SciFi Weekend: Patrick Stewart on Star Trek Discovery?; Kid Flash Leaves Legends of Tomorrow; Gotham; Game of Thrones Prequel; Sense8

Will Patrick Stewart have a cameo on Star Trek: Discovery, or perhaps return to directing for an episode? Stewart has made a comment which has led to rumors that this might occur. TrekMovie.com reports:

A new brief video interview was posted today that will cause some speculation about Sir Patrick Stewart and Star Trek: Discovery. At a theater event in London last month, Stewart was asked he had seen Discovery yet, and the actor gave an intriguing answer, saying:

You mean the series and not the movie, because there is a new movie due out very soon. No, I haven’t, but I may have good cause to look at it very soon.

The  Star Trek: The Next Generation vet also ended that statement with a sly smile, only adding to the intrigue.

CBS All Access plans on continuing with an after show for Discovery but is considering revising the format for the show.

Keiynan Lonsdale (Wally West aka Kid Flash) suddenly announced he will not return as a regular on Legends of Tomorrow or The Flash but left open the possibility of future appearances.  It was previously announced that Matt Ryan (as Constantine) and Jes Macallan (Ava) have been promoted to series regulars on Legends. Lonsdale gave this reason according to TV Line:

“I’ve changed a lot in the past year (as you’ve probably noticed lol),” Lonsdale shared in a statement posted to Twitter, presumably alluding in part to his coming out as bisexual last May, “and for infinite reasons my perspective on life and what I want from it now is just completely different. Because of that, my heart told me it was the right time to continue my journey on an unknown path.”

Lonsdale goes on to assert that he is “damn grateful” for his Arrowverse experience to date, and echoes that which was reported on Tuesday: in addition to popping up in The Flash‘s Season 5 premiere this fall, Wally West will remain alive and well and could resurface wherever and whenever needed.

“It’s definitely not a total goodbye or ‘see ya never’ situation,” he wrote. “Wally West will still be around when you need him most.”

The family has already grown on The Flash, with the mystery girl revealed to be Nora West in the season finale. There was also a hint last week of further cross overs on other CW shows.

While Kid Flash will not be a regular, we also received some comments on what might be seen next season on Legends of Tomorrow:

I think I have one last bit left from my most recent interview with EP Phil Klemmer. Having previously discussed Constantine’s living arrangements as well as the threat of team infighting, he also said that this is on the Season 4 wish list: “We’ve never actually figured out the world of the Time Bureau, so I want to actually take another swing at that.”

The fifth and final season of Gotham might be only ten episodes, according to Camren Bicondova, who plays Selena. The final season is expected to begin in January and lead up to (spoilers?) Bruce Wayne becoming Batman.

It was inevitable that HBO would come up with a show to replace Game of Thrones after it comes to an end. The Hollywood Reporter has this information on a prequel series taking place 1000 years before Game of Thrones:

HBO is officially moving forward with a pilot order for a still-untitled Game of Thrones prequel, created by Jane Goldman (Kick-AssKingsman: The Secret Service) and George R. R. Martin — the author of the A Song of Ice and Fire novel series on which Thrones is based.

Set thousands of years before the events of Thrones, the project chronicles the world’s descent from the golden Age of Heroes into its darkest hour. A logline from the network teased the plot without divulging any specifics. “Only one thing is for sure: from the horrifying secrets of Westeros’ history to the true origin of the White Walkers, the mysteries of the East to the Starks of legend — it’s not the story we think we know.”

…Goldman and Martin’s Game of Thrones prequel is the first of several potential series set in the world of Westeros to move forward at HBO beyond the script phase. In May 2017, a multitude of writers were revealed by HBO to be working on what Martin himself has described as “successor shows.” Those writers include Goldman, Max Borenstein (Kong: Skull Island), Brian Helgeland (Legend), Carly Wray (Westworld), and Thrones veteran Bryan Cogman. Game of Thrones creators and showrunners David Benioff and Dan Weiss are uninvolved in the successor show effort, focusing instead on the forthcoming final season of Thrones after more than a decade spent wandering the world of the Seven Kingdoms.

The series finale of Sense8 is now available for streaming on Netflix. I doubt anyone who has not been watching Sense8 will be interested, but it was a good idea for Netflix to provide this two and a half-hours to conclude the series after they decided not to proceed with future seasons and provide an ending.

SciFi Weekend: The Americans Series Finale; Jessica Jones; Star Trek Discovery News; Humans Returns For Season 3; Better Call Saul

For the last six years, The Americans was among the best continuing dramas on television. Now the series has concluded with a perfect finale which compares favorable with the top finales in television history. The finale managed to both provide a conclusive ending while also leaving viewers with plenty to wonder about.

Much of the final minutes of the show managed to provide a tenseness comparable to the final moments of The Sopranos in the diner. There were many moments when it was possible that Elizabeth and Philip might have been apprehended, just as there was a constant feeling of danger in the final scene of The Sopranos. Unlike The Sopranos, there is no ambiguity with regards to the events. Elizabeth and Philip made it safely home to Russia. Breaking Bad, another show where we followed an anti-hero, had to conclude with the death of Walter White. For reasons which were suggested in the final scene with Stan in the garage, it was possible for Elizabeth and Philip to be allowed to survive, even if they did have to pay a heavy price.

While a lot of other things beyond what I will discuss here happened in the extended episode, the key scene was the conversation between Stan and Philip in the garage. It is a sign of what this show does so well that the scene truly was a conversation with little action, even if viewers were wondering if Elizabeth would suddenly find her opportunity to kill or incapacitate Stan. From the moment the pilot set up the situation of the FBI agent living across the street from the Russian spies, the only conceivable ending was that Stan would ultimately figure out their identity and there would be a confrontation of this nature.

While the confrontation could have ended in violence, the ending was far stronger in having Philip convince Stan to let them go. The strength of the finale is in how the writers actually did make this plausible. This included Philip confessing, stressing the reality of their friendship, and declaring that it was  his life, not Stan’s which was the joke. It was necessary for Philip to deny that they were responsible for the killings, for the benefit of both Stan and Paige. Perhaps both bought this temporarily, but I suspect that being confronted again with the discrepancy between reality and what her parents say was one of the reasons for Paige’s later decision to leave them. Finally, the prospects of the START talks proceeding, and preserving Gorbachev as opposed having the hard liners return, provided arguments for Stan that allowing them to go would actually be in the best interests of his country.

Just as Stan might have been responsible for the damage to the Jennings family by increasing suspicions on Paige’s part, Philip similarly might have destroyed Stan’s chances of happiness with Renee by throwing in the possibility that she might have been one of them. Two remaining questions are whether Phillip said this to help or to harm Stan, and whether Renee really was a Russian spy. It was necessary to at least raise this question in the finale but, unless there was another subplot thrown in showing Renee, it would have been difficult to provide an answer. None of the characters in the discussion really knew. Renee’s look back at the Jenning house later in the episode could be taken as providing an answer, but this is one aspect of the finale left to the opinions of the viewer.

Paige had a long time to contemplate her decision on the drive into New Hampshire and then the train ride. While we were never given her reasons for getting off the train and remaining behind, we know enough about Paige to understand what she must have been thinking. She heard about the killings in the garage, along with a denial which she probably figured out was yet another lie on the part of her parents, perhaps further alienating her from them. She also probably thought about remaining behind for Henry, and might have questioned whether she really wanted to spend the rest of her life in the Soviet Union (not knowing, as the viewer does, that in reality the Soviet Union would fall soon).

The imminent fall of the Soviet Union might make it possible for Elizabeth and Philip to see their children again in the future, but also raises the question of whether Elizabeth would be happy with what her country became. Regardless, there is little doubt that things will be difficult for Elizabeth and Philip.

Paige’s ultimate fate is left unknown, but there is hope that she can avoid arrest. Only Stan knows that Paige was aware of what her parents did, and there is no indication he knew of Paige’s own involvement in the family business. Plus both Paige and Stan have a mutual interest in both keeping quiet about the conversation in the garage. Of course to avoid being exposed, she will need to stay away from Claudia’s apartment.

The events of the last six years also made it questionable if Stan’s career could survive having lived across the street from Russian agents without suspecting anything. As events played out, he brought his suspicions to the FBI before their identities were conclusively discovered. This made Stan appear like the smarter one, while Aderholt felt like he was the one at fault for not taking Stan’s suspicions more seriously.

We also received some clues as to the fates of other characters. We don’t know how badly Henry took the news, but he is not suspected of any involvement, and there is reason to hope he will do okay. Oleg is in prison, with no hopes for being exchanged as a spy, but perhaps the changing political situation will enable him to be released in the future. The mail robot was not in action, but was seen at rest in one scene at the FBI offices.

 

Joe Weisberg and Joel Fields, along with the cast, granted multiple interviews but did not provide further answers. They left the matters which viewers were left to wonder about while watching for the viewers to continue to question. Here are excerpts from an interview at TV Line:

TVLINE | You’ve said that you’ve had the ending for the series in mind since Season 2. So how closely did this ending match what you had back then?
JOE WEISBERG | Joel and I were just having a conversation about this earlier: I think that Joel thinks it’s identical, and I think it’s almost identical…

TVLINE | The biggest surprise of the finale for me: No one died! I was tense right up until that final car ride with Philip and Elizabeth, thinking they might get whacked. Is it almost more sad, though, to force everyone to live with the consequences of their actions?
FIELDS
 | Well… it depends on your belief about the afterlife, I suppose. [Laughs] But for us, it was always going to be about the character drama. That’s what we’ve been following all along, and it felt totally right that that’s what we’d follow through the final frames of the show.

