The CW Network has released the above extended preview of this week’s crossover episode between Supergirl, The Flash, Arrow and Legends of Tomorrow. Bleeding Cool provides the comic book background of the Dominators, the alien villains for the episodes.
Reportedly Supergirl doesn’t get involved until the end of Monday’s episode, presumably putting the main story lines for the other three shows on hold this week. Maisie Richardson-Sellers, who plays Vixen on Legends of Tomorrow, gave a hint about what is coming up in an interview with CinemaBlend. She said that Rip Hunter “does come back, just not necessarily the Rip that we remember. That’s sort of what is a big part of the second half of the season.” As the show involves time travel I wonder if it will be a version of Rip Hunter from before he created the group, or one from the future. I suspect that there is also a connection to the warning from future Barry Allen revealed earlier this season.
The real world reason that Arthur Darvill left the series for a while was to return to his role in Broadchurch for its third and final season. Besides Legends of Tomorrow, Broadchurch, and Doctor Who, Darvill wants an upcoming role in yet another franchise. He has expressed an interest in playing Young Dumbledore, who will be appearing in the sequel to Fantastic Beasts And Where To Find Them. More on what other former cast members of Doctor Who are doing below.
Changing the gender of characters in a remake has worked well in the past, such as with a female Starbuck in Battlestar Galactic. It will be interesting to see what they do with the role of Dr. Smith on the Lost in Space remake, with Parker Posey to play the character. Hopefully the Lost in Space remake is also like Battlestar Galactica in being much better than the original.
We already knew there would be a female lead on Star Trek: Discovery. Michelle Yeoh, who previously stared in Crouching Tiger, Hidden Dragon, has been cast.
There were recently reports that the proposed television series of The Inhumans was to replace the movie. It has more recently been announced that The Inhumans movie is still planned, and the first two episodes of the series will also be shown in Imax theaters. From The Hollywood Reporter:
On Nov. 14, the Disney-owned network said its straight-to-series order for Marvel drama The Inhumans will include a debut in more than 1,000 Imax theaters in 74 countries. The first two of the eight-episode series — about a race of superhuman heroes (among the more popular characters in the Marvel universe) — will run for two weeks starting Labor Day 2017 before airing as part of ABC’s fall lineup.
The deal marks the first time a TV series will have its premiere on the big screen. And it gives ABC a way to “event-ize” Inhumans in the crowded fall TV space, where launching a show is a multimillion-dollar investment. “We think this is a quadruple win — a win for Imax, a win for Marvel, a win for ABC Studios and a win for ABC to launch a show in an innovative way and get attention,” Disney-ABC Television Group president Ben Sherwood tells THR. The Imax pact is the first of what Sherwood hopes will be several innovative ways to launch programming.
As part of the agreement, the first two episodes will be shot entirely with Imax cameras, with subsequent action scenes — some of which will be set on the moon — also filmed using the technology. Sources say Imax is paying for the first two episodes (ABC won’t reveal the budget; the show hasn’t begun casting), offsetting the hefty costs associated with the pilot and helping to make the deal more attractive to producers ABC Studios and Marvel Television. ABC will then take the Imax episodes and expand them with additional content for broadcast. ABC, Imax and Marvel will each mount tailored marketing campaigns for Inhumans, what analysts see as a can’t-miss cross-platform push…
ABC also hopes that Inhumans — which is not a spinoff of the network’s Agents of SHIELD and does not replace the planned feature film — will have a halo effect on the veteran Marvel drama as well. The network hopes fanboys flock to see Inhumans in theaters and follow the show to the network, bringing in new viewers who may not already be watching SHIELD (provided the latter returns for a fifth season next fall.)
Matt Smith experienced danger when he played the Doctor, and faced some unexpected excitement during the filming of The Crown. He was relaxing in a Cape Town bar and wound up being held at gunpoint. He didn’t even have a sonic screwdriver to defend himself with. The fame he experienced from his role on Doctor Who has given him some insight into playing Prince Philip:
Smith says he can relate to his character Prince Phillip, because of both the “crazy shit” and the amount of public interest, after he was cast in Doctor Who.
“Every single part of my life was affected,” he said. “You have to be hyper-aware, because Doctor Who is a children’s show ultimately, and you have to behave accordingly, I suppose.
“I went from being an actor doing theatre and stuff, to overnight being on the front page of every newspaper. There’s journalists going to my granddad’s house offering him £40,000 [for gossip]. Nothing can prepare you for that.”
Billie Piper also discussed how her role on Doctor Who has affected her life and her career in an interview with ES Magazine. Digital Spy has some excerpts.
Her portrayal as The Doctor’s brave friend Rose Tyler undoubtedly set the mark for all future companions, and her two series remain a golden era for many fans.
In the latest issue of ES Magazine, Billie looks back fondly on Doctor Who ten years on – while also admitting that working on the show seemingly non-stop in Cardiff took a toll on her private life.
“I’m quite a homebody and I missed London so much,” she recalled. “Also, it makes you so famous, a show like that.
“It gave me little memories of being a popstar – you can’t go anywhere without it being a thing, and I found that quite hard again. But it changed everything for me. And I have never worked with a nicer bunch of people in my life since.
She also said she is sick of being sent hooker roles and is working on her own show about “two London women in their thirties and everything that comes with that.”
Billie Piper’s “hooker roles” included scenes on shows such as Secret Diary of a Call Girl and Penny Dreadful which could never appear on Doctor Who. They had to be more subtle with regards to sex. Radio Times has put out a list of 10 adult jokes in Doctor Who you might have missed.
This week I’ll start with two shows which a lot of time could be spent on to interpret their full meaning–Westworld and Mr. Robot. Both deal with technology, but only one is really about robots. Westworld started out with a slow presentation of the story over the first five episodes and then a lot more happened in the last two, with another episode on tonight. Spoilers ahead related to the first seven episodes, along with fan theories which may or may not be true. Last week’s episode Trompe L’Oeil confirmed what many of us suspected about Bernard being a host–and at times I wonder if even more characters we see as people are actually robots.
For the more casual viewers, here’s some clues to watch for which gave Bernard away, and are worth watching for regarding other characters. Hosts are programmed not to see some doors that humans can see. Hosts are also literally blind to other things as well and it was a huge clue earlier in the season when Ford showed Bernard a picture which Bernard said didn’t look like anything. Episodes typically begin with scene involving a host waking up for the day but they only seemed to break with this by showing Bernard waking up. The big question remains as to whether Bernard is in the image of Arnold.
The last episode also confirmed what was widely suspected–that Ford is evil, and provided more evidence of the theory that we are seeing at least two different timelines, with William later becoming the Man in Black. It is notable that the scenes from when William first arrived show what appears to be an older version of a Westworld logo. They both use the same knife, and they both wear collarless shirts. William’s white hat is getting dirtier, and darker, the longer he is in Westworld. We have been told that disease has been eradicated in the outside world in The Man in Black’s time, but William was asked about pre-existing health conditions when he first arrived. William’s said things to Delores in the last episode which were remarkably like what The Man in Black said in an earlier scene in the series.
The fan theories regarding William becoming the Man in Black and Bernard being a host (possibly based upon Arnold) are two of the most discussed ideas, but there are many more floating around, such as this about Mauve’s escape plan. The show also has a tremendous number of Easter eggs. Some are obvious, such as an image of Yul Brynner from the original movie in the background. There are others which I would have never picked up on if I wasn’t tipped off by others. For example, the meaning of the robotic player piano is fairly obvious. What is less obvious, as the lyrics are not heard, is that the lyrics to many of the songs played are directly related to what is happening on the show (giving a reason for why modern songs are often played).
In actual news, Ed Harris has confirmed that he will be returning for the second season of Westworld. I hope that this doesn’t blow up anyone’s favorite theory about the show.
Recode Decode interviewed Mr. Robot creator Sam Esmail, with full transcript here. The conversation includes the hacker world, technology, Westworld, and Donald Trump. Here are some excerpts:
What was the impetus for you when you were writing it? What were you trying to do there?
There were three things. Initially, it was, I just need to write something about the hacker culture and tech culture that I didn’t think was being represented. So that was in the back of my head for years, since I was 14 and I was like, “Oh, that will be a great movie. I don’t know what it is yet, but I’m going to come up with the idea.”
I always start with characters, so I started thinking about the character of Elliott. And then 2008 happened, the financial crisis. And I was like, “Oh, it’s gotta be …” And you know, Anonymous, the hacking group, had just come out. And LulzSec. So I was like, “Okay, this is kind of like the sort of group that Elliott might be involved in or might partake in.”
And then the 2008 financial crisis happened. I was like, “Okay, this is awesome, it’s going to be an anti-capitalist, anti-establishment character who’s angry and who wants to take down the system.” And then I cooled off a little bit because I was like, “Who wants to hear a guy rant about that for hours and hours?” I thought that would get a little grating. And there wasn’t a humanity to it. So I went away from that. It stayed in there, but the character wasn’t complete yet.
And then the Arab Spring happened and, you know, I’m Egyptian, so I have a lot of family out there, a lot of cousins. I went out there about nine months after the revolution happened to just talk to my cousins, who were young, who were online, who were part of that whole movement, using technology and honestly just channeling that anger that they had against their country, against the way their society was being run, in a really positive way. That was the missing piece. That was the thing that really moved me…
I was watching “Westworld” and it’s again, technology — although it’s humanity in that particular series. But go ahead.
So to me, I feel like obviously, as younger writer/directors come up and they kind of understand it and then want to represent it more authentically, hopefully that mindset will change in Hollywood. Because in terms of just the old-fashioned thing, and then we talked about Donald Trump, those rules just don’t apply anymore. There aren’t 400-pound guys who are devilishly sitting behind a keyboard wanting to change the traffic lights, you know?
