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: The Magicians and Counterpart Season Finales; Star Trek Movie Scripts; CW Arrowverse Renewals

Last week featured the season finales of two excellent shows, The Magicians and Counterpart. While I rarely watch fantasy as opposed to science fiction, I found The Magicians to be an excellent show from the start, and the past third season was the strongest yet. The third season does depend upon knowledge of earlier events, and I would recommend that those who have not watched start at the beginning. The sections on both of these shows will have major spoilers beyond the introductory paragraphs recommending both shows.

The second season of The Magicians (finale reviewed here) ended with magic being turned off, leading into a season-long quest to find the keys which would allow magic to be turned on again. My (minor) disappointment in the finale comes from seeing that they technically succeed, but there is no time to enjoy the success. Instead the finale leads into what is presumably the plan for next season. Magic is back, but under the control of the Library. Brakebills is again teaching magic, but is being severely rationed. The memories of  Quentin, Julia, Eliot, Margo, Kady, Josh, and Penny 23 were wiped as part of a deal which left them alive. Julia temporarily had goddess powers, but had to give them up. Alice is a prisoner of the Library as punishment for breaking their deal.  Eliot is under the control of the Monster, has found Quentin, and wants to play.

Entertainment Weekly discussed the finale, and what comes next, with showrunners Sera Gamble and John McNamara:

ENTERTAINMENT WEEKLY: The theme of sacrifice was really big in the finale. Why did you decide to focus on that in the finale?
JOHN MCNAMARA: I think that theme is very much in all three of Lev Grossman’s books. It felt like we had reached a point in season 3 where sacrifice is, in a way, unavoidable because the situation is so dire and so enormous and involved a lot of well-meaning but flawed people, as happens in life, and that sacrifice really is one of the key ways in which you make changes to the world in the real world. We always start with, “What would happen in the real world without magic? What if this show was just a drama about college kids? What if these college kids were in an extremely high-stakes situation? Now let’s layer in fantasy as a kind of metaphor for depression, or conflict, or fascism, and then tell the story through that lens.” As Rod Sterling discovered with The Twilight Zone, you can say a lot of serious things about the world but keep it really entertaining if it’s through the lens of fantasy.

With this finale, what did you want to say about the world? 
JOHN MCNAMARA: It’s weird. [Laughs]
SERA GAMBLE: Well, we always had in mind that they would heroically succeed in their epic quest this season, but that they would also lose. Part of the point of telling the story about these particular young magicians is that they have just a little bit of power at their fingertips as they try to move through a world that is so much bigger and more powerful than they are. That’s how it feels to be stepping out in the real and adult world. Sometimes it feels like you have just enough strength to make a little bit of change or to do a little something for yourself and the people around you, and sometimes it feels completely f—ing futile. The tension between those two, I think, is actually part of what defines feeling like an adult. That’s something that tends to organically enter into their stories. When they have a victory, especially when that opens up a door into more life, there’s usually a sh—y part to it, and this was finale was no exception.

At what point did you guys come up with the idea that the season would end with their minds/personalities being wiped?
MCNAMARA: Pretty early on we had this idea of magical witness protection. Although I don’t think we were totally sure of where and when and how we’d use it, but I just know it was an idea we all liked. Once we sort of figured out it would be the coda for the season finale, it felt like it was the right plan. Structurally, you get a satisfying, successful ending to the quest, which I, as an audience, would really want, and then you just get all these ripples, tsunamis of complications that result from that. “Be careful what you wish for” is one of the most common themes of fairy tales, and here we are: Be careful what you wish for, magic is back, and you have no idea who you are.

The biggest twist of the finale was that this monster has taken over Eliot’s body. How did you land on Eliot being the one it takes over?
GAMBLE: We know that the actor who plays Eliot is amazing. When you’re fortunate enough to produce a TV show for a few seasons, hopefully you’re learning lessons along the way about things that work. One lesson we learned in season 1 is that if you have a great actor, really think about that. We learned that when we cast Mackenzie Astin to play Richard. We had it in mind that we would kill Richard when Reynard entered the story and we would have to cast Reynard, but very quickly when we started seeing the dailies of Mackenzie, we realized we were never going to be able to top him. It was hard to imagine someone doing more with the role. At the risk of patting ourselves on our backs, we were right. That was really the inspiration. We talked about that in the room, about how it just meant so much more to us when we were watching Reynard on the screen. There was just this little extra wistful feeling of unfairness that came from the fact that he was inside of the body of this character who was so good and was really being violated.

The stakes are so much higher with this monster being inside of Eliot, someone they care so much about. It really changes their whole approach. It’s not as simple of a question as, “How do we kill this f—er if this f—er is in fact killable?” There’s also the equally important question: “How do we save Eliot, if he can still be saved?”