TVLINE | The scene with Stan in the garage: It felt like six seasons had been building up to that moment. Was that a scene that you had in mind for the finale way back in Season 2?
WEISBERG
 | No, that was not planned. That was not part of the ending that we figured from the beginning. I think we always assumed that there would be a confrontation, that Stan would either figure out, or that, one way or another, they would have to face off. There’s too much to be confronted in those relationships, so that seemed to want to come to a head. But we didn’t know that it would happen like that.

TVLINE | So why did Stan decide to step aside and let the Jennings family go, when he had them cornered?
FIELDS
 | You know, that falls into the category of questions we want to let the audience come up with their own answers to, rather than impose our own on it. We can certainly give you an answer. We have answers. But we want to sort of let the story speak for itself on that one. People will come up with different answers, and their own interpretations of where Stan’s at, and what happened during that scene to bring him to that point…

TVLINE | What kind of consequences is Paige facing now, after having stepped off that train? 
WEISBERG | Well, first of all, the consequences she’s going to face for everything that’s happened, on an emotional and personal level, are obviously extreme. But the question of whether or not she’s going to face legal consequences, I think, is a little bit muddy. I don’t think we know the answer to that. It’s possible that the FBI may not have evidence about anything she’s done that’s clearly a crime. So she may not be in any kind of extreme legal jeopardy, as long as she doesn’t walk herself into a corner. We don’t think that it’s clear she’s headed to jail…

TVLINE | You left the question of whether or not Renee is a spy unanswered. Was that to leave Stan wondering about who he’s sharing his bed with?   
WEISBERG | Well, that’s certainly something that’s going to hang over his marriage a bit, one would think. To us, in a way, we thought that [revelation from Philip] was a powerful thing to give [Stan], in terms of his own struggle, but also in terms of who Philip had become, and where their relationship was at. Philip wasn’t going to walk out of that garage without telling his friend what he thought might be possible there, even if he wasn’t sure.

Interviews with the cast provided different opinions as to whether Renee was a spy. From interviews with Collider,” Keri Russell thinks there was something to that lingering shot of Renee looking at the house, but Matthew Rhys said clearly ‘No, I don’t [think she’s a spy].’ In an interview with The Hollywood Reporter, Holly Taylor (Paige) said,  “I think she is. I was hoping they were going to answer that question, but of course they didn’t. I think she is. I mean, there’s just too many coincidences. You really have to make your own decision, but I think most people are on board and think she’s a spy.” Noah Emmerich (Stan) was asked about the filming of scenes with Laurie Holden (Renee) by Entertainment Weekly without any answers given about Renee.

Production will be starting soon on season three of Jessica Jones. Krysten Ritter has discussed her hopes for the character at Comicpalooza in Houston, Texas:

“What I love so much about season 1 or season 2 were how deeply personal both storylines were, but different. So I got to explore different things within her and in my performance, show new colors,” Ritter answered.

“I think season 1 and 2, we really looked back at Jessica’s past. We looked at what made her as hardcore she is and how isolated [she is], and she’s learned a lot — I think especially in season 2 she’s learned a lot about herself. She has a lot to live up to, and I’m curious to see what she does next.”

The first two seasons of Jessica Jones put the alcoholic and super-powered detective through the ringer both emotionally and physically, and while season 3 isn’t likely to make Jessica’s life cheery, her actress hopes to see the Defender take more strides towards reaching her full potential.

“Maybe we’ll get to see her be a bit of a hero, maybe we get to see her move forward in a more positive way. Maybe we see her hating herself less,” Ritter added.

“I don’t think it’s gonna be like sunshine and rainbows for Jessica Jones anytime soon. But I’d love to see her — even if it’s a small step — step into her potential.”

Ritter added she hopes for Jessica to be only “a little bit less” of a “train wreck” next time around, saying “it’s still fun to play that.”

Ritter has also expressed interest in a revival of Don’t Trust the B—- in Apartment 23. I would have far more interest in that as opposed to some of the other revivals in the works.

The original plans for Saru would have had him look quite a bit different, as seen in the above picture.

The producers of Star Trek: Discovery have also been revealing other information about the show in promotional tours. Some can be seen here. This includes repeating previous promises of making the show consistent with what we have seen in other Star Trek series.

So far we have seen that Discovery took advantage of being a streaming, as opposed to a network show, with the use of an f-bomb.  Co-showrunner Aaron Harberts further discussed how Discovery would not be the same on network television:

One of the big buzzwords on network TV is likability of a character. And our character Michael Burnham commits a mutiny in the first episode. I don’t think that a lot of networks would have been game for that, but it really did allow us to tell a pretty exciting chapter for that character and a journey. And they were absolutely willing and on board to things like that.

Humans season 3 will premiere in the United States on AMC on June 5, but I couldn’t resist downloading the first three episodes which have already aired in the U.K. on Channel 4. While I will avoid spoilers, it becomes clear early in the first episode that the world has changed with Synths having become sentient. They are feared and distrusted by most humans, with the Synths we know from the first two seasons, along with others, being divided up with different ideas as to how to attempt to change this. Katherine Parkinson returns as attorney Laura Hawkins, defending the rights of Synths. Following is the official synopsis:

One year after the dawn of consciousness, a decimated and oppressed Synth population fights to survive in a world that hates and fears them. In a divided Britain, Synths and Humans struggle to broker an uneasy peace, but when fractures within the Synth community itself start to appear, all hope of stability is threatened.

Set against the maelstrom of political chaos, the ethical complexities of the dawn of a new species play out across a thrilling multi-stranded narrative. As the synth family… continue to battle for their right to survival, Joe (Tom Goodman-Hill) Laura (Katherine Parkinson) and their children Mattie, Toby and Sophie struggle to come to terms with the cataclysmic events of the last series and their deeply polarised views on the implications of the singularity.

AMC has also announced that the fourth season of Better Call Saul will premiere on Monday, August 6th. The network’s announcement has confirmed the death of Chuck in the fire in last season’s finale.

In Better Call Saul‘s fourth season, Chuck’s death catalyzes Jimmy McGill’s transformation into Saul Goodman. In the wake of his loss, Jimmy takes steps into the criminal world that will put his future as a lawyer — and his relationship with Kim — in jeopardy. Chuck’s death deeply affects former colleagues Howard (Patrick Fabian) and Kim as well, putting the two of them once again on opposite sides of a battle sparked by the Brothers McGill. While Mike takes a more active role as Madrigal Electromotive’s newest (and most thorough) security consultant. It’s a volatile time to be in Gus Fring’s employ, as Hector’s collapse sends shock waves throughout the Albuquerque underworld and throws the cartel into chaos — tearing apart both Gus and Nacho’s well-laid plans. While Gus changes course, Nacho finds himself in the crosshairs of deadly forces.

FX has announced the renewal of Legion  for third season. I would discuss recent episodes of Legion, but I’m waiting for Future Syd to explain to me what they mean first.

Sundance has started showing the BBC One series, The Split. The show concluded on BBC One last week leaving matters wide open for a second season. BBC One has now announced that The Split has been renewed for a second season. While not at all genre, it does have one thing in common with Humans, which I discussed above. Both include a former cast member from Merlin, with Anthony Head appearing on The Split.

SciFi Weekend: Flash Season Finale; The Expanse Rescued, With The Fate Of Timeless Still Unknown; Gotham; Star Trek Discovery; Killing Eve Season Finale

The Flash finally defeated DeVoe in the season finale. This plot line hardly justified this long a story. A thirteen episode season, or dividing the season up as Agents of SHIELD often does, might have been more effective. Perhaps the most interesting aspect of the show was the revelation that the mystery girl is the daughter of Barry and Iris, who has traveled back in time. Presumably this foreshadows the next season. When she said she made a mistake, I wonder if the mistake was time travel itself as on The Flash it always has negative consequences, or if she is referring to something else.

Executive producer Todd Helbing discussed this with Entertainment Weekly:

What can you tell us about this huge mistake she’s apparently made?
Well, I mean, a lot of it is obviously all about next season. Barry certainly learned his lesson about time travel and the effects that it can have. She comes back for a specific reason, not only to see her parents and meet everybody on the team, which you saw all throughout the season — there’s four specific times that she came back, and you’re gonna learn about why she chose those four times and how they’re gonna play into not only the mistake that she made, but the consequences for somebody like her, a speedster traveling from the future to the past, and what that means for Barry and the team.

Speaking of those interactions, are there specific reasons why she’s avoided Iris and why she was so cold to Caitlin?
Yeah, she comes from 30 years in the future, so 30 years from now, a lot has happened. She’s privy to information that nobody else is, so her experience in the future is certainly different than where everybody is now. A lot of next season too, you’re gonna see this relationship between Barry and Iris and Nora, so we just wanted to give the audience a little glimmer into what her reaction is to everybody. If you go back and watch all of the ways that she interacted with everybody, you can get a nice little sense of what her relationship is with everybody in the future.

What can you tease of Caitlin’s journey next year? That flashback seemed to indicate that Caitlin’s father already knew about her Killer Frost side, which made me think she may have gone on to accidentally kill her father. Am I jumping to conclusions?
One of the themes for next season is family. When you’re dealing with a show that jumps around, obviously with Barry, Nora, and Iris, it’s gonna be family, with Joe and Cecile and the new baby, there’s family, and then Ralph is part of this new family. And then with Caitlin, she had one understanding of where her powers came, and you’ve met her mother in the past seasons, you got a little glimpse of her father. But there’s gonna be a new dynamic with Caitlin and her family in season 5.

You said there would be a hint at the new villain for season 5 in the finale.
What happens more often than not is, we shoot a lot of stuff in the finale that gets cut. So for time we had to cut it. It was gonna be the tag at the end of the episode. But we’ll get it out; the public will see it before the season starts. Maybe we’ll release it online or at Comic-Con. But yeah, it just it came down to a time thing.

Harry has left, but presumably Tom Cavanagh is sticking around. Anything you can say about the new Wells we’ll meet next season?
I don’t want to tell you yet who he is, but when I was up there in Vancouver shooting for the finale, I talked to Tom for quite a bit about it. We landed on a pretty fun and interesting new Wells to join the team.

