SciFi Weekend: The Flash; Supergirl; Arrow; Legends of Tomorrow; Gotham; Dark Mirror; Westworld; Outlander; Falling Water; Doctor Who; SNL On The Second Presidential Debate


All four shows in the Berlantiverse have premiered on the CW Network for this season. (Spoilers ahead for those who are not up to date). The Flash returned with the long-anticipated Flashpoint story, and couldn’t keep up with the hype. Unfortunately it was all predictable that after saving his mother, some reason would come up which would force Barry to restore the time line. This combined both disasters for some of his friends with him developing the problem of losing his original memories. It was mostly resolved in the first episode, but the restored timeline did have some changes, such as Iris not speaking to her father. Almost everything was fixed by the end of the second episode. There is one change which does extend to Arrow–Diggle now has a son rather than a daughter (with the son seen in an episode of Legends of Tomorrow last season).

While The Flash got off to a mixed opening, Supergirl started the season strong with the introduction of Superman–now putting these two series out in front of the Berlantiverse shows. It was the perfect view of Superman for this series–the version from the latest movies certainly would not have fit in.

I bet nobody was surprised that Kara decided to become a reporter. The move of Winn from CatCo to the DEO is exactly the type of change which might be farfetched in the real world, but which fits into television reality. They hinted at changes for Cat Grant, which is probably a cover for Calista Flockart not going to appear as often due to the move of the show to Vancouver. It does make sense that Kara will not see her as much with the change from her personal assistant to reporter. She will have a new boss, with some information from Entertainment Weekly:

Kara’s working relationship with her new boss, Snapper Carr, is very different from the one she had with Cat Grant. “Cat — both with Kara and I think with others — is actually devoted to mentoring people,” EP Andrew Kreisberg says. “She challenges them hard, but she does that with the idea that she’s forging them and they’re going to come out the other side as stronger, better people. Snapper Carr doesn’t give a crap. He believes in the written word, in facts and ‘Are you good at your job or are you not? If you’re not good at your job, I don’t have time for you.’”

A clip from next week’s episode in which Kara meets Snapper Carr is above.

While The Flash was about Barry and Iris getting together regardless of the time line, Kreisberg has decided that Kara and Jimmy Olsen should just be friends. I just hope they stick with this decision. We have seen far too many Ross and Rachel situations on television.

Arrow has been on a downward trajectory since its superb second season, and it is too early to say whether it can move out of third place among the Berlantiverse shows. The first two episodes of the season have concentrated on building a new team, and have been rather unremarkable. Maybe once this is established the show will improve. At least the flash backs in Russia look more interesting than the flash backs from last season.

Legends of Tomorrow has been largely rebooted, but I’d still rank it as the weakest of the four seasons based upon the single episode available so far.  It appears that the team has a new leader in place of Arthur Darvill’s character Rip Hunter, but I’m not certain that he is really gone for good. On the one hand the mission first season was more personal for Rip Hunter and it might make sense to reduce the emphasis on him. On the other hand, it is Arthur Darvill who has the direct connection to the Time Masters they are replacing (along with a certain Time Lord). So far we have only had a glimpse of the Justice Society of America, but we should be seeing a lot of them next week.

Geek and Sundry has a guide to the Justice Society

Before the Justice League… Who’s the Justice Society?

So, the Justice Society of America, or JSA, was DC comics’ first all-star super group, debuting in the 1940s. Its initial roster consisted of names who should sound very familiar to followers of recent movies and shows. There was the Atom, Green Lantern, Hawkman, and the Flash, among others. Only these weren’t the same characters which viewers are familiar with today. A key aspect of DC lore is the notion of masked personas being passed down through generations, so when the company dusted off the super group concept in the 60’s with the Justice League of America, it didn’t take long for the creators to retcon the two teams as being part of a lineage.

Judging by the trailer, it seems this JSA might be the only official super group in the “Arrowverse,” and its line-up will be cherry picked from various incarnations of the team. It’ll also apparently live up to its name more by operating as a clandestine secret society. Who are the members, though?


The first wearer of this cowl, Rex Tyler, takes his name from the Miralco Pill which grants superhuman physical prowess for an hour once ingested. As soon as time’s up, though, Hourman’s reverts back to being a normal human being. The chronal chaos seen in the trailer suggests, however, that this guy will be an amalgamation of all three heroes in the tradition, having the time-travel capability of the second Hourman, along with the black costume of the third.


She’s a more light-hearted heroine with ties to two superhero dynasties. Stargirl wields the powerful “cosmic staff,” which absorbs and re-directs energy, allowing her to fly, fire bolts, create forcefields, and also levitate objects.

Dr. Mid-Nite

Imagine a character somewhere between Daredevil and Riddick. All three Doctors have been actual medical doctors who turned to crime-fighting after accidents granted them night vision at the cost of near-blindness in normal light conditions. Hence, the goggles. For all doctors, the preferred tool is the noxious “black out” smoke bomb, and the preferred assistant is a deadly, trained owl.


The mutant son of the first Green Lantern (not Hal Jordan!), he’s born with powers that ironically invert the mighty light of his father. Obsidian can turn into a living shadow and gain all the associated qualities, like flight and intangibility. He can even sometimes build objects out of darkness, much like GL’s constructs.


A bit like the Beastmaster, this heroine can tap into a primordial force called “the Red” which allows her to possess the abilities of any animal. This power comes from the mystical Tantu Totem, which is passed down through generations. And in fact, this Vixen is not the same one who’s previously been seen on Arrow. She’s her grandmother.

Commander Steel

A bit like Captain America, this star-spangled hero is a military man who’s granted super strength and invulnerability after a top secret experiment. (In this case, it’s meant to restore his damaged body.) Steel fights in World War II, and he makes life-long enemies with Nazi super-villains who come back to bedevil the grandsons who eventually take up his mantle.

There was even a reference to Gotham on Supergirl last week, even if not the Gotham of the Fox television show. This DC-based show also got off to a good start this season. Their election for mayor was settled far more quickly than our presidential election. Oswald Cobblepot might be as disgusting a figure in many ways as Donald Trump, and as crooked as Hillary Clinton, but if he was in a three-way race for president, I would be tempted to vote for him over our current awful choices.

Black Mirror

Just after I finished one show dropped on Netflix (Luke Cage), they are releasing another genre series on Friday. After two seasons of Dark Mirror on Channel 4 in the U.K., Netflix will be releasing a third season. TV Guide looks at the previous episodes to watch before the third season begins. The first two seasons are also available on Netflix. The New York Times spoke with the show’s creator, Charlie Brooker, and his collaborator Annabel Jones.

While I will hold off on discussing Luke Cage until a later date, of the Netflix Marvel series, I’d rank it just a bit behind Daredevil season 1, and above Daredevil season 2. Jessica Jones remains the best of the series. While there are some overlaps, and Luke Cage did have a role in Jessica Jones, each series can be watched independently without having seen the others.

Nerdist looks at how Doctor Strange fits into the Marvel Cinematic Universe.


I was disappointed when I found that HBO was not streaming the third episode of Westworld early like they did with the first two, and I will have to wait until later tonight to watch. While I have not seen all of the new series which have premiered this season, so far it is the one I am most interested in. Assignment X has an interview with Jonathan Nolan. Here is a portion, which also compares it to Nolan’s previous series, Person of  Interest:

AX: You spent five years dealing with A.I. on PERSON OF INTEREST …

NOLAN: I think I found my subject.

AX: Did you come to any conclusions about artificial intelligence while doing PERSON OF INTEREST that have been useful in WESTWORLD?

NOLAN: It’s funny, because it’s really looking at the subject from a different perspective. PERSON OF INTEREST was relentlessly non-anthropomorphic A.I. was really the godhead, it was A.I. as a pure intelligence, not tethered to the mortal coil, an A.I. that was developed in secret. With WESTWORLD, you have really the opposite. You have A.I. that, if you consider the consciousness aspect of it, it’s almost an accident that these creatures – they’ve been programmed merely to be as lifelike as necessary for their job, and their job is to satisfy, as Lisa said, our most noble or most base desires. So they’re not supposed to be smarter than us. That’s the last thing [their makers] want.

AX: What are the WESTWORLD park’s customers like?

NOLAN: Well, the guest experience is the third point of view of the show, but it’s very much unlike the original film. We really wanted to start with the hosts, start with their limited understanding of what this world is. But there is that great point of entry. You want to know, how does this place work? As Lisa said earlier, the show is really an examination of human nature, from two different directions. From the perspective of synthetic humans, or synthetic beings, who have been coded to resemble human nature as closely as possible, and who are beginning the question, in the first season, just how worthy a model that is to follow. Every perspective of human beings, and this is the delicious part of the premise, who have been invited or made their way into a space in which they’ve been told that they have free rein. They can take their id on vacation. They can indulge in any whim, no matter how noble or dark that they want, and apparently without consequence. And so that’s a fascinating premise as well. You know, who are we when the lights are off? Who are we when we don’t think anyone’s keeping score? And then in between these worlds [of the synthetic hosts and the human guests], you have the programmers, writers, technicians, the Promethean characters who are responsible for mediating those two worlds.

AX: It seems like Ed Harris’ Man in Black gunslinger/marauder character is a guest who is indulging real darkness in himself …

NOLAN: Ed’s character features as the “ne plus ultra” guest. This is an expert-level player, someone who has been coming to the park, as he says in the second episode, for thirty years. He knows everything about [the park].

When Crichton wrote the original film, the state of the videogame business was Pong. In the forty years since then, that entire industry has grown up and evolved into this monster that’s bigger than the film business, bigger than the TV business. So our narrative had to account for that more sophisticated understanding that we have of gaming. We call them “guests,” but there is also a gaming aspect to what they do in the park. It is not just a leisurely resort. They’re here to engage in the narratives, and the narratives are increasingly sophisticated.

AX: We see that the guests can shoot the android hosts, and the hosts can’t shoot each other, but theoretically, the guests can’t shoot each other and the hosts can’t shoot the guests. Are the guns built so that they can detect human physiology as opposed to android physiology, or how does that work?

NOLAN: It’s not the guns. It’s the bullets. We thought a lot about this. In the original film, the guns won’t operate guest on guest. But we felt like the guests would want to have a more visceral experience here. So when they’re shot and it has an impact, they’re called “simunitions.” The U.S. military trains with rounds like the ones we’re talking about. There’s a bit of an impact, a bit of a sting. So it’s not entirely consequence-free for the guests.

There has been a steady stream of news, such as this casting news, to keep alive interest in Outlander until it returns, probably in April. The season two gag real was also released–audio not safe for work.

I haven’t had a chance to watch Falling Water yet, but have a few links for those who are interested. The New York Times has a review. Buddy TV has videos of interviews with cast and crew, followed by summaries of key points, here and here.


Den of Geek looks at the possibility of Jenna Coleman returning to Doctor Who.

While there are no firm plans yet, Steven Moffat has stated that Benedict Cumberbatch is interested in continuing with Sherlock after the fourth season. He is obviously quite busy on other projects, including Doctor Strange. Moffat also states that Peter Capaldi will be remaining on Doctor Who after he leaves as show runner.

Donald Trump is not happy with how Saturday Night Live has portrayed him. Video of their parody of the second presidential debate above, with Alec Baldwin portraying Donald Trump. Trump says that the media is rigging the election that Baldwin’s portrayal stinks. He also tweeted that it is “Time to retire the boring and unfunny show.”

SciFi Weekend: Outlander Season Finale; Doctor Who; John Barrowman; Alex Kingston; Sleepy Hollow; Person of Interest

Outlander Season 2 2016

The second season finale of Outlander was what a finale should be, tying up the season, providing an opening for the next season, and in this case surpassing virtually everything done so far this season. Before getting into the inevitable spoilers, for the benefit of those (like myself) who are having difficulty keeping up with all the excellent television shows on but also have not seen this season, the finale almost stands on its own as a show worth watching. If you have seen the first season but not the second, it is possible to watch the start of the first episode which has Claire back in the 1940’s, and jump from there to the finale. Of course there are some other events during the season which are well worth seeing. For those who might want to binge on the essential episodes only, TV Guide has a list which includes essential episodes from both the first and second season. TV Line has summaries of the episodes leading up to the finale which will be helpful for those who don’t have the time to watch them all.

