Weekly spoke with executive producer Raven Metzner about the finale:

ENTERTAINMENT WEEKLY: Crane literally sold his soul to the devil! How’s he going to get out of this one?
RAVEN METZNER: You know, we all were looking for a way to have this character who we know and love come to solid ground. He’s long been searching for a place in the modern world. He’s a man out of time. The question of the Washington letter and what that meant, the fact that he’s had his life rocked in losing the person he cared about more than anyone in the world, the fact that he sort of had lost his family along the way — these were all things that were challenges, and we wanted to find a way to solve some of those things for him, or at least start to solve them. To place him into a family that he felt comfortable with and into a role that he felt comfortable with. And give him his citizenship as an American citizen, which we thought would be really powerful for him and something he never had and always wanted.

But we also wanted to give him a challenge that, if we were to get subsequent seasons, would present an interesting problem. Because we had the Dreyfuss character all the way through, we thought it would be interesting to mirror them and give Crane a similar conundrum. He’s seen the worst version of what it can do to someone; now he’s got to figure his way out. That last bit of dialogue was something we talked about a lot, and actually [executive producer] Albert Kim pitched that little run there, which I really love, which is the idea that, you know, “Sold my soul? It’s Tuesday.” Like, “I can deal with it.” If this is the final episode, I think Crane’s attitude about it is enough that I think fans would trust that he would find his way out of it. If it’s not, and we get more seasons to tell this story, then I think it’s a great problem to be played out.

With Henry, Crane makes this grand speech about how freedom is the most important thing, but now Crane is, in a way, not free. Can you talk about that contrast between sacrificing your freedom out of hatred and sacrificing it out of love?
Oh, that’s actually a really nice way to put it. Yeah, the theme of freedom running through [the episode] came from a lot of different sides. First and foremost, there’s Malcolm Dreyfuss’ desire to rule through tyranny and his belief that as a corporate head, he knows what’s best and he can decide people’s fates. Crane has always been a voice for democracy and for the idea of personal freedom and a country that is built on the ideals of freedom, so their battle of wills through the season has been about that. And Crane’s triumph, and the team’s triumph, in defeating Dreyfuss is a triumph for freedom over tyranny.

At the same time, we have this personal drama between Crane and Henry that’s introduced at the top of the episode in their duel… They’ve failed to connect on so many other levels. For Crane to realize that the one thing they do connect about is that ideal — if you think about Henry in season 2, Henry killed Moloch because he didn’t want anyone lording over him, and he didn’t want to be part of having Moloch push him around. Also in season 2, he tried to create a free nation of witches because he believed they needed to be free. So I think Crane recognizes that that’s their commonality.

The larger piece that’s interesting that you just brought up, about how Crane has just taken on this deal in which his soul is owed to someone — he sort of has a lien placed on him, so the devil, or the devil we’ve met, hasn’t taken his soul yet. It’s a soul that is due on the day that he dies, so he still has his soul, he still has his freedom. It’s more that he knows he’ll have to find a way to defeat this bargain he’s made before the day he dies…

In happier news, the Vault saved the president. Will she play a big role if the show continues?
The idea is that as the show goes forward, there’s a new paradigm, which is: Crane has now officially realized the hope that both Washington and Benjamin Banneker had for him that he would one day be a part of the Vault. And you know Jenny and Diana would absolutely now be officially a part of it, and Jake [Jerry MacKinnon] and Alex [Rachel Melvin] would continue on. So it sets up a paradigm of a more official use of our team in going after [the supernatural] with the help of the U.S. government. We would definitely find ways to twist that and turn that. I thought the actress who played the president did a great job, so we would love to have her come back, but I think it’s more about giving them a new, more official role.

More at TV Line.

One thing I like about The Magicians is that they don’t solve every problem by bringing up new magical solutions at the time. At very least they will foreshadow what can be done. We learned about the multiple timelines earlier, with Jane giving them thirty-nine timelines so they could have a do-over every time The Beast killed them. These timeloops were raised again in last week’s episode. We saw a different version of Alice, in which she survived but Quenton was killed in the battle against The Beast. We also saw what  happened in the other timelines in which Julia was admitted to Breakbills. However, the idea of a deal costing the protagonist their child has been done so many times before.

With so much happening in Fillory this season, at times it no longer seems like we are dealing with a group of students. Blastr checked this out Rick Worthy. Worthy has a strong genre background: “A Cylon on Battlestar Galactica; a Klingon, crewman or Xindi-Aroboreal on Star Trek‘s Deep Space Nine, Voyager and Enterprise; mayor of Mystic Falls on The Vampire Diaries; the Alpha Vampire on Supernatural; or, currently, both the leader of the Resistance on The Man in the High Castle and Dean Fogg on The Magicians.”

Brakebills has a liberal attendance policy since these students don’t even go to class. Are they still his students?

They have gone off to a different experience the dean has only heard about. He has not experienced Fillory. But there is a lot of the dean that is yet to be revealed. I know how Season 2 ends, and they will need him again. Trust me. In terms of being the walking epitome of Brakebills, they’ll need the dean even though they’ve seen and done things he hasn’t.

What were the dynamics of that scene in this week’s episode between pre-time loop Fogg and Julia?

I have been dying to talk about that scene because it shows two timelines. We see one version from the earlier time loop where she’s admitted to Brakebills. I was reading the script, and it was what everyone needed to see: What was it like when Julia was admitted? Then we juxtapose that version with now.

This earlier scene with a lovely, bright-eyed, promising young student. And we see another version of the dean, who seems younger. He seems cheerful, more optimistic, sort of happy-go-lucky. He connects with her because they are so much alike, and have the same discipline. In her, he sees himself. Then, we go to the next scene, the timeline we now know, and she’s locked in the dungeon. He becomes an older, more serious person. And so did Stella. The scenes are really powerful and make you think about life and maybe the choices you make in your own life. What if I had taken this road instead of that road? I particularly love that episode.