Was it always the plan for Ralph to actually still be alive?
Oh, yeah. From the beginning of the season, we wanted DeVoe to hop into other people and then to finally get to Ralph, and really play it like he was dead. That was what we walked partly through at the beginning. So it was always the plan to kill him and then bring him back to join the team at the end, and then to be part of the next season.

If Ralph is alive, any word on the other bus metas?
No, they’re toast, they’re all toast.

I looked at the season finale of Arrow last week.

Krypton ended its first season with a huge change in the timeline. For a while there was some ambiguity as to whether it made sense to support General Zod’s attempts to stop Braniac, even if that would mean no Superman on earth. By the end of the season it was clear that General Zod’s real goals were not beneficial to Krypton, and presumably we might see an attempt to repair the timeline in future seasons. Plus there was the introduction of clones, which might also be significant in the fate of the planet, and Doomsday is breaking free.

Den of Geek discussed the finale with Krypton showrunner Cameron Welsh:

“When we started, we tried to put together an overview of the season and determined what our destination was going to be and we planted a lot of big moments along the way,” Welsh says. “I think vaguely that’s the ending we were sort of working towards. We knew we wanted it not to be a victory as such for our heroes and we knew that there’s still a lot more we can do with Brainiac and we knew that we didn’t want the real Brainiac to arrive right at the end of the season and then be vanquished by our heroes really easily because as a character he’s much more formidable than that. We just knew it couldn’t be that easy.”

And make no mistake. Nothing about this finale is easy. Let’s take this in order…

Seg-El defeats Brainiac by tricking him into stepping into range of the Phantom Zone projector, but Brainiac manages to drag Seg into the hellish prison dimension along with him. Nevertheless, the “bottling of Kandor” is prevented, and Brainiac is defeated. The problem, of course, as Adam Strange repeatedly pointed out during the season, is that Brainiac needs to be allowed to succeed in order for the removal of Krypton to destabilize the planet’s core, leading to its destruction and Superman’s eventual birth. With Krypton’s survival now apparently assured, Superman no longer exists, and the Zod crest overwrites the familiar Superman one, and suddenly, Krypton’s future is not as set in stone as it once seemed.

“We knew all along that one of the challenges of this series was this cloud of inevitability that hung over the premise that we knew how the story was going to end,” Welsh says. “We knew that Krypton would be destroyed, but that’s no longer the case, so in a way, we’ve freed ourselves from that. It feels like we’re an altogether different timeline and anything can happen from here.”

Things are so drastically different now that even the nature of the Phantom Zone itself might not be something that Superman fans are familiar with.

“I think that we would like to explore the Phantom Zone and see what power it truly possesses,” Welsh says. “It’s a technology that’s still in its infancy. It’s a very powerful and enigmatic kind of technology and I think what we’re going to do is explore what else we can do with the Phantom Zone and how else can it be used. Val, as the architect of this technology, he knew what he was doing. I don’t know that Seg will have the same kind of control.”

Seg-El’s victory over Brainiac is bittersweet, but it could be worse. He could be Adam Strange.

Adam is trapped back in Detroit, which has been bottled by Brainiac in his absence. Its residents are frozen in time, and Adam, thanks to the Zeta Beam and the fact that he wasn’t there when Brainiac took the city, is awake and aware of everything happening. But even here, there is a sign that the timeline has changed around him: a giant statue of General Zod, in Detroit, where there certainly shouldn’t be one. But make no mistake, Adam is not only screwed, he knows just how screwed he is. Welsh told us that Adam’s memories have not been overwritten by the timeline change, so he knows exactly what is wrong.

“We see when Adam is standing there in Detroit amongst all those frozen people looking at a statue of Zod, it’s clear to him that the timeline has absolutely changed, but how it changed and everything that happened in between, he’s unaware of all of those details,” Welsh says. “I think he just knows that his mission was a disaster, a complete failure and we have an opportunity now to explore in season two how he can try and undo that damage.“

But the fact that Brainiac was able to grab a present-day Detroit and bottle it means that his threat hasn’t been completely neutralized 200 years in the past. One way or another, we know that Brainiac will return.

“I think that what we’re suggesting in the finale is that in the future Brainiac is still a threat and you see that through the Adam Strange story,” Welsh says. “Zod at least achieves some of the goals that he outlined in that fiery speech at the end. So, I think it becomes clear in that finale that we’re now very much on a different path than the one that led to the Superman that we know.”

Fortunately we received word last week that Krypton has been renewed for a second season.

While Syfy did not renew The Expanse, Amazon has decided to save the show, and will be picking it up for a fourth season. If anyone gave up on it earlier, the show has become even better the last few weeks. There was also the conclusion of a major plot line and a time jump, making last week a good point to pick up the series.

The Expanse was saved partially because Jeff Bezos likes the show, and science fiction has been big on streaming channels recently. I wonder if he also likes Timeless. So far there is no word from NBC, and if they do not save it I would hope someone else will. Entertainment Weekly has this speculation:

As for Timeless, the show seemed doomed a couple weeks ago after NBC didn’t renew the time-travel drama for a third season along with its other last-minute pickups. On a conference call with reporters, NBC entertainment chairman Robert Greenblatt didn’t give the obligatory “we love the show but…” when cooly explaining its fate would be decided after the finale aired. When its ratings barely budged for that last episode, odds seemed to go even lower. But then something happened. Which is to say, nothing happened. If NBC was going to cancel the show, why wait? The delay could suggest efforts are being made on some level to keep things going. We’re hearing there should be some resolution relatively soon (if fans are unlucky, then perhaps during the Memorial Weekend bad news dump).

Fans are pushing to #renewtimeless, and there is evidence of interest in the show. A deleted scene which was posted on line is now up to 155,000 views as of the time of writing this post.

More on the Timeless finale here.

Comicbook.com has news about the next (and final) season of Gotham, which had its finale last week.

Following the earth-shattering events of Thursday’s Season Four finale, ComicBook.com had the chance to talk with Gotham executive producer John Stephens about what’s to come when the show returns, and which popular comic series would be adapted in the final season.

“You mean besides ‘No Man’s Land”‘?” Stephens joked. Given that the current season ended with the complete destruction of the city, it was pretty safe to assume that “No Man’s Land” had just begun. However, as Stephens continued, he mentioned that one of the New 52 arcs would come into play.

“There are, and I’m trying to remember which [stories] they actually are,” Stephens said. “There’s gonna be a little bit of Zero Year in there, you know as well. [You know] some of that stuff, especially with Nygma. And there’s another one but if I tell you what it is it really does spoil the story.”

For those who are familiar, Batman: Zero Year came from the minds of Scott Snyder and Greg Capullo during their popular run of New 52 Batman comics. The story, particularly the second arc “Dark City,” was all about Bruce’s initial time as Batman, and his efforts to stop The Riddler from taking over the city.

Not only does this story work for Gotham in the sense that Bruce Wayne is making his transition into Batman, but it finally brings one of the show’s most popular villains to the forefront. Of course, we’re talking about Ed Nygma, a.k.a. The Riddler…

TrekMovie.com reports on a Star Trek: Discovery panel at Vulture Fest last week:

Executive producer and co-showrunner Gretchen J. Berg didn’t want to give any spoilers for Discovery’s second season, currently in production, but hinted about the direction of the show:

I don’t want to spoil, but I think there are clues. It takes too many months to figure out how to do this. Their beautiful performances are crafted, then they are in post, so I am not going to tell you everything right now. We leave clues. Watch the final episode at the end of the [first] season as to where we are going.

I can promise you that the characters that you fall in love with, you are going to get to know them better. We get much deeper into character exploration this year and we will meet some new folks. We love our group and you are going to learn more about them.

Discovery‘s loose ends will be tied up into canon

When discussing the setting of Star Trek: Discovery,  Gretchen J. Berg reiterated how important it is for the creators to fit the show into Trek’s established canon:

I love the box that we are in, because it can be so overwhelming when you look at the entire universe of Star Trek … but we were able to focus on somewhere on the timeline and we know that this happened before and this happened after. They say boundaries and restrictions can be good and for us it was good. It also gave us an opportunity to lay in some easter eggs and we feel very, very, very strongly about making sure that we fit into canon, making sure that there are not any loose ends that may be the story that is being told right now, but we are going to fit into that timeline. A lot of consideration has been put into it.

The co-showrunner also acknowledged that the designs on the show have to work with a modern audience:

As far as shooting a show starting in 2017, we have to also realize we have caught up with The Original Series, like everyone talks about iPads and PADDS and stuff like that. We just have to make sure that it makes sense. We have our art director and prop designer and everyone who is madly in love with our show and also all the shows, and so they are paying attention to that.

The cast of Discovery is also going to appear on Carpool KaraokeTig Notaro has discussed her upcoming role in the second season.

Moving away from science fiction, another highly recommended show, Killing Eve also had its season finale. I’ll avoid any spoilers assuming for the benefit of those who have not watched the show, but the finale emphasized that this show is more about the relationship between the two leads than a traditional detective/spy series. However, like a traditional series, the first season opened up a new layer to the story which provides plenty of material for a second season without it feeling like a repetition of the first.

Upcoming this week: the series finale of The Americans, and the season finale of iZombie.

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

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

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

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

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

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

MT: We killed the blond one.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I previously posted news on renewals and cancellations here.