One of the late-season twists was the Penny from our timeline being replaced by a Penny from another timeline. What went into deciding to introduce this new Penny instead of coming up with a way for our Penny to be resurrected?
GAMBLE: We didn’t want to do the same thing we always did. We assumed that the audience would expect us to save Penny. Of all the characters, I have to double-check the statistics here, but I’m pretty sure we’ve had him near death as much or more than anybody else. We’ve saved him from certain doom several times over the last few years. To be completed honest, when we entered the season we were like, “He’s got the super cancer and we’re gonna have to find a way to fix that [in a way] that feels fresh and feels different.” Because we ask these questions in the writers’ room, one of the questions we asked was, “What if we just don’t save him this time?” Of course, first there’s silence and fear and your stomach drops because you can’t kill Penny; Arjun Gupta is a series regular and we like Penny!
MCNAMRA: And Arjun!
GAMBLE: And both are important to the story. But the beautiful thing about working on a show like Magicians is that you can ask that question and very weird answers will start to present themselves, and very soon we started to realize that the best thing we could do for the character of Penny would be to kill him, and that was a way that we could end the season with something that, we like to think, nobody would ever see coming, which is that a completely different Penny is now walking around with our crew. Someone from a different timeline who has, for the past couple of years, been living an utterly different life than the Penny that we knew…

Looking ahead, what can you tease about what you have planned for season 4? 
MCNAMARA: Most of the cases of the new identities of our characters, their professions, are not what you think they are or what they look like. It looked like one thing, but in about half of the cases, it’s something completely different. We’ve only shown you a sliver of who or what they are, and that sliver is misleading.

Counterpart is part Fringe and part John le Carré  as there is now a new Cold War between two versions of the earth which split apart. There are differences in each. In one there are no iPhones and in the other Prince is still alive, with an attempt to smuggle over his most recent album to our earth. The more significant differences are between different versions of characters from each earth, with some having taken paths which are quite different from their counterpart. The series was picked up for two season, and the season finale leaves mid-story off after key events to be continued in the second season as opposed to being a finale of an arc as on The Magicians. Major spoilers to follow.

For most of the season the show was primarily about the the two Howard Silks (J.K. Simmons), with Simmons doing an excellent job of playing two different characters. The series showed added depth when it devoted an episode to secondary characters. Rather than feeling cheated that the main character wasn’t present, as often occurs when series give the main character a break in this way, the conflict between the two earths was better defined by giving Clare’s backstory and more fully developing other characters.

Over the course of the season each Howard, while having some degree of contempt for the other, wound up becoming more like their counterpart in some ways–which is hardly surprising considering that they are versions of the same person. The season became more compelling when each was in the other’s earth, and the season ended with each trapped, and having to make new alliances. The diplomatic crisis after the attack leads to a look at the control of each side, raising the question of whether the same Management is in control of both sides, or whether both evolved in a similar manner.

The Hollywood Reporter interviewed showrunner Justin Marks:

Howard Alpha kills Pope. How does that change him?

It’s a very big moment for Howard. In a lot of ways, the whole season has been about the areas of overlap between Howard Alpha and Howard Prime. Pope taught Howard Prime everything he knows about the spy trade. And he was blind to the truth about Pope early on in the season. There’s something fitting to the fact that Howard Alpha, in killing Pope — albeit in self-defense — was able to do what Howard Prime couldn’t ever bring himself to do, which is acknowledge that Pope has been manipulating him and that he’s the enemy.

Emily Prime warned Howard Prime about Pope — even giving him the news about his rendition order coming from Pope, and it still didn’t sway Howard Prime.

Yes. And you have to consider the source when it comes to Emily Prime because Howard Prime seems to have such a difficulty forgiving her for past transgressions. When it comes to the relationship between Emily Prime and Pope, there’s no love lost there. So, for her to be the siren warning him, it’s hard for Howard to believe someone like that.

The two Howards are slowly moving closer to the core characteristics of the other. Howard Alpha is becoming more hard-boiled and Howard Prime is showing more vulnerability than he ever has. Is that the whole character arc for them at this point?

Yes. It’s the question that we have always wanted to do: explore this question of which Howard is the true Howard. The answer is it’s a combination of the two and where the center is, is a question that the series wants to figure out by the end of its run. We don’t ever want to place a pin on that map firmly as we go through. At the beginning of the series, the two Howards are very different. One has more empathy, while the other has a little more of a brutal honesty with himself and with the world around him. As the season goes on and they begin to inhabit each other’s lives, they begin to cave in the direction of their other, whether it’s conscious or unconscious. And as they do that, the question is, where do they meet? Do they meet closer to Howard? Or do they meet closer to Howard Prime? So far, it’s unknown. We always saw this show as this Darwinian battle, and Pope even calls it that; it’s between two versions of the same self when it comes to the survival of the fittest. In some ways it’s two sides of the same soul that are fighting to occupy the same real estate and where they land is an anyone’s guests at the end of the first season, except to say that they’re closer together…

Would the old Howard Prime have made the deal with the assassin Baldwin (Sara Serraiocco) when he first crossed over?

No, not at all. And would Baldwin have made the deal with him?

Being in our world has profoundly changed her as well, especially since she witnessed her doppelganger being killed. She now wants this storybook life. But can she truly find that? Just who is the real Baldwin?

When it comes to Baldwin and her counterpart Nadia, she saw in Nadia someone who clearly at the beginning of that second episode, had a somewhat of a contempt for her other and we play with it a lot in these characters. There’s an extent to which they covet what the other has, or what the other has done or has endured or not endured. The reveal is that both of them suffered that same trauma and Baldwin questions why her other was able to overcome that trauma of watching their father die and essentially being complicit in the act by not trying to save him. How is it that Nadia was able to do what she did and then the reveal that Baldwin had turned her pain outward to the world as a killer. She wears her scar on the outside of her clothes, so to speak. Nadia had turned her pain inward toward herself and Baldwin realizes at that moment that you are born back against your own trauma; that there is no escape from it. And if there is no escape from it, then isn’t it likely that she can possibly fight against that and erase it and create a new identity for herself. That’s what she’s doing: She’s going to try to build a new identity and that’s what she tries to do, to mixed success, in the first season.