Part of the fun of The Magicians is how it shows interrelations between the real world and the world of the show. Marlee Matlin played a character who ran the web site FuzzBeat, using clickbait such as internet lists to contain magic spells. Marlee Maitlin discussed her role with Syfy Wire.

Syfy released the above teaser for the final three episodes of The Magicians at Wondercon. It looks like we really have a giant talking dragon (who does not think much of millennials). Like the Sleepy Hollow finale, there is even a visit to the underworld.

Legends of Tomorrow has become the best show in the Berlantiverse this season, although part of that is because of a fall in quality on the other three shows. Like on recent episodes of Sleepy Hollow and The Magicians, we saw a different time line, with the Legions of Doom having created a new reality. This included the death of Felicity Smoak, who was wearing the superhero outfit I showed last week.

The CW Network has released the above trailer for the season finale and appears to reveal how this season’s story will conclude. Of course the devil is in the details, and the consequences. Here is the synopsis:

As the Legends are about to take off for their next destination, a massive timequake rocks the ship. In order to try and fix what has happened, they are forced to break the one cardinal rule of time travel. But if they are able to destroy the spear, they will face the ultimate consequence. Victor Garber, Brandon Routh, Arthur Darvill, Caity Lotz, Dominic Purcell, Franz Drameh, Nick Zano and Maisie Richardson-Sellers. Rob Seidenglanz directed the episode written by Phil Klemmer & Marc Guggenheim (#217).

While Doctor Who has had gay characters in the past, we learned last week that Bill Potts, played by Pearl Mackie, will be the first openly gay companion. From The Guardian:

Doctor Who’s next companion will be the first to be openly gay.

Pearl Mackie, who plays Bill Potts in the upcoming series, told the BBC her character’s openness about her sexuality was important to represent onscreen, but not her defining characteristic.

“It shouldn’t be a big deal in the 21st century. It’s about time, isn’t it?” she said.

“I remember watching TV as a young, mixed-race girl, not seeing many people who looked like me, so I think being able to visually recognise yourself on screen is important.

“[Being gay] is not the main thing that defines her character – it’s something that’s part of her and something that she’s very happy and very comfortable with.”

The official synopsis has been released for the opening episode of the upcoming season of Doctor Who:

Two worlds collide when the Doctor meets Bill. A chance encounter with a girl with a star in her eye leads to a terrifying chase across time and space. Bill’s mind is opened to a Universe that is bigger and more exciting than she could possibly have imagined – but who is the Doctor, and what is his secret mission with Nardole on Earth?

I suspect that we will continue to see a long list of front runners to replace Peter Capaldi. This week the bookies like Phoebe Waller-Bridge, the star of Fleabag. Adding to her chances, she has a connection to incoming show runner Chris Chibnall, having appeared in season two of Broadchurch. (Incidentally, I do not want to say too much about Broadchurch as it is not showing in the United States yet, but season three has been excellent, reviving the quality of the first season. There are now many suspects for the crime of the season, with last Monday’s episode causing me to elevate someone I had not suspected to a major suspect.)

The DC superhero movies have been much less fun than those from Marvel. That just might change with Joss Whedon writing and directing Batgirl. Besides the news in the previous link, there are also rumors that Lindsay Morgan, who plays Raven on The 100, might star.

Netflix has renewed Santa Clarita Diet for a second season. For light genre, the first season was enjoyable to watch.

While not genre, Netflix released season three of Grace and Frankie, last week, which is another Netflix series well worth watching.

ABC has cancelled Time After Time after only five of seven completed episodes aired. There are not currently plans to air the final two episodes, but perhaps they will make them available on line or by streaming in case anyone cares. I have no idea if it was worth watching. In this era of peak television, I wasn’t going to try to  squeeze in a two hour premiere of a network series without seeing good reviews.

Tina Fey has criticized those who voted for Donald Trump saying, “‘A lot of this election was turned by white, college-educated women who now would maybe like to forget about this election and go back to watching HGTV.” While her objection to those who voted for Trump is understandable, I fear that Democrats will continue to have problems at the polls as long as their response to those who did not vote for them is to attack them, as opposed to try to understand why so many voters did not vote for Democrats in 2016 when led by Hillary Clinton, as well as in 2014 and 2010 when they ran as a Republican-lite party. Fey has done an outstanding job in mocking Sarah Palin, but attacking the opponent is not enough when Democrats have repeatedly failed to stand up for liberal principles or give people a positive reason to vote for them.

SciFi Weekend: Music On Supergirl, The Flash, And Legends of Tomorrow; Legion; The Magicians; 12 Monkeys; Doctor Who; Agents of HYDRA; The Matrix Reboot; Westworld

The musical cross over of Supergirl and The Flash (and the Glee Reunion) entitled Duet will begin on Supergirl, with most of the story taking place on The Flash. The two are placed in a dream-like state by the Music Meister (Darren Criss). ScreenerTV reports that, “Kara and Barry wake up without their powers in an alternate reality where life is like a musical and the only way to escape is by following the script, complete with singing and dancing, to the end.”

Variety adds this information from Candice Patton (Iris West):

“You’ll see two versions of Iris in the episode,” she said. “The Iris that we know and love, and a person they [Barry and Kara (Melissa Benoist)] think is Iris but is actually a completely different character named Millie. She’s the sassy daughter of two gangsters — played Victor Garber and Jessie Martin — and she’s madly in love with Mon-El’s character (‘Supergirl’s’ Chris Wood), whose name is Tommy. They’re fighting for their love, because both of their families do not want them to be together.”

Writers of the music for the episode include Benj Pasek and Justin Paul, who also wrote for La La Land.

Supergirl isn’t the only show in the Berlantiverse to feature music this month. On Legends of Tomorrow, Dr. Stein (Victor Garber) along with Heat Wave (Dominic Purcell) had infiltrated NASA during the flight of Apollo 13 and had to distract those there from seeing superheroes on the moon. They do it by singing Day-O in the video above.

