SciFi Weekend: Season Finales For Agents of SHIELD, Timeless, Arrow, The Blacklist, and Gotham; More Renewal News; The Orville & Star Trek News; Nebula Awards

Shortly after I listed Agents of SHIELD as one of the shows in which the fate was unknown when I listed renewals last week, word came out that SHIELD was renewed for a thirteen episode season, which will not air until summer. With SHIELD often dividing the season up into two arcs, a thirteen episode season should work well to concentrate on one story line. Delaying until summer also avoids conflicting with the events of Avengers: Infinity War. While I’ll avoid any significant spoilers, the movie ends with a cliff hanger which left the world changed–until it is presumably resolved in the next Avengers movie. It would be difficult to do a season of SHIELD while ignoring this. This way SHIELD can be written based upon how the matter is resolved, and could just refer to the events of the movies in passing, as was done late this season.

Agents of SHIELD ended the season with two possible character deaths, but there ways that they might not be permanent, especially with another version of Fitz out in orbit. The biggest question might be whether Jemma immediately tells Fitz they are married, or waits for him to propose as he was planning when he awoke in the future.

Syfy has an interview with the producers which was conducted before news that the series would be back for another season:

But you did seem to leave the door open for a possible Fitz return, judging by what Jemma was talking with Coulson about in the aftermath.

JW: Right. Everybody got zapped to the future, and zapped back, plus Fitz. But Fitz traveled to the future the long way. He basically slept in cryo-freeze for 80 years. So there are technically two Fitzes in this timeline, so we just killed one of them.

MT: We killed the blond one.

JW: It’s hard to follow, we know (laughs).

I blame you guys for the confusion because the tears you made us shed!

JB: That scene was written to be that way. That kind of, “I’m sorry I couldn’t be there, but when you see him, tell him I say ‘Hi.’” Coulson makes a turn in the middle of it that could make someone miss that bit.

As if that wasn’t heart-wrenching enough, Coulson sacrificed himself to allow Daisy the chance to stop Talbot and save Earth. During his farewell speech at the end of the episode, Clark Gregg looked like he was barely keeping his emotions in check. What was that like, filming that moment, seeing the team’s heart and soul, the captain, saying goodbye?

JW: That was a big day, a tough day. We agree with everything you said. We think of Clark as the foundation that the show is built on. But we also knew that we wanted Coulson’s deal with Ghost Rider to have a price, and we wanted the show to … he’s approaching a point where’s he is pushing Daisy into a leadership role. His relationship with May has grown into something new. We felt it was a way of honoring the foundation of our show by giving it real stakes and hoping that he can pass the lessons, that he’s so good at teaching, to his teammates, in a more permanent way.

JB: This entire season we’ve been looking back at where we’ve come from. If you think about it, Coulson in the Avengers movie really brought the team together and allowed them to save the world. And then there was Tahiti.

So for us to take him back to Tahiti and for him again to make the sacrifice, in the sense that he didn’t take the injection that could save his life, and instead gave it to Daisy, he again was the character who, in a sense, saved the world. And we thought there was a nice circular return there for Coulson.

gain, one can guess you left yourself just enough room to bring Coulson back, if you wanted to and Clark wanted to return. Because he was still alive in that last scene.

JW: In terms of moving forward, we’ll have to figure out how to address that. In thrilling fashion, of course. But going into this season, not knowing if we would get another year, we felt like it was the right way to wrap up the show and Coulson’s storyline.

Filming the series finale this way made sense when it was not known whether it would be a series finale. This would suggest that Coulson was going to die if the series ended, eliminating the differences between the television show and movies, but leave matters open should the show return.

Clark Gregg was interviewed by The Hollywood Reporter about his potential role in the sixth season:

The golden rule of TV is if a character dies but it isn’t shown on screen, then they’re not really dead. That said, is Coulson really dead or is there a way that he can be cured in time for the abbreviated sixth season next year?

My understanding is that Phil Coulson is no longer alive. He’s been brought back, he’s been really clear that he didn’t want supernatural measures used again. I always felt like he thought almost like he wasn’t supposed to be here. That got more complicated for him when he started to form this new family and to have this surrogate daughter that he probably always wanted and to, in the most recent weeks of this SHIELD timeline, really opened himself up to his feelings for Melinda May. But I don’t think there is a real buy back for the fact that this deal he made with the Ghost Rider is killing his body.

How much have you discussed your future on the series with producers?

I have a meeting with [executive producers] Jed Whedon and Maurissa Tancharoen and the showrunners and I know there is some interest in having me involved in this 13-episode season six. I don’t know in what form that will take, whether that will be flashbacks or hopefully some sexy dreams that Melinda May is having. [Laughs.] That would be nice. But that’s all I know so far. There is some desire that is going to be explained to me but it’s why this finale is so deep and emotional. I knew by then that this was really a farewell to that character and his life. It was also before we knew anything about whether or not we were picked up so the scene where he is saying goodbye to people was a scene that we couldn’t even rehearse or read aloud successfully. We just had to figure out where we were going to stand and start shooting it because it was just so emotional for me and everybody there.

With these plans to continue having Coulson on the series in some capacity, does that mean you’ll be returning as a series regular next season?