I think a lot of it came from the original Matthew Broderick movie, “War Games.” You know what I mean? That really had an impact on people of how the hacking culture [worked]. To me that was the biggest success, I guess.
Well, “Sneakers.” Although I don’t know if “Sneakers” …
With Robert Redford.
But that’s a great movie.
It is a great movie.
Yeah, yeah, yeah.
But one of the things that is important to me is that technology is also a situation that’s ruining their business. The Rubicon has been crossed. People are streaming on phones. Amazon and Netflix are disrupting their business incredibly, so there’s a real fear of the technology, too.
It’s the fear that’s going to kill them, not the technology. Look at Netflix. They’ve pounced on that. They’ve taken that as an opportunity to say, “Well, if no one else wants to embrace the technology, if no one else wants to say ‘hey, no, this isn’t something to be scared of but an opportunity to expand and offer entertainment in a way that wasn’t offered before,’ then we’ll do it.”
And they’re doing it really well. And I think that’s the thing. Even the way films are made right now, they’re talked about as universes, franchises, right? So it’s not just about one movie anymore, it’s about how many movies can you make off that one movie, and how many toys can you make and how many video games. You know, it’s now this whole kind of universe.
See, to me, it’s still an antiquated way of thinking. Because when you watch all movies … I think I watched “Mr. Robot” on my phone, the whole time. How do you, as a creator, how do you think about that? Are there creators like you? You’re obviously illuminated about technology. But do they understand what’s happening? When Google becomes a studio, when Facebook becomes critically important to distribution of entertainment.
I don’t know if they do. And this is the worrisome part. For example, we’re doing a book, but the book is not a marketing opportunity, the book is its own standalone thing, and it’s an interactive thing. It’s not just a book you read, there’s layers to it. A little bit like that J.J. Abrams book “S.” So that’s a thing.
And then we had a mobile game that we released, which is awesome and that is a story. So it’s not just a game that you play and again, not just a marketing fodder for the show, it’s its own story and all these little pieces you can embrace. That’s sort of the universe-building, that’s the world-building of the future. That’s why when/if Google becomes a studio, or Facebook becomes a studio … Oh, we also did a VR film, which is also another story that’s kind of like in between a couple episodes…
And then my last question: I interviewed Elon Musk earlier this year at our Code Conference, and he talked about a lot of things. He talked about going to Mars, he talked about his cars, a bit of everything. But then we moved into the idea of artificial intelligence and whether we’re all in a big game. He believes this is all fake.
Simulation. But he was talking about the idea of artificial intelligence, and that the best case scenario, given your stories about the power of technology, is that we’re all going to end up in the most benign sense, as house cats to computers. And they will take our places.And the only way we can battle it is by attaching neural networks to our own brains.
This is the whole singularity thing: Will machines evolve faster than us? And honestly, you can’t avoid saying yes to that question, because why wouldn’t they? They would just have much more power, much more processing power. And so it’ll come down to that spiritual question, and it’s a tough one: Is there something different about us that a machine won’t have? Is there that soul that a machine might not … I mean, they might have the faster brain, but are we just neurons and electrical impulses, or is there something more to us than that? I don’t know the answer to that.
Because I think your show is about humanity, it’s not about tech at all.
Well, exactly right. I think we tried to. In a weird way, we try and fight against our humanity. I don’t see my friends anymore. I don’t even call them anymore. I text them. We’ve devolved our communication. I remember when texting came out and it was so popular and I was like, “Wait a minute, we used to call each other on the phone, we used to hear each other,” and we would get so much more information out of that, but now we’d just rather text because of our own whatever, I don’t know what it is. Is it just easier or more efficient or too neurotic to get on the phone? I don’t know.
Sam Esmail has also “leaked” a page from a Mr. Robot script in which Elliot’s psychologist asked why he is so disappointed in society. Elliot’s answer: “Oh, that’s easy. Donald Trump was just elected president of the United States.”
Westworld is not the only current television show dealing with artificial intelligence. Humans is already into its second season on Channel 4 in the U.K. I’m currently behind (and even if I wasn’t I would avoid spoiling it for those who are waiting for it to be more easily available in the United States), but it did get off to a good start. So, to keep this all straight, Westworld and Humans are about robots, but Mr. Robot is not.
A sneak peak of the Doctor Who Christmas special was released at Children in Need (video above). Radio Times listed what we have learned.
In other Doctor Who news this week, Steven Moffat might create some controversy with his argument that the Doctor’s companion should always be a female:
Science-fiction is notoriously male. You can tell that because everyone wears uniforms and marches around talking about rules. But Doctor Who has always felt to me, rather female. It’s full of kindness and compassion and eccentricity and wisdom instead of violence. And from that point of view it is important that the main character, the Doctor’s best friend, should be female. I think it would be damaging to Doctor Who if that voice and viewpoint were not represented.
There have been male companions such as Rory and Captain Jack, but there were also female companions at the time. Classic Who also included some male companions, including Ian at the beginning and later Harry Sullivan and Adric. Generally there were also female companions along with male ones. (I am only speaking of companions present for a prolonged period of time, not isolated events such as Christmas episodes).
This argument also does not answer what will happen if there is ever a female Doctor.
Moffat was also asked recently whether the Doctor’s daughter, as played by Georgia Moffat, will return. He has no idea. He said it is doubtful that David Tennant’s duplicate Doctor would even return as, should they have the opportunity to use Tennant again, “then we would bring back David playing the real Doctor, and not a substitute Doctor.”
Karen Gillan has explained why she used such a husky voice in Guardians of the Galaxy.
After the final curtain calls that night, Brandon Victor Dixon, the actor who portrays Aaron Burr, stepped forward with a microphone to directly address Mr. Pence, who was leaving the theater. “We, sir — we — are the diverse America who are alarmed and anxious that your new administration will not protect us,” he said. He added that he hoped “this show has inspired you to uphold our American values and to work on behalf of all of us. All of us.”
Mr. Trump quickly made it clear on Twitter, his social medium of choice, that Mr. Dixon and the “Hamilton” team had been “rude and insulting” and owed Mr. Pence an apology. At first, a part of me could see Mr. Trump’s point, or at least feel a shudder of embarrassed empathy for Mr. Pence. If someone were to single me out for a direct plea from the stage in a large theater, I would no doubt want to run home, dive into bed and bury myself under the covers. (Mr. Pence, speaking on “Fox News Sunday,” said he was not offended by Mr. Dixon’s words.)
Greg Berlanti discussed last week’s episode of Supergirl, including the scenes with Alex coming out:
“It didn’t start with, ‘Oh we want one of the characters to come out. Which one should it be?'” executive producer Andrew Kreisberg told E! News. “It really came out of exploring Alex and finding out how we can go deeper with Alex this season, what makes her tick and what drives her. Why is she the person she is? It made sense for Alex, as opposed to this sort of mandate that we had to do this.”
As Kreisberg explained, this revelation is going to allow for a happier, more fulfilled Alex—and that’s a good thing. “I’ve always loved Alex as a character and part of that is there’s always been this twinge of sadness about her, which I don’t think I or anyone could ever quite put their finger on,” he told us. “And this season, we’re really getting at that. And the notion that Alex is going to be truer to herself and come out and be able to lead a full and complete and happy life, if you love Alex, then you love that this is happening for her because it means she’s going to be happy in a way that she wasn’t able to be before.”
He also discussed the other major revelation in last week’s episode:
Can we trust Lana (Katie McGrath) now that we know what her mama’s up to?
“I want you to not be sure. I think that’s what’s most interesting, that you don’t know where Lena stands or whose side is she on. She does have this very powerful name, and it’s a name that connotes death and destruction and mistrust. We sort of say in a later episode, Kara was lucky enough to be adopted by the Danvers, this beautiful, loving family. And Lena was adopted by these monsters. How much is nature versus nurture makes up the suspense of these next few episodes. And the season.”
Andrew Kreisberg has more on Supergirl, including shooting down a fan theory about the upcoming Cyborg Superman episode.
Supergirl wasn’t the only show in the Berlantiverse to apparently have a big revelation. Arrow seemed to give the identity of Prometheus. I suspected misdirection when viewing the scene, and Buddy TV is even more adamant that Quenton cannot be Prometheus. We shall see how this all turns out over the course of the season.
Whenever Arrow decides to enact its endgame, should Oliver pay a price for his practice of taking other lives in the name of vengeance and justice, law and order? “It’s a great question,” says Guggenheim. “There’s an element of this show that’s very Sons of Anarchy to me, which had a similar question: Was there any redemption to be had for Jackson?” (If you don’t know how things ended for the outlaw biker played by Charlie Hunnam, we won’t spoil it for you. Get thee to Netflix!) “I will say that I have a very specific notion as to how I would like to see the series end.”
But Amell does believe Arrow has reached a crossroads. “I do really believe that this season is sort of a throw-down-the-gauntlet year for us, where we’re either going to do what we do and do it well or it’s the last year,” he says. “If we find that magic formula — which is not magic, it’s just hard work and playing to your strengths — then the show could go on for a really long time.”
The CW Network must be happy with the rebooting of Legends of Tomorrow. The season has been extended from thirteen to seventeen episodes.
CW has released the above promo of the crossover event involving Supergirl, Arrow, The Flash and Legends of Tomorrow, which starts November 28.
NBC also had an episode with a big revelation–which might also be misdirection. TV Line looks at whether Red really is Liz’s father on The Blacklist.
CBS is considering a spinoff of The Big Bang Theory entitled Sheldon. It would be a prequel about Sheldon Cooper at age 12.
I had contemplated having a longer section on the reaction of people in the entertainment industry to the election of Donald Trump but do not have time for that now. I will save the post-election material for another date, but do highly recommend the video below. Benedict Cumberbach presented The Tale of the 2016 U.S. Presidential Election before the results were in, while visiting James Corden. The video mocks both Clinton and Trump. I purposely am not giving examples of the lines in the tale so they can be enjoyed as the story is told, but if you insist upon reading about it first, you can check here.