Further discussion of the episode includes major spoilers. The structure of the episode was a surprise in primarily taking place  in 1968. (starting with television scenes from the British version of The Avengers), with flashbacks to the Battle of Culloden. This worked very well, finally tying together the scenes from the 1940’s at the start of the second season with the overall narrative, showing why Claire returned to her present. It was also enjoyable to hear the 60’s music, with many of the lyrics applying to the show. Plus, after seeing Claire’s medical skills in the past, we learned that she has become a surgeon.

The episode served to introduce Claire and Jame’s daughter Brianna and Roger, and handled the matters of setting up a reason forcing Claire to tell her story to Brianna, her daughter’s logical disbelief in the story, and ultimately proving the story to her. This was accomplished partially from Brianna and Roger investigating the past, and further enabled by the introduction of Scottish nationalist Gillian Edgars.

Outlander Geillis

Gillian Edgars cared so much about Scottish independence that she planned to travel back in time to try to change history, becoming known to Claire as Geillis. When we previously saw her, she had told Claire that she had come back from 1968. Geillis knows more about time travel than Claire did when she first went back, but also had at least one misconception, believing time travel required a human sacrifice. The rules of time travel on Outlander remain vague, and from what we have seen so far I also have my doubts that it is possible in this world to change time. While perhaps there will be incidents we have not seen, so far we have seen the actions of the two time travelers we know only working to create a consistent history which their actions became a part of.

Once Claire found that Geillis planned to travel back in time, it was rather obvious that she would not be successful in either preventing her from going to her doom. Her point in the story was clearly to allow Brianna to see her disappear into the rocks and convince her that Claire had told her the truth.

There would also be continuity or time travel issues to deal with if Geillis had not gone back in time. While she had interacted with Claire, the more important matter was that Geillis and Dougal had a child who was Roger’s ancestor. Roger felt confident he would not just disappear if she did not go back to conceive his ancestor. While we don’t know the rules for certain, it appears there would not be reason to be concerned about such a paradox as events in this world cannot be changed, and Geillis did go back in time.

The episode interspersed events from the past with the events in 1968. Claire came up with one final scheme to try to change history by poisoning Prince Charles and preventing the battle which destroyed the Scottish clans. Dougal discovered the plan, setting up a fight in which he was killed. When it became obvious that there was no way to change history, Jamie revealed that he knew Claire was pregnant due to missed periods, and convinced her to return to the future where Frank would care for Claire and their child after his expected death in the Battle of Culloden. We saw the aftermath of Claire’s return in the first episode of the season, and that now finally makes sense.

Outlander Season 2 2016

Back in 1968, Roger had another major reveal, having found evidence in his father’s papers that Jamie had survived. This leads to the dramatic words from Claire to end the episode: “We have to go back.” Earlier in the episode, Claire did take a notebook from Geillis’ home with her ideas on time travel, but we do not know if they are incorrect on other details Perhaps they will help Claire with matters such as choosing which year to arrive with a second trip back.

Fortunately we know that Outlander has been renewed so far for a third and fourth season, allowing the next two books in the series to make it to television. While readers of the books know for sure, I suspect that the information in Geillis’ notebook allows Claire to return to Jamie when their ages are closer as opposed to being twenty years older than him. Of course this would mean that Jamie had lived without her for twenty years, but we can safely assume that he will welcome her return at any point.

Ron Moore and others involved with the show have granted several interviews, some of which deal with altering the structure of the books for the show, plans for the third season, and even a brief discussion of the rules of time travel.


The Hollywood Reporter interviewed Ron Moore about the finale:

Since you altered the structure of the beginning of the season, how did that affect the way you told the story in the finale?

I had the finale planned out pretty much at the beginning of the season. When we were talking about the beginning of season two, I just felt that right away, starting in 1968 wasn’t going to work on TV. It was too big of a leap to go from Claire and Jamie on the ship sailing off to France to suddenly go to 1968, with 20 years passed and Claire is now in the 20th century, she’s a doctor, she has a grown daughter, Jamie’s dead, Frank’s dead. It’s like, whoa. Too much for the audience to take in one big swallow. So I decided to start more chronologically in the premiere with Claire returning to the 20th century, which in and of itself is a huge leap. That’s an enormous thing just by itself so let’s do that. And so when would we get to the 1968 story that book readers are expecting? That’s how we decided to get to 1968 at the end of the season, way back at the very beginning of the season. And then I felt it would be powerful to intercut that with the last moves of the 18th century story so while you’re watching Brianna realize who her real father is, and Claire is realizing that maybe Jamie didn’t die after all, we’re cross cutting that with the 18th century story when they arrive at Culloden Moor with Jamie’s goodbyes to Claire and all that.

Did you discuss with author Diana Gabaldon about the way you were structuring the season? It was a pretty massive change.

No. She sees all the story outlines and all that, so she knew as it was happening. She liked it. She thought it was smart. She totally got behind my choices.

We finally learn that Claire is pregnant again only when Jamie is convincing her to go back to Frank for the safety of their baby. Why did you want to wait until that scene to reveal that she was pregnant again when it actually comes earlier in the book?

The book was very similar in its structure, in that Jamie is the one that tells the reader that this is happening. But what we did is slid it a little bit further down so it was much closer to the very end of the season. It felt to us that if you put that in earlier, it kind of colors everything that took place after. They start talking about the baby, where she’s going to have the baby, would she stay or would she go? We didn’t want to be in the middle of that discussion while everything else was going on. So we opted to make it one of the last pieces of the puzzle, playing that Claire has this suspicion but she’s not quite sure so she doesn’t want to bring it up now because she knows that Jamie would most likely send her home and she’s determined to stick with him no matter what. Meanwhile, he’s figured it out on his own and he’s holding it as his trump card, that if things go bad, he’s going to pull it out at that moment to force her to return to the stones. It’s playing both characters a little cagey in terms of her pregnancy and each holding their cards until the last moment.

The circumstances of Dougal’s death turned out a bit different in the finale than how it played in the books. Why did you make those changes to that scene?

The one thing we did change is that we had Claire participate a little bit more. The scene reads fine on the page, but when we came to dramatize it, we quickly realized that in the books, it literally just looks like Claire is standing and watching throughout the entire fight and Dougal’s death. That didn’t feel right, dramatically for our characters. We wanted to see Claire take part in it more and be more active in that scene. And also, seeing Claire and Jamie work as a team one more time before they split up, this was the perfect opportunity for that.

It’s interesting to note that they didn’t get far in their plan to assassinate the prince, whereas in the book, they had decided against their plan before Dougal walked in on them. Why did you accelerate that scene when that change completely alters what Claire and Jamie were planning to do?

For that scene, you had to see Dougal overhear something that was damning in order to get Dougal to where he needed to go in his rage. If they had already decided against it, what was it that Dougal heard that made him come into that room with blood in his eyes? What sparked the fight in him that leads to his death? Again, because it’s a TV show, you have to let the audience see that they were being overheard and even though they hadn’t made a definitive decision to do it yet, what Dougal heard was enough to get him to go in there and want to kill them. We just had to parse it out a little finer than in the book…

In the finale we learn that Geillis believed you needed a human sacrifice to go through the stones, but with Claire, obviously she didn’t need that both times she went through the stones. How much of the rules of time travel did you discuss with Diana?

We did have a conversation with Diana and she explained her rules of time travel to us. We tried to translate that into something the audience can wrap their minds around on the show. Her rules of time travel have evolved and are spread out over many books and many characters and many scenarios. We needed to really understand both what Claire thought and what Geillis thought in this episode so we honed in on a couple of things. There are still a couple of things for Claire to figure out and discover as we move into next season though.

Outlander Finale Brianna Roger Couch

He added a little more in this interview with Deadline Hollywood:

DEADLINE: Season 1’s finale may have been more brutal, but this year’s ender certainly matched it for dramatic twists — especially the killing of Dougal. How do you think fans will react?

MOORE: If they don’t know the books, I think they will be surprised and shocked that we killed Dougal MacKenzie because he’s such a great character and such a powerful force. Especially since Colum (Gary Lewis) just died the week before, and you would think that there would be a long route to go with Dougal. I assume that the broadcast audience was assuming that we would see Dougal fighting to the death at Culloden, right? He would be one of the principal players in that story, so I think it will come as a pretty big surprise.

DEADLINE: Last season ended with the rape scene with Black Jack and with Jamie, about which there was a huge and shocked response from fans. This season finale had a different tone. Was that intentional?

MOORE: It was certainly intentional what we went for, but I don’t think we set out to set it apart from Season 1. It just had its own kind of organic feeling to it. It had a different rhythm and a different kind of overarching idea to what we were doing in the finale this year. Last year’s finale was a one-off, that was where that story ended. I don’t think the show or the book set out to try to top themselves each year or at the end of each book. That was the end of that story, and this one is the end of this story…

DEADLINE: To that end, you made a number of strategic changes from Dragonfly In Amber the book to Outlander the second season – all of which in many ways saw us end where things started, in the UK of the 20th century…

MOORE: I mean, the biggest change we made obviously was starting in the 1940s instead of starting in 1968. That was the biggest change from the book. I just felt that at the beginning of the season it was too big of a leap to take the audience from Claire and Jamie on the ship sailing off to France to then suddenly jump all the way to 1968 and reveal that not only did Claire return to the 20th century, but she has a grown daughter and she’s a surgeon, and the reverend’s dead and Frank’s dead, and it’s just like, whoa — traumatically that was just too much.

So I thought, “l right, let’s start in a little bit more chronological way. Let’s start with her return to the 1940s, establish that she’s with Frank and going to have a child, because even though that alone is still a huge leap for the audience, it’s not quite as big.” So from that point, then it was sort of letting the 18th century story pick up the balance of the season while touching base every once in a while, reminding the audience that actually this is all doomed to failure, and then catching up with 1968 at the end and intercutting that with the 18th century story in the last chapter, because I thought that that would be an interesting juxtaposition.

I like the idea that we’re going to take this 20-year leap forward in the 20th century and then catch up with adult Brianna (Sophie Skelton) and a more mature Claire, seeing that she really lived all those years and her life is moving on, while simultaneously telling the audience the last few moves of Claire and Jamie in Culloden and timing it all so that the moment that Claire goes back to the stones and leaves him behind to his doom, we also find out that actually he survived and now the Claire that lived those 20 years realizes that she needs to go back. I thought that would kind of bring everything together in a nice way.

DEADLINE: Are you planning on taking a similar approach with the Voyager book and Season 3?

MOORE: Yeah, some things get moved around, but the third book is not nearly the same challenge as the second book is. Voyager is a little bit more of a straight-ahead narrative and the adaptation process has already proven easier in the writers room because the structure is a little bit more straightforward.

Even in the first season we resequenced things and moved certain elements around, so that’s just part of doing an adaptation, but it’s just not as big a hill to climb in the third season, so we’re all feeling pretty optimistic and pretty good about where the third season is taking us.

DEADLINE: Outlander got a two-season pickup from Starz last month, so where are you at, if anywhere, with Season 4 and adapting the America colonies-based Drums of Autumn?

MOORE: We’re only just sort of talking in very general terms about Four. I mean, we know what the broad outlines are of it, but right now the lion’s share of our attention is on Three. Still, having the two-season pickup makes all that easier because you can sort of put Four over here to the side for a moment knowing that you’re going to do it. Then, as we get deeper into Season 3 — the planning, logistics — we’ll get closer and closer to start talking in earnest about Four.

Also, the writers will start turning their attention to Season 4 while this season is still underway. So we’ll write all the scripts for Season 3, get them all in train, get them all starting to prep, and then the whole writing staff will start to work on Season 4 while we’re still shooting this one. That gives us a big leg up, get on schedule and production and budget and all that — it’s enormously helpful.

Outlander Season 2 2016

Another key event in the episode was discussed with TV Line:

TVLINE | In the book, Claire is present for, but not directly involved in, Dougal’s death. In the finale, she helps Jamie push the blade into his uncle. Why the change?
We felt that when you saw it on screen, you would be struck differently than you were on the page. If you watch the scene play out on the screen [the way it does in the novel], Claire would very much be a spectator during the entire thing. We felt like she should participate, and watch her and Jamie be more of a team again. It just didn’t feel right for our Claire to stand and watch while this life-or-death struggle was playing out just a few feet in front of her…

Outlander Season 2 2016

TV Guide talked to executive producers Matt Roberts and Toni Graphia, who wrote the episode:

What was the greatest challenge in setting up this finale and what objectives did you know you had to achieve in the final 90 minutes?