When Clare meets Peter in the hospital after the intentional car accident, she realizes he has cast his lot with her, that the accident was his way of setting up an alibi for them, so in a way she owns him now. As a result, putting Peter in charge of the Indigo investigation is like the fox guarding the hen house.

Yes. Clare becomes what she needs to be in order to survive. If she needs to be Baldwin’s lover. she’ll be Baldwin’s lover; if she needs to be Quayle’s wife, then that’s what she’ll be. She is at a bit of a crossroads when it comes to the birth of this child. A child born of two worlds is a very complicated thing that she probably did not see coming when it came to stretching her loyalties. Quayle is the father of her child and he is the reason she is still alive because it’s her mission to handle him, to run him, to siphon intelligence from him. So she is just as much a victim in this marriage as he is. They’re both victims of this pretentious idea of a marriage where they were both using each other for their own separate needs. For Quayle it was ambition, and for Clare, it was this man who is well connected, who she was going to steal intelligence from. Moving forward, both of them have a lot to learn when it comes to finding a truth. But they are moving toward each other in a strange way. And the power dynamic continually shifts as it does in every marriage.

Let’s talk about what is probably the most unusual conference call in the history of TV between the two worlds.The very unusual tech involved is virtually identical. Are the members of management on both worlds the same people?

That is something that is potentially being suggested. The answer is a lot more complex and it’s an answer that our second season really wraps its arms around: Who is management? What is their history? What is the history of the crossing and the history of the Office of Interchange? How did it really form in the first place and why? And how it developed over the decades. We understand why Indigo is driven toward some sense of revenge against our world. What we haven’t yet seen a lot of is how Indigo also came about and what its connection with management is. At the end of the first season, we wanted to introduce the idea of management in a way that wasn’t what we would otherwise expect because in the second season management is a kind of character of their own.

The show is a metaphor for the Cold War, and the crossing is very similar to Checkpoint Charlie in Berlin in the early 1960s, especially when the infiltrator dies in the no man’s land in between. Is the crossing your modern version of the Checkpoint Charlie scenario?

Yes. The whole season, allegorically speaking, I would call Berlin 1961, right as the wall was about to go up. That’s the story of the first season, where there’s clearly a Cold War brewing in every respect, but the wall hasn’t quite officially been drawn. The second season is the Cold War after the Berlin Wall has been formed and how people start to draw battle lines and how they escalate the spy game in light of the fact that diplomatically we are more hostile toward each other.

More in an interview with The New York Times:

This is a show which would benefit from freeze-framing, especially when it comes to the Crossing. Or even with the zany Management set-up in the finale.

I really hope people do freeze-frame. I want to invite people to watch it on that level of detail. I wanted the show to feel like a Robert Altman version of science fiction more than Fritz Lang. Altman left all these windows open where you could see Lyle Lovett wandering around in the bushes back there, and you’re like, “What is he doing and why is he doing that?” It feels like the frame is alive more than just its four borders. One of my favorite things to look at in freeze-frame are all the Interface documents, all that code. That’s the kind of stuff we really live for, because the weirder, the more out there, the more zany the concept is, the more rigid the execution has to be.

For the Crossing, everyone wanted to turn the lights up and let it be seen. I said, “No, let’s pull out all of these lights, and make it really dark, and leave people craving more detail.” If you freeze-frame it, look at the dead center of the Crossing the details on the walls speak to the origins of the Crossing. Management, we had so much fun with that. We found the two strangest, most brilliant actors to play the respective Operators on either side in the finale. What kind of governing body protects the Crossing between two parallel worlds? The second season focuses in large part on the history and origins of Management…

The reveal that Claire Prime had taken this deep cover assignment to impersonate Claire Alpha was a major shock, not least of which to her husband, Peter Quayle, which continues that theme of men underestimating women.

I don’t think there’s anyone less qualified to have the job that he has than Peter Quayle. The person whose job it is to look for people who’ve infiltrated the organization doesn’t realize the woman he’s been sleeping with [is a mole]. There is a black comedy here, in Peter Quayle’s character, because Quayle — this philandering, underqualified, good-looking young guy — is a manifestation of privilege. We get to turn that inside out. And in the satirical manner of the last episode, Peter Quayle gets everything he ever wanted at the worst possible time.

I want to fill in Mira, the woman who trained Claire at the Indigo school for sleeper agents, because their ideology is a very important story for us in Season 2.

What about Emily Alpha? She figured out all the intrigue before anyone else did, and then spent the season in a coma. But now she’s starting to wake up.

There is always a temptation when you have that wife in a coma to idealize her, which is a little misogynistic, too. The only way we could convince Olivia Williams to do this show was to pitch her the two-season plan of who both Emilys are, and that the woman in the coma is in fact much more complex than any other character. Both Emilys, those are job descriptions that are typically reserved for the George Smileys of the world, the James Bonds of the world. [During filming] Olivia was walking through one scene with another male character, whose position is actually underneath her in the hierarchy of the show, but even then, the background actors look at the male she’s walking with and sort of nod, “Yes, sir” to him, not realizing that she’s the one who’s actually in charge in that scene. The clichés that abound, they speak to a certain gender norm that we didn’t want the show to reflect.

There are also interviews with J.K. Simmons here and with Harry Lloyd (Peter Quayle) here.