The Mirror reports that the BBC wants Doctor Who to feel like”a brand new show” with the upcoming change in showrunner.
BBC bosses want Doctor Who to feel like “a brand new show” under incoming boss Chris Chibnall… so we can expect a whole new line-up in 2018.
Insiders say the Broadchurch writer will have a “clean slate” to start afresh for his first series – rather bad news for actress Pearl Mackie, who plays new assistant Bill in Steven Moffat’s last run, currently filming for next year.
Pearl, 29, yet to be seen by viewers, is said to have been signed on a one-year contract and is expected to depart with Peter Capaldi , 58, and Moffat after 2017’s Christmas special.
The replacement Time Lord is likely to be played by a younger actor in a bid to help boost the flagging sales of dolls, books, DVDs and toys.
Our source says: “BBC management wants a return to the format from the David Tennant era, when you had a dashing male lead and young female companion.
“Merchandising has dropped off sharply in recent years and there is a strong desire to boost the show’s popularity among kids.”
A 1980’s news cast (video above) reports on the disappearance of Barb, as seen during the first season of Stranger Things. The newscast also provides further evidence that Eleven is still around. It should come as no surprise that she is returning, despite the first season finale leaving things ambiguous.
NBC has extended Timeless from thirteen to sixteen episodes, to run in two blocks, between November 14 and December 12 and from January 16 to February 20.
Showrunner Ray McKinnon explains why you can’t multitask and keep up with Rectify, and discusses the upcoming fourth and final season
Parks and Recreationpredicted the victory by the Chicago Cubs in the World Series. Since the series ended, Michael Schur has moved on to new show, The Good Place. It returns for its four final episodes of the season on January 5. Michael Schur discussed what will be happening with Entertainment Weekly. Think love quadrangle.
Last week’s episodes of The Flash revealed the secret behind the new version of Harrison Wells, as well as dealing far more with Caitlin’s powers–which should be a major focus for the upcoming episodes. More at The Nerdist.
Besides the major crossover involving all of the Berlantiverse shows, there will be a Glee reunion with Melissa Benoist and Grant Gustin doing a musical crossover between Supergirl and The Flash. Now there is talk that Legends of Tomorrowmight get involved to at least include Broadway veteran Victor Garber.
Lexa Doig has been cast as alia al Ghul, daughter of Ra’s al Ghul and half sister to Nyssa al Ghul, on Arrow.
Spoiler TV has some teasers regarding season four of The 100.
The biggest genre event of the week was the opening of Doctor Strange. It is too early to have any spoilers about the movie here, but here are a number of links for those wanting to read more:
Moving on from Doctor Strange to another Doctor, I previously posted about plans for an animated version of a lost Doctor Who story, The Power of the Daleks. Inverse calls it essential viewing, and has updated information.
When the BBC purged their archives in 1974 to make room for more film, “The Power of the Daleks,” the Second Doctor’s introduction to the show, was lost in the process. “The Power of the Daleks” is not the only serial or episode lost to time; there are dozens of episodes that have never been seen by modern audiences. But “The Power of the Daleks” is the first one to be made in what is assumed to be a shot-for-shot remake. It’s animated and, of course, in black and white, but Troughton’s Doctor and Anneke Wills’s Polly will probably be no less charming.
Matt Smith is back playing a character in the past on television, with Netflix releasing The Crown last week. Claire Foy (who previously played Anne Boleyn in Wolf Hall) makes an excellent companion for him as Queen Elizabeth. Much of Matt Smith’s character can be seen in his portrayal of Prince Phillip. I was not surprised to see him handle an elephant in Nairobi, expecting him to pull out a sonic screwdriver or explain handling the elephant by saying, “I speak elephant.” When he protested playing second fiddle after Elizabeth became Queen, I half expected him to protest that he is a Time Lord of Gallifrey.
The series starts with Elizabeth and Phillip before Elizabeth became (spoiler?) Queen and was forced to fulfill what was expected of the role. They have great chemistry together and someday I would like to see Foy and Smith together again, possibly in another period piece, in which they can remain young and carefree, without having to fit into their historical roles on this show. The actual history along with a look at the series are discussed at The Guardian.
Matt Smith was able to get some tips on playing royalty from Jenna Coleman, who is staring in ITV’s Victoria. This means that Smith is playing Coleman’s great-great-grandson-in-law. It will take a TARDIS to get them back together.
While Matt Smith and Jenna Coleman are busy playing members the royal family, Karen Gillan is preparing to direct, as well as write and star in, and independent movie named Tupperware Party, which is being filmed in Scotland.
Also in the Doctor Who universe, I got a chance to watch the first three episodes of Class while flying home last weekend. I was impressed that each episode was better than the previous. I have not seen the fourth yet, but have heard it couldn’t continue that trend, but look forward to further episodes.
Variety reports that Bryan Fuller has stepped down as show runner of Star Trek Discovery.
The decision was made late last week to hand the day-to-day showrunning reins to “Star Trek” exec producers Gretchen Berg and Aaron Harberts as “Discovery” gears up for the start of filming next month and a May 2017 premiere date. Fuller, who will remain an executive producer, will still be involved in breaking stories, and the show will continue to follow his vision for the universe that this latest “Trek” series will inhabit. Writer-director Akiva Goldsman is also expected to join “Discovery” in a top creative role…
Sources said there had been some strain between “Star Trek” producer CBS Television Studios and Fuller over the progress of production on the show, as Fuller is also juggling the final weeks of shooting and post-production duties on Starz’s upcoming drama “American Gods” and prepping a reboot of “Amazing Stories” for NBC. Fuller has penned the first two scripts for “Discovery” and has hammered out the broader story arc and mythology for the new “Trek” realm
It was previously announced that the show will have a female lead. The Hollywood Reporter has information on the rest of the crew: “the rest of the cast also will feature an openly gay actor as one of the male leads (which Fuller confirmed), a female admiral, a male Klingon captain, a male admiral, a male adviser and a British male doctor.”
It is now official that Sherlock will return in the US and the UK on January 1. Trailer above.
Saturday marked the 50th anniversary of the first regeneration of Doctor Who when William Hartnell was replaced by Patrick Troughton. Now we anticipate such changes, but it sure must have been a surprise to viewers to see the lead in the show change in such a unique manner.
Inverse looks at what we know so far about the upcoming superhero-themed Doctor Who Christmas Special (sneak peak video above):
“The Christmas specials generally always have a kind of warmer feel … this Christmas special that we’ve done … has caught the feeling of that kind of superhero movie,” Capaldi said in new sneak-peak from BBC America. He also called this superhero “ironic” and “funny,” but made it clear that this would be a legit superhero story in that it would be “quite exciting.”
The new clip from BBC America isn’t a full trailer, so we don’t have much new information about the superhero, still only mysteriously known as “Grant.” Reiterating his previous comments from New York Comic Con, Who showrunner Steven Moffat said that he feels the best superhero story is still “Clark Kent,” which doubles-down on the idea that this story and “Grant” in particular will be more focused on a secret identity than a story about superpowers.
Humans returns on Channel 4 this week. Den of Geek has interviews with members of the the cast.
The Hollywood Reporter looks at what happened on the DC shows on Fox and The CW Network last week. This includes the revelation on Gotham that Penguin is gay, and speculation that Alex Danvers on Supergirl is also gay. We have a new version of Harrison Wells (who presumably will turn out to be evil) and the return of Killer Frost on The Flash. We are going to get yet another superhero on Arrow with District Attorney Adrian Chase becoming Vigilante. Legends of Tomorrow potentially has major changes for Ray Palmer (unless he just rebuilds his A.T.O.M. suit) and a mysterious warning from Barry Allen of 2056.
If there wasn’t already far too many genre related shows to keep up with, Greg Berlanti of CW’s DC superhero shows and Jason Rothenberg, show runner of The 100, are working together on a new show for The CW Network. Deadline reports:
Written by Rothenberg, Searchers is about a group of unlikely heroes who find themselves on the journey of a lifetime. Ten years after the death of their parents, a pragmatic brother and free spirited sister are forced to team up when they learn that their mother’s terrifying and bizarre stories may be a road map to discovering the great legends, myths, and unexplainable mysteries of the world.
Girlmore Girls returns on Friday, November 25. Perfect for an all-nighter after Thanksgiving dinner, and can be completed with plenty of time to spare before the Michigan-Ohio State game. Netflix released the official trailer above, complete with Wonder Woman and mention of Superman.
Gilmore girls makes its much-anticipated return with four memorable chapters from the lives of Lorelai, Emily, Rory and countless more Stars Hollow stalwarts. Picking up nine years after we last dropped in on the whimsical Connecticut town, Gilmore girls: A Year in the Life finds each of our leading ladies at a major crossroad: Lorelai’s relationship with Luke is at an unnerving standstill; Rory’s budding journalism career in New York has stalled before it’s even begun; and Emily’s world is turned upside down following the untimely passing of her beloved husband, Richard.
Gilmore girls: A Year in the Life is told through four 90-minute chapters — each spanning one season: Winter, Spring, Summer, Fall — and brings back to life everything from the quaint corner diner to the dreamy Dragonfly Inn to a fast-talking, quick-witted mother-daughter love story unlike any other. Gilmore girls: A Year in the Life launches Friday, November 25, everywhere that Netflix is available.
This season has become a huge season for time travel, and this is reflected in most of the items today. One time travel series,Legends of Tomorrow has been rebooted, and the second episode was much more fun with the addition of The Justice Society of America. I had an introduction to its members last week. Marc Guggenheim discussed the meeting between the Legends and Justice Society in the video above.