Toni Graphia: Ron [Moore, executive producer] always said it was kind of like writing a pilot, in a way, because we have to introduce Brianna and Roger. They are such new characters, but ones that the audience are potentially interested in, obviously. The character of Brianna being half-Jamie and half Claire, they’re really into that. We had to introduce them and sort of kick off a whole new storyline for going forward.

We did it in a different way because the book [Dragonfly in Amber] opens with the introduction of Brianna and Roger. We chose to steal the opening of the Book 3 for the opening of Season 2, and then end the season with the introduction of Brianna and Roger. That’s a twist that we did that we think ended up well.

Matt Roberts: Literally, the whole book of Dragonfly in Amber and Season 2 is told in flashback because we already know Claire goes back. We know that Claire survived; it’s just how she survived. Toni and I had to be very careful not to tell [Bri and Roger’s] story in the finale, as opposed to just whet everyone’s appetite — because it’s not their story. It’s still Claire and Jamie’s story, and that’s whose it will always be.

Your initial instinct with [Brianna and Roger] is to give them a beginning, middle and an end to the story. … We had to be careful to reel ourselves in and not go too far with their story because that’s another season down the road.

What is different about the versions of Brianna and Roger you bring to life in the finale from the ones fans know in the books?

Graphia: We wanted to give Brianna a little more of a drive. We thought it would be a little more interesting if Claire, instead of already making the decision [to tell Brianna about Jamie] off-screen, was drawn back by the ghosts of her past. Even though she has the freedom to tell Brianna now, she hasn’t made the decision. In the book, your mind fills in all that, but when you’re watching it you don’t want the decision to be made off-camera. So when Claire comes back, we gave that drive to Brianna. In that way, Claire is being drawn in by the ghosts and Brianna is like, “What’s up with my mom? She’s always been a little distant and strange, but now she seems really moved by this place and she’s sneaking off to go see things.”

In the book, its Claire and Roger — Claire sort of shoves Brianna off to the side and secretly asks Roger, “Will you help me find out what happens to Jamie Fraser?” We switched it to Brianna and Roger, both for the sake of their developing relationship, because they’re now doing this project together, and to sort of have Brianna be the strong one that comes at Claire and demands these answers.

Finally, Claire can’t hide anymore from her past and has to come clean with her daughter. We just thought for the screen that was the more interesting story. It makes Brianna a more interesting character because she’s driving the story and she has something to do. She’s interested. She wants to know about her past and it makes for some explosive scenes between her and Claire, which we loved doing.

Outlander Season 2 2016

Vulture  interviewed co-executive producer Maril Davis and touched on the rules of time travel in the series:

Even after 20 years apart, they now have a chance to be reunited. We don’t see it in the finale, in that moment, but it’s implied that it’s about to happen. And when it does, they’re going to be different people…
We talk a lot about that in the room right now, for season three. It’s a big transition. People expect that if they were to just see each other, things will fall back easily into old habits. That doesn’t happen. Twenty years is a long time, and they both met when they were very young. So we’re talking about, “How are they different? How does that change them?” Also, in your mind, you build up things about a person that aren’t really reality, and they were together for a relatively short time. Certainly Claire was with Jamie longer than she was with Frank, but still, you change as a person, and your expectations get built up, and once you see them again, that’s a huge thing to go through.

Originally, we had a fun idea for the end of season one — we’d cut to black, and fade up, knock knock, and it would be Claire knocking on Reverend Wakefield’s door, 20 years in the future. In anticipation of that, we started looking for Brianna and Roger early. We decided at the end of the day not to do that, and suspended the search until later. But then we came up with this idea of starting with, “Oh my god, Claire’s already back. Holy crap! How did that happen?” and then the rest of the season, not peppering it through the way the book does, not dealing with it until the end. In some ways, it should be like the books, but telling the TV version should be fresh. Even for book fans, you want to give them what they want, but in a different way sometimes. We want try to do that for season three as well.

Let’s talk about Geillis. She returns for the finale here, but we’re not quite finished with her yet.
Even though Geillis saves Claire at the witch trial, there’s a little more animosity between them in the books, or at least that’s what I felt. We tried hard to give them more of a friendship in season one, to give Geillis some more layers. I love Geillis from the book. She’s witchy and mysterious. But we wanted to make her more human because that was a little more interesting to show. So even though Geillis does a lot of bad things, she still sees Claire as a true friend. Granted, her ways are a little more wicked than Claire, and for a different purpose …

Because she’s trying to control her time travel, and she’s willing to use blood sacrifice. We get to glimpse her notebooks, and we’re getting more of the rules, such as they are…
I can’t tell you how many discussions we’ve had in the writer’s room about the rules of time travel. [Laughs.] I’ve certainly pestered [author] Diana [Gabaldon] many times about her rules, because quite honestly, when you realize Claire went through the stones the first time without many of the certain elements you need, it’s a little confusing. Like, Claire went through without anything, so how did that work? And obviously she can do it, but Jamie can’t. Do we show that, or do we not? There are certain things you read in the book that you naturally accept, and you don’t think too much about it, but when you’re trying to dramatize it on screen, you have to. It almost makes your head hurt! [Laughs.] So I’ve asked Diana things about Master Raymond being a time traveler, or the Comte St. Germain, since she’s written that he might be a time traveler in The Space Between. But we didn’t really delve into that in this season.

So long as Claire gives more thought to her return journey, and realizes that she should bring some things back with her before just stepping through the stones again. Penicillin, for instance, could be handy.
Of course! She has to bring that back. [Laughs.]


In other time travel genre news, there are stories that Steven Moffat has hinted that Matt Smith might return to Doctor Who. He technically wouldn’t be the first Time Lord to regenerate as himself as the linked article claims as David Tennant’s Doctor did that. It would still be a first for the show to have a Doctor return after being played by someone else. If this becomes true, there is also the question as to whether he would be made to look like his previous version of the Doctor and if he would have the same personality. He might even hate bow ties. Another possibility could be returning to the show as an entirely different character, as some actors, even if not as prominent as Smith, have done.

Another time traveler from Doctor Who will be seen a lot more on television next season, but in the Bellantiverse on CW as opposed to Doctor Who. John Barrowman has been made a sort of regular throughout their DC based shows rather than being limited to Arrow. There have been questions as to whether the shows will be more connected next season with The Flash doing a version of Flashpoint.

Arrow -- "Streets of Fire" -- Image AR222b_0237b -- Pictured: John Barrowman as Malcolm Merlyn/Dark Archer -- Photo: Cate Cameron/The CW -- © 2014 The CW Network, LLC. All Rights Reserved.

CW shows such as Arrow, The Flash, Legends of Tomorrow, and Supergirl will no longer be available on Hulu. At least their new deal with Netflix will have them be available eight days after the season finale.

Alex Kingston will have a recurring role in the Gilmore Girls revival on Netflix. She will play an eccentric character, but presumably not River Song.

Like Outlander, Sleepy Hollow sometimes takes place in two different times, and we have seen time travel. Not only have they lost the female lead, they are moving from Sleepy Hollow to Washington, D.C. There will be a new female lead who has been described as Scullyesque.

Soon after the series finale of Person of Interest, The Washington Post has a story which makes it sound like the ideas behind the show could become reality: How artificial intelligence could help warn us of another Dallas.





SciFi Weekend: Series Finales For Person of Interest and Penny Dreadful; Mr. Robot

Person of Interest Finale Finch

Person of Interest and Penny Dreadful both had their series finale in the past week. There will be major spoilers for each.

We knew from the start of the season that Person of Interest was concluding, and at times the abbreviated season felt frustrating as too much time, probably at the insistence of CBS, was spent with procedural episodes when there was so much story to tell this season. The end game started late in the season with Root being killed in the 100th episode. This led to Harold thinking more about what must be done, and the consequences of his previous decisions to limit the machine. Root got her way in having the Machine be set more free, and it adopted not only her voice but her attitude. The penultimate episode showed what would have happened to the characters if Harold had never built the Machine. Some were better off and some worse off. Either way, this convinced Harold of what he must do, as he released the Ice-9 virus.

The finale dealt with the aftermath, skipping around in time. We got a glimpse of the chaos around the world, but much of the episode centered on Harold speaking with the machine on a roof where Harold thought he was engaging in a final suicide mission to destroy Samaritan. It was fitting that much of the remainder of the episode had Finch and Reese together as the series began, ending consistent with their characters that Reese (with the help of the Machine) would sacrifice himself instead.

While there was speculation that the finale would be a blood bath, Reese was the only member of Team Machine to die. In a way Root came back from death as the personification of the Machine.   Lionel hopefully still has his pension to look forwards to. The Machine, which had failed to beat Samaritan in all those previous simulations, somehow managed to win this time, although it is not clear how. Shaw has the dog, and received a call from the Machine, now sounding like Root. She could conceivably carry on the old missions, with it also revealed recently that the Machine has other recruits. (It did seem strange that, knowing they exist, they were not called in to help in the final battle). Finch, like the Machine, received a happier ending than would have been predicted. He not only recovered from his wounds, but was reunited with Grace. Does he know that the Machine survived, and will it also call him again in the Future?

Person of Interest Finale Finch and Reese

Jonathan Nolan and Greg Plageman discussed the show with Deadline (part one here and part two here).

DEADLINE: Person Of Interest made artificial intelligence a central part of the story years before it became a hot topic. While most headlines today incite fear, the Machine on POI is not a threat but helps people. Jonah, why did you decide to do that and what it your position on AI, a subject that you have tackled in several projects?

NOLAN: I think it’s a nuanced one, it’s a complicated one. Part of the reason for the inception of the show or the spark for me was that I had seen many, many examples in film and TV of dystopian visions of AI. But, while the movie Her is a great example that came out a couple of years after we started making the show, it is one of the very few examples you can point towards of a positive depiction of artificial intelligence. It’s a subject that I’m kind of fascinated with, took a similar approach with the robots in Interstellar and now our current project, HBO’s Westworld, sort of exploring the same idea. I think we’ve long viewed AI as the bogeyman. That’s indicative of the way that we’ve viewed anything else that we see as a possible threat to us. Look, there’s good reason to be apprehensive.

I think the open AI initiative that Elon Musk and Stephen Hawking and others pushed for is a great idea. There needs to be transparency in what we’re doing. A lot of the stuff that’s happening right now is happening behind closed doors. It’s not science fiction to imagine that an ASI, an artificial super intelligence, will or could have an enormous impact on society. I think it’s an enormously positive impact. That’s part of what we wanted to portray but we also wanted to portray it in a very balanced way. We wanted to consider both the upside and downside of that and really get into the nitty-gritty of this. One of the things I’m proudest of for the show is this long-form conversation about how AI should play out. How unbound should it be.

For us, in this show the AI takes on the form that I think is the likeliest that it’ll take on, which is a network intelligence. Not a robot necessarily wandering around but a network intelligence that watches us and interacts with us and asks us to do things. In a sense, in this show we become the robots. Reese becomes the agent acting at the behest of this all-seeing intelligence. I think if you get to the end of this show, will you imagine that AI is an unqualified good thing? No. But I think from the beginning we wanted to portray both sides of it and the idea that a networked artificial intelligence could be a great force for good. And then you have Samaritan, I think that’s a little more familiar in terms of AI presentations where they want to take over the world. It’s abundantly clear that Samaritan would be a great force for change and good in the world but at a significant moral cost. We wanted to play in the gray area…

DEADLINE: Was this the original ending you had in mind for the series? When was that idea formed that a character will be killed off?

NOLAN: Greg, this is pretty much what we talked about from the beginning, right?

PLAGEMAN: Yeah. It seemed to spring organically from the sacrificial nature of what Reese was doing. It felt right in terms of that relationship from the very beginning. The moment Finch hired him at the end of the pilot, he said, ‘I should warn you, we’ll probably both get killed.” You almost knew at some point in time that sort of sacrifice was going to be required in order for them to ultimately defeat Samaritan and for one to allow the other to go on.

NOLAN: You get a sense that these guys are on a tragic journey — we announced it right from the pilot that they are not both going to make it. So it’s really a question of the arc for these characters and also the idea of friendship and sacrifice.