Time travel shows typically have rules as to what can be done, and then frequently break the rules. Legends of Tomorrow has been fairly lax with their rules, but they will break the little that has been established for the season finale. Here is the official synopsis:

Aruba” — (8:00-9:00 p.m. ET) (Content Rating TBD) (HDTV) SEASON FINALE — As the Legends are about to take off for their next destination, a massive timequake rocks the ship. In order to try and fix what has happened, they are forced to break the one cardinal rule of time travel. But if they are able to destroy the spear, they will face the ultimate consequence. Victor Garber, Brandon Routh, Arthur Darvill, Caity Lotz, Dominic Purcell, Franz Drameh, Nick Zano and Maisie Richardson-Sellers. Rob Seidenglanz directed the episode written by Phil Klemmer & Marc Guggenheim (#217). Original airdate 4/4/2017.

Next season The Flash will break with its usual tradition of having the Flash’s life be dominated by others with super speed. The big bad next season will not be a speedster.

Legion, which has now been renewed for a second season, has been very strange recently, with Aubrey Plaza doing a fantastic job as “Dr. Lenny” last week. It makes a little more sense to those who know about the X-Men comic universe. I0-9 discusses the identity of the bad bad which has been inhabiting David’s mind:

A new promo for the show’s next episode, “Chapter 7,” sees the brainy half of the Loudermilk duo, Cary, confirm that Amahl Farouk—better known as the Shadow King—is the villain that’s been plaguing David as the yellow-eyed demon throughout the show.

It’s not exactly a huge surprise that Yellow-Eyed Demon, or Y.E.D., is actually the Shadow King. This has been hinted at for weeks. Over the course of the first season, Y.E.D. has been lurking in David’s mind, changing David’s memories and making him forget about every encounter they’ve had to keep his identity secret. Lately, Y.E.D. has taken on the form of Lenny (Aubrey Plaza), David’s friend from the mental hospital who was killed in the first episode—but when David was a child he pretended to be his dog, not-so-subtly named King. The Shadow King has actually been inside David for decades. David’s father (Professor X?) sent him away when he was a baby to protect him, but Farouk couldn’t be stopped.

 So, who is Farouk in the comics? First introduced in Uncanny X-Men #117 by Chris Claremont and John Byrne, Farouk is the latest human host of the pure psychic energy being known as the Shadow King. The Shadow King has existed for centuries, feeding on the enslaved bodies of telepathic hosts from the dawn of humanity. Farouk has spent his life working in the shadows, first as a Nazi ally and later a crime boss in Egypt, before encountering Charles Xavier in ‘70s Cairo…

There is a large but finite number of ideas in science fiction and fantasy, and on Wednesdays we are seeing that with two excellent genre shows having a similar situation. While David on Legion appears to have a second consciousness in him since childhood, Quenton has Niffin Alice in him at present on The Magicians. While there is a similarity in the idea of two consciousnesses in one person, this is a more recent development on The Magicians, and perhaps Penny discovering this last week is a step towards resolving this problem. If not, who knows how much damage Alice can do with control of Quenton’s body for even a brief period every day.

Syfy plans to air all ten episodes of season three of 12 Monkeys over three days in May, between May 19 and 21. This sounds like the sort of thing a network might to do to quickly get rid of the episodes of a series it plans to cancel, but they have also renewed the series for a final fourth season. Perhaps this is their response to the trend towards binging shows, such as on Netflix.

While Syfy has renewed 12 Monkeys and The Expanse, there is no word yet on The Magicians. The Magicians is also impacted by streaming in a different manner. The episodes seem to be prepared for streaming, with an uncensored version of season one with limited commercial cuts made available after the first season aired. Besides all the f-bombs, the show is made without fading to commercials like a typical show, and instead have the commercials appear abruptly, making the episodes work better when repeated with reduced commercial breaks (or none when on Netflix). I would love to see The Magicians return for a third season on Netflix instead of Syfy so that we can see it this way from the start.

There is also news on the third time travel series to be discussed this week. Digital Spy reports that Doctor Who will have a three part episode involving The Monks, with Missy also appearing:

It’s been a while, but Doctor Who is resurrecting the three-parter for Peter Capaldi’s final series aboard the TARDIS.

New monsters The Monks were previously confirmed to be appearing in several episodes across series 10 – now Digital Spy can confirm that a trio of adventures (episodes 6-8) in the new series are linked.

Toby Whithouse, who’s written the concluding chapter, revealed: “Mine is the third part of a three-parter – Steven [Moffat]’s done the first one, Peter Harness did the second and I’ve done the third.

“It’s set modern-day… and I think anything more than that and Steven will come round and kick me in the shin!”

Sacha Dhawan, who played Jimmy Dillon on Mr. Selfridge, and has also appeared in Sherlock, Iron Fist, and An Adventure in Space and Time is among the names being discusses as a possible replacement for Peter Capaldi. Radio Times reports he is very interested in the role:

“Oh my God, I’d absolutely love to,” Dhawan told RadioTimes.com when asked if he was interested in the part. “I SO would love to.

“I’ve worked with [frequent Doctor Who writer Mark Gatiss] quite a lot, and I think I’d bring something really exciting to it. It’d be incredibly nerve-wracking to do to be honest. It’s quite a lot of pressure.

“When the list came out, I was so honoured really that I was even considered,” he went on. “And that alone was kind of good enough. But who wouldn’t want to do it? It’s Doctor Who.”

The posters advertising the return of Agents of SHIELD reminds us that they are now in The Framework with a different reality. For those not watching, it is sort of like being in The Matrix.

There is also talk about rebooting The Matrix. The remake will apparently tell other stories in the same universe. If they go ahead, I hope they do a better job than they did in the two attempts to make a sequel to the original movie.