Another aspect of the episode was the elevation of Sara Lance to the leader of the group, at least while Rip Hunter (Arthur Darvill) is missing. Marc Guggenheim spoke with Entertainment Weekly about how she handles her new role, along with some teasers about Rip:
“As you start to see her become more and more comfortable in being the leader of this rag-tag group, it’s so much fun to watch her,” EP Marc Guggenheim says. “The character’s embodying the role of a leader, Caity’s performance really embraces it. It turns out to be one of the most successful things we’ve done in season 2.” However, the next mission under her command won’t necessarily be to hunt down Rip Hunter. “That’s going to be something that’s always going on in the background, and in some cases the foreground, of the various episodes,” Guggenheim says. “To a certain extent, we don’t want to change the mission statement from fixing aberrations to going and saving Rip. The bat has been taken out of their hands because there’s no way to find Rip, so what would they do? You will find out [what happened to Rip] before the Legends do.”
The Flash began the season with Flashpoint based upon ramifications of Barry going back in time to save his mother. Todd Helbing, executive producer of The Flash, explained why Flashpoint was only in one episode when it was a much bigger story in the comics:
“I think anytime you do a story like Flashpoint, something as iconic as that, with the character restrictions that we had, it’s going ot be different than everybody expected,” executive producer Todd Helbing told ComicBook.com. “I think for us from a story point, when we talked about it originally it was going to be more episodes but what happens more often than not is that when you break the story you find that it would be a lot better and a lot more satisfying if you pulled up a lot of that information and put it in that first episode….It just became a much stronger episode if we just made it one as opposed to four or five, and then we could really kickstart the rest of the season after that. But Flashpoint or not, there are consequences going forward for Barry for what he did and those ripples he’s going to explore throughout the third season.”
The first cross over of the season was having Oliver Queen appear on the season premiere of Legends of Tomorrow, but a much bigger cross over is coming up. Marc Guggenheim has more information. The villain will be aliens called The Dominators. As for how Supergirl gets involved in events in our universe:
“Last year, Supergirl established that Flash was able to make his way to what I call Earth-CBS, and it stands to reason that, with the proper breach technology, the reverse can happen,” executive producer Marc Guggenheim told reporters Tuesday following a screening of this week’s Arrow and Legends of Tomorrow.
In the crossover, the heroes will team up to fight against the Dominators, who in the comics were a technologically advanced alien race that wanted to invade Earth and eliminate the threat posed by unpredictable metahumans — and they have similar motivations during the crossover. “Once the heroes realize that they’re up against aliens, they decide that they need an alien on their side,” Guggenheim says. “Fortunately, Barry knows a really nice one. I don’t think it’s a big shock that between Barry and Cisco, and all their experiences with Earth-2 and the multi-verse, that they can pluck her from Earth-CBS.”
Guggenheim also revealed that the crossover will actually kick off at the end of an episode of Supergirl, where Cisco (Carlos Valdes) and Barry (Grant Gustin) basically enlist Kara’s help. “Some people call it a four-way crossover because it involves four shows; my ulcer requires me to call it a three-part crossover,” Guggenheim explains. “The story that’s being told has a beginning, middle, and end: a beginning in Flash, a middle in Arrow, and an end in Legends. But Supergirl is very much a part of the whole thing, so we are crossing over four shows — four shows in three parts.”
Agents of SHIELD this year has combined the supernatural, the Inhumans, artificial intelligence, and the public reemergence if SHIELD. It looks like it would be helpful to be up to date on the comics to keep straight how this all fits together, especially with Doctor Strange to be released soon. Screen Rant explained how The Darkhold/Book of Sins fits into the Marvel Cinematic Universe.
When Cumberbatch was asked how he saw Doctor Strange fitting into the largest Marvel Cinematic Universe, the actor strayed away from talking specifics to avoid any undue spoilers. However, he did say the sorcerer would be “all over the place.”
“There’s a lot going on this story [Doctor Strange] that will lead you to understand why he’ll play a key role in the next phase,” Cumberbatch explained.
The actor also talked about how he felt now playing Doctor Strange. Cumberbatch said, “Obviously, you want to bring the character to life and tell this really incredible story.”
He continued and stressed that the character’s story is only started in Doctor Strange. “It’s only be the end of the film that you go, ‘Oh my god, this is the beginning.’ It’s an origin story of a superhero that’s going to be part of all of [the MCU].”
12 Monkeys was one of the top time travel shows of the past two seasons, and will add a real veteran of the time travel genre for its third season. Back to the Future star Christopher Lloyd will play the Pallid Man’s father. Showrunner Terry Matalas has more information on the upcoming season in an interview with Blastr:
What can you tell us about how Season 3 is coming along? Logistically how’s it going (as far as shooting, etc.), and creatively what are some things you’re looking to explore?
Matalas: We’ve just started production – right now, I’m surrounded by a small army of incredible cast and crew – but creatively, conceptually, thematically the season’s all there. Last season we really wanted to explore the biology — the psychology – of Time. We wanted to tell a big, ambitious, sprawling time-travel story that ended with a very intimate, heart-wrenching reveal. This season, it’s about going inward.
The stakes are deeply, deeply personal for Cassie and Cole. It’s really the a real time travel dilemma, the fundamental question: “If you knew that your child would one day grow to be the Devil, would you – could you – kill him?” Or is there another way? And what that struggle does to our characters as a team – to Cole and Cassie as a couple – how it divides and unites them – is going to make for some remarkable drama. In some ways it’s a more linear season, and in others, it’s more complex than ever.
What can you tell us about the opportunity to land Lloyd for this new role? Why is he the man for the job?
Matalas: The fantastic thing about this character is that it’s not even remotely stunt casting. Certainly, when you make a time-travel show, you carry an obvious list of influences – Back to the Future, Doc Brown, Marty McFly – but when you cast that show, you never want the actor to distract from the moment. It’s difficult to tell a story or create an emotion if you’re constantly winking at the audience. We aim for levity, sure, but we never put the bullseye on “meta.”
So when we came to this particular character – with this particular set of traits – with this particular heritage – Christopher Lloyd was not only an inspired choice, he was the right choice. Put a photo of Lloyd against a picture of Tom Noonan and there’s zero difficulty imagining them as father and son.
I finally had a chance to check out one of the new time travel series, Timeless, over the weekend. It is certainly not hard science fiction, but it was fun. After watching the first, I did want to immediately watch the other two episodes available. The explanation of how they travel through time was probably under a minute, mainly showing them folding over a sheet of paper as an illustration of how they move from one point to another. They showed by the end of the first episode that events in the past can be changed, and that this can and will impact events in the present. A small ship, which is no bigger on the inside than it is on the outside, holds a three person crew. They quickly dispensed with the idea of going back a few minutes earlier if their first attempt at fixing events in the past didn’t work with ominous warnings of severe consequences if they run into themselves. No mention if a different set of time travelers could go back if they don’t get it right the first time. So far the people in charge haven’t minded the minor changes (from their perspective) from the trips back in time.
Producers Eric Kripke (Supernatural, Revolution) and Shawn Ryan (The Shield),discussed the rules of time travel and other aspects of the show with (including a spoiler for those who have not seen the pilot) with Film:
Is there a butterfly effect every time they go back? Maybe not as drastic as in the pilot, but just being there changes things.
Ryan: Hopefully a lot of times our heroes will be successful and there won’t be any discernible effect. Sometimes there will be. One of our rules is whenever we can, if there’s a change, can it be specific and personal? The best example of that is the pilot when Lucy’s sister vanishes from the timeline. But we also can use it for comedic effect. I won’t give away too much but I think there’s a change in history after the German WWII episode that tickles my funny bone a lot.
We talk a lot about what the changes are going to be. The thing you have to remember is the only people that are truly aware of these changes are the three people that have this institutional knowledge that go away and then come back and find things are different. For everyone living in that world, that’s just the way the world is. For all we know, we know the world the way we know it but somebody could come right now and say, “This isn’t the way it’s supposed to be, guys.” For the audience, our heroes’ job is to preserve a recognizable reality. Things aren’t going to get too crazy and too weird if our heroes do their job. That said, there are going to be times where they can’t control everything and Flynn’s going to do some damage. They’ll come back and something will be different. But the goal is for our heroes to make sure the world stays recognizable.
You don’t have to go that far back to find time periods that aren’t good for black people or women. Is it different in every time they go back to? 100 years and it’s before women’s suffrage, further and it’s still during slavery.
Kripke: Yeah, we are not going to shy away from the reality of what it was like to be African-American or a woman in those time periods. It’s the truth of who these characters are and we don’t want to stylize it or sugarcoat it. One of the goals of the show is to present history as accurately as we can. That said, an incredible amount of history is from the perspective of rich white dudes. There were entire communities of African-Americans throughout all of history. There’s going to be certain doors that our two white characters cannot go through and Rufus can. We’re interested in illuminating some corners and stories in history that haven’t been told, some peoples’ history. Same for women before the suffragette movement and they had incredible challenges but they also had an incredibly sophisticated world of interpersonal relations that in a lot of ways wasn’t recorded by mainstream history. There’s aspects and corners of that world that we can explore too. So I don’t think it’s going to be a one-trick pony of every episode, Rufus confronts racism and Lucy confronts male chauvinism. I think the tapestry is a lot more complicated than that and we have every intention of depicting that.
The Doctor Who spin-off Class premiered on BBC 3 yesterday and will be on BBC America this spring. Peter Capaldi appeared in the first episode. Screen Rant has a spoiler free review of the premiere. They have more on the show, with mild spoilers, here. Plus here are seven reasons to watch Class.
We still have a long wait for the main show. Cultbox summarizes everything we know so far about the upcoming season of Doctor Who with quite an extensive list of links.
Nerdophiles has news from the New York Comic Con on the second season of The Man In The High Castle.