Reese, when we find him, is an extremist. In a sequence that we weren’t able to shoot because we couldn’t get permission, originally the pilot starts with Reese about to throw himself off the Manhattan Bridge. The city wouldn’t let us shoot it. They would let us shoot it on the bridge to Roosevelt Island, but that’s only about 20 feet off the water so we didn’t think we would get quite the same level of spectacle. So we weren’t able to shoot the beginning of the pilot the way it’s supposed to play out

When we find Reese, he’s in a very dark place, an assassin at the end of his rope. Finch gives him a reason to live, a new purpose. There’s great affection. This is really where the season started with the relationship between these two characters. When we get to the end, there are so many amazing characters that we found along the way and they all play a role in that finale. But it’s really that relationship — Finch, Reese, and the Machine but specifically Finch and Reese and their evolving friendship over the seasons. It’s probably the heart of the show, the essence of the show from the beginning. The sort of odd couple.

So we wanted to see Reese, as he says in the finale, he gets a chance to repay that great favor that Finch gave him a new lease on life. It’s a redemptive arc for Reese, the sacrifice at the end is him giving some of that back to Finch in the hopes that one of them could make it out alive…

DEADLINE : What about Shaw, is she the new Reese? There was a hint in the finale that she may take the mantle. 

NOLAN: I think that’s the suggestion at the end of the finale. As Finch says in the pilot, the numbers never stop coming. We assume that someone has to pick up that mantle. There’s no better candidate than Shaw. She’s capable and has a somewhat redemptive arc through this. I think that purpose and that relationship with Root as the Machine, to us we always imagined that someone would pick up the mantel and carry it forward. Shaw was always conceived of as that character.

DEADLINE: Let’s talk about the Machine. Was it important for you that it lived on?

PLAGEMAN: I do think it’s important. I think it’s important to understand that there is an artificial intelligence in the world that considers humanity. We talked about artificial intelligence quite a bit on the show and what could happen, will there be just one or will there be multiple artificial intelligences that proliferate. For now, at least in the ending of this show, as far as we’re aware there is only one. That is the one that Harold Finch originally encoded…

DEADLINE: The Episode 11 that Greg mentioned, was it envisioned as a potential spinoff?

NOLAN: Definitely not an attempt on our part to do a spinoff. If we were ever going to do a spinoff it would have been with the Control end of things and the relevant side of things which would have been great fun to take a look at three seasons ago. We didn’t want to do a spinoff. We’ve watched friends go through this where it’s like, the series is doing great, spin it off and then you wind up impoverishing both shows. So definitely not an attempt on our part to spin the show off. It was an attempt to answer a big question that’s always been there in terms of what happens to all the numbers that come up outside of New York City and to see that there is this master plan with the Machine in terms of the numbers along the way, everything adding up to something new and different.

Person of Interest Finale Finch2

They were also interviewed by IGN. The first question quoted is related to one of my questions above about the finale, and they also discussed what could have happened if the show was not ending:

Matt Fowler: In the finale, the Machine defeated Samaritan, after losing to it trillions of times in a simulated battle. Did she just have it within her all along to pull out the win in the end?

Nolan: I think a part of it was all that relentless training, in a sense. Finch and Root trying to scheme out how this would work but also running these simulations with the Machine in order to figure out how it could win in its most paired down form. So you’ve got this decommissioned Soviet satellite and these things were up in there in their most compact fighting form. Sort of like how armies used to march out and select one champion to represent them, and the fight would be decided with that champion and the rest of the army would abide by that outcome. But at this point, the armies have been decimated and destroyed and only the champions remain. The sparest algorithmic versions of these ASIs uploaded into the satellite like two strands of DNA having a kung fu battle. So kind of fun, but also kind of hard to visualize.

Plageman: Also, keeping in mind that Finch unleashed this virus that could hobble Samaritan enough to put the two ASIs on more equal footing.

Nolan: Both of them have been reduced to their respective essence, and in that form, the Machine was going to kick Samaritan’s ass.

Goldman: Samaritan ended up working as the ultimate foe for the Machine. Did you always see it as the end game and would have held off on this final battle for a couple more seasons if the show were continuing? Because you kind of ended up with the HR era and then the Samaritan era.

Nolan: I had imagined that in any version this would be the final season for Samaritan. And we had a blueprint we used for what could come next. If this was the ultimate big bad – like, what could we do afterward? And we had some pretty cool ideas. But certainly for a final adversary, Samaritan is a pretty great one…

Goldman: The great and bad thing about creating something people care about is you’re going to have to put up with guys like us asking, for years and years, “Will there be a follow-up to Person of Interest?” What’s your gut feeling? We live in an era with more revivals than ever. Do you think in some form, these characters could ever pop up again?

Nolan: Last year, it was 24, X-Files and Heroes. You’d be forgiven for waking up and checking your TV Guide thinking you’d traveled back in time 10 years. So you never say never. They’ve got our number! They can call us. We love these f**king characters. We love this world.

penny dreadful finale2

While we knew going into the season that it would be the last for Person of Interest, it was not announced until after the finale of Penny Dreadful aired that the show was not coming back. This was probably a good thing for those viewing Sunday night as I bet they were expecting to see Vanessa triumph in the end. For those like myself who watched it later, after seeing headlines of the shocking ending as well as the cancellation, Vanessa’s death was more predictable (although surprising that she had so little to do at the end). In a way it was also foreshadowed in the penultimate episode as both ended with rather disappointing surrenders by female characters who might have been expected to be stronger. Perhaps it was an homage to the common Victorian troupe of damsels in distress.

The final season also felt strangely constructed. Season two ended with the characters separated. I expected to see them reunited sooner, as opposed to waiting until late in the season, and then ending it all. It seemed like they were introducing Dr. Jekyll for a larger role in the future but couldn’t go very far with that. Other new characters were handled better, such as Dracula, Catriona Hartdegen, and Justine, even if I didn’t like how her character died. Actually the only character’s story line which I was really satisfied with this season was the Creature.


The Hollywood Reporter spoke with Showtime president David Nevins and series creator John Logan:

When did you first know this would be the final season?

Logan: It was midway through season two, about two years ago when I was envisioning season three. I knew at the end of season two that Vanessa Ives steps away from God and burns the crucifix and she’s left completely alone without the one thing that sustained her and the one source of strength she truly has — which is her faith. Since the show for me has always been about a woman grappling with God and faith, I thought the idea of her scratching her way back to God and finally achieving some some of apotheosis was the appropriate ending. As the season began to dance about in my head, I realized where it was going to have to go and have to end. I thought that was the right end and the graceful end for the character. I discussed it with Eva and then talked to David about where I felt the season was going.

Nevins: I spent a short amount of time trying to say, “Are you sure you want to do it? There’s all these other wonderful characters.” It became clear John was right and it needed Vanessa or it wasn’t smart to continue the show beyond Vanessa. I fairly quickly said yes. And then the question was how do we handle that information and position it? The traditional thing to do was announce this is the last season. It felt like that would give away the surprise and part of the pleasure of watching TV now is experiencing it for yourself and the emotions in an unspoiled, unmediated sort of way. The episode begins with not the usual main title and that signals something different is going on here and it ends with “The end.”

Many viewers felt Vanessa’s arc suggested she was doomed at the end of the first season. Do you think this is an example of one great performance shifting the focus of an ensemble show more than anticipated?

Logan: From a writer’s perspective, this was always a show about Vanessa Ives for me. That character was the spine of the show.

Nevins: This was not a change. It was clear from John’s perspective, the show was about Vanessa Ives’ story. I encouraged an ensemble a bit, but its spine and trunk was always Vanessa.

Penny Dreadful Billie Piper

They spoke at Entertainment Weekly about the fates of the major characters:

John, you called this the story of a woman’s journey to faith. Why could returning to her faith only happen for Vanessa as she died?
Because Vanessa, like all characters that are interesting to me, is broken. She’s a cursed, dark creature, and she was never going to exist easily in Victorian society as a proper Victorian wife or matron or anything. There was always an exceptionality about her, most emphatically in the fact that she’d dwelt in the dark side, with both Dracula and the devil seeking her soul. The only peace she could possibly have was with God, and the way to commit to that was to give herself entirely to it. And it became a sacrifice that she had to enact for the good of mankind. It was a generous act that she did in dying and going to God, as well.

Opposite her experience, we’ve got the Creature [Rory Kinnear] who’s also choosing death over life on behalf of his son. Vanessa is religious. The Creature is not. Were their similar responses to death an intentional counterpoint?
Of course. Those two characters do a pas de deux the entire series for me. I’m Irish, so it’s like different sides of my personality. Half the time I want to go to Mass; half the time I want to walk away.

The story around Lily [Billie Piper] has been one of my favorites this year.
Yeah, me too.

That monologue about her daughter in episode 8 was just stunning. Can you take me through why it was so important that you saved that really human story for the end of the season?
Happily. I chose to write about women in Victorian society — that’s the stealth thing this show is actually about. It’s a very feminist show, and the idea that the audience gets to see, in our three years, Lily as a degraded figure who’s abused by men, as Brona, literally being reborn into a blank slate and then achieving incredible power but always having a great human connection. That was a case where I was also inspired by the actor, because Billie Piper so delights me, and I found that in the second season I was able to write her an eight-minute monologue that she absolutely delivered, completely, in a way that I found thrilling. I just wanted to do it again, because she’s an actor who understands theatricality and understands larger than life language in a very unique way, and that’s part of what this show is about.

Penny Dreadful Finale Vanessa

Variety spoke with John Logan:

There are a lot of balls you’ve got in the air, a lot of storylines. Obviously you’ve had multiple story lines in other seasons, but this seemed like the most “Penny Dreadful” has ever had.

This is multiple stories on steroids. I think that’s fun. The series has gotten broader and broader every season and I think that’s correct. If it was still the same five people in a room in Victorian London, you’d want to kill yourself. I certainly didn’t want to write the same show year after year, with the central characters talking in the great room about evil. I didn’t want to do that. I wanted to have bigger themes, bigger stories.

Part of what helped me do that this season was having a lot of new characters. We’ve got Patti LuPone, who plays Dr. Seward, Dr. Jekyll, Keatenay, and Dr. Sweet, who’s involved in Vanessa’s storyline — all those new characters start thickening the broth, if you will. And by season three, I think we want a thick broth.

The different characters add different shadings, different notes on the scale, if you will. As do the different actors. When you see Wes Studi and Tim Dalton are fantastic together and there’s a chemistry there, seeing where the chemistry connects between the actors and the characters, is really rewarding.

And the important thing to me, as I planned the first three seasons of the show, was weaving back into the Dracula story. We did that to some degree in season one, with Mina Harker, Sir Malcolm’s daughter, and then we get back into it big time in season three. It’s fun, and challenging.

That was an unexpected reveal at the end of the first episode, but it does draw on one of the show’s themes, that these things are constants. These dangers, these demons, the issue the characters face on their moral journeys — they don’t just go away. You don’t solve them, because they’re eternal.

That’s exactly right. You look at Vanessa, who is obviously for me the beating heart of the series — the woman is tormented from without and within. From within, it’s part of a journey of faith, and losing her faith and that leaving her in a wasteland of an existence, until she tries to drag herself out of it. But also, from without, she was tormented by Satan last season, Dracula in the first season, and those things don’t go away. Your inner demons and outer demons are still there until you find finally face them in some way. I always wanted this season to be about Vanessa and Ethan facing their most difficult challenges. Ethan goes back home into the crucible of his past, his father, what made him a werewolf, why is the way he is. With Vanessa, it’s [an exploration of] the darkness around her.

The finale of Person of Interest, with scenes of chaos after the release of the Ice-9 virus,  reminded me of the ending last season of Mr. Robot with the release of their hack. A new trailer for the second season is above, showing that the FBI is after Elliot. The season has been extended from ten to twelve episodes, and there will be an after show entitled Hacking Robot.

The video below looks back at the first season:

SciFi Weekend: Person of Interest; Orphan Black; American Gods; Game of Thrones; Outlander; Arrow; David Tennant; Captain America; DC Rebirth; iZombie

"Sotto Voce" -- The mysterious criminal mastermind known as "The Voice" returns, trapping Reese and Fusco in their own precinct with several armed gang members and the latest POI. Also, Root makes a shocking discovery, on PERSON OF INTEREST, Monday, May 30 (9:59 -- 11:00 PM ET/PT) on the CBS Television Network. Pictured L-R: Michael Emerson as Harold Finch and Amy Acker as Root Photo: John Paul Filo/CBS ©2015 CBS Broadcasting Inc. All Rights Reserved.

