SciFi Weekend: Hannibal Finale; Defiance; Mr Robot; Humans; Agents of SHIELD; Outlander and Game of Thrones Spoilers; Galaxy Guest; Russel T Davies Doing Shakespeare; Olive Sacks Dies At 82

Hannibal-Season-3-Finale-Review-e1440932136954

The Wrath of the Lamb, the series finale for Hannibal on NBC, contained a lot of material to provide a satisfactory ending should this be the last we see of these versions of the Hannibal Lecter characters. First there was the dramatic sequence in which Francis Dolarhyde pretended to kill himself, which certainly would have been an unsatisfactory ending if it was real. This led to something we have seen various versions of throughout the series–a plan to capture a serial killer which was doomed to fail.

The episode did finally end with the probable death of Dolarhyde, but the Red Dragon arc as part of the entire series was more about the transformation of Will Graham than it was about Dolarhyde’s transformation into the Red Dragon, or his ultimate fate. The series also provided a sense of closure for Alana and for Chilton should this be the last we see of these characters.

The climax of the episode took place in Hannibal’s home on a cliff where he previously kept some of his victims. Yes, an actual cliff was involved in the series cliff hanger, or at least ambiguous scenes. The scenes there primarily involved Hannibal and Will, until interrupted by Dolarhyde and culminating in as many as three deaths. There are a couple of questions raised by the cliff scene, perhaps foreshadowed by Hannibal’s admission, “My compassion towards you is inconvenient.”

The first question is what was on Will’s mind. Most likely he knew he was becoming a monster like Hannibal, unable to simply return to his new family, and saw the death of both of them to be the best outcome. It remains uncertain as to their actual fate. If watching this episode alone, the assumption would be that they died, but we know much more. We know that the previous season also ended with the apparent deaths of characters who survived. It was not known at the time the episode was written that this would be the series finale, and Bryan Fuller is still trying to keep the show alive in some form. Fans would be no more surprised to see Hannibal and Will survive the fall than they were that Sherlock survived his fall, or that Moriarty might still be alive. We also know from the novels that Hannibal did not die then, but Fuller has already changed elements of the novel so this in itself does not provide an answer.

Then there was that post-credits scene with Bedelia,  foreshadowed both by earlier events of the season and possibly by a comment earlier in the episode that “Meat’s back on the menu.”  Was she off screen the entire time, waiting for Hannibal to return to attempt start eating her? Is the third chair set for Will, who is now a willing party to Hannibal’s cannibalism? Or does the scene take place in the future, indicating that Hannibal, and perhaps Will, survived?

Fortunately after I started to wonder about these questions Bryan Fuller gave several interviews. While he does not completely answer all of these questions, there is major insight into the season finale and the questions raised.

Hannibal Finale Cliff

Bryan Fuller’s interview at TV Guide has more on the relationship between Hannibal and Will which led to that climatic scene:

Hannibal is usually the smartest person in the room. He guessed Will had sold him out to Dolarhyde, so did he not suspect Will might push them off the cliff?
I think he is surprised as he’s tipping back over the edge, but the center of gravity has already betrayed him. He’s falling, and there’s a certain surrender to that. At the same time, he probably acknowledges a certain beauty that Will is falling with him to his death and they’re holding on to each other until impact.

So even in “death,” Hannibal feels like he won the battle?
Absoutely. In that final moment, the murder of Francis Dolarhyde, Hannibal proved himself right about Will. And there’s something very antagonistic about Will saying I’m not going to give you that for very long.

A romantic love between Will and Hannibal was always more of a subtext in earlier seasons, but became actual text in certain conversations this season. Do you think of this ultimately as a love story?
It was a love story from the very beginning – it was romantic horror. One of the reasons that I really wanted to do the project is I really wanted to investigate the depths of male friendships — the intimacy and the power and the loss of self you experience in a brotherhood camaraderie. That was the thing that fascinated me the most and was the root of the story that I wanted to tell.

And yet Hannibal’s love for Will was his fatal flaw.
His compassion for Will always hinged on Will’s ability to understand him in a way that he feels like he has never been understood. I think that is the same gift that Will has received from Hannibal. The core of their attraction to each other is that they truly see other for who they are. Hannibal is glamoured by that. If he wasn’t, he probably would have killed and eaten Will a long time ago.

More on the final scene at Vulture, along with how his version of Hannibal Lecter might be remembered:

How should the viewer read Will and Hannibal falling off the cliff together? Is it a double suicide?
No, I think it’s a murder/suicide. And then of course coming back in and seeing that someone has cut off Bedelia’s leg and is serving it, and she grabs a fork and hides it under her napkin to stab the neck of the person who’s going to come into the room next suggests that either Uncle Robertus and Lady Murasaki are going down Hannibal’s enemies list and checking them off, or that Hannibal may have survived that fall.

Some people have told me that their interpretation of it is that she sawed it off herself, cooked it up, and is waiting for him to come home like, “Honey, I made dinner!” [laughs], which is hilarious…

You’ve said that you wanted Mads Mikkelsen’s Hannibal to be the definitive one. Do you feel like he accomplished that?
I think for certain portions of the audience, he did. And for those who watch the show regularly, there’s 39 hours of Mads Mikkelsen as Hannibal Lecter as opposed to six of Anthony Hopkins. But it all depends on who’s speaking to you generationally as that character. Who would you say is your definitive Hannibal Lecter? Still Anthony Hopkins?

Not anymore.

It remains to be seen whether Mads Mikkelsen can surpass Anthony Hopkins as the definitive Hannibal Lecter, but he will also have additional roles to shape his career. He is currently in talks to play the villain in Doctor Strange.

Hannibal Finale Bedelia

TV Line discussed Dolarhyde, and then Bedelia:

TVLINE | Circling back to the Will/Hannibal/Dolarhyde showdown — I felt like we didn’t really know 100 percent what way it was going to go. Will actually says to Hannibal that he intends to see him “changed” by Dolarhyde. And then, at one point, when Hannibal is looking at Will pulling out the knife, I wondered, is he signaling to Dolarhyde with his eyes or is he signaling Will? How did you view the scene? Do you feel like Will and Hannibal were always planning to end the Red Dragon, or was it unclear even to them?
I feel like Will was going there knowing that he very likely would not be able to finish Hannibal himself, because of his feelings for him, and that he needed Francis Dolarhyde to do it for him. And he knew that he may not survive it; it’s something he says several times through the episode. Bedelia says early in the scene with Will, “You can’t live with him, you can’t live without him.” That’s exactly what this is about. Will can’t live without Hannibal, and he knows that in that moment, once they’d experienced a murder together — a vicious, brutal murder where they hack a guy up with a knife and a hatchet — he’s like, “That was kind of fun. That was a good time. In fact, it was beautiful.” There’s a realization of his mind being able to process that experience as a thing of beauty. With that, he knows there is very little chance of him being able to return to humanity, so off they go.

Later in the interview regarding Bedelia:

TVLINE | You gave Bedelia resolution, of sorts, at the dinner table — where her leg is what’s for dinner. Knowing while you edited the hour that it was a real possibility this might be the series finale, was that absolutely where you wanted to end? And why put it after the credits?
Well, you know, I love post-credits sequence. I mean, you see Sherlock and Moriarty go over Reichenbach Falls, and you don’t know what fate befell those characters. By coming back in and seeing Bedelia at a dinner table being served her own leg, grabbing a fork and hiding it under the table and preparing to stab it in the neck of the next person who comes into the room, that’s a great way to tell the audience, “Yes, we have told you completion to this story, but who is serving Bedelia that leg? Is it Hannibal? Did he survive? Is it Uncle Robert is, and is David Bowie behind that curtain? Who’s serving her the leg?”

The longest interview was at Hitflix.com. Here are some highlights:

At what point in the season did you realize that this is how you were going to end it?

Bryan Fuller: Probably about halfway through the season. We’re always looking for a way to end a season in a way we could end the series. We never knew we were coming back. At the beginning of season 3, NBC was talking to me about new development, and that was a pretty big indicator to me that they weren’t planning on picking up a season 4. So I wanted to be sure we had an ending for the story we were telling, but also leave room for a continuation of the tale of Hannibal Lecter and Will Graham should we get the option to tell more of it.

So you have an idea in mind in the event of something more where this is not the end of the story?

Bryan Fuller: Right. In my mind, the most interesting chapter of Will Graham’s story has yet to be told.

Once NBC made their decision official and you couldn’t find a buyer elsewhere for a fourth season, were you at peace with the idea that this is it?

Bryan Fuller: I knew the writing was on the wall. I knew that we had gotten ridiculously preferential treatment on this show by the network. The fact that they allowed us to tell the tales we were telling, and in a manner that was much more suited to a cable audience than a broadcast network audience. They were bending over backwards to accommodate us, and I knew they could only bend so far with ratings as bad as we had! (laughs)

Where do things stand now? What are the options?

Bryan Fuller: Martha De Laurentiis is looking into financing for a feature film. The season 4 that we were going to tell is such a restart and reimagining that I still hope in some way that we get to tell a version of that, if not “Silence of the Lambs” itself, as a miniseries. I would love to return this cast to the big screen from whence they came, and Hannibal Lecter to the big screen, from whence he came. It seems perfectly symmetrical.

Last time we talked, you put the odds on a fourth season at 50-50. What would you say the odds are now for any kind of filmed continuation?

Bryan Fuller: Oh, God. I have no idea. I think they’re less than 50/50, and not in our favor. But I’m curious to see how folks respond to the finale, and then also if that satisfies them? If that feels like “We got a conclusion to our story and it’s wrapped up in a bow, and we don’t need anymore,” then the audience will dictate. But if the audience is still there for the show and still wants a continuation of that story, I’ll continue looking for ways to give it to them.

Why does Will, to your mind, pull Hannibal off the cliff. Is it what Bedelia said about how he can’t live with him or without him, so they have to go down together?

Bryan Fuller: Essentially, the conclusion of the season really started very early in the Italian chapter of the story, where Will is admitting if he doesn’t kill Hannibal Lecter, he has the potential to become him. Then he escapes that trajectory with Hannibal being institutionalized, and finding a family, and once being exposed to the heroin needle again, as it were, he’s realizing how much of an addict he actually is, but is aware enough to know, and to start making moves toward his previous goal of ending Hannibal. And he’s willing to do what it takes. Bedelia says, “Can’t live with him, can’t live without him.” It’s not necessary for him to survive this, in order to accomplish what he needs to accomplish. There’s something so fated about that final act of Will’s. And also, the awareness of this is perhaps the best solution for both of them.

Hannibal looks so happy when Will is embracing him. Does he know what’s going to happen next, or is he thrown for a loop when they go over the cliff?

Bryan Fuller: I think Hannibal is thrown for a loop when they go over. In that final scene between them, it was Hugh Dancy and I talking about what those last moments that we see of Hannibal and Will in the series on NBC, how they need to connect, and yet Will can’t totally surrender to Hannibal, because he’s still Will Graham and still a human being, but he also knows that it’s going to be very difficult to go back to his family life, seeing his wife murdered over and over again in his mind every time that he looks at her. Any possibility of a relationship that could save him from Hannibal Lecter seems dimmer and dimmer in his mind, that it is acceptable to him that he not survive…

She seems as if she is throwing a dinner party.

Bryan Fuller: (laughs) No, that’s our little nod to the audience that perhaps Hanibal could have survived that cliff dive. She’s sitting at the table with her leg on the table and she’s looking absolutely terrified, and she grabs the fork and hides it under her napkin and waits for whoever’s going to return. This woman still has some fight in her. We don’t know if Hannibal is indeed serving her her leg, or is it Hannibal’s uncle Robertus, or Lady Murasaki, or is it Will Graham?…

Bryan Fuller: That was the original intention. No, somebody has got her, and will she or will she not survive. And what’s so fun is that on the song that Siouxsie Sioux wrote, we hear her say, “I will survive, I will survive,” as we’re pushing in on Bedelia, and that could mean she’s singing from Hannibal’s perspective and it means he has survived and will eat this woman now, or Bedelia’s point of view that it’s like, “You may have cut off this leg, but I’ve got this fork and I’m gonna do some damage before it’s done.”
“The previously filmed season finale of ‘Mr. Robot’ contains a graphic scene similar in nature to today’s tragic events in Virginia. Out of respect to the victims, their families and colleagues, and our viewers, we are postponing tonight’s episode. Our thoughts go out to all those affected during this difficult time.”

DEFIANCE -- "Upon the March We Fittest Die" Episode 313 -- Pictured: (l-r) Julie Benz as Amanda Rosewater, Grant Bowler as Joshua Nolan, Trenna Keating as Doc Yewll -- (Photo by: David Lee/Syfy)

Defiance ended its third, and strongest, season on Friday. After wrapping up the arc which dominated the season, the Omec arc, which had also been simmering all season, became the focus of the show. The Omec threat might have been handled too easily, but it brought about what might be the most exciting moment of the series. There is little doubt that Nolan and Doc Yewll will ultimately return to earth, but we can wonder upon the circumstances, and what will occur out in space before this happens.

The scheduled season finale of Mr. Robot was postponed a week due to similarities to killings taking place in Virginia earlier the same day. Considering how much other violence takes place both in the real world and on television, I’m not sure how much this matters. If nothing else, this gave more people a chance to get caught up with the series before its finale. For those who missed it, it is definitely a show worth catching up on.