All four shows in the Berlantiverse have premiered on the CW Network for this season. (Spoilers ahead for those who are not up to date). The Flash returned with the long-anticipated Flashpoint story, and couldn’t keep up with the hype. Unfortunately it was all predictable that after saving his mother, some reason would come up which would force Barry to restore the time line. This combined both disasters for some of his friends with him developing the problem of losing his original memories. It was mostly resolved in the first episode, but the restored timeline did have some changes, such as Iris not speaking to her father. Almost everything was fixed by the end of the second episode. There is one change which does extend to Arrow–Diggle now has a son rather than a daughter (with the son seen in an episode of Legends of Tomorrow last season).
While The Flash got off to a mixed opening, Supergirl started the season strong with the introduction of Superman–now putting these two series out in front of the Berlantiverse shows. It was the perfect view of Superman for this series–the version from the latest movies certainly would not have fit in.
I bet nobody was surprised that Kara decided to become a reporter. The move of Winn from CatCo to the DEO is exactly the type of change which might be farfetched in the real world, but which fits into television reality. They hinted at changes for Cat Grant, which is probably a cover for Calista Flockart not going to appear as often due to the move of the show to Vancouver. It does make sense that Kara will not see her as much with the change from her personal assistant to reporter. She will have a new boss, with some information from Entertainment Weekly:
Kara’s working relationship with her new boss, Snapper Carr, is very different from the one she had with Cat Grant. “Cat — both with Kara and I think with others — is actually devoted to mentoring people,” EP Andrew Kreisberg says. “She challenges them hard, but she does that with the idea that she’s forging them and they’re going to come out the other side as stronger, better people. Snapper Carr doesn’t give a crap. He believes in the written word, in facts and ‘Are you good at your job or are you not? If you’re not good at your job, I don’t have time for you.’”
A clip from next week’s episode in which Kara meets Snapper Carr is above.
While The Flash was about Barry and Iris getting together regardless of the time line, Kreisberg has decided that Kara and Jimmy Olsen should just be friends. I just hope they stick with this decision. We have seen far too many Ross and Rachel situations on television.
Arrow has been on a downward trajectory since its superb second season, and it is too early to say whether it can move out of third place among the Berlantiverse shows. The first two episodes of the season have concentrated on building a new team, and have been rather unremarkable. Maybe once this is established the show will improve. At least the flash backs in Russia look more interesting than the flash backs from last season.
Legends of Tomorrow has been largely rebooted, but I’d still rank it as the weakest of the four seasons based upon the single episode available so far. It appears that the team has a new leader in place of Arthur Darvill’s character Rip Hunter, but I’m not certain that he is really gone for good. On the one hand the mission first season was more personal for Rip Hunter and it might make sense to reduce the emphasis on him. On the other hand, it is Arthur Darvill who has the direct connection to the Time Masters they are replacing (along with a certain Time Lord). So far we have only had a glimpse of the Justice Society of America, but we should be seeing a lot of them next week.
So, the Justice Society of America, or JSA, was DC comics’ first all-star super group, debuting in the 1940s. Its initial roster consisted of names who should sound very familiar to followers of recent movies and shows. There was the Atom, Green Lantern, Hawkman, and the Flash, among others. Only these weren’t the same characters which viewers are familiar with today. A key aspect of DC lore is the notion of masked personas being passed down through generations, so when the company dusted off the super group concept in the 60’s with the Justice League of America, it didn’t take long for the creators to retcon the two teams as being part of a lineage.
Judging by the trailer, it seems this JSA might be the only official super group in the “Arrowverse,” and its line-up will be cherry picked from various incarnations of the team. It’ll also apparently live up to its name more by operating as a clandestine secret society. Who are the members, though?
The first wearer of this cowl, Rex Tyler, takes his name from the Miralco Pill which grants superhuman physical prowess for an hour once ingested. As soon as time’s up, though, Hourman’s reverts back to being a normal human being. The chronal chaos seen in the trailer suggests, however, that this guy will be an amalgamation of all three heroes in the tradition, having the time-travel capability of the second Hourman, along with the black costume of the third.
She’s a more light-hearted heroine with ties to two superhero dynasties. Stargirl wields the powerful “cosmic staff,” which absorbs and re-directs energy, allowing her to fly, fire bolts, create forcefields, and also levitate objects.
Imagine a character somewhere between Daredevil and Riddick. All three Doctors have been actual medical doctors who turned to crime-fighting after accidents granted them night vision at the cost of near-blindness in normal light conditions. Hence, the goggles. For all doctors, the preferred tool is the noxious “black out” smoke bomb, and the preferred assistant is a deadly, trained owl.
The mutant son of the first Green Lantern (not Hal Jordan!), he’s born with powers that ironically invert the mighty light of his father. Obsidian can turn into a living shadow and gain all the associated qualities, like flight and intangibility. He can even sometimes build objects out of darkness, much like GL’s constructs.
A bit like the Beastmaster, this heroine can tap into a primordial force called “the Red” which allows her to possess the abilities of any animal. This power comes from the mystical Tantu Totem, which is passed down through generations. And in fact, this Vixen is not the same one who’s previously been seen on Arrow. She’s her grandmother.
A bit like Captain America, this star-spangled hero is a military man who’s granted super strength and invulnerability after a top secret experiment. (In this case, it’s meant to restore his damaged body.) Steel fights in World War II, and he makes life-long enemies with Nazi super-villains who come back to bedevil the grandsons who eventually take up his mantle.
There was even a reference to Gotham on Supergirl last week, even if not the Gotham of the Fox television show. This DC-based show also got off to a good start this season. Their election for mayor was settled far more quickly than our presidential election. Oswald Cobblepot might be as disgusting a figure in many ways as Donald Trump, and as crooked as Hillary Clinton, but if he was in a three-way race for president, I would be tempted to vote for him over our current awful choices.
Just after I finished one show dropped on Netflix (Luke Cage), they are releasing another genre series on Friday. After two seasons of Dark Mirror on Channel 4 in the U.K., Netflix will be releasing a third season. TV Guide looks at the previous episodes to watch before the third season begins. The first two seasons are also available on Netflix. The New York Times spoke with the show’s creator, Charlie Brooker, and his collaborator Annabel Jones.
While I will hold off on discussing Luke Cage until a later date, of the Netflix Marvel series, I’d rank it just a bit behind Daredevil season 1, and above Daredevil season 2. Jessica Jones remains the best of the series. While there are some overlaps, and Luke Cage did have a role in Jessica Jones, each series can be watched independently without having seen the others.
Nerdist looks at how Doctor Strange fits into the Marvel Cinematic Universe.
I was disappointed when I found that HBO was not streaming the third episode of Westworld early like they did with the first two, and I will have to wait until later tonight to watch. While I have not seen all of the new series which have premiered this season, so far it is the one I am most interested in. Assignment X has an interview with Jonathan Nolan. Here is a portion, which also compares it to Nolan’s previous series, Person of Interest:
AX: You spent five years dealing with A.I. on PERSON OF INTEREST …
NOLAN: I think I found my subject.
AX: Did you come to any conclusions about artificial intelligence while doing PERSON OF INTEREST that have been useful in WESTWORLD?
NOLAN: It’s funny, because it’s really looking at the subject from a different perspective. PERSON OF INTEREST was relentlessly non-anthropomorphic A.I. was really the godhead, it was A.I. as a pure intelligence, not tethered to the mortal coil, an A.I. that was developed in secret. With WESTWORLD, you have really the opposite. You have A.I. that, if you consider the consciousness aspect of it, it’s almost an accident that these creatures – they’ve been programmed merely to be as lifelike as necessary for their job, and their job is to satisfy, as Lisa said, our most noble or most base desires. So they’re not supposed to be smarter than us. That’s the last thing [their makers] want.
AX: What are the WESTWORLD park’s customers like?
NOLAN: Well, the guest experience is the third point of view of the show, but it’s very much unlike the original film. We really wanted to start with the hosts, start with their limited understanding of what this world is. But there is that great point of entry. You want to know, how does this place work? As Lisa said earlier, the show is really an examination of human nature, from two different directions. From the perspective of synthetic humans, or synthetic beings, who have been coded to resemble human nature as closely as possible, and who are beginning the question, in the first season, just how worthy a model that is to follow. Every perspective of human beings, and this is the delicious part of the premise, who have been invited or made their way into a space in which they’ve been told that they have free rein. They can take their id on vacation. They can indulge in any whim, no matter how noble or dark that they want, and apparently without consequence. And so that’s a fascinating premise as well. You know, who are we when the lights are off? Who are we when we don’t think anyone’s keeping score? And then in between these worlds [of the synthetic hosts and the human guests], you have the programmers, writers, technicians, the Promethean characters who are responsible for mediating those two worlds.
AX: It seems like Ed Harris’ Man in Black gunslinger/marauder character is a guest who is indulging real darkness in himself …
NOLAN: Ed’s character features as the “ne plus ultra” guest. This is an expert-level player, someone who has been coming to the park, as he says in the second episode, for thirty years. He knows everything about [the park].
When Crichton wrote the original film, the state of the videogame business was Pong. In the forty years since then, that entire industry has grown up and evolved into this monster that’s bigger than the film business, bigger than the TV business. So our narrative had to account for that more sophisticated understanding that we have of gaming. We call them “guests,” but there is also a gaming aspect to what they do in the park. It is not just a leisurely resort. They’re here to engage in the narratives, and the narratives are increasingly sophisticated.
AX: We see that the guests can shoot the android hosts, and the hosts can’t shoot each other, but theoretically, the guests can’t shoot each other and the hosts can’t shoot the guests. Are the guns built so that they can detect human physiology as opposed to android physiology, or how does that work?
NOLAN: It’s not the guns. It’s the bullets. We thought a lot about this. In the original film, the guns won’t operate guest on guest. But we felt like the guests would want to have a more visceral experience here. So when they’re shot and it has an impact, they’re called “simunitions.” The U.S. military trains with rounds like the ones we’re talking about. There’s a bit of an impact, a bit of a sting. So it’s not entirely consequence-free for the guests.