With only three episodes to go, Jonathan Nolan was free to do almost anything for the 100th episode, and he did. Major spoilers ahead. Those who were behind this season might not even have been aware that Elias was still alive but in hiding. His actual death this episode was overshadowed by the far more significant death of Root. At least she lives on in some manner with the Machine choosing to make her voice her own.

TV Line discussed the episode with Jonathan (Jonah) Nolan and Greg Plageman. Here is a portion:

TVLINE | For starters, why Root? Why was she the big loss entering this final salvo of episodes?
GREG PLAGEMAN | Root has always implored Harold Finch to make his machine more assertive in this war, and now, faced with what they’re up against, Root ultimately is the one who makes the sacrifice to save the father of The Machine, and that’s Harold. I think it’s true to Root’s character — her first love was The Machine. She always believed people were “bad code,” and more than anything she wants Harold’s machine to win this war. Her going down in this matter seemed apropos.

TVLINE | She did go down in a blaze of glory, after making one of the sickest kills in TV history.
JONAH NOLAN | Yeah, I was holding onto that one for a movie, but I decided Amy Acker was worth it…

TVLINE | In the million months since you filmed this episode, a controversy arose about TV shows killing off LGBT characters. But I think that in your defense, Root was a richly realized character, over four seasons. And as you have said, she died meaningfully.
NOLAN |  Thank you for that. We haven’t seen these other shows [that killed LGBT characters], so I can’t speak to that, but it’s really just about characters getting their due and not feeling disposable, and not feeling like the audience’s investment in a character is being used against them, or that they’re being set up for it. This was always the end of Root’s story, this was always where we were going. It became clear at the beginning of the season that this was the end of the ride for us… and Root’s journey has always been getting ever closer to The Machine, so the end of her story was always basically becoming The Machine. That’s another thing I thinks separates this from the pack, and this is how Root feels about it — it’s an evolutionary step. We’re not trying to sucker-punch the audience.
PLAGEMAN | We’re aware of the objections now to that [“Bury Your Gays”] trope, and I think we circumvent that in many ways. This is a real relationship between [Root and Shaw]. Not only was it consummated but there are real feelings there in subsequent episodes. Not to mention, as Jonah said, we’re heading down the final stretch here. This is not the only loss that Team Machine is going to encounter.

TVLINE | On the topic of consummation, although what we saw a few weeks ago was just a simulation, did I read somewhere that you said Root and Shaw actually first got “together” in Season 3, Episode 6…?
NOLAN |  We definitely implied as much at various moments. Look, we’re on CBS, there’s only so much we can show, a lot of that is left to the imagination…

TVLINE | Elias similarly went out as a hero. How important was it for you to “resurrect” him and get back Enrico Colantoni, if only for a short bit?
NOLAN |  Enrico Colantoni is a f–king magnificent actor, and has been such a fun collaborator for us over the years. We’ve always managed to make it work, when he’s available, and he’s had some great moments here. It was always the plan to fake his death and bring him ever closer to our team. If there’s one thing about the season I regret it’s not having a little more time to play with relationships like these, and spend a season with him on our team. But again, we’ve had to get to the end a little sooner than we wanted. We wanted to spend a little more time with Elias all the way inside the team, though we’d have to be careful with that — Elias isn’t much of a joiner! [Laughs] But that relationship between him and Finch has been so much fun to develop over the years, from the sort of chess conversations to really bringing him all the way in. The idea in this episode was that it’s almost like an avalanche of grief and loss bearing down on Finch, and the cumulative impact of it for Finch is watching as this set of decisions that he’s made, this sort of plan that he has held into all of these years, comes literally to grief with the death of two of his allies and friends.

TVLINE | The Machine actually speaking at the end, springing Harold from jail…. I almost feel like that’s Rocky getting up from the mat before pummeling Apollo Creed. Is our team about to rally?
PLAGEMAN | I got chills, man. One of the things that Elias really served to do…. When a character with that power says to Harold Finch, “You’re the one that people should be afraid of,” he gives that a certain weight and heft that we understand something’s coming for Harold Finch, because Elias told us so.
NOLAN | And at Comic-Con three years ago, when asked, “When will The Machine get a voice?,” we did say, “Someday, but you won’t like how it happens.” I think we fulfilled that mandate.

I was suspicious of Felix’s sister Adele when she showed up on the show, suspecting she worked for Neolution or some other group. After this week’s episode, she just might be what she seems. She filled a needed role of an attorney Donny and Alision could call on. She also had one of the best lines of the episode when she met Alison and noticed how she looks so much like Sarah, “with less anger and more hygiene.”  Next week Helena returns. I’d love to see Adele’s take on her.

Gillian Anderson has had some major genre rolls, including The X-Files, The Fall, and Hannibal. She will be working with Bryan Fuller once again on Amerian Gods. Variety reports:

Anderson will play Media, the mouthpiece for the New Gods, functioning as their public face and sales representative, by taking the form of various iconic celebrities. She lives off the attention and worship that people give to screens — to their laptops, their TVs, to their iPhones in their hands while they watch their TVs. Ever the perky spokesperson, and always in control, she spins stories in whatever direction best suits her.

The attack of the White Walkers on the cave was one of the most memorable scenes on Game of Thrones recently. The above video discusses the making of that scene.

Outlander has been renewed for two additional seasons. This will also make it possible to have less of a delay between seasons. Homeland has been renewed for three additional seasons by Showtime, who will also be doing a series based upon Jonathan Frazen’s novel Purity. Amazon has renewed Transparent for a fourth season.

TV Line has news on next season’s big bad on Arrow:

Arrow‘s latest evil mastermind is heading to Star City by way of Baltimore. TVLine has learned exclusively that the CW drama’s upcoming fifth season will introduce a new villain loosely inspired by Idris Elba’s Wire drug kingpin Stringer Bell.

The character, tentatively named “Anton Church,” is a ruthless crime lord who sets out to fill the sizable void left by 960Damien Darhk and H.I.V.E. The initial casting notice describes him as an “apex predator” who “cuts his way through the shadows” by taking down “the biggest threat first.” (Um, he’s looking at you, Ollie Q.). While the role is being likened to Elba’s classic Wire baddie, the breakdown also references ex-Game of Thrones actor Jason Momoa as a physical prototype.

Arrow had a great big bad last season, but sure didn’t conclude the story very well. Hopefully the quality of Arrow will get back to what we saw the first two seasons.

Here’s something for fans of both Doctor Who and Marvel. David Tennant of Jessica Jones does Ask Marvel in the video above.

In other Doctor Who news, Steven Moffat recently revelaled that the role of The Doctor was once offered to a black actor, but it didn’t work out.

Captain America Hydra

There have been a lot of changes in both the Marvel and DC comics over the years. After the last two Captain America movies showed SHIELD to be infiltrated by Hydra, and now has Captain America and other Avengers on the run, there is an even more radical change in the comics. Steve Rogers is apparently an undercover Hydra agent. Of course, in the comics, this could be a trick, or just something to go on for a while until they reboot again.

Here is a review of the DC Universe Rebirth from Nerdist and additional spoilers from Bleeding Cool.

Rose McIver discussed the season 2 finale of iZombie and what might be coming in season 3.

SciFi Weekend: Captain America; Agents of Shield; Legends of Tomorrow & The Justice Society of America; DC Four-Way Crossover; Star Trek; Mr Robot; Limitless


Captain America: Civil War, like the previous movie in the series, made major changes in the Marvel Cinematic Universe which also extend to Agents of SHIELD on television. Spoilers ahead for both the movie and television series. Civil War showed a continuation of what was seen in Captain America: Winter Soldier, which led to moving SHIELD underground. It ends not with Captain America being killed as in the comics, but with both giving up his shield and going underground. Other members of the Avengers are in similar situations. Collider summarizes how the MCU has changed, with major spoilers for those who have not seen the movie and recent episodes of Agents of SHIELD.

It did seem strange that Nick Fury was not involved, and his role since the changes in SHIELD remain unclear. Civil War writers Christopher Markus and Stephen McFeely were asked about this by The Los Angeles Times:

I’m curious. Where was Fury? 

Stephen McFeely: I’m curious too!

Christopher Markus: We called him, but he let the line blink. Primarily it felt like one too many possible opinions. We didn’t want him to take one side or the other, because that’s not his place in the universe. And then we didn’t want another, “Is he still with the government? Is he opposed to the government but supporting the government?” It got to be the potential for a lot more polemic discussion that the movie did not have room for.

He’s the guy who put it together. He’s been the sort of parent figure to the Avengers. Let the parent go away, and see if the kids can handle this. See if the kids can be who they’re supposed to be without that governing voice. Um… and they didn’t do that good of a job.

Are we going to see him in “Infinity Wars?”

McFeely: I would think.

Markus: It’s probably all hands on deck.

McFeely: Don’t you assume you’ll see everybody in the “Infinity Wars?”

You heard it here first: Everybody is in “Infinity Wars.” Hopefully that includes Sam Rockwell’s Justin Hammer and Whiplash’s bird.

Captain America: Civil War acted as the origin story for Black Panther, and introduced Spider-Man to the rest of the MCU. Iron Man will be appearing in Spider-Man’s upcoming solo movie, Spider-Man: Homecoming. There is also speculation that there is yet another connection, with “homecoming” being one of the trigger words used by Hydra in brainwashing Bucky Barnes.

Deadline has a long interview with  Kevin Feige. One of the many items discussed included the possibility of  Black Widow getting a solo movie in the future:

DEADLINE: You’ve got a bunch of characters in this movie from Falcon and War Machine and Black Widow and Hawkeye, who have so far guest starred in movies with another characters title above the fold. Is there one destined to get a solo movie down the line?
FEIGE: We’ve announced the next nine movies, 10 counting Civil War, through the end of 2019. Where we go beyond that are ongoing discussions that we’ll focus on in the next few years because we have a lot to do before then. Of the characters that you’ve just mentioned I would say certainly the one creatively and emotionally that we are most committing to doing is Black Widow.

FEIGE: We think she’s an amazing character. We think Scarlett Johansson’s portrayal of her is amazing. She’s a lead Avenger and has amazing stories in her own right to tell that we think would be fun to turn into a stand-alone franchise.


Agents of SHIELD also worked in the Sokovia Accords, the movie version of the Superhero Registration Act, and ended the season with some deaths. Even Daisy now appears to be on the run, and who is this new Director of SHIELD? There was a second death for a Brett Walton villain, first Grant Ward, and now Hive. It looks like he might finally be finished with the series.  Jed Whedon and Maurissa Tancharoen spoke with Comic Book Resources about the finale.

CBR News: How difficult was it to say goodbye to Brett Dalton and Lincoln Mitchell?

Maurissa Tancharoen: It was so, so hard. There were many tears. It was very emotional. Even in the process of developing their arcs and breaking the season, it was a decision we struggled to finalize. We knew that we had to, though. We had to close a chapter with Ward. To sustain an antagonist for this long or to go beyond three seasons — we just didn’t want it to lose any steam. At our wrap party, there were several emotional speeches being made for both of those guys.

Jed Whedon: One of the things about television is that it’s fluid. You always have to generate a lot of different stories. Sometimes you eliminate a character and it’s easy, because you either don’t like the person or you don’t like the character. This was a situation where we didn’t have that. Both of these actors are just great guys, they’re great to work with and are pros. It was a very emotional end of the season for everybody.

Tancharoen: A week before we wrapped, we were here at home. I was thinking of Brett and Luke. They are such great people, and so talented and so handsome. “Oh, my God. What have we done?”

After watching Ward evolve from a member of S.H.I.E.L.D., to Hydra agent, to Hive, why did it feel that this was the time to let him go?

Whedon: One of the reasons we closed that chapter was to start a very different, very new chapter next year. We’re very excited about it, but that’s as specific we can get.

Now that viewers have seen the finale, what were the most important aspects, to you, about the send-off you gave Ward/Hive?

Whedon: Hive revealed his motivation: “I want a connection.” That’s a fitting end to his story. Also, to Ward’s story, he wanted that with Skye. Now, here he is, sitting with Lincoln, the one person who had that with Skye/Daisy. There’s some poetry to the simplicity and the quietness in that moment that we loved. It was a fitting end for someone with [goals of] world domination, and to our buddy Grant Ward, who we managed to maintain as an antagonist for three seasons, which is a lot for one character.