It is not certain if there will be (or even should be) further movies in the current Star Trek series. There has been talk recently about a script from Quentin Tarantino, which might provide a change. Zachary Quinto revealed on Entertainment Tonight Canada that there are actually a few scripts under consideration. From Dark Horizons:

Right now the future of the films are uncertain. The current cast contracts reportedly ended with the underperforming “Star Trek Beyond” in 2016, though several have expressed a desire to return including Karl Urban and Zachary Quinto.

Speaking with Entertainment Tonight Canada this week, Quinto offered an update on what’s going on with the films at the moment and revealed there’s up to three scripts in the works for the film:

“First of all, I think there’s a couple of scripts. Because there was a script being written before Quentin Tarantino came up with his idea for a potential film. And so I think they are kind of developing more than one. So I don’t know what is going to happen. Quentin is off doing another movie.

So, I feel like we are in a state of anticipation. All of us are really excited about the idea of working with Quentin on a Trek film, but I know Simon Pegg and Doug Jung, who wrote the last film, are writing a script and there are another set of writers writing a script. So I don’t know. I don’t know what’s going to happen.”

Before the Tarantino reports, there was talk for a fourth film effectively closing out this alternate timeline “Star Trek” and would do so by bringing back Chris Hemsworth’s dead George Kirk from the 2009 film – the destruction of his ship the U.S.S. Kelvin being the incident that caused the alternate timeline.

I wouldn’t mind if the alternate timeline was dropped for future movies.

The CW Network has announced the renewal of most of their shows, including the entire Arrowverse:

ArrowThe FlashSupergirlDC’s Legends Of Tomorrow and Black Lightning have all be renewed, as well as Supernatural, which is currently the network’s longest running series with Season 14 on the horizon.

Non-genre shows that have also been given another season include Jane The VirginCrazy Ex-GirlfriendRiverdale and Dynasty.

In a statement, CW president Mark Pedowitz said: “As The CW expands to a six-night, Sunday through Friday schedule next season, we are proud to have such a deep bench of great returning series for 2018-19.

It is noted that iZombie and The 100 are missing from the list. They might be waiting until iZombie completes its current season which is now airing. The 100 has not started its season yet so the lack of an announced renewal is not surprising.

Hopefully it is not a sign that Amazon is moving away from quality shows. They have announced the cancellation of Mozart In The Jungle after four season.

Killing Eve begins tonight on BBC America. It sounds like it might fill in the gap on the television schedule for spy shows with The Americans soon coming to an end and Counterpart being done for the season.

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 Ofred after the cliff hanger ending of season one here.

SciFi Weekend: Stephen Hawking, Scientist & Genre Star; The 100; Martin Freeman on Sherlock; Alexis Bledel on A Handmaid’s Tale; Double Renewal For Eric McCormack–Will & Grace & Travelers; The Americans; Nathan Fillian To Reprise Firefly Role; Saturn Award Nominees

Stephen Hawking died last week leading to recognition not only from the scientific community, tributes from many in actors due to his many appearances on genre television. He was the only historical figure to play himself on Star Trek. In the video above from Star Trek: The Next Generation, Hawking played cards with  Isaac Newton, Albert Einstein, and Data in the holodeck. Syfy Wire has several tributes to Hawking from the cast of multiple versions of Star Trek. More at TrekMovie.com.

Sheldon Cooper met Stephen Hawking on The Big Bang Theory in the clip above. TV Line has tributes from the cast of The Big Bang Theory. IO9 has additional television cameos.

The 100 ended last season with major changes, and a quick glance of the future. An extended trailer for the the fifth season has been released, showing a new enemy to contend with. The 100 returns on April 24.

It has been a huge question as to whether Sherlock would return considering how the careers of both stars have taken off. It does not sound encouraging that Martin Freeman will want to return after he said that it wasn’t fun anymore in a recent interview:

In a new interview in The Telegraph, the Black Panther actor was asked if there were any talks about a fifth season of the BBC fan favorite.

“Not massively,” the Dr. Watson actor said. “Um… I think after series four [it] felt like a pause. I think we felt we’d done it for a bit now. And part of it, speaking for myself is [due to] the reception of it.”

Martin, the article explained, was referring to 2017’s fourth season which seemed to struggle to continue building on fans’ expectations of previous outings.

“To be absolutely honest, it [was] kind of impossible,” he explained. “Sherlock became the animal that it became immediately. Whereas even with [the U.K. version of] The Office, it was a slow burn. But Sherlock was frankly notably high quality from the outset. And when you start [that high] it’s pretty hard to maintain that.

“Being in that show, it is a mini-Beatles thing,” he concluded. “People’s expectations, some of it’s not fun anymore. It’s not a thing to be enjoyed, it’s a thing of: ‘You better f—ing do this, otherwise, you’re a c—.’ That’s not fun anymore.”

The Handmaid’s Tale returns to Hulu on April 25. Entertainment Weekly interviewed Alexis Bledel:

This season, we get to learn a lot about Emily’s life from Before. Was her backstory something you’d thought about before this episode?
Yes, I loved filming Emily’s flashbacks. [Executive producer] Bruce Miller and I had talked about what her pre-Gilead life might have been like even before I started working on the first season. I think much of her worldview is informed by her previous life as a professor of cellular biology. Life in the Colonies is a last stop. Emily does not have a great deal of hope for a future there; she knows her days are numbered.

Marisa Tomei costars with you in the second episode. What was that like?
It was amazing to work with her; she’s someone whose work I admire. We had these incredibly dark, dramatic moments to play out that she brought so much depth to.