That’s all what’s going to be part of this discussion and working it out. I’m available for whatever they need me to do and we’ll just be figuring it out. We just got picked up a few days ago. That’s what we’ll have to figure out going forward. I hope to be involved, maybe I’ll be an LMD or maybe I’ll be in a C3P0 suit and I’ll be everybody’s starchy Brit robot.

What did you think of Coulson’s goodbye in the finale, where he finally got to go to Tahiti and share that experience with May?

I found it all so moving. I’ve been playing this guy for 10 years now. In between shooting that stuff I was back shooting Captain Marvel with Brie Larson and Sam Jackson and playing him again in the ’90s so extending his timeline even further, and the membrane between the two of us, although we’re in some ways very different, it’s very thin. And my connection with the people on Agents of SHIELD and the number of hours we’ve all put in together and what we’ve all been through together, it feels very real. All of it, saying goodbye to those people, was very heavy. And then to step out onto the sands of Tahiti, I really have to thank ABC again for giving us the Disney jet and letting us have this really magical weekend in Tahiti. I’m just kidding. [Laughs] But that would have been nice. I loved the way they did it. I really thought it was a masterful idea by the writers of SHIELD and a really beautifully executed script by Jed and Maurissa and really beautifully directed by Jed.

Timeless is one of the few remaining network shows with no news regarding renewal or cancellation. The second season did leave with a big cliff hanger. Moments before the end, when I did not know what would happen, but it was obvious they were setting things up for a cliff hanger, I was thinking it would be really interesting if a second Lifeboat appeared next to the one which had just returned, possibly with Rufus (who had been killed earlier in the episode) aboard. They did even better with a newer version of the Lifeboat appearing, with future versions of  Lucy and Wyatt asking, “You guys want to get Rufus back or what?”

This was a perfect ending to grab the curiosity of fans, but there are some risks in a time travel show such as this. A relatively minor issue is that it does show that Lucy and Wyatt will both be around in the future. More seriously, it shows that they find a way around the limitation of not being able to travel back to where they have been, and lowers the stakes in the future if they can redo adventures if anything goes wrong. Presumably Rittenhouse will be able to do the same, complicating any attempts at stopping their efforts to change history.

Executive producer Shawn Ryan spoke with TV Line about the finale:

TVLINE | Where did these other versions of Lucy and Wyatt come from?
The episode that aired this past Sunday, Flynn referenced that he got the journal from Lucy. It seemed as if a future version of Lucy had given it to him, so that was a little bit of a tease that that was possible. It’s something that we hope to address in greater detail in Season 3 [if the show is renewed], exactly where that particular Wyatt and Lucy came from and what their circumstances are…

TVLINE | Where did these other versions of Lucy and Wyatt come from?
The episode that aired this past Sunday, Flynn referenced that he got the journal from Lucy. It seemed as if a future version of Lucy had given it to him, so that was a little bit of a tease that that was possible. It’s something that we hope to address in greater detail in Season 3 [if the show is renewed], exactly where that particular Wyatt and Lucy came from and what their circumstances are…

TVLINE | You’ve been playing all season with this idea of fate versus free will when it comes to Rufus’ life. Why did you decide to go through with Rufus’ death in the end?
We really like the idea of Jiya’s visions and how powerful they are, and the idea that what she saw were things that did come true in a way. One of her first visions was that Rufus was going to kill this pilgrim, and we ultimately saw in that episode that he actually didn’t shoot the guy, but the guy ended up being run over by horses and a carriage and died anyway. So the idea that there is some sort of fate thing that was going to befall Rufus, that despite all their best efforts to avoid it, they couldn’t, was something that was powerful to us — although, obviously, in the context of the twist end, where there’s a feeling like, “Hey, there’s a way to get him back now.”

Arrow ended the season on a cliff hanger which was awfully similar to what has already occurred on The Flash with Oliver going to prison. The death of Quentin Lance was not really a surprise as it was already announced that Paul Blackthorne was leaving the show. Presumably Oliver will not spend the rest of the series in prison. Unless Oliver can convince people that his statement that he is the Arrow was part of a ruse (similar to others covering for him in the past), the world will now know his identity, changing the show forever.

Marc Guggenheim is leaving as show runner after this season. He was interviewed about the finale by The Hollywood Reporter:

Season finales always include huge game-changing moments for Arrow and this was no different with Lance’s death and the Legends crossover with Sara (Caity Lotz) coming to the hospital. Where did the decision to kill off Lance come from? Was that always the plan or did that come as a result of conversations with Paul about the future of the character?

I wouldn’t say it was always the plan. It was something that we slowly came to. Sometimes we know exactly what our plans for a character are and other times it’s a slow discovery. In the case of Paul, it was a combination of two things. We started thinking about Lance’s character in season seven and coming to the conclusion that we felt like we told all the story there is to tell with Lance. We ran out of story with him while at the same time we were thinking about Katie Cassidy’s character, Earth-2 Laurel, and thinking about if Diaz were to kill Lance, what does that do for her character? It opened up a lot of very exciting storytelling possibilities for us and it fit in with a lot of things we were already thinking about in terms of the trajectory for Laurel’s character in season seven.