Two other new shows from this summer which I recommend are Humans and Sense8 (which I reviewed here). As I was watching the uncut British episodes before episodes aired in the US, I did not review episodes of Humans as they aired here. The show typically moved at a fast pace with major revelations every week, slowing down a bit in the finale after resolving the problem of everyone being captured the week before. The finale resolved this, in case the show was not renewed, and then ended with a major revelation in the final moments which will probably drive season 2.

agents_of_shield season 3

A description was released for the third season of Agents of SHIELD which does tell quite a lot about the plans for the upcoming season. A new poster is also above, complete with Coulson’s robot hand. The show returns on Tuesday September 29.

“Marvel’s Agents of S.H.I.E.L.D.” returns for an action-packed third season, with Director Phil Coulson (Clark Gregg) and Agent Daisy Johnson (Chloe Bennet) leading the charge as S.H.I.E.L.D. searches the world for more powered people in the aftermath of their epic battle with Jiaying and her army of Inhumans. However, Coulson and the team soon find out that they are not the only group looking for these new Inhumans.

Many months after their war with a rogue group of Inhumans, the team is still reeling. Coulson is again trying to put the pieces of his once revered organization back together while also dealing with the loss of his hand. His confidante and second in command, Agent Melinda May (Ming-Na Wen), has yet to return from an impromptu vacation with ex-husband Andrew (Blair Underwood); deadly superspy Agent Bobbi Morse (Adrianne Palicki) is recovering from her traumatic torture at the hands of Grant Ward (Brett Dalton); Fitz (Iain De Caestecker) is obsessed with discovering the truth behind the mysterious disappearance of Simmons (Elizabeth Henstridge); and all are on high-alert for the next move from Ward and Hydra.

Ever since the existence of Super Heroes and aliens became public knowledge after the Battle of New York, the world has been trying to come to grips with this new reality. Coulson assembled a small, highly select group of Agents from the worldwide law-enforcement organization known as S.H.I.E.L.D. (Strategic Homeland Intervention Enforcement and Logistics Division). S.H.I.E.L.D.’s mission: to protect those who cannot protect themselves from threats they cannot conceive.

But bigger threats loom ahead, setting the stakes even higher for the Agents, including the spread of Terrigen, an alien substance that unlocks superhuman abilities in select individuals; the emergence of new Inhumans who cannot yet control nor understand their powers; the rise of a new government organization that will go toe-to-toe with S.H.I.E.L.D.; the unknown properties of the massive alien Kree monolith, which has taken one of their own; and the constant threat of a rebuilt Hydra terrorist organization under S.H.I.E.L.D. traitor Grant Ward, who is making it his personal mission to take down Coulson and S.H.I.E.L.D.

New faces, both friend and foe, will join the series, including the no-nonsense, highly-skilled and somewhat mysterious leader (Constance Zimmer) of the ATCU (Advanced Threat Containment Unit), her intimidating partner, Banks (Andrew Howard), Lash (Matthew Willig), a monstrous Inhuman whose loyalties remain ambiguous, and new Inhuman Joey (Juan Pablo Raba), who is struggling to harness his newfound abilities, among other surprising characters.

Coulson, with the help of Daisy and Mack (Henry Simmons), will work to slowly assemble a team that is stronger than ever before, combining the highly skilled Agents of S.H.I.E.L.D. with powered individuals in the hopes of protecting the innocent in a world where the balance of power is ever-shifting, and new dangers are constantly emerging.”

Amazon is working on a television series based upon Galaxy Quest.

Entertainment Weekly has some news (spoilers) about season two of Outlander, including how it might vary from the second book.

George R.R. Martin might have provided a spoiler for season six of Game of Thrones regarding whether Stannis survived. As we didn’t see him actually get killed, I would assume even without looking at spoilers that this remains a strong possibility.

Variety reports that a web series will bridge the gap between The Walking Dead and Fear The Walking Dead

We have already seen Joss Whedon turn to Shakespeare, using many of his frequent stars in Much Ado About Nothing. Now Russel T. Davies is turning to Shakespeare with a production of A Midsummer’s Night Dream with the Doctor Who team.

Olive Sacks Book

Oliver Sacks, a neurologist who wrote about the brain in a way that showed that science fact can sometimes be stranger than science fiction, died at age 82. From The New York Times:

Oliver Sacks, the neurologist and acclaimed author who explored some of the brain’s strangest pathways in best-selling case histories like “The Man Who Mistook His Wife for a Hat,” using his patients’ disorders as starting points for eloquent meditations on consciousness and the human condition, died on Sunday at his home in Manhattan. He was 82.

The cause was cancer, said Kate Edgar, his longtime personal assistant.

Dr. Sacks announced in February, in an Op-Ed essay in The New York Times, that an earlier melanoma in his eye had spread to his liver and that he was in the late stages of terminal cancer.

As a medical doctor and a writer, Dr. Sacks achieved a level of popular renown rare among scientists. More than a million copies of his books are in print in the United States, his work was adapted for film and stage, and he received about 10,000 letters a year. (“I invariably reply to people under 10, over 90 or in prison,” he once said.)

Dr. Sacks variously described his books and essays as case histories, pathographies, clinical tales or “neurological novels.” His subjects included Madeleine J., a blind woman who perceived her hands only as useless “lumps of dough”; Jimmie G., a submarine radio operator whose amnesia stranded him for more than three decades in 1945; and Dr. P. — the man who mistook his wife for a hat — whose brain lost the ability to decipher what his eyes were seeing.

Update: Wes Craven has died at 76.  From The Hollywood Reporter:

Wes Craven, the famed maestro of horror known for the Nightmare on Elm Street and Scream franchises, died Sunday after a battle with brain cancer. He was 76…

Craven claimed to have gotten the idea for Elm Street from living next to a cemetery on a street of that name in the suburbs of Cleveland. The five Nightmare on Elm Street films were released from 1984-89 and drew big crowds.

Similarly, Craven’s Scream series was a box-office sensation. In those scare-’em-ups, he spoofed the teen horror genre and frequently referenced other horror movies. 

Craven’s first feature film was The Last House on the Left, which he wrote, directed and edited in 1972. A rape-revenge movie, it appalled some viewers but generated big box office. Next came another film he wrote and helmed, The Hills Have Eyes (1977).

Please Share

SciFi Weekend: The 100; Agents of SHIELD; Guardians of the Galaxy; Jessica Jones; Casting News and Rumors; Gotham; The Psychology of Batman; Whether The Doctor Had Sex With Queen Elizabeth I; Better Call Saul; Fresh Off The Boat; American Sniper; Boyhood; Bob Dylan

The 100 Coupe de Grace

The 100 continues to be one of the best science fiction series on television today. Last week’s episode, Coupe de Grace, had power struggles both among the Sky People and at Mount Weather as on this show no group is without internal conflict. Ever since the parents landed on earth there has been a question as to whether they would take control, or whether their kids who are far more familiar with the situation would continue to lead. Clarke made it clear when told her mother, “You may be the chancellor, but I’m in charge.” Alexander Haig couldn’t have said it any better. Kane has shown that he has learned a lot since the events of the first season as he accepts Clarke as leader. We also saw that Clarke is not one to be messed with when she partially emptied the Mountain Man’s oxygen tank just to make sure he hurried back with her message.

The power struggle at Mount Weather also demonstrated that on this show people and groups are never all good or all bad. President Wallace wasn’t going to go as far as his son, but he had been willing to preside over a system of using Grounders for forced blood transfusions. While his actions were not entirely good, they were understandable. While the actions of his son and Doctor Tsing were far worse, their motivation was also understandable. Despite their actions, the Mountain Men are not show as all evil, both with the actions of Maya and with Bellamy seeing the innocent children. It was a little sappier than usual for this show to have Bellamy meet the son of a man he had just killed.

There are also other complicated characters. Indra dislikes most people and has little use for the Sky People as a group, but also accepted Octavia for her strength. Lincoln has shown complexity as a character when he deviated from the views of the other Grounders. While generally displayed as a strong character, he also gave into the drug addiction used by the Mountain Men to control him. His fate remains a big question for the remainder of the season as, unlike other shows, we cannot just assume he will easily overcome the addiction and it will be forgotten.

Agents of SHIELD returns March 3. Trailer above. New cast members have been added for the Inhumans story line.  Interviews with returning cast members Adrianne Palicki, Nick Blood, and Clark Gregg here.

James Gunn discussed how Marvel is taking risks with Guardians of the Galaxy 2:

 “It’s not really based on anything. The story for Guardians 2 is an original story that I came up with that I started working on actually while I was shooting Guardians 1, and it’ll answer some of the questions that were put forth in the first movie about Peter Quill’s father and who he is and what’s going on with that. We’ll get to know some of the characters a little bit more and then we’re going to meet a couple of new characters who will be very important to Guardians movies and probably important to the Marvel Universe as a whole.” […]

“It’s different than what’s in the comic books. Peter Quill’s father is somebody different in the comics. So then when the movie came out, we got green-lit on the sequel right away. I went in and I sat down with those guys and I’m like, ‘Okay, here’s what I think the sequel should be.’ And they were like, ‘Oh, whoa. That’s risky, but okay.’ Now I’m going to turn over the story in a few short weeks and we’ll find out how well it works.”

But do we get a second awesome mix tape?

AKA Jessica Jones

ComicBookMovie has the first set pictures of Krysten Ritter in filming in A.K.A. Jessica Jones. The do not reveal anything meaningful about the story. I posted more news on Jessica Jones, along with the Daredevil teaser trailer, earlier in the week.

Among the more interesting casting rumors floating around this week, Bryan Cranston of Breaking Bad might play the villain in Star Trek 3. Will there be a blue meth problem aboard the Enterprise? Tatiana Maslany of Orphan Black is testing for a role in a Star Wars movie. How many roles will she play?

IO9 has an interesting look at what went wrong with the third season of Star Trek.

There are some big changes coming in DC Comics. More information here, here, and here.

milo-ventimiglia-39156_380_280

Variety reports that Milo Ventimiglia of Heroes and Gilmore Girls will appear in a multi-episode arc on Gotham:

Ventimiglia will play Jason Lennon, aka “the Ogre,” beginning in episode 19 of the Fox hit’s freshman season.

Handsome, wealthy and seductive, the Ogre is a serial killer who has been preying on the young women of Gotham for nearly a decade, luring them into his web and confronting them with a series of “tests” as he searches for his perfect mate. When the women fail to live up to his impossible standard, Lennon disposes of them quickly and viciously.

His obsessions, combined with the determination of Jim Gordon (Ben McKenzie) to bring him down, send both Gordon and Lennon — as well as those around them — on a course toward tragedy.

Reps for the show note that while Ventimiglia’s character shares a nickname with a villain from the DC Comics pantheon, the “Gotham” Ogre is unrelated to previous versions.

I am glad that Oliver returned on Arrow last week. With all the other spin-offs being made from the show, now there is talk that John Diggle might turn out to be John Stewart, the successor to Hal Jordan as the Green Lantern. With the television and movie universes being kept separate on television, we might ultimately see a second version of the Justice League of America on CW and CBS.

The Psychology of Batman is discussed in the video above.

Russel T. Davies and Steven Moffat debated an important question from Doctor Who: Did the Doctor ever have sex with Queen Elizabeth I?

Better Call Saul premiers tonight. Here is a review at The Guardian. Some critics have questioned the show. While they have pointed out good reasons why it will probably never be as good as Breaking Bad, few if any shows have ever been that good. With Vince Gilligan and the writing crew who finished up on Breaking Bad working on it, I am certainly going to give it a try. Considering the built-in  fan base from Breaking Bad, along with the lead in tonight from the return of The Walking Dead, I’d expect the pilot to do well.

Fresh off the Boat aired two episodes last week and the show looks quite promising, especially with the performance of Constance Wu and writing led by show runner Nahnatchka Khan (of Don’t Trust the B—- In Apartment 23, which stared Krysten Ritter.) The same night, Aya Cash of You’re The Worst had a brief appearance on Modern Family, playing a character with an attitude similar to Gretchen’s.

Looking at recent movies, I enjoyed American Sniper, but it did present a distorted view of the Iraq war. On the other hand, for a movie taking place in Texas, Boyhood surprisingly contains more accurate commentary on the war and recent politics. Plus he went to a book store event to purchase one of the Harry Potter books, just as my wife and I once did (without the costumes).

With Bob Dylan’s music coming up in last week’s post, it is worth mentioning that he stole the show at the Grammys’ annual charity gala on Friday.The Los Angeles Times has the full text of his speech. He began:

I’m glad for my songs to be honored like this. But you know, they didn’t get here by themselves. It’s been a long road and it’s taken a lot of doing. These songs of mine, they’re like mystery stories, the kind that Shakespeare saw when he was growing up. I think you could trace what I do back that far. They were on the fringes then, and I think they’re on the fringes now. And they sound like they’ve been on the hard ground…

From there he thanked those who helped him early in his career and many of the artists who performed his songs.