There has been a steady stream of news, such as this casting news, to keep alive interest in Outlander until it returns, probably in April. The season two gag real was also released–audio not safe for work.
I haven’t had a chance to watch Falling Water yet, but have a few links for those who are interested. The New York Times has a review. Buddy TV has videos of interviews with cast and crew, followed by summaries of key points, here and here.
Den of Geek looks at the possibility of Jenna Coleman returning to Doctor Who.
While there are no firm plans yet, Steven Moffat has stated that Benedict Cumberbatch is interested in continuing with Sherlock after the fourth season. He is obviously quite busy on other projects, including Doctor Strange. Moffat also states that Peter Capaldi will be remaining on Doctor Who after he leaves as show runner.
Donald Trump is not happy with how Saturday Night Live has portrayed him. Video of their parody of the second presidential debate above, with Alec Baldwin portraying Donald Trump. Trump says that the media is rigging the election that Baldwin’s portrayal stinks. He also tweeted that it is “Time to retire the boring and unfunny show.”
Digital Spy reports on the threat which brings together the heroes of the four Berlantiverse DC shows on CW. Trailer above.
There’s only one army in the DC Comics universe terrifying enough to unite Arrow, The Flash, Supergirl and DC’s Legends of Tomorrow.
Turns out that the threat of meta-humans running wild has raised the ire of planets across the galaxy, causing an alien race to form its own coalition in order to conquer and subjugate earth’s superheroes.
“This year, for our mega Arrowverse crossover, we’re taking inspiration from a DC crossover from the late 1980s known as Invasion!, which featured an alien race called the Dominators, who’d previously vexed the Legion of Superheroes,” Arrow and Legends of Tomorrow producer Marc Guggenheim revealed in a statement.
“We’re using cutting edge prosthetics and computer effects to achieve a feature film-quality look which is faithful to Invasion! artist Todd McFarlane’s interpretation of the characters.”
The Dominators made their first appearance in the pages of DC Comics all the way back in 1967, and have continued to cause trouble for the Legion of Super-Heroes and others within the DC Universe ever since.
This autumn’s four-night event will be the first of two major DC crossovers. Supergirl and The Flash will also be meeting up for a musical episode that’s sure to be interesting.
Supergirl also teams up with her cousin in the above trailer.
The Mary Sue reports that Lynda Carter Used Hillary Clinton As Inspiration For Her Upcoming Role on Supergirl. Hopefully this doesn’t mean that the president on Supergirl will engage in regime change in other countries based upon dubious arguments and sell influence from the White House.
Related story at Paste: Whitewashing Hillary: When Lena Dunham and Her Celebrity Ilk Become Dangerous. Obviously celebrities are hardly the people who we should trust with political analysis, but of course they are going to give their opinion. J.J. Abrams and many a long list of people involved in Star Trek have taken a stand against Donald Trump in a long open letter on Facebook. Unfortunately they also have fallen for the whitewashing of Hillary, and fail to recognize the importance of third party options. Trump is a celebrity in his own right, including The Apprentice and the recent revelation of his appearance in a softcore pornPlayboy video.
Netflix has released Luke Cage. There is some background information in the Marvel 101 video above. I haven’t had time to watch it yet and hope to start next weekend. Speakeasy has some information on the series:
Showrunner and writer Cheo Hodari Coker (“Ray Donovan,”“Southland”) talked to Speakeasy about the show and shared some key details that will make “Luke Cage” different than “Daredevil” and “Jessica Jones,” its Marvel predecessors on Netflix.
It takes place after “Jessica Jones,” but it’s all about Luke’s perspective.
The super-strong, nearly indestructible Luke Cage showed up as a butt-kicker and love interest during the first season of “Jessica Jones,” alongside series star Krysten Ritter. Yet, while “Luke Cage” will build on that foundation, it will be told through his perspective. “It doesn’t take away from the Luke you meet in Jessica Jones, but we’re telling a different story,” Coker says. “At the same time, I’m hoping people who see the show that like Luke from ‘Jessica Jones’ like what we’ve done in expanding the character.”
It aims to be the Tribe Called Quest of superhero shows.
The show’s cast is mostly made up of black actors, but Coker, who is also black, wanted to make sure it’s also representative of black culture, while keeping it relatable to all audiences. “I wanted to show it was possible that it had a deeply African-American context but do it in such a way that people who weren’t necessarily from hip-hop culture, or from black culture, and watch the show feel as though they’re part of the conversation,” he says. Coker points to A Tribe Called Quest’s albums as examples of art that both maintained its integrity within the context of black culture and still registered crossover success.
It draws on all sorts of Marvel Comics traditions.
Coker says Brian Michael Bendis‘s “Alias” comics have inspired the look of this Luke Cage, while much of the character’s origin story on the show comes directly from the 1972 comic “Luke Cage, Hero for Hire” No. 1. The showrunner, though, says a variety of Marvel Comics — from Chris Claremont and Frank Miller‘s Wolverine to X-Men comics in general — helped him develop his skills as a writer and dramatist in the televsion world. He says the issue-by-issue run in a comic book story line works well for TV. “That’s kind of the way you structure the season,” Coker says.
More information at TV Guide for before viewing. This article at TV Guide looks like it will be of interest after viewing.
Amazon recently began showing a pilot for The Tick, which started as a comic and was also briefly on television in the past. It has been picked up for to start as a series in 2017. CBR,com interviewed creator Ben Edlund:
CBR News: Ben, the new “Tick” pilot is something of an outlier as it’s rare for creator-owned comics to get a second big media adaptation let alone a third one. And I know this particular project took a long time to come together and had many twists and turns along the way. What was it like for you to go through that process of bringing the character to TV over a decade since the last go round?
Ben Edlund: It was, I would say, some of the scarier work I’ve done recently. [Laughs] This is a very specific character for me. I have a lifelong relationship with this creature, and so to engage with another expression of it and take the chances of messing it up or what have you, it makes you feel like it’d be pretty nice to just let it sit there. This is something I take very seriously, and I didn’t want to do this if it didn’t have a new reason for being and if it wasn’t something that wasn’t its own new thing on top of being another respectful chapter in the existence of this blue creature.
So that put the stakes up pretty high for me. And working with Amazon, we kind of started in a place that was quite distant from where we ended up. There was a lot of growth over the drafts we did, and I had to take time to figure out how to engineer a superhero live-action comedy in a way that would not be immediately ephemeral. It had to be something you could care about. So it was a very daunting bit of work for me.
I was very much the beneficiary of the 13 years I’ve spent working in live-action television. When I first did this, I had no experience other than some film school experience and cartoon experience. Now I’ve been doing this for a long time and working almost exclusively in this hybrid between drama and comedy. That started with “Firefly” and “Angel,” but with “Supernatural” and even “Gotham” and “Powers” – all of them incorporate elements of other things. That’s been a craft I’ve been drawing from and trying to learn about because I did actually feel like eventually it would be appropriate to look at Tick again and try to do something new with it.
And I didn’t know where that would be or when it would take shape. I didn’t even initiate the first ripple that led to this series. That was actually Patrick Warburton and Barry Josephson and others. It just kind of encompassed me, and it was time. It was ready to happen again. So when they came to me and asked if how I could conceive of it being doable in live-action, it took a long time to get my head around it.
Aside from your place as the creator coming back to his creation, the really interesting thing about the new Tick is that the superhero media landscape is vastly different than it was 15 years ago. For a long time, comics was the landscape where you could do anything and get deeper and weirder, while TV was much more restrictive. Now mass superhero media is bigger and weirder than it’s ever been. How has that changed your approach?
I think #1 right now is we’re at a point of superhero saturation. No one could have predicted how comprehensive it would be and how pervasive it would be. And so the level of education per capita [that the audience has] on the minutia of a superhero universe offers a lot more latitude in terms of joke material – because there’s just more to reference. That’s one part of it. The other part is that we’re the beneficiaries of technology. Big effects are a lot more achievable now, and so our vision is wider. That’s a great tool to have.
But I think the thing that’s most intriguing and interesting is that the whole complexion of television has changed. It’s gone from where we sort of anti-serialized stories and promoted the stand-alone ones to where things are completely engaged with the experience of serialization. People want that from these “binge vehicles.” What they want is a novel in televised form which is shaped and conceived as novels are. Those are not things that are free jazz improvisations as a general rule. They’re stories. It’s a demand that’s increasing with our appetite, and I’m happy about that because that’s the thing I want to do. I don’t want it to just be jokes. And nobody else wants that either, which is weird. The conventional wisdom of almost any other era of television was that we’d reduce things to just jokes. But this is a very different organism, and I’m intrigued by the experiment.
Nerdist has a video report providing information on the television adaptation of Neil Gaiman’s novel American Gods. Screenrant summarized some of the key points, including:
Nerdist News went deep with the cast and crew of American Gods and discovered that the series will follow a path somewhat different from the novel that inspired it. Far from being a true diverging, however, Nerdist reports that the series will not only cull from the near 600-page edition of Gaiman’s text, but also from the author’s character and plot notes, many of which either didn’t make it in, or were merely alluded, to in the novel.
According to Nerdist, much of the expanded story will follow the tales of how the Old Gods came to dwell on American soil. While the novel does tell the stories of how gods like Kristin Chenowith’s Easter and Orlando Jones’ Mr. Nancy left their original homes for our shores, the series is expected to dive even deeper into these character backstories to create a richer, more full universe.
Considering how well Bryan Fuller re-imagined the Hannibal books and movies, I am optimistic he will do a good job with American Gods, especially he will be working with ideas also created by Neil Gaiman.
NBC has picked up This is US for a full eighteen-episode season.