Oftentimes, we do what we call story math: If we killed off Lance, X, Y and Z happen. What are X, Y and Z? If we get excited about X, Y and Z, the idea starts to develop its own momentum. The more we talked about it, the more it felt like the natural and right thing to do. It’s always hard but at the same time, the show has always had an element to it where no one was safe. Unlike some of the other Arrow-verse shows, we’ve killed off more characters on Arrow than all the other Arrow-verse shows combined. There is something in the DNA about the show that makes that resonant and makes that visceral. As a result, we’re less precious about holding on to characters past their expiration date. But it’s hard because I will really miss working with Paul.

With Oliver now having publicly confessed to being the Green Arrow and getting sent to prison, after so many fake-outs in the past, what does this mean for the series moving forward now that he can’t go back to leading a double life?

When we were doing the pilot, I had a bucket list of ideas for the show. The identity reveal in my original conception happened in a very different way, but the idea of him revealing his identity, that was my penultimate card to play. Going into this season, we knew that that’s how we wanted to end the season. We were cognizant going into season six that if the show was going to be a six-plus-season show, it needs to constantly evolve and change. Oliver revealing his identity at the end of the season would be a great way to fundamentally change the series going into season seven.

He’s not going to remain in prison for the remainder of the series. When he gets out of prison, the fact that he now has to deal with the consequences of the public knowing his secret identity, that is huge. It’s not just Oliver, it’s also Felicity (Rickards) and his son, William (Jack Moore). She’s now married to the Green Arrow. William’s dad is the Green Arrow. That’s going to be huge for their family. That just creates so many cool stories to tell, interesting complications, challenges, dangers. It makes the prison storyline so much more visceral. If we wanted to just stick Oliver in prison, we could have done that without revealing his secret identity, but for us what always made the prison storyline exciting was he’s not just trapped in prison, but he’s trapped in prison with all these people who know that he’s the one who put him there. That’s such rich, exciting territory for us to be able to undertake in season seven.

Another change for the Arrowverse is that Batwoman and Gotham City will be introduced in next season’s cross over event. Oliver did mention Bruce Wayne earlier this season, showing that this is part of their universe.

The Blacklist managed to change things again with the revelation of whose bones were in the bag in the season finale. While watching I was wondering whether this was something planned all along or a twist they came up with this season to keep the show going. Entertainment Weekly received an answer to this question from Jon Bokencamp:

ENTERTAINMENT WEEKLY: Did you know from the beginning that James Spader was not playing Raymond Reddington? 
JON BOKENKAMP: Yeah, this is something that we’ve talked about from the inception of the show. It is part of the underlying mythology that we’ve slowly been unraveling. I think there are a number of episodes that we can go back and sort of map and chart how we got here. Hopefully that is proof of concept to the audience that this is not something we’re just winging, and that we’re on a very specific path, and this is a well-earned reveal.

Did Spader know? Did the cast?
Yes, James has known and it’s something we’ve talked extensively about. The cast did not know, as far as I know. I’m always the last to know, so I have really no idea who else knew. But the thing I want to point out is that it doesn’t change tuning in to watch Spader be Raymond Reddington. He’s lived as Raymond Reddington long enough to be this person, right? He has told great stories, he has had great experiences, he’s become a world-class criminal and probably become a far more interesting person than the real Raymond Reddington ever dreamed of becoming.

I remember talking with James, it was probably right after we shot the pilot, and we were talking about what the show would be, how it would look and feel, and who this character was. The thing that has always stuck with me is that when James read the pilot, he had said that he felt like, at the end of the episode, it’s almost like he knew less about the character than he knew when he started reading the episode. We wanted to somehow hold on to that concept, that Reddington should be somebody who, once you think you understand who he is, you realize you know nothing about him. I think tonight is an example obviously of how we have tried to stay true to that, that he’s a very enigmatic figure that is a bit of a shape-shifter.

If he’s not Red, is there anything you can say as to who he is?
Well, I do think that is primarily the reason to come back in season 6, but you can go online and find all kinds of theories, imposter theories of who he is. There are a great number of them, by the way, many of which could make sense. But one of the things I love best about the show is that I can read some of these and I’d be like, “Well, that actually tracks.” What’s going to be the most fun about next season is watching Liz peel back this onion and get to the truth of why this man entered her life five years ago…

Liz has vowed to destroy Red. She went pretty dark in this episode. How far will she go? 
Yeah, well remember that she knows this truth about Reddington, but he does not know that she knows. I think that piece of information is really compelling. Not only has she learned a great deal from this man that she believed was her father, Raymond Reddington, she’s also learned a great deal from her now-deceased husband, who was a spy. So this is not the first-day-on-the-job FBI agent in the pilot who has just had a bombshell dropped in her lap. This is somebody who is struggling with who she is at the very core, and has not only killed people, has stewed people, has lied to people she’s worked with, so the potential darkness and the way in which she may approach handling this bombshell I think has real possibilities.

Watching Megan perform this year, I think she’s been fantastic. The character has always been fundamentally changing since the day we met her, but I think specifically in season 5, we’ve seen her take some pretty big steps. It’s some of the best stuff that character has had to do this season, because of the inner strength and the anger and everything she’s gone through to really put her in the corner. When she’s in the corner, she becomes a very interesting character.

Gotham has been renewed for a fifth and final season. One scene seemed to tease the Bat-signal. The producers had previously warned that the next season would bring many changes to the show in response to the catastrophe in the fourth season finale.