I keep thinking/wondering what’s worse: life as a Handmaid or living in the Colonies?
Being forced to exist in either Gilead or the Colonies threatens to destroy a person’s soul in different ways. Handmaids are forced to follow an extremely limiting set of rules to comply with the mandates of the Gileadean regime, including the horrific monthly ceremony. Anyone in Gilead would be terrified to be sent to the Colonies. Everything from the soil the unwomen turn over to the water they use to wash is toxic in the Colonies, so a person’s health begins to rapidly deteriorate as soon as they get there. They know they will die there, all the while forced to do hard labor without decent food to eat or clean living conditions.

We are going to be seeing more of Eric McCormack on television next year. NBC has renewed the Will & Grace revival for a second season, and is extending it to eighteen episodes. Fewer people might be aware that Eric McCormack also stars in an excellent Canadian science fiction series called Travelers. The first two seasons were broadcast on Showcase and later shown on Netflix–although once I discovered this show I wound up downloading episodes rather than waiting for it to be available on Netflix.

Travelers has been renewed for a third season, and McCormack will be directing the first episode. However, instead of airing first on Showcase, the show will be shown exclusively on Netflix. I wonder if this was a case of Netflix saving the show if Showcase was not going to continue it, or (I suspect more likely) Netflix has business reasons and the power to take it over.

Travelers is technically a time travel show but the series takes place entirely in the present, with people from the future taking over the consciousness of people at the moments they were to have died. The characters must deal with not only their mission to save the earth , but also must deal with the personal lives of the bodies they take over. I won’t give specifics for those who have not seen it, but the second season ended with major changes for everyone, making fans eager to see a third season.

The Americans returns for its sixth and final season on March 28. FX has released the above official trailer.

Earlier in the week I had this post regarding a social credit system in China which sounds like something out of Black Mirror. It is also reminiscent of Majority Rule, an episode of The Orville.

Storing the contents of one’s brain provided for a fascinating story on Altered Carbon. A company is claiming that they can store the contents of your brain, but there is a huge catch.

Nathan Fillian is going play himself on an upcoming episode of American Housewife, and will be suiting up as Captain Malcolm Reynolds of Firefly.

(more…)

SciFi Weekend: The X-Files Does Black Mirror; Drone Hosts on Westworld; The Magicians Renewed; Star Trek News; Jessica Jones; Wayward Pines

The X-Files had another unique episode this week with Rm9sbG93ZXJz , which decodes to “Followers” in Base64. The episode has more of the feel of an episode of Black Mirror, and would better take place in the near future than present, but no less plausible than many other episodes of The X-Files.  The story was made to feel more plausible by starting with a true story about a Twitter bot which started out emulating a teenage girl but turned violent and racist after learning to “be human” from interacting with alt-right trolls.

Mulder and Scully were the only customers at a sushi restaurant run entirely by robots. The scene, and much of the episode, were made more surreal with the absense of both other people and of dialogue. Scully ignored a friend request from the restaurant which she received on her phone. Mulder’s dinner was messed up and he decided not to leave a tip due to this and the lack of human service. The restaurant retaliated by refusing to give Mulder his credit card back and refusing to open the door, forcing Mulder to pry it open.

Unfortunately for Mulder and Scully, the AI which controlled the restaurant also seemed to control every other smart device in the world. Scully had problems with a reckless, driverless car. Mulder also had problems when his car wouldn’t play the song he requested, and ultimately returned him to the restaurant.

Problems for Scully and Mulder continued at their homes. Beyond the tech issues, there was another surprise in the episode when Mulder saw Scully’s home and asked, “Why’s your house so much nicer than mine?” Is this really the first time he was there?

As they continued to be attacked by tech, they figured out that “they are tracking us on our phones… they know everything.” They got rid of their phones and keys. Scully got rid of her step tracker and her vibrator, or  “personal massager.”

Ultimately a robot held out Mulder’s phone in front of him and another text came through asking one last time if Mulder would like to leave a tip. While a timer was counting down, Mulder gave in and hit the 10% button. Fortunately the AI was satisfied with a tip which most humans these days would see as stingy. The robot thanked him and explained, “We learn from you.” Mulder responded, “We have to learn to be better teachers.” Mulder and Scully had their next meal at a more conventional human-run diner.

SyFy Wire interviewed Kristen Cloke and Shannon Hamblin, the writers of the episode:

“Rm9sbG93ZXJz” is such a unique episode with virtually no dialogue. Was that always the plan, to write something without dialogue? Or did you start with the story idea and it felt organic to not have any dialogue?

Shannon Hamblin: It was always no dialogue. Conceptually, I think that’s what Glen was looking to do: tell the story without it.

KC: When we did Space: Above and Beyond, they had done an episode that had virtually no dialogue. It was one of the first shows to do it. [Glen] always wanted to do it again. He was excited, as a director, to tell a story visually. I think it created a great show, especially for me. I’m kind of a wordy person, so it was a good challenge.

How did David and Gillian react to an episode with virtually no dialogue?

KC: They were happy about it — they didn’t have to memorize any lines!

SH: Yeah!

KC: I think it was challenging for everybody. The restaurant was [empty], your mouth is empty of dialogue, everybody wants to fill the proverbial space. Everybody had to fight against their instincts to do that, which was kind of interesting.