Den of Geek summarizes what is known so far about season 2 of Westworld.

SciFi Weekend: Time After Time; Arrow; X-Men Casting News; Dark; Sense8; Santa Clarita Diet; Shows From Matthew Weiner and Amy Sherman-Palladino on Amazon; Doctor Who; Star Trek Discovery Air Date; Saturday Night Live

Time After Time is the next network time travel show to premiere. TV Guide answers some questions about it:

Is this really about Sexy Jack the Ripper and Sexy H.G. Wells? Boy, is it! You see, back in the day, before H.G. Wells wrote any of his now legendary novels, he apparently built a real time machine. He was showing off this game-changing piece of machinery to his good friend John — who, as it turns out, is actually the notorious anonymous serial killer Jack the Ripper. And once John discovers the authorities were hot on his tail, he uses the time machine to hightail it to modern-day New York City. Realizing he’s the only one who can stop John from killing again, H.G. follows his old friend to the future, where the world’s sexiest cat-and-mouse game begins!

Is it weird to feel attracted to Jack the Ripper? Yes and no. It’s totally weird to be sexually attracted to a serial killer, but the charismatic power of Josh Bowman is also impossibly hard to deny. Plus, this version of Jack the Ripper isn’t completely evil. There is a part of John that does want to change and leave his psychopathic, murderous tendencies behind. It’s a small part, but it’s big enough that you should feel slightly less confused by your newfound crush on the legendary murderer…

Don’t we have enough time-travel shows on TV right now? While time-travel is definitely one of the TV trends of the season, Time After Time isn’t exactly a time-travel show. In its second episode, the drama establishes its rules for time travel – ones which make it very dangerous to actually travel through time too often. That’s why H.G. Wells doesn’t simply go back in time to stop John from ever taking the time machine in the first place. It’s also why the show only time-travels four times in the first season.

Instead, Time After Time is far more interested in exploring how H.G. Wells’ adventures in modern-day Manhattan eventually inspire him to write The Time Machine, The Invisible Man, The Island of Dr. Moreau and War of the Worlds, which is a fun way to fully take advantage of having H.G. Wells as the show’s dashing protagonist.

The identity of Prometheus has been revealed on Arrow. TV Line spoke with the show’s producer and actor who played him, noting how this differs from the comics:

In the comics, Chase’s alter ego is Vigilante, but the producers chose to flip the script “because everybody would be thinking, ‘Of course he’s going to be Vigilante,’” executive producer Wendy Mericle explains. “We thought it would be a really fun twist to… take the comic-book mythology and turn it on its head and see what kind of story we can mine from a surprise like that. It was also something different for this season. We wanted to change up how we introduced the Big Bad and when we did it.”

…Although viewers are now aware of Prometheus’ true face — he exposed his mug to the audience when he took off his mask following a fight with Vigilante — Team Arrow will remain in the dark for the time being. As a result, the show gets to have “fun” as the characters continue to “interact with Adrian Chase in City Hall and elsewhere without knowing his real identity,” Mericle describes. “We’re going to play around with that for a little while before we let Oliver and the team find out.”

And find out they will, possibly sooner rather than later. “We’re not going to leave it to the end of the season,” Segarra promises. “We’re going to get to watch the pot get stirred a little bit. It’s hard because I already know how [Oliver] reacts, and I love the way it goes. You’re going to see Chase just kind of trying to burn the world around him.”

While we no know the identity of Prometheus, we will probably not learn the identity of the person under the vigilante mask this season.

Regardless of whether they are able to use the X-Men name, we will be seeing a lot of the X-Men in some form on television. ABC will be getting an Inhumans show. FX already has premiered Legion (which is highly recommended). Fox has some casting news on their upcoming untitled show. This includes Natalie Alyn Lind of Gotham:

Written by Matt Nix and directed by Bryan Singer, the pilot focuses on two ordinary parents who discover their children possess mutant powers. Forced to go on the run from a hostile government, the family joins up with an underground network of mutants and must fight to survive. Lind will play Lauren, one of the children at the center of the story. Smart, pretty, popular, organized and already ahead on her college applications, Lauren is the model of a perfect kid.

Amy Acker, who has a lot of genre experience in shows including Angel, Dollhouse, and Person of Interest, will play the other female lead:

Acker will star as Kate Stewart, a woman who is struggling with her separation from her husband, Reed (True Blood‘s Stephen Moyer), and her increasingly challenging teenage children. When her family situation takes a dark turn, she finds that she’s stronger than she thinks.

As noted above, Stephen Moyer has been cast as the male lead:

Moyer will play Reed, an ambitious attorney trying to balance the demands of his job at the DA’s office with his responsibilities to his family.

Patrick Stewart recently announced his retirement with regards to playing Professor X, but now states he might reprise the role in a Deadpool sequel. As I posted on Friday, he has also announced plans to become an American citizen to help fight Donald Trump. Make it so!

Netflix has released a teaser for Dark, an upcoming show being made in Germany, which appears somewhat like a darker version of Stranger Things. The description reads, “A missing child sets four families on a frantic hunt for answers. Their search for a culprit unearths a small town’s sins and secrets.”

Netflix is reassembling the cast for a potential third season of Sense8. The second season will be released May 5.

While reviews have been mixed, I’ve been  hearing a lot of great buzz from viewers of Santa Clarita Diet. We binged a large portion of the season last night and, while certainly not a hard-core zombie show, it was very enjoyable.

Mathew Weiner’s next show, The Romanoffs, to be on Amazon Prime, sounds nothing like Mad Men:

“Romanoffs” will consist of eight hourlong episodes, each of which will tell a standalone story with no recurring plot elements or actors. The only common thread is that each episode will tell the stories of people in contemporary times who believe they are descendants of the imperial family that ruled Russia from 1613 until the Bolsheviks seized power in 1917…

Weiner came up with the notion for “Romanoffs” about a year ago, after a long break following the end of his work on “Mad Men” in late 2014. He had the chance to watch other TV shows “in a non-competitive atmosphere,” and he realized that there was room for a show of this nature. “The rise of (Netflix’s) ‘Black Mirror’ made it easier for me to explain it, even though this show is not in that genre,” he said.