Please Share

SciFi Weekend: 12 Monkeys; Person of Interest; Arrow; The Atom; Gotham; X-Files Reboot; Hannibal; Man In The High Castle; Doctor Who; Torchwood; Selma and LBJ

12 Monkeys

12 Monkeys got off to a great start this week. The second episode is also available for streaming here if you have a cable subscription but I am writing this after only having watched the pilot episode which aired Friday. It was a strange concept which actually works. It began with an idea for a time travel show named Splinters (also the name of the pilot) which was altered to be a re-imagining of the movie 12 Monkeys. It somehow did work, altering many aspects of the movie in ways which will probably work better than the movie did as a weekly series. Considering both the many changes to the movie, and the pilot staring out at the beginning of the story, there is no need to have watched the movie to enjoy the show.

The basic premise is the same as the movie in that a plague has wiped out most of the human race, but in the television movie Cole is trying to actually stop this from happening, and the Army of the 12 Monkeys will be an important aspect rather than a red herring. This means that the entire theory of time travel is different. In the movie, the plague happened, time cannot be altered, and the goal is to go back in time to find information to help develop a cure in the future.

In the television series time can be changed. Not only does Cole believe he can stop the plague, he believes that when he changes time he will cease to exist. This is of no concern to him as he doesn’t see anything about his future worth preserving, with the human race appearing doomed to extinction. There are some aspects of time travel reminiscent of how it worked in Looper, except instead of a character losing body parts, scratching the past version of a watch causes the same scratch to appear on the future version. This gets a bit more confusing when we find that a character saw Cole in his past but Cole has not yet made the trip to 1987 referenced. This might contradict what was shown with the watch, but trying too hard to think about this only leads to”making diagrams with straws.” (That’s another reference to Looper, which seems appropriate considering that Bruce Willis played a time traveler in both Looper and the movie version of 12 Monkeys.)

It is a safe prediction that Cole cannot be successful in changing history, at least until the series finale, so the show must stand on how compelling the ride is. As in the movie, his relationship Dr. Railly is an important aspect. In the television show, she has a different first name and is a virologist instead of a psychiatrist. The show started out with Cole kidnapping Dr. Railly, but their relationship did improve from there. At times their relationship had a feel reminiscent of Ichabod and Abbie on Sleepy Hollow. Both Cole and Ichabod are characters out of their time and on mission which is of vital importance to humanity. Despite the importance of their missions, the little things provide the fun, such as Cole discovering cheese burgers with a reaction similar to Ichabod when discovering the wonders of modern times. Cole also noted that Dr. Railly looks like the women he has only seen in magazines, making her wonder which magazines he was referring to.

12 Monkeys2

The Hollywood Reporter discussed the changes from the movie and plans for the show with showrunner Natalie Chaidez.

In the 1995 film, the Army of the 12 Monkeys served as a red herring. Originally believed to have spread the virus that kills billions of people, the 12 Monkeys in truth were nothing more than an activist group, led by Leland’s son, Jeffrey, who freed zoo animals and locked Leland away in a cage for conducting experiments on animals.

With Leland dead, 12 Monkeys showrunner NatalieChaidez shed light on what the audience can expect from the television adaptation of the Army of the 12 Monkeys and the 2043 timeline.

“Who the 12 Monkeys are, what they are trying to accomplish, how they relate to time travel is the big question of the series,” Chaidez told The Hollywood Reporter. “Unraveling that mystery is our series journey. Knowing where Cole fits in their plan is a big part of it.”

The mysteries, however, are not only related to the 2015 arc. While the movie did not spend much time exploring the future dystopia, Chaidez is set to bring 2043 and the dangers that come with it to the forefront.

“In the series, we have the time to explore what was around those dark corners that we couldn’t peer around in the movie,” she said. “We really get to dig into how people survive in the future and how they are living. We have a group of people called Scavengers. They are the people who have survived but not always with the best morality. They’ve done what they’ve had to do.”

Opening up the world and traveling past the walls of the Temporal Facility also will be a big part of the series. “You will see a little bit of that in episode four, ‘Atari.’ It continues to build in the next few episodes, and we refer to it in a big way at the end of the season,” she noted.

No matter how deep the rabbit hole surrounding the mystery of the virus and the 12 Monkeys goes, Chaidez admits Cole’s struggle will not always be against one force.

“Are there other evil forces at play? Are there other collaborators? Certainly, but the 12 Monkeys are definitely the mysterious force that Cole wrestles with and battles against over the course of the series,” she explained.

Person of Interest Control Alt Delete

Control-Alt-Delete concludes the current trilogy on Person of Interest. It was an unusual ending if truly viewed as a trilogy, but putting aside the trivial matter of the structure of the trilogy, it was another excellent episode in a continuing storyline transforming the show from a procedural to a true genre show. Unlike the previous episodes in the trilogy, it concentrated on the character Control, with very little of Finch, and provided a view of Samaritan from the government’s view which we have not seen before.

I suspect that the key role of this episode isn’t really in completing a trilogy but as starting a transformation for Control. We saw more clearly that Samaritan is both dishonest and evil in its operation, such as with the manner in which it eliminated programers it recruited when they were no longer of value by telling government agents that they were terrorists. One of them asked Control to at least entertain the idea she was being lied to. At the moment she did not and shot the programmer, but she then went to investigate the scene of the shoot out in last week’s episode. She did find evidence that he area was freshly painted, suggesting a cover-up.

We have already seen major changes in which side a character is on in the series, and this has set up a natural progression which I believe will turn Control from an opponent to an ally of Team Machine as she realizes the harm which Samaritan poses to the United States. The currently futile search for Shaw also continued after the events of last week, and the possibility of an alliance with Shaw’s old partner, or at least a cessation of hostilities, was also raised.

There was also the return of the child avatar. I think the idea worked the first time, but now that the goal is to confront the president directly I would find it more realistic for Samaritan to utilize a different manner of communication.

Ray Palmer Felicity

Marc Guggenheim spoke with Nerdist about plans for an Atom spin-off series:

NERDIST: You just mentioned you’ve given some consideration to an Atom spin-off series…

MARC GUGGENHEIM: The thing that we’ve been talking about is just how do we further expand the universe; and we love Brandon and we love having him on Arrow.

N: He brings a new dynamic to the show in his scenes with Emily Bett Rickards’ Felcity, a kind of screwball comedy vibe.

MG: He does. When we met with Brandon, the whole point of Ray Palmer for us — not the whole point but a big piece of Ray Palmer — was… Felicity’s voice is of a different show and we always say that Emily’s playing tennis against herself. [Laughs.] So we wanted to create a character that could vibrate at her frequency. And Ray really brings that and brings that energy and he’s so much fun to write. He’s a joy to write. Brandon’s so terrific and embodies the role so well that when we talk about how to further expand things, he’s a natural person to talk about. It’s like Brandon said on the panel, originally when we met with him we just wanted to bring a great character onto the show and we wanted a great actor to play him. That’s really how it always starts. With the exception of Grant Gustin on Arrow last year, there’s never been a [decision] to bring in a character with the intention to spin them off. It’s always, “What services the show the best?”

X Files

Fox has renewed Gotham for a second season in a move which some will be happy about and others will question. They are also considering even more controversial moves, including a remake bring back 24 without Jack Bauer and  rebooting The X-Files.

Saturday at the Television Critics Association’s winter press tour, Fox confirmed that the network hopes to reboot The X-Files the way it did with 24. The followup would star the original duo David Duchovny and Gillian Anderson as Fox Mulder and Dana Scully. So far they’ve just been talking logistics, and trying to match up everyone’s schedules. The actors both have commitments to other shows, with Anderson in a recurring role on NBC’s Hannibal (and likely another season of The Fall) and Duchovny also starring in the peacock network’s show Aquarius.According to Deadline, Carter hinted that the show might return in the summer.

I think that the more important question that must be answered before getting the cast together is whether there is a coherent story they can tell after the mess the series wound up in.

The third season of Hannibal will be adding Will’s wife Molly as a character. She will not appear until the eighth episode, which will have a time jump to allow for the changes in Will’s personal life.

The Seattle Times has a review of Amazon’s television version of Philip K. Dick’s novel, Man In The High Castle. It sounds like the television series should go well beyond the novel in developing this alternate history in which Germany and Japan won World War II. If interested in reading such an alternate history, another novel I’d recommend is Fatherland by Robert Harris. In his novel, instead of being defeated and occupied by Germany and Japan as in Dick’s alternate history, the United States and Germany both developed nuclear weapons and were in a cold war while Germany controlled most of Europe. HBO has also made a movie version.

There was talk earlier in the week that Netflix would be losing BBC shows including Doctor Who. A deal has been reached to renew rights for multiple shows including Doctor Who and Torchwood, however Fawlty Towers, Blackadder, MI-5 and Red Dwarf will no longer be available on Netflix as of February 1.

In related news regarding a couple of these shows, filming has started on season nine of Doctor Who. John Borrowman is working on Torchwood radio plays. He says that Russell T Davies and executive producer Julie Gardner are involved: “It’s the team back together.” Hopefully this is a step towards reviving the television series, without making the same mistakes as in the final season.

Maureen Doud‘s column this weekend is about seeing Selma. She did praise the movie but did object to both the Oscar snubs and to its historical inaccuracies about Lyndon Johnson:

In an interview with Gwen Ifill on P.B.S., DuVernay dismissed the criticism by Joseph Califano Jr. and other L.B.J. loyalists, who said that the president did not resist the Selma march or let J. Edgar Hoover send a sex tape of her husband to Mrs. King. (Bobby Kennedy, as J.F.K’s attorney general, is the one who allowed Hoover to tap Dr. King.)

“This is art; this is a movie; this is a film,” DuVernay said. “I’m not a historian. I’m not a documentarian.”

The “Hey, it’s just a movie” excuse doesn’t wash. Filmmakers love to talk about their artistic license to distort the truth, even as they bank on the authenticity of their films to boost them at awards season.

John Lewis, the Georgia congressman who was badly beaten in Selma, has said that bridge led to the Obama White House. And, on Friday night, the president offset the Oscar dis by screening “Selma” at the White House. Guests included DuVernay, Lewis and Oprah Winfrey, who acts in the film and was one of its producers.

There was no need for DuVernay to diminish L.B.J., given that the Civil Rights Movement would not have advanced without him. Vietnam is enough of a pox on his legacy.

As I have written about “Lincoln,” “Zero Dark Thirty,” and “Argo,” and as The New York Review of Books makes clear about “The Imitation Game,” the truth is dramatic and fascinating enough. Why twist it? On matters of race — America’s original sin — there is an even higher responsibility to be accurate.

DuVernay had plenty of vile white villains — including one who kicks a priest to death in the street — and they were no doubt shocking to the D.C. school kids. There was no need to create a faux one.

Please Share

SciFi Weekend Part 1: Doctor Who, Downton Abbey, And Call the Midwife Christmas Specials, Plus Homeland and The Affair Season Finales, The Interview

Doctor Who Last Christmas

This year’s Doctor Who Christmas special, Last Christmas is a “dreamy-weamy”combination of a variety of Steven Moffat tropes and old movies. The early scenes combined elements of Doctor Who episodes such as Blink, Listen, the Silent from The Impossible Astronaut with the Alien movie series. Instead of not blinking, or not being able to see or remember the alien, the challenge was to not look at or think about the alien. Suddenly the strategy fell apart and we had an attack out of Alien, only to saved by Santa and a gang of toys reminiscent of the Toy Story movies. We even learned how Santa fits all those toys on his sleigh, and it should have been obvious: It is bigger on the inside.

Santa was played by Nick Frost who, with the possible exception of Nick Blood on Agents of SHIELD, is the actor with the best name to fit their role. At first Santa tried to hide his identity: “Sorry about this, girl, we are just three passing perfectly ordinary roof people, doing some emergency roof things.” One of the elves pointed out to Santa that his attempts to hide his identity were not that effective: “You know how you grew the beard as a bit of a disguise? People have picked up on it.” Incidentally the other elf was played by Dan Starkey, who also plays Strax.

Moffat did not hide the allusions to other movies. He recognized Alien with this line, spoken by the Doctor (who happens to be an alien): “There’s a horror movie called Alien? That’s really offensive. No wonder everyone keeps invading you.” Moffat has also stated in interviews that the tangerine at the conclusion of the movie is like the walking stick at the end of Miracle on 34th Street.

Doctor Who Last Christmas Dreaming

Following the rescue by Santa and the toys, we found that it was all a dream, and ultimately there were dreams withing dreams, with the episode feeling much like Inception. Of course being a Moffat show it was far less structured than Inception. There were certainly many plot holes in this episode, but being a Christmas episode in which Moffat was writing in Santa we need to be more forgiving than in a typical episode. The rules kept changing, but in this case it was often acceptable as we were dealing with changeable logic within dreams. Besides, none of the plot holes were as flagrant as the mass of the moon increasing as an egg comes close to hatching (Kill The Moon), people forgetting the actions of trees to protect the planet (In The Forest Of The Night), or the golden arrow of Robot of Sherwood.

A highlight of the dream sequences was Clara having far better closure with Danny Pink than occurred in Death in Heaven. The scene also used old Moffat tropes again, such as with the chalk board with messages like “Dreaming,” similar to the chalkboard from Listen. The episode also had both Clara admit that she lied about Danny being alive and the Doctor admit that he did not find Gallifrey, leaving them in a better position to go on together from when we last saw them. It also leaves the question open as to whether Gallifrey will play into future episodes.