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

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

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

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

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

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

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

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

SciFi Weekend: The Big Bang Theory Wedding; Anson Mount on Star Trek Discovery; George Kirk Is Still Dead; The Expanse Cancelled By Syfy And Other Renewal/Cancellation News; 12 Monkeys; Bafta Awards

The wedding of Amy and Sheldon occurred on The Big Bang Theory last Thursday. TV Line discussed the episode with Steve Holland:

TVLINE | You mentioned when we spoke last week that Meemaw’s “cameo” was cut for time. Was there anything else you had to lose?
Usually our scripts come in at about 40, 45 pages. This one was about 65 pages. [Laughs] We spent the week [of production] paring it back. There were some jokes here and there that we lost, but I think the episode is stronger for it. We knew we weren’t going to skimp on the vows. We knew we weren’t going to skimp on the wedding. Some of those cuts were painful, but anything that wasn’t servicing [the central story] fell by the wayside.

TVLINE | What was the most painful cut?
Probably the Meemaw phone call. It was a lovely moment. That was a hard one. But it was 35 seconds in a script that was [already] five or six minutes long.

TVLINE | How and when did it come up with the idea to have Mark Hamill be the officiant?
When we first started talking about the wedding, it had come up that maybe one of Sheldon’s friends could get him a surprise officiant. And Mark was the first name on the list, so we reached out to him to see if he’d be interested. We didn’t have a script at the time, so [he] really had to take a leap of faith and trusted that we were going to do right by him… He was the nicest human being you could ever imagine.

TVLINE | Will we see much of Sheldon and Amy’s honeymoon when we pick back up next season?
I don’t know. We have some overall conceptual thoughts about next season, but we haven’t nailed down any of the specifics. But it’s certainly possible. It’s something we have talked about as an option.

More on the wedding last week.

Another cut scene with a tribute to Stephen Hawking was released on Twitter. I really think they should have made an expanded episode for the wedding.

More on the wedding last week.

BleedingCool.com has a guide for for those interested in seeing every moment possible of coverage of next week’s wedding of Prince Henry of Wales and Meghan Markle of Suits. Television coverage starts at 4 am on BBC America, with BBC America devoting more time for coverage than the BBC.

StarTrekMovie.com shows how Anson Mount is turned into Captain Pike for season two of Star Trek:Discovery.

Last week I quoted Jennifer Morrison refer to George Kirk’s “supposed death” in the 2009 Star Trek movie. She later clarified that she was just joking and wrote on Instagram, “I have no idea what they are planning for the next Star Trek. I’ve never talked to anyone involved with the project. I’m excited to watch and see how it turns out just as much as all the other fans.” So he might have never died, he might have died and is coming back, or there will be some timey wimey stuff going on.

Den of Geek summarizes what else is known about Star Trek 4.

We received a lot of news about television renewals and cancellations this week. From a science fiction perspective, the biggest cancellation is of The Expanse. There is talk of trying to get another network to pick it up but Ars Technica discussed why this might be difficult, as well as why it had problems at Syfy. At least there are the novels to find out what happens next.

The one show which so far has been successful in finding a new home was Brooklyn Nine-Nine. After talk of it being picked up by Netflix of Hulu, NBC wound up taking it.

Fox has cancelled The Last Man On Earth, with talk of Hulu possibly picking it up. Otherwise we will never know what is going on with those people who were underground.

Lucifer was cancelled with a huge cliffhanger, causing Fox to once again frustrate genre fans.

Timeless received a reprieve after being cancelled last season and remains on the bubble. Eric Kripke says it could go either way.  NBC has renewed The Blacklist.

The other major bubble show is Agents of SHIELD with no word yet from ABC. (Update: SHIELD has been renewed for a thirteen episode season). It came as no surprise that ABC officially cancelled The Inhumans. It was pretty much assumed that it would not be returning.

The CW Network has renewed The 100 and iZombie. They also announced new series including reboots of Charmed and Roswell.

Syfy has released the above trailer for season 4 of 12 Monkeys, which returns June 15.  All eleven episodes will be shown over four week. Three episodes will air on each Friday for the first three weeks of the season. The two-part season finale will be on Friday, July 6.

The Bafta TV Awards were presented today. Winners include Peakey Blinders for Drama Series and The Handmaid’s Tale for International. The full list of winners can be found here.

As regular readings might guess from the scarcity of the usual comments on the week’s shows, I remain seriously behind following last weekend. Hopefully I can get caught up for some of the season finales coming up imminently.

SciFi Weekend: Star Trek Discovery Season 2; Two Star Trek Movies Planned; The Return of Westworld, A Handmaid’s Tale, and The 100

Star Trek: Discovery season two has gone into production and CBS has released the video below with some glimpses, including brief views involving the Enterprise. Unfortunately we do not see very much. There is a picture of the uniforms, with some updating.  There is no good view of the bridge and only a quick glimpse of Anson Mount as Captain Pike.

It also appears that Paramount is proceeding with two Star Trek movies. One would be the Quentin Tarantino movie, rumored to be based upon either an episode of the original show or Star Trek The Next Generation.  This would not take place in the Kelvin timeline from the J.J. Abrams’ movies.

The other movie would be a continuation in the Kelvin timeline as a follow up in the J.J. Abrams series. This reportedly would involve Captain Kirk meeting his father, again played by Chris Helmsworth. As George Kirk was killed in the first Abrams movie, it is not known if this will involve time travel. I’m hoping that Kirk prevents Nero from killing his father, and then repairs the entire time line. The movie will be directed by S.J. Clarkson, making her the first female to direct a Star Trek movie. Clarkson has worked on television series including Orange Is The New Black, Dexter, and Jessica Jones.

I only have time for an abbreviated version of SciFi Weekend today, as will likely also be the case next week. Three genre series did return which I will briefly note, and will probably discuss all three series in more depth later in the season.

Westworld is back with the story again being told in more than one timeline.  Much of the episode appears to be taking place just after the events of the first season finale. As would be expected in the season premiere, there were many questions raised. I’ll just mention a few thoughts today, but there was far more worthy of discussion in the episode.

It appears that Delos has been harvesting the DNA of its guests, along with all the other information they record. It looks like something Mark Zuckerberg might have come up with. Are clones next? As opposed to the movie, in which the robots were more clearly the villains, the first season often had us rooting for the hosts. I wonder if, even after all the killings, the show will remain ambiguous as to who to support.

In a scene taking place two weeks after the massacre of the first season finale, we see dead hosts floating in water and Bernard saying, “I killed them. All of them.” He did not definitely say who he killed. He is most likely referring to the dead hosts, but could he be talking about the guests? Presumably much of the season will deal with how we get to that scene.

Maeve is still searching for her daughter. I can’t help but wonder what will happen, assuming she does find her. Will the daughter know her, or see any connection between them? As Maeve has not played that role for a year, will the daughter have a new mother?

Hulu released two episodes of A Handmaid’s Tale. The first deals with Offred, showing what happened after she was taken away in the truck in the first season finale. Her story progressed from there, with the eventual revelation of where she is  playing well into the changes in society.

The second episode also spent a lot of time with Alexis Bledel’s character Emily. This included both her backstory as a college professor and her life after being exiled to the Colonies. They are now beyond the book, but the first two episodes showed that this world provides a lot of material to continue with. However, considering how bleak it is, I hope that rather than continuing this for several seasons, they offer some hopeful signs for change in this society.

The fifth season premiere of The 100 primarily dealt with how Clarke spent the last six years, leading up to the point seen in last year’s season finale. We saw a little with the group in space. The most surprising portion came at the end with Octavia in the bunker. That story will be told in greater detail next week. TV Guide did speak with Jason Rothenberg about this:

“Obviously we saved that for the end as a big holy sh– moment to tee you up for the story we’re telling in [Episode 2],” Rothenberg tells TV Guide. “It was really important to me for that environment, for that fighting pit that we see in [the premiere], to feel believable and to tell a story in the next episode that explains how we got there.”

Next week’s episode will be focused entirely on how Octavia went from winning the Conclave into becoming this Mad Max monarch, and while Rothenberg doesn’t want to give too much away about that journey, he does reveal that Octavia’s intentions were never anything but to keep her people safe. “We realize ultimately that Octavia needs to find ways to keep her kru, her new people, Wonkru, together. And she kind of forges this clan in her own image, in a sense,” he teases.

What is The 100 if not a tale of people doing terrible things with good intentions? But as the show has reminded us time and time again, good intentions don’t always mean these actions are just. And after six years of peace, discovering this culture of violence that Octavia has created in the bunker will come as a huge shock to Bellamy and Clarke when they eventually reunite.

“It will be mind-blowing, to say the least, because it’s not at all what they expect. Bellamy will definitely understand some of it based on his knowledge of his sister and what they read together as children and things of that nature,” the showrunner says. “But certainly, they have no idea what to expect when they open that bunker. They don’t know if anybody is going to be alive, let alone strong. And so it could have felt like opening the doors of a concentration camp where everyone was wasting away and barely hanging out, but instead there’s a powerful fighting force down there.”

While Bellamy and Clarke will be understandably horrified to learn of the fighting pit, the fierce warriors Octavia has cultivated in the bunker will prove to be quite useful now that there’s another war on-hand. But whether that justifies what Octavia did to create these warriors will be the question that plagues both Octavia’s friends and family, but also the fans this season.

“It’s fairly remarkable that she was able to keep that, to create that, to forge that steel in the fire of what they lived through down there,” Rothenberg says. “So ultimately that’s all due to Octavia. And the question for people will be, ‘Do we like her or do we hate her or fear her?’ But I think ultimately, we have to respect that she did it, she made it happen. And they will too.”

SciFi Weekend: Star Trek Discovery Season 2; Rebooting Gotham; Steven Moffat on Dracula And Other Doctor Who Related News; Mark Hamill On The Big Bang Theory; The Spy

Production on Star Trek: Discovery season 2 started in Toronto on April 16. TrekMovie.com has an excellent rundown of what is known about the season so far. This includes some new cast members, which indicates that we will see two additional star ships (including The Enterprise as was shown at the end of season one, and Section 31):

Anson Mount – Captain Christopher Pike of the USS Enterprise, he’ll be in at least the first two episodes of the season.