FX reports that The Strain will conclude with season four. FXX has renewed You’re The Worst for a fourth season.
There reportedly will be a a superhero character appearing in this year’s Doctor Who Christmas Special.
DigitalSpy held a contest in which David Tennant’s 10th Doctor was voted the best TV character of the 21st century
ScreenRant has some videos to introduce the Doctor Who spinoff Class.
The Emmy Awards last week had a couple of pleasant surprises with Tatiana Maslany winning for Lead Actress in a Drama Series (Orphan Black) and Rami Malek winning for Outstanding Lead Actor in a Drama Series (Mr. Robot). Malek accepted his award acting like his television character in saying, “Please tell me you’re seeing this too.” Other wins for genre shows include the expected wins for Game of Thrones, along with Sherlock: The Abominable Bride winning for best TV Movie.
Mr. Robot concluded its second season last week, but unfortunately the season was not up to the level of the first. Perhaps it has problems comparable to the second movie in a trilogy, leaving cliffhangers without the dramatic events which concluded the second season. Sam Esmail discussed the finale with The Hollywood Reporter:
The climax of the finale comes before the final scene: Tyrell shooting Elliot. It effectively ends the argument about whether Tyrell is still real or imagined by Elliot. How important was it to you to definitively answer that question by the end of season two?
That was, to me, the season’s arc. After Elliot’s head-trip, that he goes inside himself and inside this illusion that he uses to cope with the fact that he’s been in prison and inside all of this battle and all of the battles he’s had with Mr. Robot, it’s like the game is over. Elliot has to snap back to reality and literally, it happens with a gunshot, with a bang, by Tyrell.
It brings the season full circle, too, with Mr. Robot repeatedly shooting Elliot in the head in season one, and of course the gun in the popcorn at Coney Island. Chekov rules dictate that this gun had to go off at some point.
Exactly. And it was imperative that this was the defining real — and I kind of want to underline that (laughs) — moment for Elliot, because he’s actually been shot twice in the show now. He was shot in episode four of the first season in that fever dream hallucination, and was obviously continually shot in the beginning of this season. This one, we wanted to make it feel very different.
Mr. Robot tells Elliot that he’s willing to go “all the way.” Apparently, that means allowing himself to be shot. Throughout the series, Mr. Robot has always read as an entity very much interested in self-preservation. What does it say about Mr. Robot and his commitment to the cause that he’s willing to make a sacrifice play?
It redefines the stakes. Mr. Robot was all about self-preservation. Up until this point, that kind of included Elliot, because obviously self-preservation includes Elliot’s body, if you look at it that way. Now? All bets are off. In fact, everything to him is about the plan, and he’s willing to die for this cause. That’s how extreme his passion is for this whole project, for this whole revolution. It kind of realigns the stakes for us. Now Elliot cannot even trust his life with Mr. Robot, which happens to also be Mr. Robot’s life. It also raises the stakes in terms of the extremes Mr. Robot is willing to go through in order to pull off this plan. It’s two different levels that have been kick-started and raised a lot higher for next season…
Esmail discussed the structure of each season,the return of Tyrell, and the cliffhangers in Season 2 with Entertainment Weekly:
So let’s dive in, by the end of the episode, we’re seeing what Stage Two is — or at least what a part of Stage Two is. When was the concept of what Stage Two would be brought up in the writers room? Was that discussed hand-in-hand with how season 1 ended?
That was actually brought up in the writers room — if you can believe it or not — during the first season. That was something that was worked out in my head when I was just thinking about the feature. It was intentionally in that feature stage. We obviously talked about it in the writers room, but if the endgame of the first season was hacking Evil Corp, the endgame of the second season would be to take down their paper records. Once you take down their digital property, you would know that they would then try to rebuild the database and go to analog. That would be the executional plan for the season 2 arc. The way we kind of went about it in the second season was very, very roundabout. One thing that I knew heading into the second season — knowing that was our endgame — was that I did not want this to feel like this was the first season redux: Here’s the new plan, here’s the new arc of the season, here’s the new plot, so let’s watch our guy struggle and figure out how to bring down the building where they’re housing all of these paper records. Going through the conversations, we talked a lot about how to really keep it with Elliot’s storyline and his emotional journey, his struggles with Mr. Robot. We thought that was the most authentic and organic next step to Elliot’s journey anyway. After the big realization, he’s not just going to ignore that and continue on with the plot. That’s how it all folded up with the structure that we came up with for the second season…
Tyrell came back into the picture last week, long after we expected him. What was the conversation like when deciding at which point he reenters?
The decision to keep him out of the season had a lot to do with Elliot. Like I said, going into the second season, we wanted to have Elliot reconcile this relationship with Mr. Robot. He made this damning realization about himself at the end of the first season. Any notion of dismissing that in an episode or two — “Oh, I’m seeing this hallucination, and sometimes he takes over. Okay, now let’s move on and get to the plot” — felt completely disingenuous. It honestly always felt to us that the only way Elliot could proceed is to get into this battle with Mr. Robot, to reconcile how he’s going to live with this, how he’s going to negotiate with this, how he’s going to work through this. That all was predicated on Tyrell’s absence, because once he comes back in, it blows up the whole thing. Whether Mr. Robot lied to Elliot or what he withheld from him, all of the sudden, the show becomes about that and the plot machinations of that and not about what Elliot’s emotionally going through in terms of this serious disorder that he’s discovered about himself. Tyrell’s absence was a byproduct of what we felt Elliot’s journey needed to be for the entire season. Once we Tyrell came in, it went back to those plot machinations, folding Elliot back into the overarching journey of the revolution.
Season 2, arguably, has a bigger cliffhanger than season 1. What do you think are the big questions fans are going to be asking heading into season 3?
I think the one big one will be “What happened to Angela? Has she really been flipped? Or is she now playing some other motivation?” And I think that’s great. I know that people sometimes get frustrated that we leave Angela’s motivations in the dark, but I think that’s what adds to the intrigue of her. That’s why I’m so continually fascinated by her character: You can’t quite nail her down to which side she’s playing. It feels like she’s always playing both sides. I think that’s going to be a big question.
What else? Obviously, Leon and the coda and what will become of our affable heroes, Mobley and Trenton. Darlene and what will become of her relationship with Dom and how that will transpire, especially as that relates to Elliot. I think those will be the questions, but the fans and all of the viewers have always surprised me with the questions they ask. Sometimes they’re questions I didn’t even think we were asking.
Here are a couple of excerpts from an interview which Vulture held with Sam Esmail:
MZS: Why did you make the decision to delay the revelation of the real nature of Mr. Robot until late in the first season, and why did you wait to confirm that Elliot was in fact behind bars in the second season? Why didn’t you just let us in on that from the beginning?
SE: We talked about that. We said, okay, let’s just tell the audience, right? And then he’ll be in prison and then he’ll imagine it away and go into his reprogramming mind, similar to what we did in the pilot. And then someone was like — that someone was probably me [laughter] — what if we didn’t tell the audience? Okay, all right, what does that mean? What do we get out of that? Is there some added value to that, and if not, we shouldn’t do it.
I started looking at it as, well, if we start hinting something is going to be off here, we’re not going to hide it that well. It’s gotta be real. It’s gotta be like, no, there is something a little off, we’re hinting at it, we’re really in his coping mechanism, what Elliot would do, but the audience is going to sense it and is going to maybe predict it, maybe not. I mean, I didn’t really know, but I didn’t really care either way.
In our show, reality becomes our subtext. So if you have a scene with two characters, one of them loves the other, it’s more interesting for that person to hate that person on the surface but subtextually you feel, oh, well that person actually loves them. And you sense that maybe or maybe you don’t, and then you’re surprised when that comes out. Either way, there is another layer of engagement. It’s a lot more interesting. If everybody is saying on-the-nose dialogue to each other, if everything is on the surface, that becomes less intriguing, that doesn’t let me engage on it on a level that I think could be deeper and richer.
We have this opportunity with our character, who is obviously narrating to us and considers us a friend, felt betrayed by us the first season. What if he feels like, well, I’m gonna lie back, I’m gonna withhold from you and I’m not gonna tell you everything. I mean, I’ve not seen this done before, but now we’re developing this weird relationship with the audience. Whether you saw the prison coming or not, that’s not the point. The point is that now you’re having this subtextual relationship with him that you didn’t have in the first season. And then to add that now, under the unreliable narrator device, not only do we see it through his eyes, but he could also be lying to you. That’s another storytelling device that we could throw in…
GE: You’ve talked about how the Arab Spring has inspired the show a bit in terms of the theme of revolution. And, along those lines, this season we see the revolution not working out. But it’s also a very American story in how it focuses on what it feels like to be an outsider. Your star, Rami Malek, is Egyptian-American, as are you, and one of the members of fsociety, Trenton, is an Iranian-American. Are you partly trying to play on the feeling of being an immigrant in America, in terms of building the mood and tone of the show?
SE: Yeah. The thing about it is, when I made those choices, some of them in the screenplay, some of them in casting, which then inspired certain character choices, it was never to talk about it. Elliot is obviously of mixed race, his mother and father are different ethnicities, but we do not talk about it. Trenton, we dip our toe into it, but we do not talk about it, we let it just inform it.
And the reason why, and I did that very deliberately, because when I wrote Elliot I didn’t know, right? I didn’t know who it was gonna be and it didn’t really matter to me. And then when I cast Rami, who is obviously brilliant and perfect for the part, how do I reconcile his ethnicity — is he Egyptian, not Egyptian? I mean is there something here, should I be diving into that? And then I felt like there’s some reverse racism going on here. Wait a minute, I can’t cast Rami unless I address the fact that he is Egyptian in some way? I didn’t want that to now all of a sudden dictate anything about the character that would’ve happened had I cast someone white. But I couldn’t just ignore it either, right? Because it needed to inform who he was.