Amy Sherman-Palladino also has a pilot for Amazon:

After venturing into streaming TV with Gilmore Girls: A Year in the Life on Netflix last fall, the show’s creator Amy Sherman-Palladino is trying her hand with Amazon this spring. The site announced today that Palladino’s pilot, The Marvelous Mrs. Maisel, will be among the batch of programs up in pilot season starting on March 17. The one-hour pilot stars Rachel Brosnahan (House of Cards, Manhattan) as the titular Miriam “Midge” Maisel, a 1950s housewife who starts a career in stand-up comedy. Monk’s Tony Shalhoub will play her father; Michael Zegen (Boardwalk Empire) will play her husband. Alex Borstein (the original Sookie!) is also in the cast.

Speculation this week about the replacement for Peter Capaldi on Doctor Who includes Kris Marshall and Anthony Head. Doctor Who returns on April 15 with DoctorWho TV recapping everything which is known about the series so far.

After having been delayed twice, CBS is now saying that the premiere of Star Trek: Discovery will be in late summer or early fall.

The election of Donald Trump has been fantastic for the ratings of the late night comedy shows. Having Donald Trump as a regular target has improved the material on shows including The Late Show with Stephen Colbert and Saturday Night Live. The cold open on SNL last night had Kate McKinnon portraying Jeff Sessions as Forest Gump. Of course Donald Trump will likely be upset about him being portrayed by a woman, as when Melissa McCartney played Sean Spicer.

Last night’s episode of SNL has also received a lot of buzz for the above skit:

“Saturday Night Live” just ran a nearly two-minute liberal’s dream sequence disguised as a movie trailer.

The trailer — which promises a Republican “patriot who will put country over party” — features a notable omission: a title character. The point is that no Republican has really stood up to President Trump. You get it.

SciFi Weekend: Timeless Finale; SHIELD In The Framework; The 100; Doctor Who Trailer; Sense8; The Discovery; Bill Paxton Dies

Timeless ended its first season on the bubble, and the season finale was written without knowledge of whether it will return. I am still waiting for Trump to actually do something useful, such as issue an Executive Order banning cliff hangers on shows which aren’t known to be coming back. If there must be one, it was handled well on Timeless. The season finale did wrap up the running story line of the first season, and could work as a series finale. It also had a huge reveal in the final minutes which changes how we see some of the season, and leaves a lot open for a second season, if the series is renewed.

Deadline spoke with Shawn Ryan, who co-created and executive produces Timeless with Eric Kripke:

DEADLINE: Up until the last few minutes, the series was heading to a happy ending. Why did you decide to add the major cliffhanger at the end?
SHAWN RYAN: We had thought for awhile about what the best way was to give some closure for Season 1 while also setting us up for a new dynamic in Season 2. We wanted to bring Garcia Flynn’s journey to some kind of end, though I’m sure we’ll see more of him going forward. So while many people might see our Season 1 conclusion as a cliffhanger, we see it as a wrap-up of Season 1 and a launch point for Season 2.

DEADLINE: Did you have an alternate ending that would serve as a series finale in case Timeless does not come back?
SHAWN RYAN: No. Eric and I planned for success. We’ve been working towards this ending ever since the season began.

DEADLINE: In the cliffhanger, Rittenhouse takes control over the time machine. What is the plan for Season 2? Will our heroes continue to chase the mothership, trying to prevent Rittenhouse from implementing their sinister plan?
SHAWN RYAN: We are working on our overall plan for Season 2 right now and we’ll pitch it to NBC in April, so I’m reluctant to get too much into it because we’ll want to take a deep breath and evaluate the whole season before we commit to what we want to do in Season 2. What I can say is the current plan involves our heroes traveling to the past to stop history from being perverted and changed too much…

DEADLINE: What will be Lucy’s mom role going forward, and why wasn’t she arrested along with 100+ Rittenhouse members in the government sweep?
SHAWN RYAN: Lucy’s mom will be influential in Season 2. We don’t presume that every member of Rittenhouse was identified and apprehended in the first 48 hours after our heroes returned from 1954, though the organization was definitely dealt a big blow. So we will owe an answer in Season 2 as to why Lucy’s mom was one of the Rittenhouse members not to be identified right away.

DEADLINE: Had she been onto the time machine project from the very beginning, including the arrangement of Lucy’s involvement in it?
SHAWN RYAN: Yes. Eric and I had it in our minds even from pilot stage that Carol was secretly a part of Rittenhouse and was keeping her eye on Lucy this whole time…

DEADLINE: Will Flynn resurface in Season 2 or did his story arc end with the season 1 finale?
SHAWN RYAN: Well, Goran was fantastic for us this season and I don’t think we’ve seen the end of Garcia Flynn on the show, though obviously his role would be different going forward

DEADLINE: How did Emma, seemingly a fugitive on a mission to take down Rittenhouse, turn out to be a Rittenhouse operative? Is she earmarked for a major role in the Season 2 developments?
SHAWN RYAN: We will definitely owe some answers and explanations for this in Season 2, but once again, it was always our plan that she was secretly Rittenhouse and she was hiding out in the 1880s for Rittenhouse reasons that we will need to explain. We’ll see what stories we want to tell and how available our actress is to be on the show…

DEADLINE: Will Lucy be able to get her sister back or will she succumb to her Rittenhouse fate as her parents suggested?
SHAWN RYAN: I certainly think she’s going to continue to try to get her sister back. We’ll see if her mother or father can persuade her otherwise.