Fox also reports no current plans for another season of The X-Files but they are attempting to revive 24 once again. Of course the last season left matters quite open for another season of The X-Files if they manage to correct some of the creative problems in a way which entices Gillian Anderson to return. I am glad they have stayed away from trying to continue it with other stars.

The Last Ship will also receive a fifth and final season.

Netflix has renewed Lost in Space for a second season. Some  hints as to what will occur in the second season are in an interview posted here.

Amazon has renewed The Marvelous Mrs. Maisel for a third season even prior to the release of the second season later this year.

I previously posted news on renewals and cancellations here.

While we already knew it was renewed, Fox has announced the return date for The Orville. It will return on Sunday, December 30th following football and return to Thursday evenings following the conclusion of the football season. Jonathan Frakes will continue to do work for the show, and another Star Trek writer, Joe Menosky, has been made a co-executive producer.

Last week we also found about another show which was planned but has been indefinitely delayed. Nicholas Meyer, who directed Star Trek II: The Wrath of Khan and worked on Discovery in its early days, had previously hinted about a new Star Trek project. Trek Core now  has information regarding this:

Last night, speaking to an audience at the University of California, Irvine, at a public “Shakespeare and Star Trek” discussion, Meyer shared details about his Trek project for the first time — and thanks to exclusive coverage from this event, we can share his comments with you.

AUDIENCE QUESTION: A while back there were reports that you might be working on a ‘Star Trek’ miniseries, is there any truth to that, if you’re allowed to say anything about that?

MEYER: No, I can say something. I was hired to write a stand-alone ‘Star Trek’-related trilogy, [details of which] I can’t discuss or I’d have to kill you. [Laughs] I was writing it for CBS [All] Access… but at the moment CBS is at a war with Paramount/Viacom [about merging].

They’re in a power struggle which turned really nasty this past week when CBS decided to sue Viacom. So I don’t think my project is going anywhere in a hurry, because everything is on hold while they sort out this merger business. That’s my story and I’m stickin’ to it.

I’ve always thought that Star Trek worked better as a television series than a movie, but I do find this project interesting. First, Meyer had directed one of the best Star Trek movies. Secondly, a streaming trilogy could be like a short Star Trek season, allowing for more time for ideas and characters, as opposed to blockbuster films which concentrate on action.

The Nebula Award winners have been announced, with a listing here.

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

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

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

The producers discussed All That Josh with Entertainment Weekly:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SciFi Weekend: Heroes v. Aliens; What Happened To Rip Hunter; Lost In Space; Star Trek: Discovery; Inhumans; The Crown; Billy Piper; Adult Jokes On Doctor Who

The CW Network has released the above extended preview of this week’s crossover episode between Supergirl, The Flash, Arrow and Legends of Tomorrow. Bleeding Cool provides the comic book background of the Dominators, the alien villains for the episodes.

Reportedly Supergirl doesn’t get involved until the end of Monday’s episode, presumably putting the main story lines for the other three shows on hold this week. Maisie Richardson-Sellers, who plays Vixen on Legends of Tomorrow, gave a hint about what is coming up in an interview with CinemaBlend. She said that Rip Hunter “does come back, just not necessarily the Rip that we remember. That’s sort of what is a big part of the second half of the season.” As the show involves time travel I wonder if it will be a version of Rip Hunter from before he created the group, or one from the future. I suspect that there is also a connection to the warning from future Barry Allen revealed earlier this season.

The real world reason that Arthur Darvill left the series for a while was to return to his role in Broadchurch for its third and final season. Besides Legends of Tomorrow, Broadchurch, and Doctor Who, Darvill wants an upcoming role in yet another franchise. He has expressed an interest in playing Young Dumbledore, who will be appearing in the sequel to Fantastic Beasts And Where To Find Them. More on what other former cast members of Doctor Who are doing below.

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Changing the gender of characters in a remake has worked well in the past, such as with a female Starbuck in Battlestar Galactic. It will be interesting to see what they do with the role of Dr. Smith on the Lost in Space remake, with Parker Posey to play the character. Hopefully the Lost in Space remake is also like Battlestar Galactica in being much better than the original.

We already knew there would be a female lead on Star Trek: Discovery. Michelle Yeoh, who previously stared in Crouching Tiger, Hidden Dragon, has been cast.

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There were recently reports that the proposed television series of The Inhumans was to replace the movie. It has more recently been announced that The Inhumans movie is still planned, and the first two episodes of the series will also be shown in Imax theaters. From The Hollywood Reporter:

On Nov. 14, the Disney-owned network said its straight-to-series order for Marvel drama The Inhumans will include a debut in more than 1,000 Imax theaters in 74 countries. The first two of the eight-episode series — about a race of superhuman heroes (among the more popular characters in the Marvel universe) — will run for two weeks starting Labor Day 2017 before airing as part of ABC’s fall lineup.

The deal marks the first time a TV series will have its premiere on the big screen. And it gives ABC a way to “event-ize” Inhumans in the crowded fall TV space, where launching a show is a multimillion-dollar investment. “We think this is a quadruple win — a win for Imax, a win for Marvel, a win for ABC Studios and a win for ABC to launch a show in an innovative way and get attention,” Disney-ABC Television Group president Ben Sherwood tells THR. The Imax pact is the first of what Sherwood hopes will be several innovative ways to launch programming.