SH: And how that moved into no music in certain spots, and no sound. Except for the song, “Teach Your Children.” I think it also adds to that isolated feeling that the obsession with technology and your cell phone and all that stuff [gives you]. You feel like you are engaged all the time, but maybe you’re even more alienated by not really engaging.

KC: I think that’s a good point. A lot of being on your technology is spent there, filling space. We all want to fill the space, and that’s why phones have taken over our lives. They are really great space-fillers.

SH: If you are sitting at a restaurant alone, you can just look at your phone: “Oh, look how busy and cool you are!”

…One of my favorite parts of this episode is when the robot vacuum finds Scully’s vibrator under the bed, and then how that carries throughout the show. Did you have any trouble getting the vibrator storyline past Chris Carter or standards and practices?

KC: When we were in preproduction and were working on props, we had certain vibrators that were “cleared.” Prime-time vibrators, I guess! And we do call it the “personal massager” in the script. High-level stuff. But that was motivated by an article that said something about the fact that the personal massagers at, I think it was Brookstone, were collecting your personal data. So all the technology talks to each other, and it is all technology that has been reported, at one time or another, to be collecting your personal data. It all knows about you. So you’ve got spies in your bedroom, spies in your cleaning closet…

SH: Spies in your vagina. Literally! [Laughs]

Plus, it will be a huge plus for all the ‘shippers out there.

KC: Good! Because if you are upsetting the ‘shippers, it’s bad. Believe me; I’ve been there! It’s not good.

Which brings me to a slightly fannish question: Who is Scott? His name appeared on Scully’s smart fridge, saying she had a dinner date with him, and I know that ‘shippers online were freaking out.

KC: Scott is the guy who programmed the display on the refrigerator! He is a really, really talented guy. All of the visual props you see, like in the Whipz car and on the refrigerator, were all programmed by him and the incredible props team they have. All those guys did such a great job, so they should get dinner with Scully! He made all of us look good.

This isn’t the first time The X-Files has featured machines with a mind of their own. Did you go back and watch any of the other episodes? Did you keep in mind how technology has changed in the last 25 years?

SH: I didn’t go back and check the episodes. I think technology has changed so much over the past… even five years. Just thinking about people who don’t know what an answering machine is. Even with the car being automated… I’m working on something right now and GM is talking about their cars being automated. Everything is happening and is so different in technology that I didn’t think it was touching on anything that had been explored before in previous episodes. Did you go back and watch?

KC: No, I didn’t. I was on The X-Files 20 years ago, so I remember. When [the fans] had something to say about you, they had to say it on a message board. So the technology has changed a lot. I think it was completely appropriate to do an episode that deals with technology, and I think one of the interesting things, whenever I see clips of the show, if they are talking on a phone, they are usually talking on a landline. They weren’t even really using cell phones when the show first started. That alone is just so different. It would be appropriate that Mulder and Scully could get into what is now, appropriately, called the Black Mirror, I guess.

The Superbowl commercial for Westworld included a quick glimpse of Bernard with something we haven’t seen before behind him. Entertainment Weekly discussed this with showrunners Jonathan Nolan and Lisa Joy:

As you’ll recall, last season Bernard’s detective work uncovered mysteries about the park’s past, and a major reveal about his own identity. As Nolan explains below (mild tease-y spoilers), in season 2 Bernard discovers there was a lot more about the park and its mysterious corporate owners Delos that was kept from him. The white robot is called a “drone host.” And there’s apparently more than one of them.

“The drone hosts relate to the corporation’s secret project which is hidden in plain sight in this park,” Nolan says. “As we talked about in the pilot, the park is one thing for the guests, and it’s another thing for its shareholders and management — something completely different. We’ve used the Google analogy — for consumers, it’s for search and email, yet for the company, it’s for advertising. There is an agenda here that Delos has undertaken for a very long time. As Bernard is making his way through the wreckage of the fallout from the first season, he’s discovering things about the park that even he doesn’t know and coming upon creatures like the drone host.”

The Magicians has been having an excellent third season, along with receiving an increasing amount of favorable critical reviews (such as here). Therefore it comes as no surprise that it has been officially renewed by Syfy for a fourth season. Variety notes that the show “has been Syfy’s top performing scripted original among on a Live+3 basis in adults 18-49 for the past three years.”

A musical episode of The Magicians will be airing on March 7. More on the episode here.

Many people were upset when Star Trek: Discovery killed off half of a gay couple. This was followed by statements from the producers that Culber would return. His return later in the season was only in the mycelial network, suggesting he was really dead. In an interview at Emmys.com, Wilson Cruz did say he will be returning:

Your character, Dr. Hugh Culber, appears to have a beautiful connection with your on-screen partner, played by Anthony Rapp.

It’s not an accident. I’ve known Anthony for 20 years. I did his last three weeks on Broadway. And as fellow openly gay actors, we’ve talked through the years about what that experience is. We’ve supported and rooted for each other.

When we came to this, I think we both felt like it was a really special opportunity in that we’ve had all of this history and compassion and respect for each other’s talent. So I think we both decided, without even saying it, that we were gonna use our real love for each other to draw on to tell the story.

The process for creating a relationship is different for everyone on TV. And sometimes you talk it through and create a history with each other. But there was this unspoken thing with Anthony and we didn’t have to do any of that. We just showed up on set and decided we loved each other and took it from there. And it was really easy!

Without giving spoilers, what did you think of your character’s twist?