Unfortunately the BBC had put out a press release immediately after the UK showing announcing that Jenna Coleman was returning, partially spoiling the ending. The scenes in which the Doctor saved an older version of Clara could have worked if Coleman was really leaving the series, and the scenes would have been more convincing before seeing the press releases. I wonder if that might have been the end of the episode if Jenna Coleman was really not returning. Instead, with Jenna Coleman coming back to play opposite Peter Capaldi for at least one more season, that was yet another dream.

Doctor Who Last Christmas Sleigh Ride

While I enjoy Moffat’s work, I also see the point of his critics and do find that his more recent work is not as tightly written as back in the days in which he wrote occasional (and usually excellent) stories under Russell  T. Davies. I do wonder if he does need a good editor to tighten up his plots these days. Some of the plot holes in Last Christmas could have been been handled with some better writing and more concern for details. The storyline would have made more sense if, when the Doctor first explained about the mind crabs, he made a point of saying that their ability to eat their victim’s brain depended upon the victim not realizing it was a dream while being tranquilized, but victims could successfully resist if they realize. The progressive realization that they were having dreams within dreams could then be turned into a battle of wits between the Doctor and the mind crabs. It made little sense that the mind crabs had them dream about being scientists fighting the mind crabs, as opposed to the happier (and individual) dream which Clara had involving Danny. This might have seemed more plausible with an exchange in which Clara specifically asked why the aliens would have themselves present in one layer of the dream. The Doctor could have come up with an explanation such as that at the shallowest levels of the dream their brains did provide them an explanation which was closer to reality.

Of course none of this would have explained why they had the sleigh rid and didn’t just wake up when they figured out that they were having dreams within dreams. The answer to that one is simple. How could you expect Moffat to refrain from doing a scene featuring the Doctor flying Santa’s sleigh over London in the most exciting sleigh scene since Santa flew from Central Park through midtown Manhattan in Elf?

The Doctor Who Extra for Last Christmas follows:

While most television shows in the United States now go on  hiatus around the holiday, networks in the U.K. instead often have some of the major episodes of their top series on Christmas Day. There must be some sociological significance to how each country handles television so differently around Christmas. In addition to Doctor Who, two others were of particular interest, involving shows which also have a following in the United States. As US viewers are behind the UK, I will avoid spoilers on these two shows.

Downton Abbey Christmas Special 2014

Downton Abbey had an excellent Christmas episode which essentially serves as the season finale for the show, wrapping up a few major plot lines from the fifth season and providing a potential hint of what is to come next season. I don’t want to say anything else as none of the fifth season has been on here yet, with any discussion of the topics of the episode likely to spoil events of the season. I’ll just say that the season is more satisfactory with this conclusion added on.

Call_the_Midwife_Christmas_special

The Christmas episode of Call the Midwife was the first since the departure of Jessica Raine. Fortunately the show had developed an excellent ensemble which should allow the show to survive her departure, even if she was a major element. Miranda Hart returned to a major role and instead of young Jenny staring in the main story, Vanessa Redgrave appeared as both narrator and on screen at the start and end of the show. The episode does show include character development for some of the remaining characters. Among the story lines is an aspect of the work of the midwives not seen before–handing pregnancies for young, unmarried women who leave town for the birth of their babies.

Besides the Christmas episodes, there were two new episodes of shows of significance in the past week. Homeland‘s season finale was a real disappointment. They would have been better off ending the season after last week’s episode. The Affair ended its first season with a much stronger finale. They certainly put out enough circumstantial evidence to make Noah’s arrest appear inevitable, and he didn’t help his case by attempting to bribe a witness. As there is still at least another full season to come, it seems a safe bet that Noah really is not guilty, and I wouldn’t be surprised if he is covering up for Alison.

The Interview dominated the news with regards to holiday movie releases. This was more because of the Sony hacking and threats to dissuade them from releasing it, and not due to the quality of the movie. I still might stream it this weekend, but the reviews have not been very good:

“Characterizing it as satire elevates the creative execution of the film’s very silly faux assassination of North Korea’s leader Kim Jong Un far beyond what it merits,” writes Betsy Sharkey in the Lost Angeles Times.

In the Village Voice, Stephanie Zacharek writes that “The Interview” is “contrived absurdity” and that it has very little payoff for all the trouble it caused.

Slate’s Aisha Harris argues that those looking for a satire of North Korea are better off re-watching “Team America: World Police,” the puppet movie created by the makers of “South Park” more than a decade ago.

While Part 1 of SciFi Weekend concentrates on reviews of the past week, Part 2 will look back on the entire year.

Please Share

SciFi Weekend: Orphan Black; Walter White Possibly Still Alive; Eva Green In Controversial Sin City Poster; Lost & The Leftovers; Save Community; Under the Dome; Doctor Who; Karen Gillan; Ann B. Davis Dies

Orphan-Black Rachel Leakey

Most of this week’s episode of Orphan Black, Knowledge Of Causes, And Secret Motion Of Things, seemed like a lighter episode with less actual changes to move the story compared to other recent episode, until the end. Several characters did learn significant things they did not know before.

The episode introduced Marian, played by Michelle Forbes, as someone  high up in Dyad, but without the ambiguity as to whether he is good or evil seen in Leekie’s character. There was also a reunion between Sarah and Allison, with Tatiana Maslany once again having the opportunity to play one clone playing another. This situation was set up by Allison calling in Sarah for help after she made the mistake of trusting Vic with the truth about what happened to Aynsley before discovering he was spying on her for Angie. Sarah wound up filling in for Allison, both giving a speech for family day to the booze hounds and the pill poppers, and then engaging in role playing in which she pretended (not all that well) to be Allison playing Donnie who was speaking with Allison.

The same evening included additional comedy with Sarah and Felix carrying around Vic’s body Weekend at Bernie’s style after Felix spiked his tea with benzodiazepines. Donnie ultimately saw Sarah and Allison together and it became clear that despite being Alison’s monitor he had no idea that they were clones or what Leekie was really up to. Yes, I could believe Donnie is stupid enough to think he was helping a long term social metrics study. Needless to say, he became quite angry when he learned how he was being duped.

Donnie wasn’t the only one to learn the truth. Cosima found out that the stem cells were from Kira and was not happy about this either. She threw Delphine out of the lab saying, “This is my lab, my body. I’m the science.” Kira was the only one to learn something this episode without getting angry. Finding out that stem cells taken from her tooth were somehow significant, she calmly got a piece of string and pulled out another loose tooth.

Rachel found out that the first father to raise her was still alive and that Leekie had set the fire which killed her mother. Marian sided with Rachel, but Rachel did give Leekie a chance to survive on the run, with warnings not to get in his car or to go home. At first it looked like he was safer with Donnie finding him (although I’m not sure how he did it) before Dyad. Donnie happened to be holding a gun and accidentally blew Leekie’s brains out. Apparently keeping Leekie, Rachel, and now Marian around would have left too many at the top.

Entertainment Weekly interviewed John Fawcett about the decision to kill off Leekie:

ENTERTAINMENT WEEKLY: Let’s start with some words for the dearly departed Aldous Leekie.
JOHN FAWCETT: We knew Dr. Leekie was going to die in season 2. And we knew that was something that we wanted to work towards and was going to be a big part of the Rachel/Dr. Leekie story and be a big part of why we’ve been telling a lot of this backstory. Ultimately, I think we didn’t really know how we were going to do it. We knew we were going to do it, we just didn’t know how we were going to do it. And [co-creator] Graeme [Manson] early on had this idea that Donnie should kill Dr. Leekie. It’s funny because my initial reaction was “that’s ridiculous.” Then we sort of kind of went at it a bunch of different ways: Who would kill him? How would he die? And ultimately we came back to Donnie. We wanted to do it in a surprising sort of strangely comic fashion, and that was the result.

EW: And to have Donnie be an accidental triggerman is kind of perfect.
FAWCETT: Yeah, we wanted it to be surprising. And you know that Leekie’s life is in danger at the end of the episode. Rachel in a way kind of lets him escape, but there is a very real threat to his life, and Donnie just happens to step in the wrong place at the wrong time. The gun goes off.

EW: Obviously when you kill off a main character, that’s a big deal and you have to walk through the pros and cons of doing that. So why Leekie and why now?
FAWCETT: Well, I think that obviously Dr. Leekie and Matt Frewer are a big part of our show and it is a very big decision to decide to eliminate a character. We don’t want to just make those decisions lightly, and it really has to have a bearing on not just story structure of the season, but really the big picture also. It has to work towards our end goals. So we designed the first part of the season all the way to episode 7 knowing this was going to come to a head and that Leekie was going to die. We used that as building blocks for that character, and by the time the end came for him, he wanted to build a character that we actually had grown to like and maybe couldn’t entirely trust, but were having some sympathies for. And he wasn’t just a kind of a bad guy. He was kind of in a weird way helping. It’s interesting then to kind of kill off someone that actually the audience and the fans are sort of starting to like and care about. I think it was an important element to building that character and using his death to actually mean something at the end of episode 7, and going forward in the next bunch of episodes. Because Dr. Leekie’s death…the fact that he’s gone or missing or presumed dead or whatever — that informs a bunch of story in the coming episodes.

Fawcett made it sound pretty definite that Leekie is dead after we saw “brains on the window.” However this week there was a hint of another character possibly surviving an apparent death. Bryan Cranston suggested that Walter White might still be alive. He pointed out, “You never saw a bag zip up or anything.” Theoretically they could have him return on Better Call Saul, which sounds like primarily a prequel series but which might jump around in time. They better have a really good storyline to justify saying Walter White is still alive as otherwise his death in the series finale of Breaking Bad would be the best way to end his story.

Eva Green Sin City

The Motion Pictures Association of America is unhappy about this poster for the Sin City sequel, feeling it reveals too much of Eva Green.

The New York Times Magazine looked at Damon Lindelof, discussing both Lost and his new show,The Leftovers. His upcoming show is based upon the Tom Perotta novel:

The conceit of “The Leftovers” is also a kind of trick: 2 percent of the earth’s population disappears one day with no explanation. There appears to be no common denominator to the people who go missing. Condoleezza Rice is gone. The pope is gone. So is Gary Busey. It may be the Christian Rapture — when believers ascend to heaven — or it may not. The story begins on the third anniversary of what has become known as the Sudden Departure, and focuses on characters living in a world that is trying to figure out how to move on.

It’s a compelling but tricky premise for a TV show, because the show’s central mystery may (or may not) be teased out indefinitely. Perrotta’s novel wrapped up its story after 355 pages, but a successful HBO series has to sustain several seasons of intrigue. And because it is Lindelof’s first TV project since he was a creator of “Lost,” the ABC show that famously drew out several mysteries for many seasons — only to end with resolutions that many people found, to put it mildly, unsatisfying — this may be a good time to remember how comfortable Lindelof is with the whole idea of mystery. The short answer: very, despite everything.

Save Community

The most disappointing cancellation from last season was for Community. Now Deadline gives hope that Hulu might keep the series alive.

There is a glimmer of hope that there could be a sixth season of cult comedy series Community. I have learned that Hulu is in talks with Community producer Sony Pictures TV for more original installments of the show, which was cancelled by NBC earlier this month. Sources stress that conversations are preliminary and it is unclear whether they would lead to a deal, but I hear there is will on both sides. That includes Community creator Dan Harmon, who confessed on his blog that he had warmed up to the possibility of continuing the show elsewhere, changing his stance from “eh” when Sony TV called him with the news of the series’ cancellation by NBC to “sure, let’s talk” two days later. Said Harmon, “I’m not going to be the guy that re-cancels cancelled Community.”

My review of last week’s episode of Mad Men, the last until next year, was posted here.

under-the-dome-image

Collider discussed the second season of Under the Dome with Neal Baer:

Question:  What can you say about what viewers can expect from Season 2?

NEAL BAER:  We are really excited about Season 2.  It is the season of transformation.  Last season was the season of secrets being revealed.  Our characters were trapped under this impenetrable Dome, where no one could get in and no one could get out.  And because they were trapped in this hot house, their secrets started to come out.  This is the season where we will find out what they are truly made of.  One of our characters met a very untimely death, and so will another beloved character.  That doesn’t mean you won’t necessarily see them again, because anything is possible under the Dome.  But, we are very excited to continue our journey with these characters, and we have so many surprises in store, this season.

Are you going to deal with the practical aspects, this season, of how they are getting food, what happens when they run out of toilet paper, and things like that?

BAER:  That’s a huge part of it, and it really puts Julia and Big Jim at huge odds, in Episodes 3 and 4.

What new capabilities does the Dome have?

BAER:  It’s certainly magnetic.  We just love the butterfly metaphor. This is a season that’s almost about impending ecological disaster.  That magnetism has caused many things to happen.  So, you will be seeing, in the early episodes, our characters, and particularly Big Jim, confronting the almost Biblical problems of pestilence and bloody rain.  Our characters haven’t been the stewards that maybe they should be, protecting the land and protecting each other.  They have a lot to learn this year, and I guess the Dome is teaching them.  That’s what Julia keeps talking about.  We have to understand the message that the Dome is trying to give us, and what it is trying to teach us.

How many years do you think this can continue, given the structure of the book? 