As part of the agreement, the first two episodes will be shot entirely with Imax cameras, with subsequent action scenes — some of which will be set on the moon — also filmed using the technology. Sources say Imax is paying for the first two episodes (ABC won’t reveal the budget; the show hasn’t begun casting), offsetting the hefty costs associated with the pilot and helping to make the deal more attractive to producers ABC Studios and Marvel Television. ABC will then take the Imax episodes and expand them with additional content for broadcast. ABC, Imax and Marvel will each mount tailored marketing campaigns for Inhumans, what analysts see as a can’t-miss cross-platform push…

ABC also hopes that Inhumans — which is not a spinoff of the network’s Agents of SHIELD and does not replace the planned feature film — will have a halo effect on the veteran Marvel drama as well. The network hopes fanboys flock to see Inhumans in theaters and follow the show to the network, bringing in new viewers who may not already be watching SHIELD (provided the latter returns for a fifth season next fall.)

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Matt Smith experienced danger when he played the Doctor, and faced some unexpected excitement during the filming of The Crown. He was relaxing in a Cape Town bar and wound up being held at gunpoint.  He didn’t even have a sonic screwdriver to defend himself with. The fame he experienced from his role on Doctor Who has given him some insight into playing Prince Philip:

Smith says he can relate to his character Prince Phillip, because of both the “crazy shit” and the amount of public interest, after he was cast in Doctor Who.

“Every single part of my life was affected,” he said. “You have to be hyper-aware, because Doctor Who is a children’s show ultimately, and you have to behave accordingly, I suppose.

“I went from being an actor doing theatre and stuff, to overnight being on the front page of every newspaper. There’s journalists going to my granddad’s house offering him £40,000 [for gossip]. Nothing can prepare you for that.”

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Billie Piper also discussed how her role on Doctor Who has affected her life and her career in an interview with ES Magazine. Digital Spy has some excerpts.

Her portrayal as The Doctor’s brave friend Rose Tyler undoubtedly set the mark for all future companions, and her two series remain a golden era for many fans.

In the latest issue of ES Magazine, Billie looks back fondly on Doctor Who ten years on – while also admitting that working on the show seemingly non-stop in Cardiff took a toll on her private life.

“I’m quite a homebody and I missed London so much,” she recalled. “Also, it makes you so famous, a show like that.

“It gave me little memories of being a popstar – you can’t go anywhere without it being a thing, and I found that quite hard again. But it changed everything for me. And I have never worked with a nicer bunch of people in my life since.

She also said she is sick of being sent hooker roles and is working on her own show about “two London women in their thirties and everything that comes with that.”

Billie Piper’s “hooker roles” included scenes on shows such as Secret Diary of a Call Girl and Penny Dreadful which could never appear on Doctor Who. They had to be more subtle with regards to sex. Radio Times has put out a list of 10 adult jokes in Doctor Who you might have missed.

SciFi Weekend: Doctor Who, Face the Raven; Jessica Jones; Arrow Flash Crossover; 11/22/63; Lost In Space; New Show From Bays and Thomas

Doctor Who Face the Raven

Only four companions had previously died in the long history of Doctor Who, with none in the new series. This changed on Face the Raven with the death of Clara Oswald.  The episode took place on Trap Street, a hidden street in London like something out of Harry Potter, except in this case Maise Williams’ immortal character returned as mayor, providing sanctuary for aliens. Clara’s friend Rigsy (previously seen in Flatline, when Clara was acting as the Doctor) was sentenced to die, with a Chronolock tattooed on his neck, counting down the minutes until his death. The Doctor tried, unsuccessfully, to turn to his index cards to express his condolences, but Clara pushed him to try to save him.

Unfortunately it turned out to be Clara who saved him by transferring the Chronolock from Rigsy to herself. Maise Williams’ character, Me,  had already guaranteed Clara’s safety on Trap Street, so she thought this would buy them time. What Clara did not know is that Me never really intended for Rigsy to die. However, once the Chronlock was transferred from Rigsy to Clara, the terms of Me’s deal with the quantum shade, which controlled the execution, were changed and Me could not save her.

Clara assumed the Doctor could save her once again, but he could not, and the two said their dramatic farewells. It did seem  questionable that the Doctor couldn’t at least try to save her. After all, it was already established that there was a stasis machine nearby. If that couldn’t work, there was also a teleport bracelet, not to mention the TARDIS, which might take Clara to safety.

Clara’s death was actually guaranteed by the decision for Jenna Coleman to leave the series. Steven Moffat discussed writing Clara out in an interview with Blogtor Who:

“What we’re gonna do with Clara’s departure was ‘Plan A’. This is what I wanted to with Clara from very, very early on in Clara’s run but Jenna said that she wanted to leave at the end of Series 8. And I sort of knew she didn’t really want to leave, I think she just felt she ought to leave at the end of Series 8, despite my various attempts to tell her what she was thinking – which never goes down well I find with human beings! [Laughs]

She decided to leave so I wrote her out of the end of Death In Heaven, that was her last episode. I was halfway through Christmas [Last Christmas] without Jenna and she said, ‘Actually, I’d like to be in Christmas,’ so I discreetly threw away the script I was writing and started again. [Laughs] Never told her that – should’ve.

I wrote her out of the end of Christmas but this time I sniffed a wind and wrote two endings; one version where she actually is the old lady and we last see her going up the spiral staircase. At the read through we did the big heart-rending departure and she changed her mind.