Alan Van Sprang – Leland is the head of Section 31, introduced in a bonus scene that was originally attached to the end of the season one finale. Based on what Van Sprang said at WonderCon, he’s expected to recur throughout the season.

Tig Notaro – Chief Engineer Denise Reno of the USS Hiawatha, guest staring in an unknown number of episodes.

They also have come comments on the theme of the second season:

Theme of season two: Science vs Faith

The showrunners have said a few times now, on After Trek, and then at WonderCon, that theme of season two is “science versus faith.” Aaron Harberts explains:

What is the role of serendipity versus science? Is there a story about faith to be told? Leaps of faith. We are dealing with space. We are dealing with things that can’t be explained and you have a character like Michael Burnham who believes there is an explanation for everything. And it doesn’t just mean religion. It means patterns in our lives. It means connections you can’t explain.

Harberts also talked about how the tone of the show will change in season two:

[Season one] was an interesting season because it was set against the backdrop of war. One of things we are looking forward to in season two is a tone that we can now be in a more exploratory phase and a more diplomatic phase – maybe a bit more of a Trekian chapter

Last week I, and multiple other sites, repeated a story based upon apparently incorrect information from a Discovery staffer claiming that the differences between the Enterprise in the season one finale and the original show were due to legal reasons. CBS has subsequently issued a statement stating that the changes were done for creative and not legal reasons:

CBS TV Studios does, in fact, have the right to use the U.S.S. Enterprise ship design from the past TV series, and are not legally required to make changes. The changes in the ship design were creative ones, made to utilize 2018’s VFX technology.

The art that was used in the 2019 calendar is ‘concept art,’ which was completed long before the VFX process is completed.

Last week I also noted that Star Trek: Discovery was nominated for a Peabody Award. While they did not win, other shows which I have previously discussed in SciFi Weekend were among the winners– The Handmaid’s Tale, Better Call Saul, and The Marvelous Mrs. Maisel. The full list of winners is available here.

Gotham will be drastically changed after the fourth season finale according to a report at ComicBook.com:

The Season 4 finale, which follows the ever-popular Batman: No Man’s Land story from the comics, will alter the entire reality of the series. Everything we know about Gotham will change, and an entirely different Batman prequel series will rise up in its place.

According to executive producer Danny Cannon, “A Dark Knight: No Man’s Land” will change the fabric of Gotham‘s DNA, and serve as a reboot of the show’s story.

During an exclusive interview with ComicBook.com, Cannon mentioned that the finale would bring a “cataclysmic event” to Gotham. Knowing that “No Man’s Land was the title of the Season 4 finale, this wasn’t much of a surprise, but we asked him to elaborate.

“Like I said, the catastrophic event, the cataclysmic event that happens in the last three episodes not only will change Gotham,” Cannon continued, “it not only combines so many characters that you don’t think will cooperate with each other, but it changes the face of Gotham forever, so that season five, it’s almost a reboot and a different show.”

“Our characters have reached a maturity now, our characters are so well defined and that’s why I think as writers, that’s right about the point when you want to change people’s perception of them,” Cannon clarified. “The [term] ‘reboot’ means, just when you thought you knew people, something else will happen, and just when you thought your Season 5 would be like Season 4, Season 5 is completely different. New characters and old characters that have changed. It’s a complete [departure], and the city has changed too, new characters on a new landscape.”

Steven Moffat has revealed minimal information about plans for a reinvention of Dracula:

While speaking to Graham Norton on his BBC Radio 2 show, Moffat had a few words to say about his new adaptation. He confirmed that he and Gatiss will tackle the project “in a Sherlock-y way” though there will be one important difference between them: Dracula won’t be brought into the modern day.

“But not in exactly the same way. We’re not modernizing it or anything, but we are doing a version of Dracula.”

In other news related to the Doctor Who/Sherlock universes, Entertainment Weekly reports that David Tennant was considering the staring role on Hannibal:

“I met [Hannibal executive producer] Bryan Fuller a couple of times, and we talked about it,” says Tennant. “But I think they quite wisely chose Mads Mikkelsen, I think he was a perfect choice for it, and I think he did things with that character that I wouldn’t have managed, so I think the right man got the job.”

Considering how well he played the villain on Jessica Jones, I’m sure that Tennant could have also done an excellent job as Hannibal.

Sort of tying in Sherlock with Star Trek news, Benedict Cumberbatch revealed that he spilled secrets about filming Star Trek Into Darkness with Stephen Hawking.

Season eleven of The Big Bang Theory will conclude with the wedding of Amy and Sheldon. Guests include Laurie Metcalf as Sheldon’s mother and Courtney Henggeler reprising her role as his twin sister Missy. Jerry O’Connell has been cast as George, Jr. Besides bringing older versions of the cast of Young Sheldon, Wil Wheaton will be present. The most exciting addition to the guest list is Mark Hamill (Luke Skywalker). There is no word as to what his role will be on the episode.

Noah Emmerich of The Americans will continue to be a spy even after his current show is off the air. He will be staring in a limited run series on Netflix entitled, The Spy:

Written and directed by Gideon Raff, creator of the Israeli drama Prisoners of Waron which Showtime’s Homeland was based, The Spy tells the story of legendary Israeli spy Eli Cohen (Baron Cohen). Eli Cohen lived in Damascus undercover in the beginning of the ’60s, spying for Israel. He managed to embed himself into Syrian high society and rise through the ranks of their politics until he was uncovered by the Syrian regime, sentenced to death and publicly hanged.

Emmerich will play Dan Peleg, a charming, rumpled and brilliant Mossad trainer. He is wise, wary and stubborn, and has a tendency to blur the boundaries between the personal and professional. He has conflicted feelings about Eli (Baron Cohen), and is tormented by a mistake he made in the past.

I’m still hoping for a Stan and Oleg spin-off of The Americans.

SciFi Weekend: Pike and Spock on Discovery; Why The Enterprise Looks Different; Robert Picardo Returns To The Orville; Steven Moffat Fills In Plot Holes In Doctor Who; Legends of Tomorrow; The Arrow; Jessica Jones Renewed; Killing Eve

Anson Mount has been cast to play Captain Christopher Pike on Star Trek: Discovery. We don’t know much of the Enterprise will be seen on Discovery next season, but did get some clues from Jonathan Frakes, who will be directing two episodes next season. Last season he was the first to reveal that Discovery would be going to the Mirror universe. Frakes more recently revealed at the El Paso Comic Con that he will be directing the second episode of season two. The episode will include both Captain Pike and Spock.

The catch is that Spock will appear in a flashback of his childhood years, including a view of Michael Burnham. There is no word about whether an adult Spock will ever appear on Discovery, but the producers have expressed reservations about recasting Spock in past interviews. I suspect that they will be keeping adult Spock off screen, whether or not he is aboard the Enterprise at the time, but it is also possible they are hiding their plans.

We also learned why the Enterprise looked slightly different than the original Enterprise in the season finale of Discovery, to the frustration of some purists. (My review of the season one finale was here). The reasons came down to the changes in ownership rights to Star Trek, requiring these changes.  John Eaves, one of the designers for Discovery, explained the process on Facebook last week:

Back in April of 2017 the task of the Enterprise making an appearance came to be and work was to start right away. The task started with the guideline that the Enterprise for Discovery had to be 25% different otherwise production would have most likely been able to use the original design from the 60’s but that couldn’t happen so we took Jefferies original concepts and with great care tried to be as faithful as possible. We had the advantage of a ten year gap in Trek history to retro the ship a bit with elements that could be removed and replaced somewhere in the time frame of Discovery and the Original series…

The changes between the two enterprises are as follows. The new ship has more TMP struts than TOS struts, the main hull and nacelles are shorter and more plump, the deflector dish now has one antenna vs two, the impulse module is thinner from side to side, the overall ship has a heavier plating detail, and the exterior has a more broader range in lighting and nacelle glow. I am sure there are subtle differences but I have not seen any more than you have to make a more detailed comparison so look at the calendar as concept art and all will be good and hope this quick breakdown helps.

He added in a comment:

After Enterprise, properties of Star Trek ownership changed hands and was divided,, so what was able to cross TV shows up to that point changed and a lot of the crossover was no longer allowed. That is why when JJ’s movie came along everything had to be different. The alternate universe concept was what really made that movie happen in a way as to not cross the new boundaries and give Trek a new footing to continue.

If the recent attempt by CBS to purchase Viacom had been successful, there could have been a resolution of some of the problems caused by this division in ownership rights. Perhaps Vulcan could be saved.

Update: After multiple blogs and media outlets posted similar stories, CBS issued a statement saying that the changes to the Enterprise were for creative and not legal reasons, and that CBS does have the rights to use the original design of the Enterprise.

Also in Star Trek news, Star Trek: Discovery has been nominated for a Peabody Award.  Star Trek: The Next Generation previously won a Peabody in its first season, for the episode The Big Goodbye.

ComicBook.com has a look at Robert Picardo’s return to The Orville during the second season and recaps his appearance during the first season.

Radio Times reports that Steven Moffat has cleared up a few plot holes from Doctor Who in his novelization of The Day of the Doctor. This includes sort of bringing the Peter Cushing movies into cannon. No, he did not add yet another unknown Doctor like the War Doctor. Instead he brought in the movies:

In one of the new novel’s more meta moments, Moffat also explains away one of the greatest canonical issues in Doctor Who history – where, exactly, do the 1960s Peter Cushing films fit in?

For those not in the know, these films (called Dr. Who and the Daleks and Daleks – Invasion Earth: 2150 AD) were a remake of some early William Hartnell Doctor Who stories, starring Star Wars and Hammer horror icon Cushing as a human scientist who actually invented the Tardis (losing the “the” to become just Tardis) and battled alien nasties.

Obviously, Cushing can’t be counted among the official line-up of Doctors, but fondness for the films has led Who fans to keep him in their hearts – and now the new book finally explains his place in the canon.