While some themes from the movies are reflected in Agents of SHIELD, the two are also disconnected, especially with Coulson being alive in the television show but still considered dead in the movies. It is also strange that nobody from The Avengers got caught up in the battle against Hive. Chloe Bennet talked about this last week. When asked if she would like to show up in the movie universe she replied, “The Marvel Cinematic Universe loves to pretend that everything is connected, but then they don’t acknowledge our show at all. So, I would love to do that, but they don’t seem to keen on that idea.”


The Berlanti shows on CBS and the CW Network are almost completed for the season, with Arrow and The Flash presumably to complete their story lines related to Zoom and Damian Dahrk next week. Legends of Tomorrow remains the weakest of the four, but did improve in its final episodes. The good news was that it got more timey wimey. The bad news is that it handled their rules of time travel much more poorly than other genre shows such as Continuum and 12 Monkeys. As time travel does not really exist (which I assume as I have never received a list of winning lottery winners from my future self), a show can get away with their own rules, but they should be internally consistent and make sense. Screen Rant has more on the plot holes. More spoilers ahead.

It should help the show in the future to have Vandal Savage defeated. Having them spend the season getting close to him but not killing him led to many unsatisfactory episodes. Some old members of the cast will be gone. Ciara Renée is leaving as a series regular, but the manner in which Hawkgirl and Hawkman flew off certainly leaves open for the possibility of their return, even without using time travel. Wentworth Miller’s character Leonard Snart (Captain Cold) sacrificed his life on Legends of Tomorrow. In the Berlanti universe, death is not a permanent change (except for the Earth 1 Laurel Lance), and Miller will be a recurring character in various shows in the universe. Presumably time travel or effects from the destruction of the Oculus will  provide the explanation.

While some characters are gone, the ending suggested the introduction of the Justice Society of America. Collider has background information on this. Marc Guggenhein also discussed this with The Hollywood Reporter:

The CW’s Legends of Tomorrow used Thursday’s season one finale to reveal that Rex Tyler aka Hourman (Patrick J. Adams), along with the JSA, would be a major part of the Arrow/Flash spinoff’s sophomore run. He arrived on a Waverider as the Legends team intended to take off as Time Masters, warning them that they would all die if they did.

“With his final words in the finale, he planted a pretty deep flag about where we’re headed in season two, which is not just introducing Hourman but introducing his teammates in the Justice Society of America,” executive producer Marc Guggenheim tells The Hollywood Reporter. “For comic book fans, everyone knows the Justice Society is really the precursor to the Justice League, so it’s a pretty big move in our DC universe here on TV.”

Although the DC Comics franchise keeps its film and television projects separate (unlike rival Marvel, which connects its film and TV projects in one shared universe), it’s interesting to note that it’s the newest — rather than the highest-rated DC show (Flash) — that is going to be the one introducing the iconic superhero team…

The introduction of Hourman and the JSA won’t be the only reason Legends of Tomorrow will look different in season two. Along with some casting shakeups, the elimination of the Time Council and the set timeline takes away a huge part of the story and the rules that were established all season long.”One of the other big things we’ve done in the season finale is we planted another flag in the form of Rip’s [Arthur Darvil] statement. Because the Time Masters are essentially gone and the Legends have destroyed the Oculus, that all means that someone else has to do the job of the Time Masters,” Guggenheim says. “Our Legends take that on as their new responsibility. It’s sort of like, you break it, you buy it.”

“That’s really exciting to us, that our team of Legends, our misfits, are going to be responsible for the preservation of the timeline and protection of history,” he adds. “As we’ve seen, our team, our guys are not always the most responsible people around so maybe time has got some new troubles. But it will provide a lot of fodder, a lot of fun story for season two.”

With Supergirl getting picked up by the CW Network, they didn’t waste any time in announcing  plans for a four way crossover with Arrow, The Flash, and Legends of Tomorrow. This is facilitated by all four now being on the same network and all being filed in Vancouver starting next season. These matters are far more important then the logistics of getting Supergirl involved with characters who are on a different earth.

Above is a trailer for the movie Star Trek Beyond. It also looks like Paramount has been convinced that it is not a good idea to sue fans over copyright infringements in fan-made movies. JJ Abrams made this announcement:

A few months back there was a fan movie, Axanar that was being fan made, and there was this lawsuit between the studio and these fans. And Justin was sort of outraged by this as a longtime fan. And, we started talking about it and realized this was not an appropriate way to deal with the fans. The fans should be celebrating this thing, we all [as] fans are part of this world. So he went to the studio and pushed them to stop this lawsuit and now within the last few weeks it will be announced that this is going away and the fans will be able to [continue] their productions.

Hopefully they realize that it has been the fans who have kept interest in Star Trek alive, enabling them to make money from continued movies and soon a new television series.

CBS also released the above teaser for the upcoming Star Trek television series, which does not really provide any information. There has been some speculation that the statement of “new crews” in pleural might suggest more than one crew, possibly taking place in different eras.

The above trailer was released for season two of Mr. Robot which begins on July 13. We see that Christian Slater’s character is still around, and don’t know how much of anything else is real or in someone’s head.

With it doubtful that CBS will renew Limitless (but no cancellation announcement either), there is now talk of trying to sell it to another network. I don’t know if the finances would work, but it seems like it might be a good fit at USA Network. Supergirl has already moved from CBS to the CW Network, and I’m still hoping attempts to keep Person of Interest alive at anther network are successful.

Moving from science fiction to science, Mars is appearing as it biggest in over a decade:

Mars comes into opposition — the point when Mars and the Sun are on directly opposite sides of the Earth — once every two years.

But on Sunday night, as the Red Planet edged towards its closest point to Earth in 11 years, it appeared much bigger and brighter in the night sky than usual.

Amateur astronomer Dr Ian Musgrave, from the University of Adelaide, said it would trump Venus as the brightest object in the sky, aside from the Sun and the Moon.

SciFi Weekend: Network Renewals and Cancellations; New Shows; John Barrowman on Doctor Who Christmas Special?; Nebula Award Winners


Announcements came out last week regarding the fates of network shows. With most of the shows worth watching now being on cable and streaming, this news is not as major as it once was, but there is still some news which impact genre shows. A list of renewals and cancellations from all the networks can be seen here.

As discussed last week, CBS did go ahead and cancel Supergirl, but it will be continuing on the CW Network (which CBS partially owns). This does seem where it belongs anyways. CW will most likely wind up paying less for the show than what studios charge CBS. It will also save money in moving production to Vancouver. Besides the lower costs involved in filming there, they can probably save additional money by sharing costs with the other Berlantiverse shows.

The move to Vancouver might also affect the cast if not everyone agrees to go. Most likely they did make it worthwhile for Calista Flockhart to come to Vancouver periodically. With the vast majority of her scenes occurring in her office, it might be possible to have her come out to film for a few episodes at a time, and then return home. This would also make it easier to have more cross over episodes with the other Berlantiverse series, with the casts of all four shows working in Vancouver. Supergirl takes place on a different earth, but we have already seen The Flash make it to her earth, Supergirl should be able to replicate what Barry Allen did to cross over, and the Waverider on Legends of Tomorrow can travel between the multiple earths.

In other genre series on CBS, we’ve already knew that Person of Interest has been canceled, and Limitless remains on the bubble.

Yet another series in the DC universe has made it to network television. NBC has picked up Powerless. From Entertainment Weekly:

The network has given a series order to Powerless, which stars Vanessa Hudgens (Grease Live) as a “spunky young insurance adjuster specializing in regular-people coverage against damage caused by the crime-fighting superheroes.” (Think The Office meets Agents of S.H.I.E.L.D. minus Marvel).

More details about the pilot storyline: “It’s when [Hudgens’ character] stands up to one of these larger-than-life figures (after an epic battle messes with her commute) that she accidentally becomes a cult ‘hero’ in her own right … even if it’s just to her group of lovably quirky co-workers. Now, while she navigates her normal, everyday life against an explosive backdrop, Emily might just discover that being a hero doesn’t always require superpowers.”


Marvel series have not done as well as DC on network television. While Agents of SHIELD returns on ABC, ABC has both canceled Agent Carter and decided not to pick up Marvel’s Most Wanted. The good news is that, along with cancellations of Nashville and Castle, Adrianne Palicki, Connie Britton, and Nathan Fillion are all available for new shows.

ABC did pick up Conviction staring Haley Atwell. Maybe Netflix, which has been the strongest television outlet for Marvel, will also bring back Agent Carter when Atwell’s schedule permits. Before Agent Carter was canceled, there was talk of still continuing the show and work around Atwell’s schedule. A grittier version should do well on Netflix.

Fox, where many other genre shows have died too early, didn’t have the sense that ABC did in ending Castle when with the loss of a star. For reasons nobody understands, they have renewed Sleepy Hollow. In good news from the network, Fox is also renewing Gotham.

The new genre shows appear to be primarily based upon time travel next season. The trailer for Timeless from NBC is above. The TV Addict has this description of the series

Lucy is one of the most history popular professors at her university when TIMELESS begins, but her modern teaching styles don’t really appeal to the school’s tenure committee. And while she seems very unappreciated in the world of academia, Lucy is about to get a big opportunity that perfectly fits her skills.

One night, a mysterious criminal and his henchmen steal a secret state-of-the-art time machine and they’re looking to destroy the country as people know it by changing the past. Lucy is soon recruited by Homeland Security — along with soldier Wyatt and scientist Rufus — to help retrieve the machine and stop the criminal from changing the past. To do that, they’re going to use the machine’s original prototype. Their first stop is to 1937 and the site of the Hindenburg disaster.

But in addition to preventing the past from being destroyed by this criminal, they also have to make every effort not to affect the past themselves.


Other new shows on NBC include Blacklist: Redemption. TV Line described the series:

In the new venture, undercover operative Tom Keen teams up with Susan “Scottie” Hargrave (played by Famke Janssen), “the brilliant and cunning chief of Grey Matters, a covert mercenary organization that solves problems governments don’t dare touch,” per the series’ official description.

This suggests that if Lizzie returns from the dead on The Blacklist after Megan Boone’s maternity leave is completed, she will probably not be with Tom.

Other networks are joining NBC in premiering time travel series next season, including ABC with Time After Time. This is based upon the 1979 movie about H.G. Wells chasing Jack the Ripper through time. Teaser above. Fox will have a time travel comedy, Making History. A list of the new network shows can be seen here.

John Barrowman made a statement on Facebook which has attracted a lot of attention: “I will be back in Cardiff in about a week and a half. But I’m not telling you what for…sssh!” This has led to speculation that he is returning to Doctor Who, possibly for the Christmas episode. The spin-off Class also films in Cardiff.

Nebula Awards

The Nebula Awards have been announced.  Uprooted by  Naomi Novik has won as best novel. The winner of the Ray Bradbury Award for Outstanding Dramatic Presentation Winner was Mad Max: Fury Road.

SciFi Weekend: The Big Reveal on Game of Thrones; Orphan Back; Person of Interest; DC & Marvel News; Star Trek; The Handmaid’s Tale

Game of Thrones Jon Snow

While technically a spoiler for those who have not seen lase week’s episode of Game of Thrones, there was little doubt that Jon Snow would return in some form. While he has returned to life, so far all we have seen is his eyes open and beyond that he might not be entirely the same. Vulture looks at some of the possibilities, including that his wounds might never heal or that he might not have his memories. They also speculate that his death might have terminated his vow to to the Night’s Watch which “shall not end until my death.” If so, this would allow him to take other roles, such as leading the North and/or returning to aide the surviving  Starks.

Regardless of what happens to him, Kit Harrington is happy that he no longer has to lie to everyone.

Orphan Black Donnie

Orphan Black started out the season with a bit of a reboot and simplification of all the various conspiracies. The show is always at its best in dealing with the characters as opposed to overly complex conspiracies. While Tatiana Maslany is generally the show, supporting characters do have a lot to add, such as seeing Donny and Felix posing as a gay couple as part of the investigation of one of those conspiracies. It got even better when Donnie called Alison to help him provide a sperm specimen with phone sex in yet another classic scene in this series.