Peter and I did perform every form of emotional manipulation known to people on the world tour, badly and ineptly I might add. I like to think in the sheer ineptitude of out apparent subterfuge we were charming.

But what we’re doing now is the right way for her to go, in my view.”

Doctor Who Face The Raven Clara

There might theoretically be a way in which Clara did not die and could return for some of the final episodes of the season, but now that Jenna Coleman had her big exit scene it would be better to leave her character dead. That does not mean that Jenna Coleman might not show up again. A form of Clara has been involved with all Doctors we have seen so far, and the way in which she was fragmented should mean that she will also be involved with future Doctors, although that does not mean that either the Doctor or the audience will see her

The Doctor has met Clara in different forms. He met Oswin Oswald, the soufflé girl, in Asylum of the Daleks, and met the Victorian barmaid and governess Clara Oswin Oswald  in The Snowmen.  He also came close to meeting Clara as a child but did not recognize her.

There are still questions left from Face the Raven. The Doctor was teleported off, and is on his own, leading into the final episodes of the season (which will be extended length). Will he return to face Me, after warning her “You’ll find that it’s a very small universe when I’m angry with you”? Who was Me working with? It was apparently someone who knew about the Confession Dial, which might mean Davros, or Missy. Incidentally, it was Missy who put Clara in touch with the Doctor in The Bells of St. John, so it might be fitting that she was also indirectly involved in her death. (Incidentally Michelle Gomez, who plays Missy, also appeared on Gotham last week).

The portion of the season prior to the Christmas episode will end with another two-parter. Heaven Sent will air on November 28th and run fifty-five minutes.  Hell Bent will air on December 5th and run sixty-five minutes.

Behind the scenes videos of Face the Raven can be seen here.

Marvel's Jessica Jones

It was a tough decision with both Jessica Jones and The Man in The High Castle both becoming available for streaming on Friday night. Ultimately a show staring Krystin Ritter, David Tennant, and Carrie-Ann Moss won out. In addition to these three, Rachel Taylor does an excellent job as  Trish Walker and Mike Colter is excellent as Luke Cage. Besides appearing in Jessica Jones prior to appearing in his own show, Luke Cage has been teased in a trailer for the second season of Daredevil.

While I have not finished the series yet, I have seen enough to say that this is excellent. It is possibly the best superhero show ever on television, and possibly the best television show or movie with the Marvel Cinematic Universe. Vulture has a collection of excerpts from the many excellent reviews of the series. I will have no spoilers of the individual episodes in discussing the series.

Jessica Jones has started out even stronger than Daredevil. While set in the same Hell’s Kitchen background, it is not entirely as dark and gritty, with more of New York City seen. There are brief mentions of other events in the Marvel universe, but it is not necessary to have seen any as long as you are just aware that New York City was under attack in The Avengers movie.

Krystin Ritter is excellent as the damaged superhero. She plays a strong female lead, but the tone of the show is entirely different from the other superhero series with a female lead, Supergirl. Ritter’s dramatic acting abilities were clear in Breaking Bad, and she showed she could handle being the lead for a show in Don’t Trust the B—- in Apartment 23. She further shows her acting talent as the lead in this complex dramatic role in which her character underwent a traumatic experience in the past, leading to the season-long arc with the big-bad Killgrave, played by David Tennant.

Jessica Jones Trish Walker

Krystin Ritter discussed playing Jessica Jones at Speakeasy:

Unlike a lot of superhero shows, she doesn’t seem to rely on her superpowers that often.

That’s how I always approach the character. Just a woman and a girl first, with her feet on the ground and with real issues. Her struggle is so personal and so relatable and so grounded. I just focused on that and the superpower thing second. I just felt like it was an extension of who she is – because internally, she’s so strong.

What unique issues are being explored in “Jessica Jones”?

I felt like it was groundbreaking material in how it handles some of the darker stuff that happens to her. We never actually see, literally, [her] history with [villain] Kilgrave. But we see the effects of it. Ultimately, this is a story about coming to terms with something internally with yourself. I also enjoyed that she wasn’t sexualized. She’s never putting on high heels and the tight skirt to seduce somebody like your typical P.I. So there were all these things in there that felt a lot bigger. I felt like it was a great conversation starter. It has the potential to be an iconic character.

The Los Angeles Times spoke with Kristin Ritter and showrunner Melissa Rosenberg, who was also head writer on early seasons of Dexter:

“[For Jessica] the superpowers are just a matter of fact. She doesn’t advertise them, but she doesn’t deny them. She doesn’t hide them,” show runner Melissa Rosenberg explains. “What I love about this character is she’s so unapologetically who she is. She’s unapologetic about her sexuality, about her powers, about her drinking, about just about anything. She is who she is.”

Her sexuality, and drinking, along with other aspects of Jessica Jones, are certainly not hidden. While there is no nudity, this is not a superhero series for children.

I have also been bookmarking material on The Man In The High Castle but will wait until I have hopefully had time to start the series.

An extended promo has been released for this season’s crossover episodes of The Flash and Arrow, starting December  1 (video above).

The season finale of The Flash is part of the crossover event with Arrow and introduces Wally West. There has been speculation this season that when Iris’s mother turned up and there was mention of another child, this would be Wally West. The following synopsis has been released.