According to Moffat’s Day of the Doctor adaptation, the Cushing Doctor Who films do exist in the main Whoniverse, with the actor playing a fictionalised version of the real-life Doctor with the blessing of the man himself. The new book shows posters from Cushing’s films actually hanging in the Black Archive, which Moffat has previously said he wanted to do in the episode that aired on TV – plans which were scuppered when the BBC were unable to get the rights to the artwork.

“Seen them? He loves them,” UNIT boss Kate Stewart explains to Jenna Coleman’s Clara Oswald in the episode when discussing the films.

“He loaned Peter Cushing a waistcoat for the second one, they were great friends. Though we only realised that when Cushing [started] showing up in movies made long after his death.”

That last bit, of course, is a reference to how the late Cushing was included in 2016’s Star Wars prequel Rogue One using cutting-edge CGI – though apparently it was just Tardis trickery instead.

Other questions answered include earlier meetings between River Song and the Doctor and why the stories about the first two Doctors were in black and white.

Legends of Tomorrow co-showrunner Phil Klemmer discussed last week’s season finale with TV Line and gave a hint about next season in a question about Mallus:

TVLINE | What is his agenda? What does he “want” most in the world?
He is a sort of bellwether of bad guys to come in Season 4. Up until this point, we’ve been dealing with earthly and historical bad guys, and we certainly had fun with all of that, but this year we dabbled in the world of the occult, through Damien Darhk and his enterprises. But you know that Constantine is coming onto the show [as a regular] next season, so we want to go deeper, we want Mallus to be used as “the tip of the iceberg.” He is not human, and we want to start playing with the idea that Earth hasn’t always belonged just to our kind.

We want to get into the world of fantastic myths and monsters a bit more. It’s kind of presumptuous for anybody to think they have ownership of this Earth or any part of it. Not to get deep into immigration metaphors, but Mallus is an ancient evil, he doesn’t understand humans and doesn’t understand why we have any claim to controlling this world of ours.

Of course this will work out well with the addition of Matt Ryan (Constantine) to the cast.

Arrow still has a few weeks to go, but I do like the idea of Oliver going more solo as we saw last week (as long as Felicity is still around, of course). Marc Guggenheim discussed the upcoming finale with Entertainment Weekly. ComicBook.com summarized:

“It’s gonna be interesting,” Guggenheim said. “It’s very, you know, I’ve been saying it’s an unconventional kind of finale. It still feels very much like a season finale. When I first started talking about it we hadn’t written the darn thing yet, but now we’ve written it and we’re in prep on it and on Monday we start shooting. And it’s a real game-changer.”

To a certain extent, the season five finale was also a game-changer for the show with Adrian Chase/Prometheus’ (Josh Segarra) end game resulting in Lian Yiu being blown up, Oliver Queen/Green Arrow (Stephen Amell) becoming a single parent after the murder of his son’s mother, as well as setting into motion some of the events this season — Thea (Willa Holland) in a coma, Oliver trying to find a work-life-vigilante balance, and the splintering of Team Arrow. However, what’s coming for the season six finale will go even further and Guggenheim teased that the aftermath of “Lian Yu” as seen in the season six premiere will play a role as they’ve been plotting up to this game-changer from premiere.

“The show fundamentally changes in the finale and I think you’ll see there’s stuff that we were seeding back in the season premiere that finally comes to fruition here in the season finale, so you’ll see that there was a very specific plan to the entire season,” Guggenheim said. “We always knew that this is where we were headed to. So, hopefully in subtle ways have been teasing this all along without you realizing it. My hope is that people are surprised, but also look back and are like oh, that was kind of the only way that they could have ended the season.”

There are also reports that Colton Haynes is returning to Arrow, which is a bit odd after Thea left the show to supposedly go with Roy.

Jessica Jones has officially been renewed for a third season on Netflix.

HBO has renewed Silicon Valley for a sixth season

SciFi Weekend has frequently gone beyond science fiction. At present two of the hottest new shows on are not science fiction, but instead both deal with killers, the reluctant hitman on Barry and the much more enthusiastic assassin played by Jodie Comer on Killing Eve. A discussion with the creator of Killing Eve,  Phoebe Waller-Bridge, and its stars,  Sandra Oh, and Jodie Comer, can be seen at Vulture.

One reason Killing Eve works so well is by the acting job done by Jodie Comer. Collider has an interview with her:

Will we get to know more about why she ended up in this profession?

COMER: Yeah, you do. As the story goes on, you definitely do see a little bit more of an insight into that. As the investigation progresses and they find out more information, you do learn a little bit about her. I don’t think her past excuses what she does, but I think it definitely gives you a little bit more of an understanding, as to who she is and where she’s come from, definitely.

It’s one thing to kill people and it’s another thing entirely to enjoy it, which she seems to do.

COMER: Yeah, absolutely! It’s like a life force for her. I feel like her job gives her purpose, for sure, and she wants to do a good job. She’s had so many conversations with Konstantin (Kim Bodnia), where she’s like, “Did you see what I did?! Did you see how good that was?! Are you impressed with me?! Because I’m impressed with me!” She’s so self-confident. She’s brilliant.

Do you think that will also get her in trouble?

COMER: Yeah, absolutely! I think she become quite careless. Konstantin is certainly in charge of her, and he sees this going on, so she loses a little bit of her independence and she can’t deal with that. Konstantin says, “Listen, you do what you’re told, and you don’t ask any questions.” She doesn’t abide by that, and there are consequences to that. What’s so lovely about their relationship is that he’s the only person who understands her and sees through her games. He’s like a father figure, in a lot of ways. It’s nice to see her actually have what seems to be a genuine relationship with someone, who she may actually care about, maybe.

Do you think she would still kill him, if need be?

COMER: I don’t know. I wouldn’t put anything past her, at this point.

Does she have a moral code? Is there somewhere that she would draw the line?

COMER: First off, I think she puts herself first, so if her life was threatened, then she would absolutely do anything. I think her independence is what’s most important to her, and why that is, you will discover.

How threatened does she feel by being looked into?

COMER: At the beginning, she thinks it’s just a game. She feels invincible. Maybe there’s a realization that they are actually getting information. She doesn’t speak Russian anymore. That’s the part of her life that she wants nothing to do with, and yet it’s getting dragged up by everybody else. That is not something that sits well with her, at all. What she does about it, you’ll have to see.

What does Villanelle think of Eve, and what can we expect from how that dynamic develops?

COMER: Villanelle lives this luxurious life, and I think she’s intrigued at how ordinary Eve is. She lives her life with her husband. The narcissist in Villanelle is like, “This chick wants to know about me? I’m gonna show her!” She wants to make sure that Eve gets to her. She wants to make sure that they meet. It’s a funny relationship. I feel like Villanelle is seeking something from Eve. Nothing material, but spiritually, there’s something. There’s a connection there that they’re both not sure of, but it’s undeniable. It’s there. There is a connection with Eve, on a personal level for Villanelle, because she reminds her of someone who is very close to her, in her past. It brings all of these emotions up.

Above is the official trailer to Killing Eve. At present it is still easy to catch up with both of these shows if you have not seen them. The second episode of Killing Eve airs tonight and the first episode remains available on line. The fourth episode of Barry will be on HBO later tonight, but as episodes are only slightly over thirty minutes it won’t take long to catch up.

SciFi Weekend: Agents of SHIELD and the MCU; Arrow; The Americans Return For Final Season; Hugo Award Nominees; Trish Walker Music Video From Jessica Jones

 

The last two episodes of Agents of SHIELD have been excellent, tying into the events of last season and fitting into the upcoming events in Avengers: Infinity War. This week’s episode, Rise and Shine, jumped back in time twenty-eight years to further tie HYDRA into the history of the MCU, including the upcoming war. TV Line has summarized Easter Eggs in the episode.

The episode did provide a compelling argument for SHIELD and HYDRA to unite, but I am appalled by HYDRA’s view on dogs. I am glad that General Hale put an end to that when it came to her daughter’s dog.

Earlier in the season I had heard speculation that SHIELD was moved into space and the future this season in order to avoid conflicting with Avengers: Infinity War. Instead they came back prior to the movie’s release, and are now tying into it. At WonderCon the showrunners gave a different reason for going into space:

Jed Whedon: Last year was a real kitchen sink year. We had a lot of stuff going on. We did alt world. We did Ghost Rider. We did LMDs. So we did two different versions of alternate versions of ourselves and so we were thinking ‘Where can we go that’s different.’

Maurissa Tancharoen: Mack’s line sort of reflects what we were thinking in the writer’s room. He turns to Coulson and goes ‘We’re in space. It’s the one thing we haven’t done yet.’ So it was definitely an area that we had been contemplating for a while.

In other words, they went into space as it is something they had not done before. Screen Rant suggests that they venture into alternate dimensions next season.

The future for the series is unknown. The show is on the bubble at ABC, and the season finale was written to be a series finale if the show is not renewed. Besides the usual factors involved in making such a decision, it is possible that the failure of Inhumans will give Disney reason to continue SHIELD with the absence of Marvel on ABC. This might not be enough with Marvel having shows on Freeform, Netflix, and Hulu.

Another factor is that Clark Gregg will be co-staring in Captain Marvel. As the movie takes place in the 1990’s, this will not conflict with his death in the Avengers movies. It does raise the question as to whether filming the movie would interfere with SHIELD returning. While they have been hinting at the possibility of Coulson’s death on SHIELD, which would bring the television show in line with the MCU, I doubt they would bring the show back without Clark Gregg.

The last two episodes of Arrow featured the return of Roy Harper and ended (spoilers) with Thea Queen leaving town with him. Many characters have left the show, and Thea did have a reduced role this year, but it was unexpected that they would eliminate one of the few remaining stars who have been with the show since the start.