BAER:  Well, I’m glad you brought up the book because Stephen King wrote the first episode, so he’s certifying that he is very much involved in this show.  The book is there for those who want to read it, if they haven’t, at this point.  But, we are way past the book.  The book is really only about the first week under the Dome, and we are already two weeks in.  This season, we will be going for two more weeks.  We really go day-by-day under the Dome.  If we lasted 15 years, that would really only be a year under the Dome.  So, I think it’s certainly possible to keep going because we have so many stories to tell. 

We have new characters, as well, who shake things up.  We’ve got Eddie Cahill coming on as San Verdreaux, who is Big Jim’s brother-in-law.  He has been a recluse for the 10 years since his sister died, and was an alcoholic.  We have Karla Crome coming on as Rebecca Pine, who is a school teacher.  We are really getting into the science versus faith elements this season.  Rebecca represents scientific explanations for what’s going on, versus Rachelle’s character, Julia, who is really much more about faith.  And Big Jim is in the middle, trying to figure it out.  We have Grace Victoria Cox, who is the young woman that Julia pulls out of the water.  She is a pivotal character whose connection will be revealed.  And we have Sherry Stringfield, my dear friend who I worked with on ER.  We have a reunion this season because Eric LaSalle will be directing Sherry in Episode 10.  We are excited about that.  So, Stephen writing the episode is really sending us off into a place that he feels really proud of and really loves.  It’s his ideas of how to go beyond the book.  It’s really special for us to have Stephen launch us this season.

Maybe Stephen King can get the show back on track.

Town Called Mercy

BBC and BBC America are running teasers announcing that Doctor Who will be returning in August with a new Doctor played by Peter Capaldi. Steven Moffat revealed that the BBC had considered canceling the show after David Tennant left but Russell T. Davies pushed to keep it going, giving us Matt Smith along with Karen Gillan. Not only does Karen Gillan have an upcoming sit-com, Selfie, she will also be staring in a Western, In a Valley of Violence. According to BBC America, “She joins Ethan Hawke, John Travolta and Taissa Farmiga in the story of a drifter (Hawke) turning up in a small town in the 1890s, ready to find and punish the people who murdered his best friend. Karen and Taissa play sisters that run the local hotel.” She has previous western experience in the Doctor Who episode, A Town Called Mercy.

Ann B. Davis, best known for playing Alice on The Brady Bunch, died on Sunday.

Please Share

SciFi Weekend: Gallifrey Falls No More, A Review of Day of the Doctor

50th-anniversary-doctors-hurt-570x317

The Day of the Doctor accomplished Steven Moffat’s goal of presenting an homage to the past but primarily looking towards the future. Just as real life isn’t neatly divided into sixty minute episodes (or serials in the case of older Doctor Who), the 50th anniversary episode combined two different stories. Both had the common theme of the Doctor finding a way to defeat an invasion and prevent destruction to either London or Gallifrey. The episode  won a Guinness World Record award for the largest ever simulcast of a TV drama, being shown in ninety-four countries.

There were many tributes to the past beyond those I mention here. We saw the original opening, starting in black in white just as the series began. Clara was teaching at Coal School which Susan attended in the first episode. After several mentions of Queen Elizabeth I over the years, we saw the Doctor marry her, believing she was actually a Zygon shape shifter in disguise. (No word on what River Song thought of this). A UNIT agent (or her Zygon copy) wore Tom Baker’s scarf.  David Tennant repeated his classic line, “I don’t want to go” and John Hurt said “reverse the polarity” in a tribute to Jon Pertwee. The episode included all thirteen Doctors, including John Hurt and Peter Capaldi, even if some were primarily from old clips and CGI. The episode ended with an ambiguous appearance from Tom Baker as the Curator, who might be the form which the Doctor takes after he retires. Billie Piper returned, but as Bad Wolf Rose in order to allow for her presence without altering Rose’s story.

The Doctors stopped a Zygon invasion of earth by literally bringing about the concept of a veil of ignorance, as the shape-shifting Zygons and members of UNIT did not remember which they were, giving motivation to both sides to negotiate a fair deal. From there the three Doctors tackled an even bigger problem, saving Gallifrey from the Dalek attack during the Time Wars by some way other than destroying them all. This was ultimately accomplished due to Matt Smith and David Tennant’s version of the Doctor having had more time to work on the problem, and the joint effort of thirteen Doctors.

We have now seen all of the regenerations. The webisode (posted here) The Night of the Doctor, showed the regeneration of Paul McGann to John Hurt.  The regeneration of John Hurt was present near the end of The Day of The Doctor but unfortunately Christopher Eccleston declined to appear to complete the scene. Considering how little effort it would have taken to film the regeneration scene, his refusal to participate in the anniversary episode just makes him look more petty, regardless of what problems he had with the previous crew.

all-doctors-day-of-the-doctor-570x319

Although Steven Moffat had said that the numbering of the Doctors would not change, it is hard to see justification for not including John Hurt. Moffat recently said:

“I’ve been really, really quite careful about the numbering of the Doctors. He’s very specific, the John Hurt Doctor, that he doesn’t take the name of the Doctor. He doesn’t call himself that. He’s the same Time Lord, the same being as the Doctors either side of him, but he’s the one who says, ‘I’m not the Doctor.’ So the Eleventh Doctor is still the Eleventh Doctor, the Tenth Doctor is still the Tenth…

He adds: “Technically, if you really counted it, the David Tennant Doctor is two Doctors, on account of the Meta-Crisis Doctor [in Journey’s End]… It’s not a matter of counting the regenerations, but of counting the faces of the Time Lord that calls himself the Doctor. There’s an anomaly Doctor slotted in somewhere, that’s all. In the script to The Day of the Doctor, Matt’s Doctor was called the Eleventh, and David’s was called the Tenth, so the numbering stays exactly the same – and we call Peter Capaldi the Twelfth Doctor.”

Of course we know that Moffat lies, and  perhaps he said this to avoid giving away the ending to The Day Of The Doctor. Now that we have seen the full story of  John Hurt’s Doctor, it is harder to justify not counting him. Despite being called the Warrior, we have now seen rather standard regenerations both into him and into the subsequent Doctor. Taking a different name hardly makes sense as a way around the regeneration limit. Even if his story ended with being responsible for a heinous act, this should not change the numbering.  Now that this act was reversed, there is even less reason to exclude him. There was reference to “all thirteen” on Gallifrey. The Daleks recognized him as the Doctor. If we want to go meta and try to limit the official Doctors to those who had their own shows, this would contradict the convention of including Paul McGann who, before this month, appeared in only a single movie. Surely John Hurt’s appearance in the 50th anniversary episode, along with a brief scene in the previous episode, is as significant as an essentially stand-alone move.  The BBC even reposted the 50th anniversary promo picture with John Hurt included (above).

The episode has significant ramifications for the future. The Doctor now has a new goal, to find Gallifrey. I wonder if this will be a season-long McGuffin like was done previously with The Key To Time serials in the Tom Baker era. This could provide a new emphasis from the show now that Amy Pond is gone and the mystery of Clara has been resolved, getting away from the stand-alone episodes of last season. A limit of twelve regenerations, meaning thirteen versions of the Doctor, was previously established, and we have now seen reference to “all thirteen” Doctors. The search for Gallifrey opens up one of several possible solutions as it is a safe prediction that Doctor Who will not end with Peter Capaldi’s Doctor. Perhaps saving Gallilfrey will lead to the Doctor being given another set of regenerations solving this issue. There has been precedent for the Time Lords having this power.

Before we see how this rewriting of the mythology affects Peter Capaldi’s Doctor, there remains the Christmas Episode in which Silence will Fall and we return to Trenzalore (trailer above).

For those disappointed in not seeing cameos from more actors who have played the Doctor, we do have the video below which was written and directed by Peter Davison. “The Five(ish) Doctors Reboot” stars  Peter Davison,  Colin Baker,  Sylvester McCoy and Paul McGann attempting to make it into the 50th anniversary episode. In a way they have accomplished this. I think that this video, along with The Day of the Doctor,  and An Adventure in Space in Time should be counted as parts of a set honoring the 50th anniversary.

As I was working on my impressions of the episode, Blogator Who posted the official comments from Steven Moffat. Some portions of the interview follow:

I asked Steven for his thoughts on Peter Davison’s special The Five(ish) Doctors Reboot.
“I loved it. I love it, I’m in it! I’m the villain as far as I can see! [Laughs] Absolutely adorable. It was actually my idea to do that, I had bumped into Peter at a party and he said, ‘I’m going to do this little fan video about us all trying to get into the 50th. Do you mind and would you be in it?’ And I said I’ll give you a budget and a camera crew and some time and why don’t you make it for real? Make it for us? It solved a problem for me. I wanted all The Doctor’s properly involved, if they were willing, as best they could.

It maximises what you can do with Sylvester [McCoy] and Colin [Baker] and Peter because they’re not the same people were, all those years ago. You get to see Colin Baker playing Colin Baker which is much more fun that seeing him trying to do a performance that no longer suits him, frankly. And the same with Peter and the absolutely charming Sylvester McCoy, who is an absolute hero. It was brilliant, I love The Five(ish) Doctors Reboot, it was gorgeous.

Regarding Billie Piper in The Day of the Doctor Steven stated:
“I thought the story of Rose, which was beautiful, was done. I didn’t want to add to it, I didn’t feel qualified to add to it. That was always Russell’s [T Davies] story. The way Russell ended it in The End of Time was perfect. I didn’t want to stick another bit in. It would be wrong.

But we did want Billie Piper, one of the absolute heroes of Doctor Who, back in the show without interfering in the story of Rose Tyler. I think I might of spoiled something if I had done that.  Billie represents the rival of Doctor Who, more than anyone else. It’s all about Billie, it’s her show for two years. It’s really startling watching The Runaway Bride and you’re going, ‘Where is she? Where is she? Where is the star of the show?’

On the 2013 Christmas Special, Moffat commented, “It’s a proper finale to Matt Smith, it’s the story we’ve been telling since he put the bow tie on. A lot of stuff we’ve left hanging, we tie up there. And it’s Trenzalore!” At a panel at the Official Doctor Who Celebration, including Matt Smith, Jenna Coleman and Steven, they revealed that the world “bubbly” will appear in the finale for The Eleventh Doctor.

 

Please Share

SciFi Weekend: Breaking Bad; Dexter; Hannibal; The Blacklist; Sleepy Hollow; The Americans; Community; True Blood; Broadchurch; Doctor Who

Breaking Bad Series Finale Elliot and Gretchen 1

Vince Gilligan ended Breaking Bad just as most would have predicted if not for feeling that this was too obvious and trying to throw in a twist. In the end, Walt killed the Nazis, rescued Jesse and then died. Jesse escaped, Lydia was killed, and plans were made to get money to Walt’s family. Realistically Walt’s death was the most probable end-point for the series since the first episode. Initially it might have been from the cancer. Events since then changed how it most likely to occur. It became inevitable that he would face a violent death, but also achieve some measure of victory.

The only surprises in the finale were the details in how everything would be accomplished, such as threatening Elliott and Gretchen with assassination by “the two best hitmen west of the Mississippi” who were really Skinny Pete and Badger armed only with laser pointers. There was no need for a surprise ending, and certainly not a gimmick such as a dream or fading to black. Breaking Bad feels more like a continuous story in a novel, leading to the most likely conclusion. The finale has received universal praise, showing that no gimmicks were needed. Hopefully writers of future series will learn from this.

The success of the finale of Breaking Bad led to inevitable comparisons to other finales. To be fair to other show runners who fell short, the structure of Breaking Bad lent itself to coming to such a definite and obvious conclusion. While I was not satisfied with the ending to The Sopranos, an ambiguous ending was more in line with that show than Breaking Bad. After the full run of the series, it was realistic that Tony Soprano had made enough enemies that one would just walk up to him and shoot him in a diner. It would similarly be realistic to interpret this otherwise and see Tony Soprano continuing as he had for years, as with Sam Malone on Cheers. Breaking Bad had a clear storyline leading to an inevitable conclusion.

Damon Lindelof was blasted on Twitter during the Breaking Bad finale for not providing such a satisfactory conclusion to Lost. While I think they could have done better with Lost, a key difference here is that Lost had developed such a complex mythology that there was no realistic way to end the series. Lindelof defended his ending in The Hollywood Reporter, which was more a plea for everyone to stop talking about it.

The remaining questions are trivial compared to the questions raised by Lost. There was no question to the motivations of the main character. Walt revealed to Skyler that he was doing this all for himself. Did Walt initially plan to kill Jesse, and then change his mind when he saw how he was enslaved? That change in motivation is suggested in several interviews where Vince Gilligan compared the ending to The Searchers:

On the story inspiration for Walt, who was hellbent on killing Jesse, saving his ex-partner out of sudden instinct 
“A lot of astute viewers who know their film history are going to say, ‘It’s the ending to The Searchers.’ And indeed it is. The wonderful western The Searchers has John Wayne looking for Natalie Wood for the entire three-hour length of the movie. She’s been kidnapped by Indians and raised as one of their own, and throughout the whole movie, John Wayne says, ‘I need to put her out of her misery. As soon as I find her, I’m going to kill her.’ The whole movie Jeffrey Hunter is saying, ‘No, we’re not — she’s my blood kin, we’re saving her,’ and he says, ‘We’re killing her.’ And you’re like, ‘Oh my god, John Wayne is a monster and he’s going to do it. You know for the whole movie that this is the major drama between these two characters looking for Natalie Wood. And then at the end of the movie, on impulse, you think he’s riding toward her to shoot her, and instead he sweeps her up off her feet and he carries her away and he says, ‘Let’s go home.’ It just gets me every time — the ending of that movie just chokes you up, it’s wonderful. In the writers room, we said, ‘Hey, what about the Searchers ending?’ So, it’s always a matter of stealing from the best. [Laughs]“

Did Walt have any plan for after he killed the neo-Nazis if he survived? It did not appear that he did. If not for the last-second decision to save Jesse, I wonder if he had planned to jump to the floor, or remain standing and die with everyone else in the room.