And then that’s when it grew out, what you were saying, this outcast status or this outcast look about him, that then felt intrinsic to how Rami plays Elliot and how potentially I wrote Elliot. And it all becomes a more subconscious choice. Even when I wrote the Trenton character, and I wrote her in as Iranian-American, I didn’t do that because I wanted to explore Iranian-Americans, I did that because I was thinking about what kind of people would join this group from all walks of life. I’m also kind of reflecting on my own reality, my own circle of friends … that this type of person felt that way, that it felt right to be in this group.
And so it all came from this really genuine place of what organically makes sense, what informs this character that I’m trying to write, or trying to come across in the best way without it being about like, okay, here is this really diverse cast. And honestly, I think that’s really important because one of the things I get worried about with this diversity thing that’s going on right now, I don’t want people to look at it as homework. I don’t want people to write something and say, well, now we’ve gotta make them black and we gotta make them Native American.
Another season of Mr. Robot is in the books. Now that it’s over, what, to you, were the ultimate goals and purpose of this season, as far as evolving the stories of Elliot, fsociety, E Corp, the Dark Army, and everyone else involved in this complicated web?
Ultimately, I believe we succeeded in creating a cohesive second chapter that organically fleshes out the world that fsociety essentially destroyed at the end of the first season. Elliot’s discovery of the Mr. Robot personality opened the door for us to experience his inner conflict and his longing to regain control of himself. Even though he enacted the 5/9 hack, him reconciling his relationship with Mr. Robot was at the top of his priority list. The quest for control and grip on reality is a large component of Elliot’s journey this season. The consequences and repercussions of the hack heavily influenced the other storylines. Price, Whiterose, Darlene, and Angela are all navigating this new world and are forced to confront questionable decisions they made previously.
In the finale, Stage Two is finally revealed, and it has fiery ramifications for Evil Corp. As best as you can, can you summarize what the plan involves, for those who haven’t yet wrapped their heads around it?
Rebuilding their records of loans and debt is the goal here. E Corp is transferring all of their paper financial records — titles, deeds, statements, transactions, credit records — to one of their processing facilities. Their plan is to digitize all of the paper content in an effort to recreate their databases. Knowing this, Elliot/Mr. Robot, Tyrell and the Dark Army have collaborated on a plan that would set off a large explosion in the datacenter of that processing facility. If they’re successful, anything stored in that building (paper documents included) would be destroyed. Stage Two is the logical next step of the original E Corp plan. Remember when Mr. Robot said that you have to take a conglomerate down limb by limb before they can unravel? The paper documents represent another one of E Corp’s limbs.
The Flash returns on October 4. The extended trailer above shows more about the Flash Point story.
Legends of Tomorrow will be much different next season–which is a good thing. Here is the synopsis of the first episode, which guest stars Stephen Amell and airs on October 13:
After the defeat of the immortal villain Vandal Savage and the exposure of the corrupt Time Masters, a new threat emerges. Dr. Nate Heywood (Nick Zano), an unconventional and charming historian, is thrust into the action. After making a shocking discovery, Nate seeks out Oliver Queen (guest star Stephen Amell) for help in finding the scattered Legends. Once reunited, the Legends continue their new mission to protect the timeline from temporal aberrations – unusual changes to history that spawn potentially catastrophic consequences. Their first stop is 1942 to protect Albert Einstein from being kidnapped before the Nazis destroy New York City with a nuclear bomb. Meanwhile, Ray (Brandon Routh) notices that Sara (Caity Lotz) has a mission of her own, which leads them both to face her nemesis, Damien Darhk (guest star Neal McDonough). Victor Garber, Arthur Darvill, Dominic Purcell and Franz Drameh also star. Dermot Downs directed the episode written by Marc Guggenheim & Phil Klemmer and Greg Berlanti & Chris Fedak.
One aspect of the upcoming season which is of interest, the Justice Society of America, is not seen in the trailer.
SciFi Now looks at ARQ, a time travel movie which premiered at the Toronto Film Festival and is now available on Netflix.
The BBC is doing the obvious to get attention for the first episode of Class. Peter Capaldi will have a cameo. This will air on the BBC in October, and be paired with Doctor Who next spring in the United States.
In other Doctor Who related news, The Mary Sue looked at the controversy over what Karen Gillan’s Jumanji costume (picture above).
Maybe it is because I’m used to timey wimey plot lines, but I predicted the twist in This is Us well before it was revealed in the pilot. Now we will have to see where the show goes after this setup. I’m looking forward to checking out all the actual time travel shows premiering this season. There were three episodes of The Good Place, staring Kristen Bell and Ten Danson, last week. The comedy, which does have a genre aspect, was off to an entertaining start.
Chloe Bennet sets the stage for Daisy in the upcoming season of Agents of SHIELD, which returns this week:
In light of the Sokovia Accords, S.H.I.E.L.D. has gone legit.
When Marvel’s Agents of S.H.I.E.L.D. returns, there’s a new director (Jason O’Mara), who tasks Agent Coulson (Clark Gregg) & Co. with tracking down enhanced individuals — and that spells trouble for Daisy (Chloe Bennet), who has gone rogue after Lincoln’s death.
“Everyone she’s gotten close to has died,” Bennet tells EW. “Her way of protecting the people that she cares about — which is Coulson and the rest of the team — is to distance herself. She’s doing anything she can to help people and try to makeup for what she feels is her fault.”
But her self-imposed exile doesn’t necessarily make her a hero. “We know from the past that your power comes with a price,” EP Jed Whedon says. “It damaged her when she first used it and you have to learn to control it. Part of her nothing-to-lose attitude has allowed her to unleash her power on a level that’s much more aggressive, but also much more dangerous.”
“She’s in a place where she’s pushing herself beyond her limitations,” EP Maurissa Tancharoen adds. “Whether or not that’s being self-destructive or just trying to be her own version of her best self, we’ll explore that question.”
Spoiler TV also reports that season 4 will include a loose cross over with the upcoming Doctor Strange movie:
“Our ties are at times very direct and at times are more thematic,” EP Jed Whedon tells EW. “The tie this year will feel more of a reflection of the movie, less an interweaving plot. As that movie hits the world, it comes at the right time in our show, and you will see some of those same ideas being explored.”
“The same questions that our team is exploring leading up to the premiere of Doctor Strange, perhaps some of those concepts will be reflected in the movie and then carried through,” EP Maurissa Tancharoen says. Adds Whedon: “Hopefully some of the questions that we’re asking will be answered by it and then pose some new themes and ideas for us to explore.”
Originally January was going to be significant for both the inauguration of the next president and for the start of Star Trek: Discovery. CBS has delayed the premiere from January until May, 2017. StarTrek.com reports:
Star Trek: Discovery will now launch in May, 2017, it was announced this afternoon by CBS All Access. The new premiere date is driven by the creative team’s belief that this will give the show the appropriate time for delivery of the highest-quality, premium edition of the first new Star Trek television series in more than a decade.
“Bringing Star Trek back to television carries a responsibility and mission: to connect fans and newcomers alike to the series that has fed our imaginations since childhood,” executive producers Alex Kurtzman and Bryan Fuller said in a joint statement. “We aim to dream big and deliver, and that means making sure the demands of physical and post-production for a show that takes place entirely in space, and the need to meet an air date, don’t result in compromised quality. Before heading into production, we evaluated these realities with our partners at CBS and they agreed: Star Trek deserves the very best, and these extra few months will help us achieve a vision we can all be proud of.”
Personally I’d prefer that we get Discovery in January, and postpone the inauguration of Donald Trump or Hillary Clinton (indefinitely).
Luke Cage is the next installment of the Marvel Cinematic Universe on Netflix, teaser above. Showrunner showrunner Cheo Hodari Coker discussed the series in an interview with SciFiNow (via MCUExchange):
In an interview with science fiction website SciFiNow, Coker calls Luke Cage a show that is about “a man who moves to a new section of town, which has deteriorated over time.” He goes on to say, “Instead of a saloon, we have a club named Harlem’s Paradise. And inside this ‘saloon’ there is another strong man who is controlling vice and – to some extent – has an amount of control in law enforcement [this would be Mahershala Ali’s crime lord Cornell ‘Cottonmouth’ Stokes], so he gets away with everything.”
When asked about how Luke Cage compares to the other MCU Netflix properties, Coker had this to say:
“Luke Cage has a different feel to Jessica Jones and Daredevil,” explains the self-confessed comic-book fan. “Let’s talk about the elephant in the room right now; it’s a black show. However, at the same time, it’s a different genre to the other shows to some extent, because Daredevil is a crime drama with superhero elements, and Jessica Jones is a psychological thriller, even though it has some classic ‘Sam Spade’ noir moments.”
The promos for HBO’s adaptation of Westworld continue to make me far more interested in the series than I was when it was first announced. SciFi Now has a spoiler-free review of the first four episodes.
Sci-Fi Storm reports on three pilots at the Syfy channel. Here’s the one I find most interesting:
The Machine, based on the 2013 UK cult film, explores humanity through artificial intelligence when a sentient AI is created, but the military wants to use it for war. Caradog James, who directed the film, is an executive producer with Red & Black Films and John Giwa-Amu, the film’s producer.
You may be aware that John Barrowman has been saying, publicly, that I’ve been blocking a new series of Torchwood. To be very clear – I haven’t blocked it; I wouldn’t block it; I wouldn’t even be ABLE to block it. I didn’t even know a revival had been mooted till I read about it on the Internet. As John perfectly well knows, it’s not my show and I could no more prevent it happening that he could cancel Sherlock. I am bewildered, and a little cross, even to be included in this conversation. For the record, I really liked the show (especially the third series) and would be very happy to see more – monsters and mayhem, why not? But the fact is, it has nothing to do with me. Please pass this on to the anxious and the angry – I’ve had enough hate mail now.