Entertainment Weekly discussed the decision with Marc Guggenheim:

ENTERTAINMENT WEEKLY: What came with the decision to write Thea off the show now and whose decision was it? 
MARC GUGGENHEIM: At the end of season 4, Willa had come to us and basically said that she would like some more time for herself, and would like to reduce her role on the show. And we did, we reduced the commitment that she was making to us in season 5, and carried that over in season 6. Season 6 is the end of her contract, and going into season 6, with all of us knowing it was the end of her contract, Willa expressed the desire to move on, not re-up. She expressed a desire to be written out at a certain time in the season, which is around episode 16, so we accommodated her on that front as well. Look, we love Willa, we love working with Willa, we love the character of Thea, we particularly have always loved Thea’s relationship with Oliver. That relationship is one of the things that we deviated from the comic book early on. It was one of the very first major creative decisions we made in terms of adapting the Green Arrow comic for live action television. So it’s always been an incredibly important, critical part of the show for us.

At the same time, this is what happens when a show goes past five years. Actors start to reach the end of their contracts, they start to look towards greener pastures or new opportunities. I think this is true across all the shows. We never wanna stand in the way of someone wanting to express themselves creatively in a different way, on a different show, or through a different medium. So we took Willa’s request and took it seriously, and decided “Okay, well, if this is the hand we’re dealt, how do we play it as best we can and write off Thea in the most emotional and interesting way possible?”

Instead of getting a happy ending, Thea has set out to right her father’s wrongs. Why was this the most fitting ending?
This was something that came out of the writers’ room and it excited us for a variety of different reasons. For one thing, we really like the idea of writing Thea off in a way that suggested a larger story for her. One could imagine us, at some point in some medium, exploring the story of Thea, Roy, and Nyssa working to find these other Lazarus Pits. We tend to, as writers, gravitate toward stories that suggest other stories. As a showrunner, I got enamored with the notion of writing out a series regular in a way that didn’t suggest the end of a story, but rather the beginning of a new one. That’s not something that you typically see. Normally when a character’s written off, a series regular’s written off, it always feels to me like an ending. Sometimes it’s a literal ending and you’re killing off the character, but a lot of other times it’s like, well they’re going off and just living a much quieter life and there’s no more story to tell about them. I really like the idea of actually going the opposite route and suggesting a greater and bigger story for Thea. I just think that’s both interesting and unexpected.

You’ve always said you didn’t want to kill Thea, but was that seriously considered? Were there alternate possibilities for Thea’s exit?
There were. We talked certainly about the low-hanging fruit of “Well, the simplest thing to do is bring Colton back and have her and Roy ride off into the sunset together,” sort of the way they do at the beginning of the episode. That to me was the obvious choice. That’s the thing that you would expect given the story that we’ve told with Roy and Thea since season 1. But because it’s the obvious choice, that was one of the first choices we immediately discounted, because we never wanna do something that’s so patently apparent. Killing her off was never on the table. I’ve always been very sincere and consistent in my view that Oliver just can’t lose his last remaining family member. So that was never even on the table.

Is there a chance we could see her on the show in the future? And will we get an update on the destruction of the Lazarus Pits, whether Thea returns or not?
Really, honestly, it’s totally up to Willa. One of the things that I love about Arrow — and I think this is true for the other superhero shows as well, but I think Arrow‘s really shown a capacity for it — is no one is ever gone. Even the characters who have been killed off are never gone. People can come back in a variety of different ways here. In Thea’s specific example, there’s a whole storyline left to explore. We haven’t started thinking about how to do it in season 7 or beyond. I think we know Willa’s just finished Arrow, she’s looking to see what other opportunities are out there for her. But I love this idea of Thea, Roy, and Nyssa making an unlikely trio, exploring a different part of the Arrow-verse, a different corner of the Arrow-verse. It would be a shame not to revisit it. At the same time, we’ve also shown that we can tell Arrow-verse stories in other mediums: animated, comic books, and prose novels. There are those avenues open to us as well. So I don’t know what the future holds, but there are potentials out there.

It has become commonplace on the show for characters to leave and return, so I would not be surprised if they were to do an arc with Thea returning. They even brought Katie Cassedy back after her character was killed, and now Stephen Amell is teasing that Colin Donnell (Tommie Merlin) will be returning. Supposedly this will not be a flashback, but there are all sorts of ways they could have Oliver imagine the return of people from his past, without even having to resort to either a flashback or Tommie from another earth.

Caity Lotz will also be returning in the season six finale of Arrow, in addition to her regular role in Legends of Tomorrow. There is no word what her role will be, or how she will respond to the earth-2 version of Laurel.

The Americans has returned for its final season, with a jump to 1987. Throughout the series, the speculation was that, assuming there is no happy ending for the main characters, the show might end in the arrest of the Russian agents. The season premier has raised other possibilities. Elizabeth and Philip Jennings might turn on each other. Even worse, Elizabeth’s end could come from the pill she was given now that she is in a position where she cannot be arrested. Philip has left the spy business and Paige has entered. The season premiere also showed the importance that Elizabeth places on her daughter’s safety, suggesting that this might also be the one thing which could lead her to disobey orders from Russia.

Oleg has also returned to the United States. In the past there were jokes of a Stan and Oleg spin off. Now will it be Oleg and Phillip?

No matter how things play out for the Jennings, we know that the Soviet Union is heading towards its end. Their travel agency is also an anachronism, with the internet likely to change it in the near future.

This is all just speculation as the final season can go in a number of directions. Regardless of how it plays out, I am very happy that The Americans is back. It has consistently been among the top network dramas for the last several years. Plus The Americans shows that Russian attempts to influence the United States, and vice versa, are nothing new. This is a long-standing situation which is not about why Hillary Clinton lost an election that any decent Democrat could have won, and not a reason to panic and restrict free speech. We have survived Russian attempts to influence the United States in the past and can continue to do so if we can ignore cable news hysteria.

The 2018 Hugo Award nominees are out. Television shows nominated include episodes of Black Mirror, Doctor Who, Star Trek: Discovery, and The Good Place. Following are the nominees for movies and television shows:

Best Dramatic Presentation – Long Form

  • Blade Runner 2049, written by Hampton Fancher and Michael Green, directed by Denis Villeneuve (Alcon Entertainment / Bud Yorkin Productions / Torridon Films / Columbia Pictures)
  • Get Out, written and directed by Jordan Peele (Blumhouse Productions / Monkeypaw Productions / QC Entertainment)
  • The Shape of Water, written by Guillermo del Toro and Vanessa Taylor, directed by Guillermo del Toro (TSG Entertainment / Double Dare You / Fox Searchlight Pictures)
  • Star Wars: The Last Jedi, written and directed by Rian Johnson (Lucasfilm, Ltd.)
  • Thor: Ragnarok, written by Eric Pearson, Craig Kyle, and Christopher Yost; directed by Taika Waititi (Marvel Studios)
  • Wonder Woman, screenplay by Allan Heinberg, story by Zack Snyder & Allan Heinberg and Jason Fuchs, directed by Patty Jenkins (DC Films / Warner Brothers)

Best Dramatic Presentation – Short Form

  • Black Mirror: “USS Callister,” written by William Bridges and Charlie Brooker, directed by Toby Haynes (House of Tomorrow)
  • “The Deep” [song], by Clipping (Daveed Diggs, William Hutson, Jonathan Snipes)
  • Doctor Who: “Twice Upon a Time,” written by Steven Moffat, directed by Rachel Talalay (BBC Cymru Wales)
  • The Good Place: “Michael’s Gambit,” written and directed by Michael Schur (Fremulon / 3 Arts Entertainment / Universal Television)
  • The Good Place: “The Trolley Problem,” written by Josh Siegal and Dylan Morgan, directed by Dean Holland (Fremulon / 3 Arts Entertainment / Universal Television)
  • Star Trek: Discovery: “Magic to Make the Sanest Man Go Mad,” written by Aron Eli Coleite & Jesse Alexander, directed by David M. Barrett (CBS Television Studios)

My post on USS Callister is here, Twice Upon A Time is here,  Magic to Make the Sanest Man go Mad here, and Michael’s Gambit here.

The full list of nominees is here.

Netflix has released a pop-up musical video of Trish Walker’s video hit, Want Your Cray Cray. This was seen in season two of Jessica Jones, which both more on Jessica and Trish’s earlier years and foreshadowed Trish’s future.

SciFi Weekly: The X-Files Finale; Agents of SHIELD And The MCU; Star Trek Discovery Season Two Plans; The Ninth Doctor; What They Wear Under Those Cloaks On The Handmaid’s Tale

There are so many reviews already out there about how bad My Struggle IV was that I won’t spend much time piling on here. It is especially disappointing that this is not only the season finale of The X-Files, but it might also be the series finale. I gave them the benefit of the doubt after watching My Struggle III, hoping that essentially retconning last season’s finale would give them the opportunity to end this season in a better way. While they got rid of the alien invasion, the episode was not the season or series conclusion which fans were hoping for. At least there were some worthwhile stand alone episodes during the season.

For the benefit of those who gave up watching but have passing curiosity as to how it all ended, the episode centered around William, who was previously described as the son of Scully and Mulder. The episode ended with Scully telling Mulder, “William was an experiment. He was an idea, born in a laboratory. I carried him. I bore him. But I was never a mother to him. William wasn’t…”  This led to Mulder asking, “What am I now if I’m not a father?”

Then the big shocker to end the season: “You are a father!” Scully grabbed Mulder’s hand and put it on her abdomen.  “That’s impossible…”  “I know, it’s more than impossible,” Scully responded.

Chris Carter had this to say about the pregnancy in an interview with The Hollywood Reporter:

Given the twist about William’s paternity this year, can you confirm this is biologically Mulder and Scully’s kid that she is carrying?
I will confirm it is their child. But I will also confirm Scully has alien DNA.