“Running to Stand Still” — MARK HAMILL, WENTWORTH MILLER AND LIAM MCINTYRE RETURN; KEIYNAN LONSDALE JOINS THE CAST AS WALLY WEST — When Mark Mardon AKA The Weather Wizard (guest star Liam McIntyre) returns to break Leonard Snart AKA Captain Cold (guest star Wentworth Miller) and James Jesse AKA The Trickster (guest star Mark Hamill) out of Iron Heights, Barry (Grant Gustin) must stop these rogues from taking over Central City during Christmas. Meanwhile, Joe (Jesse L. Martin) and Iris (Candice Patton) meet Wally West (Keiynan Lonsdale). Kevin Tancharoen directed the episode written by Andrew Kreisberg (#209). Original airdate 12/8/2015.

We have already seen the first glimpses of Hawkgirl on The Flash, as the various characters for Legends of Tomorrow have been put place on Arrow and The Flash. Legends of Tomorrow will debut on Thursday, January 21. In addition to bringing back old characters on Arrow in preparation for this, Roy will be returning to Arrow in episode 412.

The above teaser has been released from 11/22/63 from J.J. Abrams, based upon the book by Stephen King. It is to be released on Hulu on Presidents Day, 2016.

Danger Will Robinson: Netflix is planning a reboot of Lost in Space.

CBS has signed a deal with Carter Bays and Craig Thomas to produce another comedy set in New York. Deadline reports that the show, named New York Mythological, “centers on a Midwestern girl who moves to Manhattan and experiences firsthand the magic of New York.” It sound like quite a few other shows done over the years but it is the execution which matters. There have also been a lot of shows about friends in New York City, but few did them as well as Bays and Thomas did with How I Met Your Mother.

SciFi Weekend: The Flash; Arrow; Gotham; Sleepy Hollow; Agents of SHIELD; Person of Interest; Doctor Who; Selfie; 12 Monkeys; Renewed Shows; Utopia; Gracechurch; Red States & Pornography

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 The Flash was off to an excellent start last week. It looks like it will be a lighter version of Arrow but has started to set up an interesting back story. There’s the death of Barry’s mother in the past and the episode ended with a look into the future which raises the question if they plan their own version of the Crisis on Infinite Earths. We don’t know for certain that the future will play out as suggested:

“Time travel is going to play a big part in the overall series, but one of the things that we will discover is that time is mutable,” executive producer Andrew Kreisberg says. “As the good Doctor says, time can be rewritten, so not everything you see on the show is necessarily what’s going to come to pass and not necessarily everything that’s happened is fixed.” In other words, that newspaper’s headline could change.

Presumably their version will not include the death of Barry Allen. The final scene also revealed that Harrison Wells (Tom Cavanagh) can walk, contrary to what was previously suggested. Is his name supposed to bring H.G. Wells and time travel to mind? With Tom Cavanagh’s character able to walk, this also leaves open the possibility of returning to his bowling alley (Ed).

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Returning genre shows such as Arrow, Sleepy Hollow, Agents of SHIELD, and Person of Interest have all returned to strong starts. Arrow returned with a very brief romance between Oliver and Felicity along with  (major spoiler ahead)  an unexpected death, which I bet will ultimately lead to Laurel taking over as Black Canary. Thanks to flashbacks, this won’t be the last we see of Sara. The episode also introduced Ray Palmer, who has now taken control of Queen Consolidated. While Gotham has premiered, Arrow remains by far the best television adaption of Batman ever aired.

While still early, Gotham does look  promising. It essentially feels like a comic book world without the superhero. Jim Gordon serves as the superhero, even if lacking either superpowers of the special abilities of characters such as Batman or Green Arrow. In a city where virtually everyone else appears corrupt, just fighting for justice and being the rare good guy is enough. Hopefully the can continue to work in a storyline with young Bruce Wayne without it appearing too contrived.

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What makes Sleepy Hollow so much fun is how theye can have both a conspiracy linking Judas, Benedict Arnold, and events in the current episode, mixed with such humorous scenes as last week with Ichabod learning about how our banks work and getting confused about men wearing hats indoors (but not gays).

Ichabod : Is that considered acceptable now?
Abbie : Oh, lots of attitudes have changed since your days, not everyone’s but supreme court has upheld the constitutional right of same sex couples, and more and more states are even legalizing gay marriage
Ichabod : I meant gentleman wearing hats indoors, I know about homosexuals thank you, I trained under Baron von Steuben. His affections for his own sex were well known. Also, I watches the finale of Glee.

Even when in the midst of the big conspiracy they still don’t take things too seriously, such as with Nick Hawley not getting too worried about the apocalypse they were trying to prevent. After all, every civilization has their own apocalypse story.

Last week had another strong episode of Agents of SHIELD with a new role for Simmons. They are making far better use of both Fitz and Simmons than last year. Presumably the real Simmons, as opposed to the one in Fitz’s head, will appear intermittently while undercover at HYDRA. It would probably appear too contrived if they run into her every episode.

Person of Interest is also off to a great start after a semi-reboot, placing the major characters in new situations. I am hoping they do more with the big issues of surveillance and artificial intelligence as the season progresses, rather than number of the week shows.  There is the danger that the reboot won’t matter as they have quickly made things similar to before with the establishment of a means to communicate, a new base, and a new source of money.