Person of Interest returned for its final season on CBS. A sneak peak from Comic-Con is above. The AV Club spoke with executive produces Jonathan Nolan and Greg Plageman. Here is a portion:

The A.V. Club:Since the beginning, this show that’s ostensibly been about artificial intelligence is really about human connection. What’s it like to thread that needle and how has it evolved over time?

Jonathan Nolan: It’s a great question. And it’s a big challenge. I remember Greg and I talking from the beginning about the collision between the more esoteric ideas in the pilot and how we were going to draw emotions and humanism and a recurring interest from the audience out of all those ideas. There are a lot of ideas in the show, and it’s something I’m very proud of. It’s funny, it’s not a normal show for CBS, but people kind of found it, which is exciting.

That link between the big ideas of the show and the characters—we’ve concentrated on it so hard from the beginning, because we wanted to explore all these crazy ideas about the surveillance state, big data, and AI—and the collision of all of that on a personal level. And from the beginning, I’ve felt like there was a great connection there between big data and the kind of “normal” violent crimes that you find in a major city like New York. I’m just kind of fascinated by the idea of the collision of all of those things. But the thing that people keep tuning in for is the characters. Week in, week out, you’re looking not for ideas, necessarily, although it’s great when your shows have ideas in them, but for the characters to become extended family. Especially in broadcast TV, that’s what happens on that level: When you’re on weekly, your characters come back and you connect with them every week. So, as you said, threading that needle becomes the challenge throughout all five seasons.

AVC:One of the great things is how you were able to connect to The Machine, even on a very personal level. The Machine was gendered female, whereas Samaritan has stayed relatively genderless. Can you expand on that?

JN: I think the gender question, you know, they’re obviously connected. If you want to understand the impact that any SI, or super intelligence, will have—and it’s pat, but it’s accurate—but it’s as if there were no gods and we made them, right? God has often been gendered in the West in a masculine light, which is absurd, but it evolved sort of organically, talking about The Machine as a person. Finch always referred to The Machine as “it” or a thing, but for Root there’s always been more of a personal connection there, a belief in The Machine as a being. So her personification of it—sadly, in the West, we have to gender things to personify them—it seemed most apt that she would think of it in those terms. There’s also something else we’re doing with that: If you’ve paid close attention to the show and where we’re going, there’s a little bit of foreshadowing there as well.

AVC:It seems as though The Machine went through a rebellion phase when it really started to only speak through Root. Will this season be about The Machine becoming more mature in that sense and answering to everybody?

JN: I’m picturing a hormonal artificial super intelligence.

Greg, what are you thinking?

Greg Plageman: I think the interesting relationship for me is Harold Finch and his creation. And there’s always been a troubling conundrum for Finch, building this thing that’s so powerful yet that could overtake us. He’s never been quite comfortable with the idea of an ASI—building something that’s more intelligent than us and us expecting that we could still actually control it. So he’s always had that dilemma that he’s been grappling with, and that caused him to put a limiter on The Machine. What Root has always implored Harold Finch to do is take the gloves off the thing because we’re losing—we’re losing to a much more diabolical creation.

So I think the evolution of that relationship of Harold Finch and his machine this season, in terms of reconstituting it, and how it’s going to be different this time, it’s almost like, what’s the point? What’s the point, Harold, if you’re going to put a limiter on this thing all over again, as Root has always told him in terms of her wanting to let this thing go and to see what it can do. It becomes an exploration of Harold Finch’s character that I think the audience is going to find very fascinating.

AVC:Do you think that if we had been watching the team behind Samaritan from the beginning, rather than the team behind The Machine, that we would be pro-Samaritan?

JN: I think that’s one of the delicious things about what we’ve been doing with this storyline and where we’ve gone with it in this last season. I’m always most excited about and drawn to villains who have a point of view and have a plan. One of the most exciting things about The Joker in The Dark Knight is, he may be a villain in your eyes, but he’s the only person who hasn’t broken his own rules. Everyone else has, everyone else has corrupted themselves, but he’s in many ways one of the most ethical people in the film in terms of their own ideas. He had an idea, and it drives the story forward. We applied a similar approach here, but even more rationally. A lot of things that Samaritan espouses are believed by the people who work for Samaritan, the same way that I’m sure people who work for Facebook don’t believe that they’re working for the company that will destroy the world. But, you know, they are. And everyone gets through the day rationalizing their own existence.

GP: It’s sort of fascinating right now what’s happening in Russia with Putin’s control of the media and the way the everyday Russian views the West now or the United States. It just depends on who’s telling the story. There was a moment where Root met Greer and he sort of said these things to her: “You and I are not all that unalike.”


CBS has not decided yet about renewing Supergirl, with cost being an issue. Ideas being considered include moving the show to Vancouver and airing fewer episodes. It might also move to CW with the other Berlantiverse shows. (If necessary to make room for all the superhero shows, I’d suggest cancelling Legends of Tomorrow and airing Supergirl instead).

At ABC, it has not been decided whether to return Agent Carter or go ahead with Marvel’s Most Wanted. If they don’t air the second, I wonder if they would write Adrianne Palicki and Nick Blood back into Agents of SHIELD. With the way they were written out, it wouldn’t be hard for Coulson to decide he doesn’t care what the Russians think and bring them back–especially as they are operating secretly. We should have news on May 17 from ABC.

Needless to say, there has been a lot out in the past week on the Marvel Cinematic Universe with the release of Captain America: Civil War. To avoid spoilers I will postpone discussing this until a later date. Here is one link of interest–the backstory from the comics of the history of fights between Captain American and Iron-Man.

CBS All Access remains on track to begin the new Star Trek series in January, 2017. They will be releasing one episode per week.

Hulu will be showing a ten-episode miniseries based upon Margaret Atwood’s novel The Handmaid’s Tale  in 2017. It will star Elizabeth Moss (Mad Men) had will be written by Bruce Miller of The 100. Miller will c0-executive produce the series along with Daniel Wilson (who worked on the movie version of the book), Fran Sears (The Sophisticated Gents) and Warren Littlefield (Fargo). I suspect they will also be releasing an episode a week as they did with the adaptation of 11.22.63.

Speaking of Mad Men, here’s a chance to explore Don Draper’s apartment in 3-D. It would be even more fun to have an apartment like this to spend some time at in Manhattan.

SciFi Weekend: New Companion Announced For Doctor Who; Supergirl Finale; Krypton; The Girl On The Train; Person of Interest; Mr Robot; The Blacklist; The Night Manager; Catastrophe; Mick Jagger

The next companion has been introduced in the video above to replace Jenna Coleman on Doctor Who. Pearl Mackie will play a character named Bill, who clearly has not encountered the Daleks in the past. The Guardian has a little more information on her:

Capaldi said it was “a genuine delight” to welcome Mackie to Doctor Who. “A fine, fine actress with a wonderful zest and charm, she’s a refreshing addition to the Tardis and will bring a universe of exciting new possibilities to the Doctor’s adventures.”

Steven Moffat, outgoing lead writer and executive producer, said: “A new face in the Tardis, a new voyage about to begin: welcome aboard, the amazing Pearl Mackie! This is where the story really starts.”

Mackie trained as an actor at Bristol Old Vic Theatre School, graduating in 2010. Since drama school, she has worked across theatre, film, radio and television. Her acting credits include Svengali, a British film released in 2013, and she is currently appearing in the stage production of The Curious Incident of the Dog in the Night-Time at the Gielgud Theatre in London.

Among other actors who had been thought to be in the running for the role were Coronation Street’s Michelle Keegan, Rakhee Thakrar, who impressed many with her performance as Shabnam Masood in EastEnders, and Maisie Williams, who plays Arya Stark in Game of Thrones and guest-starred in the last season of the sci-fi show.

Supergirl finale

Supergirl ended the season well. While the two part season finale had its plot holes, they did end many of the plot thread of the season, while leaving one major one for next season (the search for Jeremiah Danvers) and ended the episode with a cliff hanger. Prior to the last second cliff hanger, there was a feel-good moment for the cast. Plus there is the question (as of now undecided by the writers) as to exactly Kara’s new job will be.

Entertainment Weekly interviewed Andrew Kreisberg about the finale. Here are a couple of excerpts:

ENTERTAINMENT WEEKLY: Let’s start off with the reveal that someone else has landed on Earth. What can you tease of who this is? Are they friend or foe?
Obviously it’s our big cliffhanger of the season, so I’m not fully inclined to let everyone know who shot J.R. It’s an important character, and they’ll play an important role in season 2.

Is this a character we may have seen in the comics before?
Again, I don’t want to give too much away, but it’ll be cool. The fans are going to be excited. It’s going to definitely shake things up for season 2.

Especially with something like Project Cadmus in the ether, the first person I think of is Superboy.

Moving on, Kara was willing to risk her life for the world. How does that change her in season 2?
This whole season has been about her embracing being Supergirl. In a way, this was her graduation episode. She hadn’t fully figured out how to integrate being Supergirl into her life. This whole season has been a learning experience for her. At the end of this episode, she’s fully Supergirl. Next season, you’re going to see a Supergirl who is more mature, and a bit more of a cohesive character. She’s taken the identity of Kara and the identity of Supergirl and merged them in a better way. You’re just going to see a more confident, stronger Supergirl than we’ve ever seen before.

Is it safe to say the world is now on her side?
Oh yeah. You don’t save the world without dispelling all doubters…

Even though Fort Rozz is gone, are the prisoners who were once inside it still an ever-present threat?
I think so.

What can you say of the fates of Non and Brainiac?
If you’re a fan of the comic books, you know that Kara’s heat vision took away Non’s — lobotomized Non. How and when we see him again, he’ll probably be very different. I think Indigo is probably the hardest person in the world to kill given that she’s a living computer, so I wouldn’t be surprised if she pops up again.

What would you say was your point of pride for the first season?
I’m so proud of the show. As much expectation there was for the show, there was also a lot of like, “Yeah, prove it!” [Laughs.] I think the show really works. Melissa is a star. Like any first season show, there were missteps and not every episode was as strong as the others, but I can point to a whole bunch of episodes, like “Red Faced,” like “Human for a Day,” like the crossover, like “Falling” as being some of my favorite episodes that I’ve gotten to do over the course of all the series that Greg [Berlanti] and I work on together. I’m just super proud of the show. We’ve proven that there’s an audience for a female superhero. Hopefully there will be many more years to come.

Syfy has ordered a pilot for a Superman prequel Krypton, set on the planet two generations before its destruction. The idea reminds me of Gotham, and even more of Caprica. Hopefully it is more successful than the later.

The trailer is out for The Girl On The Train. The mystery novel, often compared to Gone Girl, should make a good movie, and does have a strong cast.

The cast and crew of Person of Interest haven’t given up on saving the show, which CBS is ending after the upcoming season which will air this spring. From TV Guide:

A potential reboot doesn’t mean, however, that the June 21 series finale will lack closure. “We had to hurry up and end it. They had 13 episodes to turn a very large, slow-moving boat,” Emerson says. “But I think the idea that we had to do it in 13 was actually a plus rather than a minus. I think it allowed the writers’ room to set aside their need to create palatable side stories or a murder-of-the-week or whatever, and really just get focused on wrapping up the loose ends of this thing.”

Adds executive producer Jonathan Nolan: “I would have loved to have kept making this thing for a long, long time, but you don’t want the show to become creatively moribund. We saw the writing on the wall before this season started, but we had the incredible luxury of having 13 episodes to really finish our story. And so, as much as I would have loved to have kept working on the show … I’m very proud of what we’ve made here for the final season, and I’m very glad that we had a chance to finish telling our story, an opportunity that’s denied to so many great network TV shows. So I’m very satisfied with the way we’ve told our story, and I certainly hope our fans are.”

After evolving from a CBS procedural to a true genre show, I certainly can see reason to keep it going if any other networks are interested.

MR. ROBOT -- "Pilot" Episode 101 -- Pictured: (l-r) Rami Malek as Elliot, Christian Slater as Mr. Robot -- (Photo by: David Giesbrecht/USA Network)

Mr. Robot will be returning on July 13. Presumably we will be seeing the aftermath of the first season finale, unless Elliot just imagined it all.

Some additional brief thoughts on the past week which will be kept brief due to limited time this week:

Better Call Saul had a great second season, but certainly left a lot hanging in its season finale.

Cape May was an unusual episode of The Blacklist. I’m still not certain if Lizzie is really dead, but it is looking less likely that Reddington faked her death. If she is alive, Reddington does not appear to be aware of it.