We know Jesse is free but from there it is all speculation:

“We always felt like the viewers desired Jesse to get away. And it’s up to the individual viewer to decide what happens next for Jesse. Some people might think, ‘Well, he probably got two miles down the road before the cops nailed him.’ But I prefer to believe that he got away, and he’s got a long road to recovery ahead, in a sense of being held prisoner in a dungeon for the last six months and being beaten to within an inch of his life and watching Andrea be shot. All these terrible things he’s witnessed are going to scar him as well, but the romantic in me wants to believe that he gets away with it and moves to Alaska and has a peaceful life communing with nature.”

Unfortunately it wasn’t realistic to have Jesse wind up raising Brock, providing him with a true happy ending.

What was going through Jesse’s mind when he didn’t shoot Walt? Was this the outcome of Jesse previously saying he would never do what Walt told him to do again, a desire to be done with killing, or did a remnant of his old respect for Walt prevent him from pulling the trigger? Would he have shot Walt if he didn’t see that Walt already had a gunshot wound?

Will Walt’s scheme work and will Gretchen and Elliott really get the money to Walt, Jr.? There’s no way to know. On this show many elaborate schemes have worked well. It was quite fortunate for Walt that Lydia kept to her old schedule and was the one to take the pack of poisoned Stevia. Everything also had to go right for his plan to kill the neo-Nazis to succeed. While throughout the series many elaborate plans were successful, not everything went right for Walt. Most notably, Walt ruined his plans by leaving the Walt Whitman book out in his bathroom, and easily fell for Jesse’s plan to lead the DEA to the money. We also do not know if his plan for Skyler to negotiate with the coordinates of  Hank and Gomez’s bodies will save her, with his previous phone call not appearing to have helped her very much.

In comparing the recent finales of Breaking Bad and Dexter, it seems like the Breaking Bad finale was planned from the start while Dexter‘s finale decided late in the series. The opposite turns out to be true. Vince Gilligan had no idea about some major aspects of the ending, and has revealed other endings under consideration.

Dexter and Hannah

It was the opposite for Dexter. While Clyde Phillips, the original show runner, had a different idea, current show runner Scott Buck and longtime executive producer Sara Colleton told Entertainment Weekly that this ending had been planned for years:

Before the season started, you said the core idea behind this finale has been in the works for years. What was the original concept?
BUCK: The kernel idea were the last few scenes. They were what I pitched a few years ago. The main idea was Dexter is forced to kill Debra. And there are many ways that could happen. But those final scenes were pretty much unchanged.
SARA COLLETON: From the very beginning the paradox was here’s a guy who doesn’t feel he’s a human being, who has to fake it. But in faking it, he’s a better brother, boyfriend, colleague that most real people. People think of him as a monster, but he yearns to be human. We’ve seen him go forward on this journey every year. Now we found out what the final price was. What sums up the entire journey was the scene on balcony of his apartment before going on the boat to put Deb down — that’s horrible to say aloud. The voiceover: “For so long all I wanted was to feel like other people … now that I do just want it to stop.” It’s the horrible awareness of what it was to be a human being and how overwhelming that is for him. His punishment is banishment. He sends himself into exile. Killing himself is too easy. When he turns and looks into the camera at the end he’s stripped everything away.

Were there any other versions of the ending that you rejected?
BUCK: The only real variation was what he would be doing. I knew he would be in a self-imposed prison that would be as far from Miami as possible. We’d find him working in some solitary environment where even if other people were around he would make no contact and not talk to anyone. We would follow him home and he would have no human contact.

In a way that’s his new code — avoiding human contact.
BUCK: Yes. For us, that’s the tragedy. The one thing we felt Dexter wanted more than anything was human connections. Even in the first season we see him trying to get with Rudy. Now that he’s finally made that journey and he’s almost poised to have a real human life, he has to give all that up to save Harrison and Hannah.
COLLETON: He went into an absolute shutdown. He no longer has even his voiceover.

 Hannibal Season 2

The above poster was released for the second season of Hannibal. Bryan Fuller explains: “After a horrifying descent into madness in season 1, this image ironically represents the perspective of a scrappier, clearer-minded Will Graham in season 2.  The scales have fallen from his eyes and he finally sees Hannibal Lecter for the monster he is.”

The Blacklist remains the best new network show so far, and has become the first to receive a full 22-episode pick-up.

Sleepy Hollow will remain with a thirteen episode run this year, and has been renewed for a second 13-episode season.

The Americans was one of the best new shows last year. Creator/executive Joe Weisberg and executive producer Joel Fields discussed the show at PaleyFest.

Nathan Fillion will guest star on Community, making Firefly references inevitable.

Rob Kazinsky says True Blood “kind of ran out of ideas and now they’ve got an idea again and they’re trying to finish stronger than ever… which they’re going to do next season!”

David Tennant will reprise his role as star of Broadchurch for a US adaptation from Fox. It was an excellent show, but I’m not sure why we need a second version. I imagine that many US viewers neither have a way to  pick up British shows and don’t watch BBC America, leaving an untapped audience for Fox.

David Tennant will also be staring in Day of the Doctor, the 50th Anniversary episode of Doctor Who. Current plans include simulcasting the show in 75 countries.  Steven Moffat has also discussed the upcoming regeneration from Matt Smith to Peter Capaldi:

If you haven’t seen it, there is a particularly fine interview Steven Moffat has given to Nerd3 in which he discusses, well, a lot of things you don’t often hear Steven Moffat discuss.

One section is devoted to regeneration, and the fact that it would not be a break with Whovian tradition for the Twelfth Doctor to look a lot like someone the Doctor has already met. In fact Peter Capaldi has been in Doctor Who (as Lucius Caecilius Iucundus in “The Fires of Pompeii”) and Torchwood: Children of Earth, and Steven has already had a chat with Russell T Davies over how this will all work.

He said: “We are aware that Peter Capaldi’s played a part in Doctor Who before and we’re not going to ignore the fact. I’ll let you in on this. I remember Russell told me he had a big old plan as to why there were two Peter Capaldis in the Who universe, one in Pompeii and one in Torchwood. When I cast Peter, [Russell] got in touch to say how pleased he was, I said ‘Okay, what was your theory and does it still work?’ and he said ‘Yes it does, here it is’. So I don’t know if we’ll get to it… we’ll play that one out over time. It’s actually quite neat.”

If they try to be too clever I  suspect they might run into problems analogous to explaining why the Klingons look different in different versions of Star Trek. There’s a simple explanation–the same actor played three different roles. Sure, you could come up with an explanation which includes the Doctor taking the form of people he encountered in the past when regenerating. Then how do we explain Karen Gillan’s appearance, as she also appeared in The Fires of Pompeii as a different character before playing Amy Pond?

J.J. Abrams has apologized for all the lens flairs in Star Trek Into Darkness.

And finally, this video on the finale and a farewell video from the cast of Breaking Bad:

Please Share

SciFi Weekend: True Blood Spoilers; Doctor Who; Batman; Star Trek; Continuum; Under The Dome; Agents of SHIELD; The Newsroom

true-blood-616x450

The sixth season of True Blood, while not without faults, was the best season in several years.  The biggest negative of the season was that Warlow, after starting as evil, then portrayed as good, all of a sudden is shown to be evil again.  Of course it is essential not to take True Blood too seriously if you are to enjoy it, and in that vein the highlight was seeing the vampires partying in the nude outside in the sun following their rescue. There has been some criticism for jumping ahead six months in the middle of the finale as opposed to the usual continuous nature of the show. I didn’t mind this at all. The show is in serious need of some change and I’d rather see them jump six months, basing it on things we have already seen, than having to go through episodes written purely to achieve the changes desired by the writers. It was also unusual to do this right in the middle of an episode but better this than stretching out the narrative for the sixth season even longer.

There were potential cliff hangers but there is considerable agreement on line regarding the outcomes. Although Eric (who created further attention with his full-frontal  nude scene) was seen to burn in the sun, he did not melt, leaving everyone pretty certain that he will survive. After all, he has all that snow around to put out the fire, and Pam is on her way to rescue him once darkness falls. I also think viewers will be surprised if it doesn’t turn out that Tara’s mother infected her with Hepatitis V when she had Tara feed on her.

If there was any doubt about Eric surviving, Brian Buckner, who replaced Alan Ball as show runner, revealed this and more about next season:

Was blowing up everything at the end of the season a chance for you to really start fresh next year?
Brian Buckner:
It is. I think we’ve had more success at the outsets of our seasons when we’ve done an adequate job setting the table for the following season. It’s a bit of a reset and it’s also establishing a story that is for every vampire, a human, for every human, a vampire. It’s to try to return to the show’s promise in Season 1, which is if vampires exist, let’s examine the relationships between humans and vampires. Now we get to do it with many different pairings rather than just Bill and Sookie. The hope is — and this is what I was hinting at Comic-Con — that by putting all of our characters essentially into one story, now it’s Bon Temps vs. the world, the characters people love will get more screen time because these stories don’t have separate demands. We just get to tell a simpler story and then experience them through our characters.

If vampires and humans are now working together, where does the tension come from?
Buckner:
I don’t mean to say there are not complications with those relationships. The driving force of the show is going to be the relationships. What does Alcide (Joe Manganiello) or Sookie having to take on a vampire feeding partner do to their relationship? Every relationship is complicated because it’s a three-way or four-way. That’s what we’re looking at. I don’t think it’s all going to be hunky-dory. It’s going to create tensions between makers and makees because, “You love that human, don’t you?!” It’s a bit of a shift back from plot-driven big bad to some of the soapy elements of the show. It’s the relationships that are interesting, not the plot that the bad guy is necessarily providing.

Can you talk about the threat of the mutated Hep-V?
Buckner:
That’s the work of next season. Specifically, viruses do mutate and that’s part of why we gave ourselves a six-month time passage. This is a disease that, as Dr. Overlark (John Fleck) explained when he was injecting Nora (Lucy Griffiths), can be spread in any number of ways. It has spread around the world very rapidly. Bon Temps is a microcosm of what’s happening out there in the world. The vampires who are infected, their appetite for human blood is increasing. They need to feed more often in order to survive this disease.

Have vampires essentially overrun the world at this point?
Buckner:
It’s a major outbreak. You see how people got upset about Bird Flu and no one really had it. The idea here was to isolate Bon Temps to make it the town we know vs. the world so we don’t have to leave Bon Temps in order to get story. They can only depend on one another; that’s what Sam is talking to Andy (Chris Bauer) about. Andy obviously has his own feelings about vampires right now and whether or not they can be trusted. Sam’s point is we don’t have a choice but to trust them. Without their help, we can’t protect ourselves. It’s a very uneasy alliance. I don’t want to suggest that it is conflict-free. Of course, we promised a pretty big payoff at the Bellefluer’s bar.

Presumably that means Season 7 picks up right where we left off?
Buckner:
That’s a fair presumption.

Turning to the biggest question after the finale: Is Eric really dead? What kind of role will Alexander Skarsgard have next season?
Buckner:
In the olden days, this was a fun tease for an audience [Laughs]. The actor Alex Skarsgard and the character of Eric Northman will be back on the show next year. He’ll be a series regular. We’ve obviously promised a “Where is Eric?” story and it would feel incredibly cheap to deliver the goods right away. We sent Pam (Kristin Bauer van Straten) off in search of him and if she were to find him right away, we would be doing a disservice to ourselves and to the audience. How we use him is going to be up to us, but we want people to rest assured that he will be back in their living rooms next year or wherever they watch. Boy do they love him! Wow!

Pretty sure he broke the internet after going full-frontal.
Buckner:
It was crazy. I got a question about the discussion on that and said, “He’s Swedish. There was no discussion whatsoever.” I even called him to say, “Are you sure this is OK?” and he said, “No problemo.”

People thought it might be a body double.
Buckner:
Nope! One day the tell-all will come out that that guy is as cool as Eric Northman. He doesn’t sweat the small stuff.

Because you jumped ahead six months, we missed Sookie and Alcide’s courtship. Will we see some flashbacks to that?
Buckner:
Whether or not there will be flashbacks, we don’t know at this point. The writers will be back in the room starting September 3 and we’ll start to figure this all out. I think there is fun in, “How did this happen?” but you will see what sparks flew. It’s not like we’re going to skip over all the Sookie-Alcide fun. In terms of going back and filling in those six months, that I don’t think we’ll be doing, but the audience will see what they want to see.