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Steven Moffat had a line in The Big Bang with a call about an escaped Egyptian goddess on the Orient Express in space. With the substitution of a mummy for the Egyptian goddess, this premise turned into this week’s episode of Doctor Who, Mummy On The Orient Express. Perhaps some of the plot holes and unanswered questions from Moffat’s stories will ultimately be answered if we wait long enough.

We don’t know who Gus, who masterminded the situation, really is, but perhaps this will be answered at a later date. I also wonder if there is more to Perkins, and if he will be seen again. I am also curious as to whether this episode was planned at the time of The Big Bang. I suspect that it might have just been an idea in Moffat’s mind, which he later altered because he could not resist the line, “Are you my Mummy?”

The episode also included themes from previous episodes, including jelly bellies and the Doctor talking to his previous regenerations. In keeping with themes from this season, the mummy was a soldier. There was progression in the Capaldi Doctor’s attitude. He still had no qualms about watching people he considered to already be doomed die in order to gain information, (“Old ladies die all the time.It’s practically in their job description.”). However, he also substituted himself for a potential victim. In the end, he used the TARDIS to save everyone.

The Clara storyline was handled in a strange manner. Last week it looked like she was done with the Doctor, leading to speculation that this might have been done to set up a solo adventure. Instead Clara was present, yet they teased that this might be their last trip together. If Clara was planning to leave the Doctor, why did she go with him on the Orient Express? After so much teasing that she would no longer travel with the Doctor, she changed her mind quite quickly at the end. I also continue to wonder what type of cell service the Doctor and his companions have which allows them to communicate not only with each other regardless of where they are, but back with earth in the present. Personally I can lose cell service if I wander too far from the cell extender I found necessary to purchase to set up a cellular hot spot in my own house.

The Doctor Who Extra is below:

I had mixed opinions from the pilot of Selfie but obviously I was going to give any show staring Karen Gillian and John Cho a second chance. I’m glad I did as the second episode was much better. Pilots can be a poor way to judge a series as the pilot has the burden of setting up the situations. In addition, changes for the better are sometimes made in shows between the time a pilot is shot and the show goes into regular production.

While there are some excellent genre shows in the fall, summer was weaker on broadcast television. CBS has shown a commitment to mediocre summer science fiction, renewing both Under the Dome and Extant.

Still no word from Showcase regarding Continuum.

ABC has given a full season pick up to two of their better new shows of the season, How to Get Away With Murder and Blackish.

12Monkeys

IO9 reports that Syfy’s television version of 12 Monkeys, which begins in January, will be different from the movie, taking the aspects they like and changing others, like their previous reboot of Battlestar Galactica. It sounds like it might be an intelligent time travel series based upon their review of the pilot:

What the pilot really proved was that this is a show not afraid of the complications of time travel. It does not slow down and explain to the audience its fractured timeline, save for a few title cards in the beginning. Ivanek gives a speech at the end of the episode that wholly relies on the audience being quicker on the uptake about time travel tropes than the characters.

The pilot also builds in a lot of space in the characters’ backstories to fill in later. And you actually want to know about them. you want to know how Stanford got to be in a position where he was picked for his mission. You wonder endlessly about how Railly can get from where we meet her to where she ends up. There’s more than enough to carry more episodes.

An old CBS science fiction series us returning. Legendary TV is working on a rebooted series of Lost in Space. Hopefully they can improve upon the original with the reboot as Battlestar Galactica did.

Utopia Jessica Hyde

Channel 4 has canceled Utopia after its second season, which was one of the better genre shows over the past summer. HBO is planning a remake with David Fincher directing. He is again working with Gillian Flynn (Gone Girl), who has written the scripts for the new series. While I often question making US remakes of recently aired British shows, such as with Broadchurch,I am curious to see Flynn’s take on this story.

As a consequence of lacking the time for all the genre and quality television shows now on (a welcome problem and change from the past), I have not watched Gracepoint, having already seen Broadchurch. For the benefit of others in this situation who are debating whether to watch, I have found that most reviewers are saying that the early episodes of Gracepoint are very similar to Broadchurch, and where they differed Broadchurch did it much better. Both version star David Tennant. Reviewers are also saying Gracepoint begins to diverge from Broadchurch in the seventh episode. The producers have teased that the ending might be different, so at this point the reviewers I have read (who have not seen beyond this point) do not know how significant the difference from the seventh episode will be.

And, finally, yet another study shows that people in red states are more likely to search for porn:

A new study published in the journal Archives of Sexual Behavior, produced by researchers from Canadian Universities, found American states that identify as more religious and conservative are also more apt to search for sex online. Of course, the study makes a point of separating the religiously conservative from the politically conservative. The latter is more likely to look for sex specific terms, such as “gay sex, free porn and xxx,” whereas those that consider themselves religious were looking for generalized sex terms that could’ve theoretically fallen under the “health and wellness” category.

In heavily religious states, abstinence is often pushed as the only safe sex, with very little to offer in the way of sexual education. Unfortunately, that leaves a growing number of people with questions about sex but no answers. Enter Google: the best way to find an answer to personal, possibly embarrassing questions without calling attention to yourself. So of course the study finds that religious communities have a higher percentage of sex-related searches. That’s what happens when you can’t find it elsewhere.