I posted excerpts from an interview with both Eric Kripke and Shawn Ryan about Timeless last week.

It was only a matter of time until Agents of SHIELD found a way to bring Agent Ward back in some form. This is being done by having the show move into the Matrix. Actually it is called the Framework. The probably couldn’t call it the Matrix for copyright reasons, just as Ray Palmer said he couldn’t call his saber which used light a lightsaber for trademark reasons in the Camelot/3000 episode of Legends of Tomorrow. Jed Whedon discussed Agents of SHIELD with E! News:

How long was it in the works to bring Brett back? How long had you been planning on this?
Well, we knew that at the start of the third pod as we’re calling them, we were going to get into the Framework, so there were a lot of options of things to do there, but that was always sort of at the top of the list. We love him and the fans love him and so we didn’t want to undercut the stories we’ve told with him, but this felt like a way to bring him back in a thrilling fashion that didn’t negate what we’d done earlier with him.

Was there talk at the end of last season when he was written out that this was an option, or was this something that came about later?
His end was his end, but this is Marvel and our show is built upon the foundation of a man who was brought back from the dead. And we had actually done that with Ward. So, it’s always an option that someone can find a way to appear back on our show and I think that this next pod will prove that out.

How would you tease what this Framework version of Ward? Because he’s wholly an Aida creation, it would seem.
The Darkhold has given them this amazing ability to sort of recreate reality, but we know that some small changes were made, repairing regrets for everybody they’ve put in there, so that seems to have had some sort of ripple effect. Who Grant Ward is in this world, we’ll have to wait and see, but they set out to recreate our world in every way and recreate everyone in it and everything in it, so there will be some familiarity to the man when you get to know him right off the bat in the next episode.

Another big surprise was learning that Jemma isn’t alive in the Framework. Are we going to cut to poor Simmons waking up in a coffin when she enters the Framework? How will this work for her?
We’ll have to see, but she didn’t wake up in a warm tub, that’s for sure. We’ll have to wait and see how that plays out, but the two of them are going in and how she comes to be we’ll have to see. I have a feeling that she’s not gone from the series. That’s not how we would end Elizabeth’s run. [Laughs.] That’s a wait and see, as I have a feeling a lot of these questions will be…But that’s the fun part about the Framework. It’s a what-if world and we don’t really know what to expect.

Talk to me a little bit about the decision to have Hydra in control in the Framework. What is this Hydra going to be like and what was the thought process behind going in that direction?
Well, you know, Hydra is sort of the opposite of S.H.I.E.L.D. and the simplest version of the anti-S.H.I.E.L.D. And we’ve told a lot of Hydra stories, but this story is more about our characters and sort of dealing with questions of identity and the nature of reality and whether or not you have a true nature or whether or not you’re made up of your experiences. If you’re made up of your regrets. Is there a true you or are you just an assembly of your experiences?

More at TVLine.

Jemma’s death on Agents of SHIELD is only in the Framework, but it appeared that we were seeing a string of deaths on television. There was the death of Alice on The Magicians recently. Connie Britton’s character died on Nashville. In this case I assume it was a matter of Britton not wanting to commit to a series on CMT for more than a brief season after it was cancelled by ABC. The question now is whether the show can survive her loss. It reminds me a little of how Dallas couldn’t survive the loss of Larry Hagman after the revival of Dallas on TNT. The one difference is that Hagman’s death came as a surprise, as opposed to Herskovits and Zwick having planned on Britton’s departure from the start.

For a brief time I thought we also had a major death on The 100. I actually went into the episode expecting a death based upon headlines of articles I had put off reading. The 100 has a history of killing off major characters, including Lexa and Lincoln last season, but Octavia seemed too important to kill off. Between having a sword go through her body and falling off that cliff, she sure did look dead, but the rules for survival are different on television than in the real world. Perhaps the bigger question of how she survived this is how her horse managed to make it down the cliff to her.

At least I am glad that they did show her get on the horse at the end of the episode as opposed to leaving viewers with a false belief that she was killed if they did plan to keep her alive. Now the question is how long it will take for Bellamy to discover that the news he heard of his sister’s death was premature. Plus Clarke’s story line got quite interesting last week, reminiscent of the types of issues raised in the first season.

The above teaser has been released for Doctor Who series 10, which will premiere on April 15. It features the Doctor’s new companion, Bill, speaking about him:

The first time you meet him, he’s funny.The second time, he’s amazing. The third time, you realize he’s the most dangerous man in the universe. He says he’s a man of peace, but he walks in war. I’m having the time of my life, and I wouldn’t miss it for the world–even if it kills me.

As Pearl Mackie has only been signed for a single season, and there is talk about a clean slate when Chris Chinball takes over as showrunner, perhaps she actually will die.

In other Doctor Who news, the spin0ff Class has been cancelled after a single season due to low ratings. It aired in the UK last fall and will be shown in the United States this spring following episodes of Doctor Who on BBC America. I did download the episodes last fall and found it to be a decent show to watch while there was no Doctor Who available, but it is hardly must see for those who have not seen it yet. The eight episodes do wrap up a story for the season, so it can easily be watched as a stand-alone season.

Sense8 returns on May 5, after a teaser Christmas episode.  Here is the (rather vague) synopsis for the upcoming full season:

Picking up where season one left off, Capheus (Toby Onwumere), Kala (Tina Desai), Lito (Miguel Angel Silvestre), Nomi (Jamie Clayton), Riley (Tuppence Middleton) , Sun (Donna Bae), Will (Brian J. Smith) and Wolfgang (Max Riemelt) come together both physically and mentally, plunged into the middle of each other’s tragedies and triumphs. On the run from Whispers (Terrence Mann), and forced to question their very identity, it’s a matter of survival as the Sensates must find a way to live with, understand and protect one another against all odds.

Some pictures have been posted on line. As we already got the obligatory orgy in the Christmas episode, I don’t know if there will be another in the full season.