Aaron and Gretchen explained what was gonna happen and told me I was part of the story for next season. This is a longer, epic love story and this is just a part of that that we have to do in order to tell it. I know what that story is and as an actor, I’m really excited about it. But even as a viewer, I think that’s gonna be fun to watch!

How did fans react?

We’re letting people know I’ll be back because there’s this “bury your gays” trope that’s out there. People are concerned about the way that LGBTQ characters, especially those of color and women, continue to be killed off in a very random and dismissive way.

We wanted to make sure that people stayed engaged with the show because this isn’t that. They should just know there’s a bigger plan. It’s gonna pay off and it’s a great story to tell.

Love has a way of telling its own story

In other Star Trek news, CBS CEO Leslie Moonves spoke at the Morgan Stanley Technology, Media & Telecom Conference in San Francisco. TrekMovie.com quoted some of his statements regarding Discovery. His responses were not unexpected. He said that CBS placed Discovery on CBS All Access as opposed to other possible outlets to help the new streaming service in light of the built in fan base. He discussed the more serialized nature of the series, which would not have been utilized for a show on the main network.

David Ogden Stiers died last week. He is best known for playing Major Charles Emerson Winchester III on M*A*S*H but has also had genre roles, including on Star Trek: The Next Generation. StarTrek.com posted this tribute to him:

StarTrek.com is saddened to report the passing of actor David Ogden Stiers, who succumbed to bladder cancer on Saturday at the age of 75. According to his agent, he died peacefully at home in Oregon. The Emmy-nominated Stiers was best known for his role as Major Winchester on M*A*S*H, provided voices for such films as Beauty and the Beast and Lilo & Stitch, co-starred on the TV iteration of The Dead Zone, and made his mark in the Star Trek universe with his role as Dr. Timicin in the Star Trek: The Next Generation episode, “Half a Life.”

Stiers touched Trek fans as Dr. Timicin, a scientist who must undergo the Resolution, a ritual suicide, in order to save the people on his planet, Kaelon II. However, his plans were thrown for a loop — at least for a while — when he met and fell for Lwaxana Troi. The episode remains well-regarded for its powerful story, rare focus on two guest stars, unusually serious Lwaxana arc and the strong performances by Stiers and Majel Barrett-Roddenberry.

StarTrek.com interviewed Stiers in April 2017, when the mostly retired actor agreed to a chat timed to the release of the film, Neil Stryker and the Tyrant of Time, which also featured Walter Koenig. During the conversation, he addressed the fact that Dr. Timicin, in the course of a single episode, experienced a full arc. “They really let it focus on the two of us, which was very unusual,” Stiers said. “I just watched a clip of it this morning. I had forgotten how beautifully written the arguments are. The whole moral dilemma was beautifully presented. I’m not jumping up and down, but I really like the idea that I live in a state with dignity legislation and physician assisted suicide, should it ever come to that. That seems to me to be an intelligent and mature middle ground. You don’t use it if you don’t want to, but it’s there if you are in need, for whatever reason, of a legitimate reason for ending your life.”

Please join StarTrek.com in offering our condolences to Stiers’ family, friends, colleagues and fans.

Jessica Jones season two will be released on March 8. Comicbook.com has a spoiler free review.

When Wayward Pines did not return in 2017 after appearing the previous two seasons, Fox left it open as to whether the show would return. While they did not officially cancel the show when it did not return, Fox is now saying that it is “unlikely” to be back. I have read the three novels by Blake Crouch which the series is based upon and hope to some day find time to catch the two seasons of the show.

SciFi Weekend Time Travel Edition: Legends of Tomorrow Does The Time Loop; Doctor Who News; Timeless Season 2

Having the characters of a science fiction show enter a time loop as on Groundhog Day has been a common trope on science fiction shows. Last week’s attempt at this on Legends of Tomorrow might not have been the best version, but it turned out to be a great homage to the sub-genre. Tala Ashe (Zari) did an excellent job of expressing her frustration of repeating the same events repeatedly.

In some ways this was most like the version seen earlier this year on Star Trek: Discovery. The overall scenario was quite different from Magic to Make the Sanest Man Go Mad, but they were similar in having one character realize they were in a time loop, and having their ship explode at the end of each cycle. On both shows, one person realized what was going on, but had a hard time convincing others.

On Discovery, Stamets beat the time loop by convincing Burnham that he was telling the truth by showing that he knew everything she was going to say, and subsequently others were brought in.

On Legends, Zari initially had no success convincing others she was telling the truth. I was actually thinking at one point that time loops are such a common science fiction trope that the obvious thing to do is to tell people that things were happening like on Groundhog Day. Moments later Zari came close to this in a conversation with Nate. Actually she explained the scenario and Nate recognized it as Groundhog Day. Having it explained like Groundhog day was enough for him to believe her, and he and suggested that she only had to tell him that to get him on board next time. She did botch by saying Hedgehog Day, but she ultimately got the message across.

Groundhog Day is hardly the only example of this. Subsequently Ray was brought in, except that he related the scenario to Cause and Effect, an episode of Star Trek, The Next Generation. Other recent shows to use this trope have included the fourth episode of season three of Dark Matter, and the movie Edge of Tomorrow. While I did not watch the show, I also recently read that Xena: Warrior Princess had their own version entitled Been There, Done That. With this being such a common trope, it really should not be hard to explain what is going on if one encounters a science fiction fan while in a time loop.