The Night Manager’s premier was excellent. As soon as time permits I will probably be downloading the remainder of the season rather than waiting for it to finish its run here.

Speaking of shows from the UK, Amazon recently released the second season of Catastrophe, which is well worth watching. The show is much like You’re The Worst in tone with a somewhat older couple. Like You’re The Worst, Catastrophe got a little more serious in its second season, but it did so without any drop in quality or humor.

In other entertainment news, Mick Jagger is not portrayed very well in a new book:

Rich Cohen delivers the unflattering portrayal of Jagger in “The Sun & the Moon & the Rolling Stones.”

“There’s something monstrous about Mick Jagger,” Cohen writes after exhuming details from the band’s dark past.

“The Stones had been shedding people from the start. Use ’em up, toss ’em aside,” Cohen continues. “It’s a machine that runs on bodies.”

Prince was honored in this week’s Saturday Night Live, hosted by Jimmy Fallon.

SciFi Weekend: Doctor Who; Supergirl; Agents of SHIELD; Renewals; DC Movie News; Schwarzenegger Refuses To Talk About Trump

Capaldi First Image

Peter Capaldi had previously suggested he would leave Doctor Who after the upcoming season, when Chris Chibnall will replace Steven Moffat as show runner. He has now told Radio Times that he has been asked to stay on but has not made up his mind. He also states that the new companion to replace Jenna Coleman has been cast and will be named soon.

Capaldi has told Newsweek that he is not happy with how the BBC handles the series:

Perhaps, as is the fate of so many seemingly happy marriages, the BBC has taken the Doctor for granted? “Undoubtedly,” he says. “The BBC is an incredible organization, but…sometimes people there think, That’s looking after itself. And it’s not being looked after. I think maybe their eye was taken off the ball, or the show was seen as a thing they could just push around. It’s not. It’s a special thing.”

The later time slot prompted tabloid hyperbole of a “ratings crisis,” something the star admits he begrudgingly keeps tabs on. “I have to pay attention to ratings—I’d rather not—but it’s the way the business is,” he says. “I think overnight ratings are a thing of the past. You can’t really measure the success of the show by its overnight ratings, which is what the papers do. But there’s still a place for families to sit down and watch the show—that’s still a great, fun thing to do. That’s what the show’s success has been based on. That has to be protected.”

Mandatory Credit: Photo by Rob Latour/REX/Shutterstock (5613187u) Melissa Benoist, Calista Flockhart and Chyler Leigh 'Supergirl' TV series screening, Inside, PaleyFest 2016, Los Angeles, America - 13 Mar 2016

The cast and crew of Supergirl discussed feminism, and the upcoming Supergirl/Flash crossover episode at PaleyFest:

Much of the discussion centered on feminism, particularly on the impact of having a female superhero on television in a male-dominated field. Leigh said that’s what motivated her to take on the Alex Danvers role. “I have two girls, and right before taking this job my husband was really challenging me in the sense of like ‘think about what this opportunity is and think about what it means to you and look at our little girls and if you don’t have a resounding yes [about being on Supergirl] then you’re crazy. For little girls, there’s so much on TV that is influential especially towards the younger ages. To be a part of something that’s telling a very powerful story in many different ways from many different perspectives, especially from a women’s standpoint but also from little girl’s standpoint … is rewarding.” Added Adler, “And that’s not just confined to little girls or women. I think the most exciting thing for me is the feeling that everyone feeling the strength of Supergirl regardless of gender.”

…On why he chose The Flash to be the first comic book crossover character on Supergirl, Berlanti said: “We needed to create a way to do it. We had to introduce Superman since you’ve heard about him and you’ve heard about Supergirl, but in worlds of Arrow and Flash, they didn’t exist in that world. We introduced the multiverse in The Flash this year, and that was always our way in.” But fans shouldn’t hold their breath for a visit from the Man of Steel. “We’re so thrilled that Supergirl is our point of view,” Adler said. “We’re thrilled to continue to tell her story.”

Supergirl has been renewed for a second season.


Agents of SHIELD will once again be affected by the Marvel Cinematic Universe:

After Captain America: The Winter Soldier delivered the game-changing twist that Hydra had infiltrated SHIELD from the inside, completely destroying the government organization that makes up the very core of Agents of SHIELD, the ABC Marvel drama became a completely new show in season one. Agent Coulson (Clark Gregg) became Director Coulson of the real SHIELD, working in the shadows to take down the Hydra agents who betrayed them, including their former friend Grant Ward (Brett Dalton). The show was never the same after that revelation, and it was clear from both critical and fan response that the series was better for it.

With Captain America: Civil War only weeks away from its box-office bow, Agents of SHIELD is set to change yet again as a result of whatever happens in the Marvel Cinematic Universe.

“It will definitely have a ripple effect,” executive producer Jed Whedon says. “It is one world, so if there is a giant event, it will definitely have a ripple effect on our world.”

SHIELD Palicki and Blood

There is also more information on the spinoff being considered staring Adrianne Palicki and Nick Blood:

After spawning low-rated but critical darling period drama Agent Carter, ABC’s first Marvel series is laying the groundwork for pilot Marvel’s Most Wanted. Centering on the newest additions to SHIELD, Bobbi Morse aka Mockingbird (Adrianne Palicki) and Lance Hunter (Nick Blood), the potential series would follow the two former spies and ex-spouses who are on the run with no friends, no SHIELD and a long list of enemies looking to claim a bounty on their heads.

Without any allies except each other, Bobbi and Hunter will be forced to form an uneasy alliance with Dominic Fortune (Delroy Lindo), a rogue adventurer with a wealth of resources and even more adversaries, who agrees to protect them so long as they help him with his own agenda. These two heroes will help anyone in need, all while trying to uncover the conspiracy that put their own lives in jeopardy.

They will continue to work with SHIELD this season and decisions as to Marvel’s Most Wanted and Agent Carter will probably be made in May.

Fox has renewed Gotham for a third season. In other news on the show,  Brian McManamon has been cast as  Clayface.

Person of Interest returns on May 5 with two episodes to air per week, airing on Monday and Tuesday. This is to be the final season.

Amber Herd has been cast to play Mera in the upcoming Justice League and stand-alone Aquaman movie. Both the stand-alone Aquaman movie and Flash movie will be new stories following their appearance in Justice League and will not be origin stories. Following are the planned release dates for the DC movies:

Batman v Superman: Dawn of Justice March 25, 2016

Justice League: Part One November 17, 2017

The Flash March 16, 2018

Aquaman following July 27, 2018

Arnold Schwarzenegger, who is about to take over as host of Celebrity Apprentice, walked out of an interview and refused to answer questions about Donald Trump’s presidential campaign when asked on Australia’s Weekend Sunrise. Schwarzenegger has endorsed John Kasich for the GOP nomination. Meanwhile Trump’s campaign continues like a bad reality show or movie, with more violence reported, involving his campaign manager.

SciFi Weekend: Mr. Robot; Jessica Jones; Kimmy Schmidt; Person of Interest; Homeland; 24; Heroes; The DC Superhero Shows; Orphan Black; Blacklist

Mr Robot Finale Bar

After Mr. Robot won two Golden Globes for Best TV Drama and Best Supporting Actor (Christian Slater), cast and crew discussed the show at the Television Critics Association press tour. Here are some excerpts via Vulture:

The first-season finale ended with everyone’s favorite hacker confronting his painful delusions. The new season will begin with that struggle. “The whole show has been about Elliot’s emotional journey, and I really wanted to focus on that and less about the plot,” Esmail said. “And so, for me, the headline of season two is: How does Elliot reconcile the fact that he’s aware that he’s been seeing this fantasy?” Even as the first season entertained viewers with several twists and turns, Esmail said he’s not interested in “gotcha moments … Rami brilliantly plays Elliot in a way that he drops you into his psyche. So you’re learning it with him. As long as that is organic and that feels real, then I think the twists will come from there. But it’s not my agenda to keep shocking you. It really isn’t.”

Elliot’s past — and when his delusions began, and whom they involve — will become clearer in the second season. “There will be a lot more backstory that we’re going to show,” Esmail shared. “The timeline is going to get a little clearer. Not 100 percent clearer, because what’s the fun in that? But a little clearer.” Malek said Esmail has shared “enough” with him to help him start preparing for his performance. With this character, I have to prepare for anything at any given moment. I go through every direction as to what possibly happened to someone like this because in his head we never know what has happened. And I think having to trace back the truth and discover the truth ultimately makes him more complex to play — just trying to decipher what he’s actually seen and where he’s actually been. When I think about that, it kind of haunts me as a human being, having to do that. And that’s the place he finds himself in approaching this next season.”

Elliot is an unreliable narrator, and yes, there are other things he’s shown viewers besides the identity of Mr. Robot that we shouldn’t trust. After Esmail revealed that during the panel, Malek asked him, “Do I know? Do we know?” The answer: “No.”

Jessica Jones Luke Cage

Krysten Ritter discussed the sex scenes in Jessica Jones during the press tour. Considering both the highly favorable reception for the show and discussion of season two in several years, I assumed that it was already decided. Apparently a second season was not official at the time, but Netflix has now made it official. Plus elsewhere there is talk about season two of Daredevil, and about  Iron Fist,

Netflix has also announced that Orange is the New Black will return on June 17, 2016 and Unbreakable Kimmy Schmidt returns for its second season on April 15th, 2016. Kimmy Schmidt has also been renewed for a third season.

Person of Interest season 5 will air this spring, and CBS President Glenn Geller left open the possibility that it could be renewed. Perhaps airing in the spring, when there aren’t as many new episodes of network shows, will result in high ratings to justify renewing it. On the other hand, the show has an extensive back-story and a lot of episodes to catch up on which makes it difficult for new viewers to get involved. It would be interesting if someone could put together the parts of episodes dealing just with the mythology of the show and cut all the number of the week stories.

Homeland will be coming back for a fifth season, taking place in New York. I finally gave in and completed watching the last season over the holidays. It was better than some recent seasons, but still far below the first season. There were also some vague references to Quinn’s fate:

The closest thing to a teaser came in the form of a cryptic update on Quinn, who was not having a good time at the end of last season. “Quinn is very damaged, no question about that,” the network’s president of programming, Gary Levine, said, according to Deadline. “If he should live, he won’t be in the shape and form he was.”

If this (and multiple other shows) don’t give you enough stories on fighting terrorism, Fox plans to reboot 24 with a new case.

Heroes Reborn will not be coming back for a second season, and there is no reason it should.

73rd ANNUAL GOLDEN GLOBE AWARDS -- Pictured: (l-r) Melissa Benoist, Grant Gustin, Presenters at the 73rd Annual Golden Globe Awards held at the Beverly Hilton Hotel on January 10, 2016 -- (Photo by: Paul Drinkwater/NBC)

We sort of had a Supergirl/Flash crossover at the Golden Globes when Melissa Benoist and Grant Gustin presented an award together. (I wish they had the two race up the stage to see whether Supergirl or the Flash is faster.) There have been rumors and denials of a crossover on their television series for some time. CBS president Glenn Geller has now left an opening for such an event. I hope Arrow is included as I think that Kara and Felicity would get along very well together. More on the possibility of a crossover here.

The Flash and Arrow will be returning on CW, along with the premiere of DC’S Legends of Tomorrow. The producers have been denying internet rumors that Felicity will become Oracle. (I don’t think anyone really believes she was killed.)  Some news here, including that the remainder of the season on The Flash will deal with Zoom and the show’s multiverse.

The Americans, one of the best dramatic shows on television the last few years, returns on March 16. Some teasers on the upcoming season and future of the show here.

The above teaser has been released for season 4 of Orphan Black.

Blacklist appears to have wrapped up the Lizzie on the run storyline which dominated the first half of the season. The Director turned out to be less powerful that initially suggested as the Cabal literally had him dropped. Reddington has said it was time to “take down the Cabal” but it appears to remain alive and well (even if weaker). Things are much like before except it appears Lizzie will now be working with Reddington as an FBI asset as opposed to an agent. Plus it is not clear if Reddington is now a part of the cabal. If so, does that mean they are still an evil group trying to get us into World War III with Russia? Will Reddington still be helping the FBI capture people involved with the Cabal?Plus is Laurel Hitchen in charge, or just the highest ranking person we see, and how dangerous will she be now that everyone is on to her?