Netflix has released the above trailer for The Discovery, a movie in which the afterlife has been scientifically proven to exist and millions of people commit suicide to get there. My bet is that there is a catch.

The 2016 Nebulla Award nominees have been announced.

In this time of peak TV we already have one excellent series by Noah Hawley running (Legion). A second will return soon as the third season of Fargo is schedule to premiere on April 19.

Starz has announced that the long-awaited series based upon Neil Gaiman’s novel American Gods will premiere on April 30.

Looking at the winners of recent awards ceremonies can help predict the winners of the Academy Awards tonight. Based upon recent winners, I predict that La La Land will win Best Picture, and Rumor the German Shepherd will win Best in Show.

Bill Paxton has died at age 61 of complications of heart surgery. He starred in Big Love, and has had genre roles including Aliens and Agents of SHIELD. There are many comments on his death on Twitter today, including several from cast and crew of Agents of SHIELD, with TVLine having a compilation. He has also had lesser genre roles including being killed early in The Terminator. The Mary Sue points out the science fiction villains he has faced:

In the course of his career, Paxton faced three of science fiction’s most famous villains. In Aliens, he faced the xenomorphs; in Predator 2, he faced a Predator; and in The Terminator, he played one of the punks from whom Arnold Schwarzenegger’s character demanded clothes. /Film wrote that this makes him “the only actor to have been killed by a Terminator, a Predator, and a Xenomoprh,” and I personally can’t think of anyone else who can come for that title.

SciFi Weekend: Timeless; Legion And Other Wednesday Genre Shows; Doctor Who; Renewal And Returning Show News; A Sci-Fi Explanation For Donald Trump; Oscar First Thoughts

Timeless started out the season as an entertaining time travel series, even if not the most significant genre show on at present. As it approaches its season (and possibly series) finale, the show has gotten even better as the Rittenhouse backstory progressed, and the series moved on from its initial formula. Screenrant looked at Why Everyone Needs To Be Watching This Time Travel Show.

TV Line spoke with producers Eric Kripke and Shawn Ryan about Timeless:

TVLINE | How would you preview the finale?
SHAWN RYAN | I’m proud of the finale. It answers a ton of the questions that we’ve raised. We’ve had a pretty good plan from the beginning of the season. There are things that happen in the finale that we had plotted out in our first couple weeks in the writers’ room back in June. We’ve known for a while that we were going to make 16 episodes this season, so we were able to plan for that and build to this…

TVLINE | The last episode left off on quite a cliffhanger, with Rufus in very dire straits. How that will play out in the finale?
ERIC KRIPKE | It’s not so much about whether Rufus will live or die, because — spoiler alert! — he lives. He’s one of our main characters and a popular one, and we’re not going to kill him. So as long as there’s a Timeless, Malcolm [Barrett] has a reasonable amount of job security. It’s more about the storyline that it leads to. Rufus is unable to pilot the lifeboat alone because he’s wounded, and so he needs some help, which comes from some unexpected places, and it kind of turns the story into a new direction, and then turns again.

I think the show’s gotten better and better the more we’ve focused in on and doubled down on the characters. The thing I’m most proud about in the finale is that it’s really a character piece. So many finales, especially the genre shows, are just about people running around and fighting, and ours really digs down to the thematics and the character issues that our people have been facing all year. It’s a uniquely thoughtful and emotional finale, and I’m really proud of it because of that.

TVLINE | How much did not knowing whether the show was renewed or not impact the finale and how you chose to end it?
RYAN | It did not have a great impact. We had a story that we wanted to tell from the beginning. We’re moving forward optimistically. We think there will be a Season 2. I’ve been in a situation before on Last Resort, where it was clear as we were making Episodes 10 and 11 that the show wasn’t going to continue, and we chose at that point to write what was essentially a series finale for Episode 13 to give closure. I think there are a lot of reasons for optimism for a Season 2. We’ll find out in two or three months. We’ve always set out to tell this one-season story that then would provide a launching point for a Season 2, but that would answer a lot of things, and I think we did it. We didn’t have any conversations where we were pulling out ratings and trying to do the math. We’re just writers, and we told the best story we could. So we’ll let the chips fall where they may.
KRIPKE | When you write these things, you plan for success. You just sort of have to, and whatever happens happens. But you write it as if the show’s coming back, because I think doing it any other way, you’re compromising the story you set out to tell.

Legion remains one of the more intriguing shows of the last  couple of years, and is already being compared to recent greats like Mr. Robot and West World. It deals with mental illness and an unreliable narrator as in Mr. Robot. While it might not be a major feature of the show after the premise is established, it handled time jumps far better than West World. While the themes are quite different, it also raises comparisons to Noah Hawley’s recent work on Fargo, in which Hawley adapted another universe in his own way. Uproxx interviewed Noah Hawley:

When you first got the material, what was going in your head in terms of how you wanted this to look?

When I sat down to write it, there was nothing specifically contemporary about it, but I don’t think I assumed it wasn’t a contemporary story. Then, I guess we talked about, since the movies jump from decade to decade, should we be in there somewhere? Then it just seemed to me like the subjectivity of the show gave us this opportunity to create a reality and I don’t know why, I just found myself drawn to these ’60s movies, British ’60s movies; Terence Stamp movies and Quadrophenia. There was a sense of the young punks and these are a band of outsiders and there is that sense of teenage rebellion that exists in this thing. In a modern day sense I think we’re over that and yet there’s something about that period in us that makes something familiar unfamiliar.

It started with just thinking like, “Well, let’s embrace the brutalist architecture and let’s not have any cars, because cars date something, so then if you’re in a reality without cars, where are you when you’re outdoors?” We shot on this University of British Columbia campus where there were no cars allowed. Then the hair and the costumes, this idea of the track suits that they’re in and all of that was a process of figuring out what it was and then the music plays into that as well. This idea, as I said to our composer Jeff Russo, that the show should sound like Dark Side of the Moon, so he went out and he bought the patch cord synthesizer they use in the show.