The final scene did have a definite zombie feel but Buchner does say that these are not really vampire zombies:

TVLINE | How do you explain the fact that some of those infected  — Nora, for example — died quickly, yet others are wandering around.
We did say that the virus had mutated, and we get to decide what those mutations are. Perhaps the demand for human blood goes up and that’s the only thing that keeps vampires with Hep V alive. In seasons past – I’m not going to point to any one of them – we took some massive swings, not knowing where we were going. That’s the nature of what we do. In this case, I don’t believe we bit off more than we can chew. I’m not going to give answers to all these things, but the virus has mutated. That’s another reason for the time passage. Just like bacteria mutates and that’s why there are antibiotic-resistant strains. So what applied to Nora doesn’t necessarily apply to this gang. And they’re not zombies.

TVLINE | What are they? Is there a name for them?
In my somewhat limited zombie-genre experience, zombies are not organized. They’re just hunting-killing machines. So what was meant to come across there was that they’re organized, they’re in a formation, they’re hunting, they’re sentient, they can talk. They still have intellect.

I’ll accept this premise as the show is in need of change, but I do have a problem with the idea that survival depends upon humans agree to allowing a vampire to feed on them for protection. All the new anti-vampire weapons which the governor stock piled in Louisiana might no longer be available, but there should have been some other source of these weapons made available over the past six months.

In other True Blood news, Amelia Rose Blair, who played the governor’s daughter who was turned into a vampire, will be a series regular.

smith-tennant-hurt-50th

This low-resolution picture of three Doctors, (Tennant, Smith, and Hurt) has leaked out from the 50th anniversary episode of Doctor Who. TV Drama interviewed Steven Moffat. Here are some excerpts about writing Doctor Who, Sherlock, and Coupling

WS: When you succeeded Russell T Davies as head writer of Doctor Who, what did you want to do with the show?
MOFFAT: I just wanted it to be good. People always want me to have some form of agenda. Sometimes in desperation I say I want it to be a fairy tale or I want it to be this or that. I just wanted it to be a good Doctor Who. The thing about Doctor Who is it’s a different show every week. It speaks with a different voice on a weekly basis. It must be fast moving. It must be funny and exciting. Those were all present in Russell’s era and I hope they are all present in mine. I serve at the pleasure of the TARDIS [the time machine in Doctor Who].

WS: Was it ever intimidating, being responsible for such an iconic television franchise?
MOFFAT: You don’t really feel much pressure at the beginning of a TV series because you’re just making a home movie in a big shed! You don’t really think anyone is ever going to watch it. Towards April 3, 2010, [the British premiere date for Moffat’s first season as head writer] I started to feel the pressure a little bit. We were doing Sherlock at the time as well and Matt Smith’s Doctor for the first time, so Benedict [Cumberbatch] and Matt were waiting in the wings of fame. I remember thinking, if these two things screw up, I’m finished! I just thought, what if they’re rubbish? [Laughs] This could be a really terrible year. I could crash Doctor Who and screw up Sherlock Holmes and if I’d just shot Daniel Craig in the face I’d have ended all of British culture. But it didn’t work out that way [Laughs]. It was a very, very good year and they’ve been very good years ever since.

WS: You’ve had such a broad career in British television. Does writing sci-fi or fantasy flex different creative muscles than mystery or comedy or any other genre?
MOFFAT: I never feel as though it does. I never feel as though the job is any different. Comedy is good training for writing anything. It’s a very clear-cut proposition—you must be funny several times a page. Comedy writers, by instinct, are very severe on themselves. If there aren’t sufficient gags, in a wider sense of the word “gag,” in the scene then I’m not keeping it. It has to do something to the audience. But writing Coupling doesn’t feel different from writing Doctor Who.

WS: Why did you want to put Sherlock Holmes in a modern-day setting?
MOFFAT: [British actor and screenwriter] Mark Gatiss and myself are huge Sherlock Holmes fans. We adore and worship those stories above all literature. Going back and forth from [filming] Doctor Who—we were both writers on it when Russell was running it—we were talking on the train about Sherlock Holmes. We got to talking about the many wonderful movies and the many terrible movies, which are almost more entertaining. We admitted shyly to each other that our favorites were the updated Basil Rathbone and Nigel Bruce movies [produced in the U.S. in the 1940s]. Basil Rathbone and Nigel Bruce did two Victorian-set adventures and then they did 12 updated ones. At the time people criticized them terribly—How dare you update Sherlock Holmes? The fact is, those cheaply made updated adventures are just a bit more fun. They somehow seemed to capture more of the pulpy fun of the original stories. So what we said to each other was, “Some day someone is going to think of doing that again. And when they do they’ll have a huge hit. And when they have that huge hit we’ll be very, very cross because we should have done it.” And then we’d leave the conversation! My wife, Sue, who is also a television producer, said, Why don’t you just do it? So she made us sit down and explain Sherlock Holmes to her. She knows nothing of the Sherlock books but she was instantly interested. She literally got us in a room in London, where Mark and I sat and said, What would it be? Basic conversations like, What do they call each other? In the original they call each other Holmes and Watson. That would make them like a couple of public-school boys these days! So they call each other Sherlock and John. It became exciting for us when we realized how easily and properly it updates. In the original stories Dr. Watson comes home from a war in Afghanistan and is looking for cheap digs, so he moves in with Sherlock Holmes. He can come back from the same place now. In the original stories he wrote a journal, which fell out of fashion for a very long while until it was reinvented as a blog. Sherlock Holmes always sent telegrams in the original stories because he preferred the brevity of that communication. We’re back at telegrams—we call them texts.

Most of the adaptations have become about the Victoriana, but the original stories, there’s nothing in them that’s particularly Victorian. They are stories that are mysteries. The setting is just the world that Arthur Conan Doyle could see outside his window. I think by updating it you move the character closer to the audience. You move all the sepia-toned dusty Victoriana out of the way and you see him clearly again.

Coupling, which Moffat mentioned in passing, was one of the greatest sit-coms of all time. It sort of was a combination of Friends, Seinfeld, Sex and the City, and occasionally Big Bang Theory.

Some quicker questions for Moffat:

Rumour that JK Rowling is writing a short story for the 50th Anniversary.
“I can’t confirm that…, right now.”
A return for the Doctor’s daughter, Jenny?
“The door is open, it’s entirely possible.”Similarly, a return for Romana?
“I have actually given no thought at all to Romana. The Time Lords are dead in my mind. They died.”
Will Peter Capaldi’s Doctor have a Scottish accent?
“I’d be very surprised if he didn’t”
Moffat has also acknowledged that it has been established that the Doctor can only regenerate twelve times. Obviously they will not end the show when this limit comes. There was a throw away line when David Tennant was in an episode of Sarah Jane Adventures claiming 507 but the line wasn’t meant to be taken seriously. They already have had two events in the new episodes which could alter the original limit. As the Time Lords have been overthrown, nobody knows if the old rules apply. There is also the possibility that the Doctor obtained additional regenerations when River Song gave up her future regenerations to save the Doctor’s life in Let’s Kill Hitler. There is plenty of precedent for transfer of regenerative powers in Doctor Who, giving Moffat a number of possible routes around this. If there are only twelve regenerations, then Peter Capaldi’s Doctor would be the last with the ability to regenerate, and if the John Hurt Doctor is an actual regeneration, it would mean Capaldi is the last until the rules are changed.

There has also been speculation that the regeneration will occur in the 50th Anniversary episode as opposed to the Christmas episode. Much of this is based upon rather circumstantial evidence, but I could see Moffat going for such a surprise during an episode which is being broadcast at the same time internationally. Matt Smith’s hair was cut before the Christmas episode was filmed, but he might also grow it back or grow a wig. There are some on line references to Peter Capaldi starting on Doctor Who in November but such references for future shows are often inaccurate. One of the faults I cited in my review of The Name of The Doctor was that if Clara was seeing remnants of his entire time stream after the Doctor died she should have seen versions of the Doctor beyond the eleventh. If the anniversary episode begins in the Doctor’s tomb, there could be reason for showing the 12th Doctor’s face other than a regeneration.

Christopher Eccleston has declined to participate in the 50th anniversary of Doctor Who after he did not leave the show on good terms. He has offered to appear in the 100th when speaking at the British Film Institute:

“I love the BFI. I love the Doctor and hope you enjoy this presentation. Joe Ahearne directed five of the 13 episodes of the first series. He understood the tone the show needed completely – strong, bold, pacy visuals coupled with wit, warmth and a twinkle in the performances, missus.“If Joe agrees to direct the 100th anniversary special, I will bring my sonic and a stair-lift and – providing the Daleks don’t bring theirs – I, the ninth Doctor, vow to save the universe and all you apes in it.”

I will be looking forward to watching this in another 50 years.

Doctor Who makes it was to recast the lead due to regeneration but other franchises such as Batman periodically reboot with a new star. There has been considerable amount of objection to the choice of Ben Affleck, to some degree in response to how he flopped as Daredevil.  Twitter responses to the choice here and here.

Last week we looked at a few of the Star Trek technological advancements which are now a reality. There is a $10,000 prize for developing a Tricorder.

The above “honest trailer” is a hilarious and brutal look at Star Trek Into Darkness. It does include a lot of legitimate criticism of the movie. The segment in the second half on the problems with having brought Spock back from the future is a serious problem whenever there are variations on old episodes.

The implications of knowledge of the future has also been on my mind this week as I got to watching Continuum, knocking off the first season and starting the second season this week. Besides questions of time travel, contemporary political issues are raised (as Star Trek often did in the past). There is a future in which corporations have “bailed out” failing governments and taken over. Many questions arise while watching which would have been worthy of discussion in this blog while the show was airing, and I’m sure I will have more to say about the show when I complete it. For those looking for shows to watch during the summer when there are fewer new shows being aired, I would definitely add Continuum to the list of great shows from 2013.

utdzea1

Who will be the monarch on Under the Dome? From SpoilerTV:

So, who is the Monarch? The obvious choice would be Angie, who became the latest person to suffer from seizures. Joe seemed to quash that theory, pointing out to Norrie that Angie’s butterfly tattoo is not a Monarch. But Angie could actually still be a candidate. “Of course,” executive producer Neal Baer tells. “She has seizures, she’s marked in a way that separates her from everyone else. She’s intrepid, smart and strong.”Unfortunately, that means Junior could be the king to her queen, or rather, the fourth hand. “There’s much more to come in the Angie-Junior relationship, especially when, in an upcoming episode, they’re brought together in a stunning way,” Baer teases.Though Junior seemed crazy at first — he claimed he locked Angie up in the fallout shelter because she was “sick” — now it appears he predicted this would happen. “Junior is sensitive to dome-ish things,” Baer says. “His mother painted pink stars falling in lines around him when he was a little boy, a precursor to all that’s happening now. Angie’s seizure confirmed what Junior felt — that she was different, like himself — though he didn’t know exactly why until she had her seizure, which confirmed what he felt all along: That Angie was ‘sick’ too; that she was somehow ‘touched’ by the dome.”

The show also introduced Natalie Zea playing a character from out of town who has been hiding out since the dome appeared. I can accept this once, but only once. The town is cut off. I hope they don’t go the Gilligan’s Island route and have people from outside repeatedly appear.

Natalie Dormer of Game of Thrones and Tudors has been cast in The Hunger Games: Mockingjay Part 1 and 2.

New trailer for Agents of SHIELD above.

Tatiana Maslany of Orphan Black has be cast for a guest appearance on Parks and Recreation. I wonder how many roles she will play.

the-newsroom-episode-62

All season we have seen staffers at ACN on The Newsroom being prepared for a trial which came after the Genoa story fell apart. We are finally seeing what the actual case is about. Last week a situation was set up in which Jerry Dantana was all alone in an interview with a general. He committed a major breach of journalistic ethics when he edited a tape to remove the key use of the word if, failing to appreciate the hypothetical nature of the general’s answers. Dantana, played by Hamish Linklater, will be fired and file a wrongful termination suit. Linklater doesn’t see Dantana as being totally wrong:

“He believes the story is true,” Linklater says. “He just needs to get rid of one word from this interview in order for him to have enough evidence to get the story on the air. … He knows he’s done something that’s wrong. He knows that he’s breached ethics, but he believes that, for this story, it was worth it.”Linklater insists that his character’s decisions are not motivated by ambition, but rather his ideals. “He’s trying to tell news stories that the audience doesn’t seem to have much of an appetite for and the network doesn’t have much of an appetite for broadcasting,” he says. “His beef is with this sort of lazy liberalism that he feels is in the staff and that kind of knee-jerk Obama fandom that he finds around him. He feels [they’re] apologizing for too many mistakes.”But indeed it’s Jerry’s mistakes that will bring the “News Night” team under fire. On Sunday’s episode, the “Genoa” story will air, and the wheels start to come off the train almost immediately after the broadcast ends. But it isn’t just Jerry’s fudged interview footage that is problematic. The episode will also slowly reveal the many other ways the story turned out to be false, which gives Jerry ammunition for his wrongful termination lawsuit.

“Once he’s found out… he knows the ax is going to fall,” Linklater says. “But he just sticks to his guns. He thinks that everybody was doing a sloppy job and that he’s been made the fall guy for it. It’s not fair.”

Related television and political comments yesterday on realistic versus unrealistic aspects of House of Cards, The West Wing, and Orange is the New Black.