Syfy Wire interviewed Chris Carter about the episode:

Did it feel different this year bringing the season to a close?

Chris Carter: No. I don’t think we’re at the ending as much as a new beginning. Or, it’s not a conclusion for me. It’s maybe one of the biggest cliff-hangers we’ve ever had. Certainly, with the carnage and the revelations. We did six last time, and 10 this time. Even though it took a year of my life to do it, it happens much faster. So, the arc is much quicker, and that struck me again.

When did the concept of the four-part “My Struggle” episodes come to you? Obviously, you had your Season 10 pick up, but did you know then that you wanted to tell this particular through line in four pieces?

Yeah, I had four stories to tell. They were the characters that were most central to the mythology being Mulder, Scully, the Cigarette Smoking Man, and Mulder and Scully’s son, William. Those are the stories I wanted to tell, so I’m glad everyone stuck with it.

Gillian had a very specific announcement this year saying that she was retiring from the character. Did that affect the tail end of the season?

No, it’s what I wanted to do always. I wanted to reveal William’s immortality. I wanted to bring Mulder and Scully back together in the most emotional way. So, I had all those cards to play.

Some showrunners have an idea of a last image that they want to end with. Was Mulder and Scully hugging on that dock with the knowledge that she’s pregnant set, or did that come from telling that story this season?

It was in my head and I couldn’t wait to shoot it. But that’s not the last image. (Laughs)

True. It was indeed William in the water alive. But was it Mulder and Scully or William you were moving towards the whole season?

You know, I’m so invested in these characters. I’ve lived so much of my life with them, and it’s a moment we’ve seen twice. We’ve seen it at the end of the second movie, and we’ve seen it now at the end of the finale. The revelation about the first child was a different situation. I really feel like emotionally they are connected in a way that we haven’t ever quite seen.

The X-Files has always been very subtle about portraying the romantic relationship between Mulder and Scully. But you let the writers lean into it this season with some really poignant moments. Why was it important to show that now?

I think that there was some part of us that heard the fans. There was another part of us that saw them both getting older and thinking about the future, and thinking about retirement and old age, and what their lives might be together. So, I think that these are poignant moments for two characters who have known each other for 25 years…

What was the wrap shot for the season?

I think the final shots that I shot were with some of the additional stuff that I had to do with Mitch for that action sequence. The sequence on the dock with Mulder and Scully was the second to last night. We tried to put it on the last night, but we were unable to do that.

Speaking of Skinner, we’re very well trained by you that unless you say someone’s dead, they aren’t dead. So, we see part of Skinner’s body. Do you want to say if he’s dead or not?

Well, you see him lying under the car. But you did see him fall before the car hit him, so while he’s motionless it certainly begs many questions…

I’ve got a nerdy question: In “My Struggle part II”, we get Scully’s vision of the end of times. And it showed CSM in a very different physical state. And then we see in this season that he looks fine. Are we supposed to assume his regenerated appearance is a result of his involvement with the various alien projects?

CSM’s had access to science that no one else has access to, and if he is a part of William’s immortality, what’s to say that he doesn’t hold the key to that in his cells? And when he went off the end of that pier, what does that suggest?

I’m going to assume until I see his dead body that he could be coming back at any point.  So let’s shift to the fact that Kersh closed the X-Files again. Are we supposed to take that at face value?

My feeling is that The X-Files has been closed before. They closed it in Season 1 actually, long ago. So, it’s not the first time. Practically, those files still sit down there in those drawers. And someone is going to investigate them. And if that’s Mulder and Scully, they’ll do it with the same passion they’ve always done it with. But the fact is that those files sit down in those drawers to be investigated.

David posed to me once that The X-Files should live on with a show about William. With Gillian retired from Scully, is that more of a credible direction for you to ponder as a spin-off?

No, I guess you could take that approach. I hadn’t really considered it. I like Miles Robbins (William). I think he’s interesting, I think the character of William is interesting, but that’s a different kind of show. That would really be starting from scratch. It’s more of a superhero show. That might be an undertaking, but I’m too tired to think about it right now.

Additional interviews with Chris Carter are available on TVLine and Entertainment Weekly.

The showrunners for Agents of SHIELD were asked how Avengers Infinity War would affect the show at WonderCon. While there was nothing very specific, they did discuss how the movies have changed what they do on the show (beyond the obvious first season response to the first Avengers movie). From Deadline:

“If you watched the trailer, a lot of sh*t goes down!” exclaimed Whedon. “These are the kinds of questions we can do everything but answer.”

However, he did provide us with something to chew on. “The movies blaze a path,” he continued. “When Doctor Strange came out it introduced us to magic which gave us Ghost Rider; when [Guardians of the Galaxy] came out, we were introduced to space. We are waiting for that movie to come out so it can open a new playground for us.”

TrekMovie.com listed what was learned about Star Trek: Discovery season 2 at WonderCon. Here’s some excerpts:

Regarding being in the Prime Timeline:

Aaron Harberts: The idea was to always be in the Prime Timeline. Obviously, there are questions and concerns and things that are different. Our technology is a little different. We have a ship that runs very differently. We are our own show in a lot of ways. Season two is really exciting for us. This is our opportunity to really show how Discovery fits into this Prime Timeline. We are firmly committed to that.

Regarding the dark tone of the first season:

Gretchen J. Berg: We are aware it is a different era and a different format for the show. I don’t think we are gunning for shock value. Everything always comes out of character and story. If it feels like something that would happen in that world and in that context, we go in that direction. It is not a group that leads with wanting to shock people or horrify people.

Aaron Harberts: [Season one] was an interesting season because it was set against the backdrop of war. One of things we are looking forward to in season two is a tone that we can now be in a more exploratory phase and a more diplomatic phase – maybe a bit more of a Trekian chapter…But, everything for us is really driven by character.

About the USS Enterprise seen at the end of the season:

Tamara Deverell: For the Enterprise, we based it initially off of The Original Series. We were really drawing a lot of our materials from that. And then we particularly went to more of the Star Trek movies, which is a little bit fatter, a little bit bigger. Overall, I think we expanded the length of it to be within the world of our Discovery, which is bigger, so we did cheat it as a larger ship.

Jason Zimmerman: It starts with them giving us designs to work with and then there is a lot of back and forth between VFX and [Tamra’s] department to make sure that we get everything right. There were a lot of conversations and more emails than I could remember about how the design would evolve and sort of match our universe, and that is how we sort of arrived where we are

About the uniforms:

Gretchen J. Berg: Well, we are in the same timeline. This is the prime universe and we are pretty close to when TOS happens.

Aaron Harberts: Well, we bump up against the Enterprise at the end of our [season one] finale, and we know what kind of uniforms they wear. So, we will leave it at that.

Regarding Saru:

Aaron Harberts: You will learn more about Saru this season. We had to lay some pipe early in episode 2 [of season one]. What are those threat ganglia. What do they do? What do they represent in the Terran Empire and a lot of that stuff will fold back in when we are back on the air.

ScreenRant has a clue as to what might be coming in the second season. They report on a deleted scene in which Section 31 recruiting is recruiting Mirror Georgiou.

Steven Moffat has released portions of an early version of the script for The Day of the Doctor, the fiftieth anniversary episode, in which Christopher Eccleston’s Doctor appears. Radio Times has some excerpts.

Eccleston recently told The Guardian that he was blacklisted by the BBC after he left Doctor Who:

“What happened around Doctor Who almost destroyed my career,” he says. “I gave them a hit show and I left with dignity and then they put me on a blacklist. I was carrying my own insecurities as it was something I had never done before and then I was abandoned, vilified in the tabloid press and blacklisted. I was told by my agent at the time: ‘The BBC regime is against you. You’re going to have to get out of the country and wait for regime change.’ So I went away to America and I kept on working because that’s what my parents instilled in me. My dad always said to me: ‘I don’t care what you do – sweeping the floor or whatever you’re doing – just do the best job you can.’ I know it’s cliched and northern and all that bollocks, but it applies.”

He described tensions on the show before he left with Radio Times:

“My relationship with my three immediate superiors – the showrunner, the producer and co-producer – broke down irreparably during the first block of filming and it never recovered,” Eccleston says in the latest issue of Radio Times.

“They lost trust in me, and I lost faith and trust and belief in them,” he continues.

Eccleston starred in the sci-fi series when it first rebooted in 2005 with Russell T Davies as showrunner.

Describing the situation as “very” stressful, Eccleston claims that he felt out of place playing a lighter role, and believes it may have contributed to on-set difficulties.

“Some of my anger about the situation came from my own insecurity,” he says. “They employed somebody [as the Doctor] who was not a natural light comedian.”

He adds, “Billie [Piper], who we know was and is brilliant, was very, very nervous and very, very inexperienced. So, you had that, and then you had me. Very, very experienced, possibly the most experienced on it, but out of my comfort zone.”

In the interview, Eccleston goes on to reveal why he’s only elected to speak on the subject in recent months, with the Salford-born actor suggesting he’d made an agreement not to “damage” the reputation of the series.

“When I left, I gave my word to [then-showrunner] Russell T Davies that I wouldn’t do anything to damage the show,” he says. “But they did things to damage me. I didn’t criticise anybody.”

Asked if Davies was aware of the issues, Eccleston says, “If you’re the showrunner, you know everything. That’s your job,” adding that he “never will have” a working relationship with the screenwriter again.

We finally got an answer as to what the cast of The Handmaid’s Tale wear under those cloaks:

Keeping in mind that the show is being filmed up in Canada where it can get quite cold in some regions it’s not too much of a surprise that some of the women have said that they either wear granny panties that cover nearly their entire abdomen or resort to wearing multiple layers of long johns to stave off the chill. Some of them even manage to tape heating packs to their bodies to keep warm as the cloaks don’t do much for warmth in the colder climate in which they film

There are also clues as to what happened to Offred after the cliff hanger ending of season one here.