It is this mixture of visuals and the sound and music of it that’s trying to create something that’s not about information but that’s about experience.

Yeah. It’s almost a ‘60s vision of what the future would look like.

Right. Some of the elements seem futuristic and some of them seem dated, but I wanted there to be a certain whimsy to it as well, and a playfulness. I always loved about that genre and genre in general was the pure inventiveness of it and the way like a science fiction story. The example I give is Battlestar Galactica, the remake. It’s the Cylons who have God. It takes God and it takes robots and it creates something completely new. It’s not something that you would do in a drama. It’s something you would only do in a genre and so what are the genre elements that will allow us to take a show that would work as a dramatic story, two people in love, trying to define themselves rather than being defined by society and it turns it into something that I hope every week there’s something that blows your mind a little…

David alone has, in theory, an infinite number of powers. You get a bunch of these other characters with their own abilities that seem to, for the most part, be your own creations, so you can give them the powers to do whatever you want. What was that process like of figuring out, for instance, what Syd can do?

For me it was about creating characters and saying, what makes a tragic love story? A tragic love story is about people who want to be together but can’t be together for one reason. If they physically can’t touch then that creates this seemingly unleapable obstacle. Then it became about her having a power where she couldn’t be touched, and obviously I think there are characters in comic book lore who have different versions of, “If you touch me, something happens.” I took the creative license to say, “Well this is my version of that.” The danger with a character with a hundred issues of mythology is you’re always turning around and realizing you can’t do something because someone’s going to get mad or it’s going to conflict with what they know and it’s going to be confusing.

It just seemed more and more that I could take David and take this multiple personality disorder that he has in the comic and I could create a sort of metaphorical version of that, which is not to say we won’t ultimately realize that’s what he has, but it’s to say that that’s not what he’s diagnosed with in the show. Then to surround him with characters of my own invention so that I’m not hamstrung about what stories I can tell.

There has been a recent TV trend of unreliable narrators. How do you keep the audience from looking at the show as a puzzle to solve?

You have to solve the mystery. The narrator has to become reliable. It’s a lot to ask an audience to take a perpetually unsatisfying journey where it’s like you’re never going to know for sure. It’s another thing to say, “We’re going to take a character out of confusion into clarity and an audience out of mystery into clarity.” That’s the goal of it which is to say, there’s a contract and you watch that first hour and you like, “I don’t know. There’s a devil with yellow eyes and there are these other elements that I’m not sure what they mean, but I trust the filmmaker and I know that I’m going to understand it eventually.” You do. It becomes clear by the end of the first year what’s going on.

Before this era of peak TV, The 100 might have been the top genre show on of the night. Now it shares the night with Legion, The Magicians, The Expanse, and Arrow. The 100 really deserves more attention than I’ve been paying to it, but TV Line does have some comments on the revelations in Wednesday’s episode.

Spoiler TV reviewed last week’s episode of The Magicians in the aftermath of Alice’s death.

Plus information from the producers on Arrow here and here.

Vox has more on The Expanse.

Although they have no inside information, and the decision probably won’t be made for several months, the odds makers seem to like Tilda Swinton as the favorite to replace Peter Capaldi on Doctor Who. Chris Chibnall will be making the actual decision, and says it will be made in the traditional way:

We’ll cast the role in the traditional way: write the script, then go and find the best person for that part in that script. You couldn’t go out and cast an abstract idea.”

He adds: “The creative possibilities are endless, but I have a very clear sense of what we’re going to do, without even knowing who’s going to play the part.”

Steven Moffat says that Chibnall did try to convince Peter Capaldi to stay. He also says he does not plan to write further episodes of Doctor Who for a while after he leaves as show runner. He seems to have thrown all his ideas into Doctor Who the last several years, but perhaps he will come up with something new down the road.

Odds are looking good that The Big Bang Theory will be renewed for two additional seasons.

Fox has renewed Lucifer for a third season.

I gave up on Once Upon A Time a while back, and  from the ratings it looks like many others have too. The producers are talking about wrapping up the current narrative at the end of season six, and possibly rebooting the show in a different direction for a seventh season.

Fox is considering a reboot of Firefly, but only if Joss Whedon is on board. That makes perfect sense. I question if there is any point in rebooting the show, as opposed to leaving it as a brief , but excellent, old series. I really see no point in having someone else do a reboot.

Netflix has announced that Unbreakable Kimmy Schmidt returns on May 19.

Outlander returns in September. The production is moving to South Africa, which might be a stand-in for Jamaica.

Goliath has been renewed for a second season.

The Flash deals in multiple parallel universes, including the one in which Supergirl takes place. Screen Rant explains the most important Earths in the CW multiverse. This got me thinking after hearing Donald Trump’s comments on what appears to be an alternative Sweden…

It increasingly looks like the best explanation is that Donald Trump and his top aides have been replaced by their counterparts from an alternate universe in which there have been terrorist attacks in Bowling Green, Atlanta and Sweden. Also, in their universe, Barack Obama really was a Muslim born in Kenya, and scientists never did figure out the connection between human action and climate change. Presumably orange skin and that hair are also commonplace there too.

I’m still racing to catch as many of the top Academy Award nominees as possible by next Sunday. Looking at the favorites, at this point I enjoyed La La Land and am okay with Emma Stone as Best Actress, but I would not pick it as Best Picture. Based upon what I’ve seen so far I’d go with Arrival, but not expecting a science fiction movie to win, I’d also pick Lion above La La Land. It would be a toss up with Manchester by the Sea, depending upon whether I want a more upbeat or downbeat movie. Casey Afflect is justifiably a strong contender for Best Actor.

This could change by next week. My immediate goal is to at try to get in Hidden Figures, Fences, and Moonlight before the awards.