Please Share

SciFi Weekend: The 12th Doctor; The Next Batman; SHIELD And The Avengers; Captain America; Star Wars; Star Trek; Homeland; Dexter; The White Queen; Piracy

Last week white smoke emerged from the BBC and soon afterwards Peter Capaldi was introduced as the 12th Doctor on a show simulcast in the U.K., the United States, Canada, and Australia (video above). BBC America has a run down on the news coverage. The Guardian introduces Capaldi to non-Brits.

Every time there is a regeneration, there is speculation that the next Doctor might not someone other than a white male. Neil Gaiman claims that a black actor has turned down the role. Steven Moffat, Matt Smith, and Jenna Coleman discussed the transition in this interview. An excerpt:

Is writing that final story for Matt Smith’s Doctor the biggest pressure you’ve faced, in doing this show?

MOFFAT:  The biggest pressure will always be introducing a new Doctor.  And I can’t imagine it will ever be tougher than with “The Eleventh Hour” because everything changed.  It’s not an ideal way to run television.  It really isn’t.  That was mad.  All the execs left, the producer left, and all the stars left.  You think, “Christ, how do you get away with that?!”  We’re not in that situation this time, and it’s good that we’re not.  People say, “It must have been great and exciting and marvelous that you had all that new stuff,” but not really.  But, we got away with it.  I just remember thinking, “Are people going to buy that this is the same show, when it clearly is not?”

Do you wish that you could just introduce the new Doctor via the show, when he finally shows up?

MOFFAT:  I’d love to, but that’s physically impossible.  It was Russell’s plan not to tell anyone that Chris [Eccleston] was going to change in the last episode, but it leaked after one week.  I wish it were possible.   The fact is that those actors’ agents have to say that they’re available.  They have to take jobs.  It’s going to leak, so you have to take command of that story.  It’s annoying.  I’d far rather not tell anybody anything, seriously.  If you’re telling a joke, you don’t want anybody telling the punchline before you get to the end.  Sadly, I don’t think it’s possible now.  Everybody wanders around with cameras now.  A few years ago, no one had a camera on them.  Now, every little human being goes around with a camera on their phone.  How am I going to keep secrets with that?!  It’s tough.  It can be irritating, but what can you do?

Moffat started with a new cast with both Matt Smith and Karen Gillan. With Jenna Coleman still being relatively new to the series, the show with Peter Capaldi and Jenna Coleman will have a different feel than during most of Moffat’s tenure with Matt Smith and the Ponds.

Now that we know who will play the next Doctor, the next major succession is who will play Batman when he appears in the next Superman movie. Rumor has it that Orlando Bloom is the leading contender.

agents-of-shield-tv-show-teaser

Joss Whedon discussed synergy between Agents of S.H.I.E.L.D. and the universe of The Avengers:

Speaking at the recent TCAs, Whedon said fans will spot some synergy in the run-up to Captain America: The Winter Soldier and Thor: The Dark World. “There will be as much as we can allow,” he said. “We’re still working that out. It’s a fun opportunity, but it’s not the reason for the show. It’s not an Easter egg farm, we want people to come back.”

The pilot kicks off with Angel alumnus J August Richards as an “unregistered gifted” that the SHIELD agents must track down. Don’t expect a superhero-of-the-week show, though, “There could be a device, a mystery,” Whedon continued.

“There’s so many aspects as to what’s happened since everybody in the world found out there’s a superhero team and aliens invaded New York. We want to be able to change it up every week: spy stuff, hero stuff, heartfelt stuff. We want to make sure the humor is there, but every week, you get something that feels a little bit different.”

Disney has also released a full synopsis for Captain America: The Winter Soldier

After the cataclysmic events in New York with The Avengers, Marvel’s Captain America: The Winter Soldier finds Steve Rogers, aka Captain America, living quietly in Washington, D.C. and trying to adjust to the modern world. But when a S.H.I.E.L.D. colleague comes under attack, Steve becomes embroiled in a web of intrigue that threatens to put the world at risk.

Joining forces with the Black Widow, Captain America struggles to expose the ever-widening conspiracy while fighting off professional assassins sent to silence him at every turn. When the full scope of the villainous plot is revealed, Captain America and the Black Widow enlist the help of a new ally, the Falcon. However, they soon find themselves up against an unexpected and formidable enemy—the Winter Soldier.

These Avengers-themed sex toys will definitely never be sold at the many stores around the Disney theme parks, even should the Avengers characters be moved from Universal to WDW in the future.

ABC is in talks to bring another genre show to television–a live action Star Wars show. I really hope this happens, not because I care whether there is a weekly Star Wars show but because maybe this would lead CBS (who appears to own the rights, but it is somewhat murky) to counter by returning Star Trek to television. Star Trek worked far better as a weekly series than intermittent movies which are forced by market demands to be big action movies.

After Disney purchased the rights to Star Wars, there was talk of expanding the Star Wars presence at the Disney’s Hollywood Studios theme park. I expressed skepticism over speculation that they would  get rid of Muppet Vision 3D and the Honey I Shrunk the Kids Playground for this expansion. Earlier in the week I was looking at the refurbishment schedule at Walt Disney World and noticed that Muppet Vision 3D is closed August 6 through September 2 for refurbishment. In addition, the Honey, I Shrunk the Kids Playground will be closed September 3 through November 19 for refurbishment. They might not be around forever, but it doesn’t appear likely that they plan to remove them in the near future. As is usually the case at WDW, other areas will also be closed during these times. The most significant is that Spaceship Earth will be closed August 18-24.

mulgrew

On Orange is the New Black, Kate Mulgrew ran the prison kitchen instead of the Starship Voyager. She was interviewed by Vulture, and told about one Star Trek reference thrown into the show:

At one point Natasha Lyonne has a line, “I thought I was your Spock.”
Yes, they threw that in. I’m sure they’ll do some more of that. I think that was intentional and very clever!

Speaking of Star Trek, Blastr describes how the show was saved by Lucille Ball.

In 1965, Roddenberry got a pilot order from NBC and produced the original Star Trek pilot “The Cage.” It was rejected by the network, reportedly because it was “too cerebral,” and for most shows that’s where the story would have ended. Luckily for Roddenberry, he had Ball on his side. The story goes that she still thought the Star Trek idea had legs, and used her considerable influence in television to push for NBC to give Roddenberry a second chance. The network made the exceedingly rare move of ordering a second pilot from Roddenberry, who overhauled almost the entire cast of characters from “The Cage” and eventually produced “Where No Man Has Gone Before.” That pilot was accepted, the show was given a series order, and the rest is history.

Damian Louis interviewed about his role on Homeland in the video above.

Anna Torv returns to television following Fringe in a show expected to air on HBO next year. Torv will play a lesbian yoga instructor.

Yvonne Strahovski as Hannah McKay (Season 7, episode 6) - Photo: Randy Tepper/Showtime - Photo ID: dexter_706_0087

We don’t know yet how Dexter will end but executive producer Sara Colleton realizes that she can’t make everyone happy.

“This has been the ending that we have talked about for years,” she said. “So to us, it feels right for our show and how we feel about it. I hope fans will think it’s right [too].”

The exec conceded that there is no way to make “everybody happy” with the conclusion of the Michael C Hall series.

“At the end of the day, we know that you’re damned if you do and you’re damned if you don’t,” she said. “There will be people who hate it, but we can’t try to anticipate that or put it through the lens of any other show’s finale – because that was another show.

“This is our show. This is Dexter.”

It is hard to believe that things will end well for Dexter Morgan. Multiple routes to doom have arisen this season. So far this has included Dr. Vogel and Deb when she is in a crazy mood. Last week episode showed two additional threats. He has decided he wants to be a mentor to Zach Hamilton, but Zach appears unhinged enough to turn on Dexter. Then there was the return of Hannah McKay.

Having a hard time waiting until Game of Thrones returns? The White Queen on Starz might help.

Piracy drops when there are legal ways to view shows. It comes as no surprise that piracy has spiked in response to the Time Warner cable blackout of CBS.
Please Share

SciFi Weekend: Doctor Who; Sherlock; Star Trek Into Darkness; Veronica Mars; Firefly; Batman; Pepper Potts; Gwen Stacy Meets Mary Jane Watson

Doctor Who returns March 30. Trailer above.

Here is an interview with Matt Smith on the Jonathan Ross Show. For those who are just interested in the Doctor Who Clip, here is a clip from The Bells of St. John, which appears to take place shortly after Clara first enters the TARDIS  (which has a new look):

Here is an interview (audio only) with Jenna-Louise Coleman and producer Marcus Wilson:

Executive Producer Caroline Skinner is leaving Doctor Who. Faith Penhale, head of Drama at BBC Wales, will be producing the 50th Anniversary episode. Steven Moffat has gone through three executive producers but rather than dwelling on rumors of conflict, let’s look back at the days when Julie Gardner spent four years working with Russel T. Davies. Above is The Ballad of Russell and Julie. This is a must-see video for Doctor Who fans who have not seen it yet:

They are starting filming on the third season of Sherlock and Benedict Cumberbatch has confirmed that he is willing to return for a fourth season:

“We’ve already agreed to two more series”. Those were the seven words Benedict Cumberbatch uttered today that set a sizeable section of the internet afire. Speaking at this afternoon’s South Bank Show Awards, the Sherlock and Star Trek: Into Darkness actor revealed, “All I know at the moment is that I’m doing these three and another three”.

Cumberbatch recently won a British Press Guild award as Best Actor. Interview with him above.

Alex Kingston is also interested in returning to Doctor Who as River Song:

I’m so attached to that character. I never expected her to grow and develop in the way she has. You never know whether she’s going to be hard-ass or good. As long as Steven Moffat has storylines that include her, I will always say yes.

Star-Trek-Into-Darkness-Cumberbatch-Quinto

Damon Lindelof on Star Trek Into Darkness and the secrecy surrounding the movie:

“If the first movie was about meeting and introductions, this movie is about becoming a family,” Lindelof said. “The title of the movie is not just about the mission that the Enterprise is going on but what happens when you get to know each other a little better and the hurdles you must jump over in order to truly become family.”

“If anything, we’ve become more terrified,” he said. “We kind of got it right the first time, [we thought], ‘Let’s really not screw it up this time.’ You really have to honor the 40-plus years of canon and legacy that this amazing franchise had before we put pen to paper.”

Lindelof said they settled on the villain for the movie and decided very early on to say little about him — apart from the fact that Cumberbatch’s antagonist is named John Harrison.

“The audience needs to have the same experience that the crew is having,” Lindelof explained. “You’re Kirk, you’re Spock, you’re McCoy, so if they don’t know who the bad guy is going to be in the movie, then you shouldn’t know. It’s not just keeping the secret for secrecy’s sake. It’s not giving the audience information that the characters don’t have.”

Game of Thrones returns March 31. Trailer above.

As I posted earlier in the week, I am helping to finance a Veronica Mars movie. Along with over 50,000 other people I have pledged money for a Kickstarter campaign which made its goal the first day. Don’t let that stop you from pledging–the  more money that is pledged the better the movie might be.

The success of this Kickstarter campaign immediately led to speculation that this might be done to finance other genre movies, and Firefly was one of the first to come to mind. Buzzfeed spoke with Joss Whedon:

Buzzfeed talked to Whedon, a long-time Veronica Mars fan, and he admitted that he was thrilled to see the movie project funded, and funded in the way it’s been. “It feels like a real game-changer”, he admitted.

And then the obvious question. Is this something he’d consider to get more Firefly off the ground?

“I’ve said repeatedly that I would love to make another movie with these guys, and that remains the case. It also remains the case that I’m booked up by Marvel for the next three years, and that I haven’t even been able to get Dr Horrible 2 off the ground because of that”.

He added that “I don’t even entertain the notion of entertaining the notion of doing this, and won’t. Couple years from now, when Nathan’s no longer [working on] Castle and I’m no longer the Tom Hagen of the Marvel Universe and making a giant movie, we might look and see where the market is then. But right now, it’s a complete non-Kickstarter for me”.

Whedon suggests that Kickstarter “doesn’t just open the floodgates”, although we’d imagine that a flood of projects will be testing the water very shortly. He clearly still sounds keen to make more Firefly, though, and we’ll keep you posted as we hear more…

Batman in the Movies.

pepper-iron-man-3-trailer

Pepper Potts is no damsel in distress in Iron Man 3. From Marvel Studies President Kevin Feige:

In this movie [Iron Man 3] we play with the convention of the damsel in distress. We are bored by the damsel in distress. But, sometimes we need our hero to be desperate enough in fighting for something other than just his own life. So, there is fun to be had with ‘Is Pepper in danger or is Pepper the savior?’ over the course of this movie.

In the comic books she does get a taste for the suit and becomes her own hero named Rescue, who doesn’t necessarily battle other people, but is on missions to help people and to save people. Will we do that down the line with Gwyneth Paltrow? Who knows. But her being in the suit is something we have been playing with since ‘Iron Man 2,’ where we did some designs and it didn’t end up fitting in that movie.

Emma Stone (Gwen Stacy) meets Shailene Woodley (Mary Jane Watson). More Amazing Spider-Man 2 set photos available here.

Gwen Meets Mary Jane Spider-Man

Please Share