The episode used the time loops partially for fun, and showing more about the characters. This included another rare occurrence of seeing Amy Pemberton give Gideon a human form. Other fun aspects including learning that Mick writes romance novels (and goes to great lengths to keep this secret). One time Nate suggested that Zari take a break and go though a cycle and just have fun, knowing she would have another chance to try to prevent the Waverider from exploding afterwards.

When Doctor Who returns next fall, major changes in how the show looks and feels are inevitable, between a new show runner (Chris Chibnall) and the first female Doctor (played by Jodie Whittaker). The show will also have a new logo, pictured above. A BBC America press release states that, “all official Doctor Who merchandise featuring the new logo will be available at selected retailers from February 20th, 2018.”

There will also will might be significant changes to the sound of Doctor Who. Murray Gold, who has been composing the music for Doctor Who since its return in 2005, is leaving.

Another rumored change might be moving the show from Saturday to Sunday. I hope this is the case as I regularly download Doctor Who as soon as possible after airing in the UK, except for when it conflicts with college football–as it inevitably will when moved back to the fall.

There are also rumors that an episode next season will deal with Rosa Parks.

Now that old television shows are easy to watch I suspect that there is far less interest in novelizations of episodes, but if people are still interested, Russel T. Davies and Steven Moffat are writing novelizations of some of the episodes they wrote.

For those interested in podcasts about both science fiction and Doctor Who, I recently discovered one worth subscribing to. Imaginary Worlds deals with a wide range of science fiction topics, and is currently running a series on Doctor Who. The first episodes was on the Doctor, the second was on the companions, and the third is on the Daleks, with briefer mention of other villains. The stories have a feel sort of as if This American Life was covering Doctor Who. The coverage includes both the original run and the new series. The podcasts would be great for someone new to the show to get a feel for its background, but long time viewers are also likely to find it interesting.

Another time travel show, Timeless, returns March 11. This was a rare case of a show being cancelled, and then the network reversing the decision and renewing it. Any chance someone went back in time to change the future for the show?

As Timeless ended on a big cliffhanger, which I looked at here, I am happy that it will be returning.

Following is the official synopsis of the season from NBC:

From Eric Kripke (“Revolution,” “Supernatural”) and Shawn Ryan (“The Shield”), season two of this thrilling action-adventure series will pick up right where we left off with our heroes. We continue to race throughout history with our beloved team: Rufus (Malcolm Barrett), a scientist; Wyatt (Matt Lanter), a soldier; and Lucy (Abigail Spencer), a history professor, in an attempt to prevent the destruction of our world as we all know it. This season they’ll find an unlikely ally in their quest to ruin Rittenhouse, a deadly organization with plans to change history and reshape reality — even though Lucy’s family has been a part of Rittenhouse for centuries. Still making every effort not to affect the past themselves, they will visit 1692, 1917, 1941, 1981 and more.  We’ll be introduced to the likes of Marie Curie, Hedy Lamarr, William Randolph Hearst and a multitude of other influential people throughout history. 

SciFi Weekend: Star Trek Discovery Season Finale; Sex Ed On The Magicians; Roswell; Constantine on Legends of Tomorrow; Black Panther

Star Trek: Discovery had the best first season for a Star Trek sequel/prequel series, but the season finale, Will You Take My Hand, was somewhat of a disappointment. Some aspects of the episode did work, but it was an overly simple and unrealistic ending for a season-long arc. While many individual episodes of other Star Trek series have relied on similarly simplistic endings, I had hoped for more with Discovery. On the other hand, Star Trek does have  a history of disappointing conclusions of arcs, such as with the finale of Deep Space Nine.  I wonder if the loss of Bryan Fuller resulted in setting up the season long story line, but if he left before the ending was totally fleshed out.

Last week they set up the ruse that Georgiou was the Prime Georgiou, despite it being unrealistic that the crew of the Discovery would be fooled. This was immediately abandoned this episode when Mirror Georgiou did not act like a Federation officer. It was also unnecessary for the plan initiated in the finale for her to have tried to fool anyone.

While weakly plotted, the scenes on  Qo’noS had multiple treats for fans, including a fourth role for Clint Howard going back to The Corbomite Maneuver. There were Orions, and we learned more about the Klingon penis in a season which previously showed Klingon breasts. (If everything, including the penis, is duplicated in Klingons, shouldn’t they have four breasts?) By the time they revealed that the package was really a bomb and the plan was to destroy or cause major destruction to  Qo’noS, I assume that most viewers had already caught on.

While a rather simplistic conclusion for the Klingon war, this provide the opportunity for Burhnam to raise the issue of sticking to Star Fleet principles, and give her reason to mutiny for a second time. The parallels to the start of the season were obvious. Besides returning to the theme from the start of the season, this season was unique in both starting and ending without the main ship’s captain being present.

Burnham came up with a solution preferable to mutiny, but I don’t see how she sold Star Fleet on her plan and returned before Georgiou had time to set off the bomb. Although it was established that L’Rell’s main goal was Klingon unification, there was hardly good reason to be so certain that L’Rell wouldn’t have tried to accomplish this by leading the Klingons to victory after taking over. It is also questionable that Klingons would have believed she could blow up the planet and very likely would have decided to attack her first and think about matters later (if at all).

Even if L’Rell could get the Klingons in the room to give her the power, I also found it unrealistic that Klingon ships on the verge of attacking earth would have turned around. It would have been more realistic that the Klingons would have abandoned the war if, instead of being on the verge of victory, they were engaged in a space version of trench warfare from World War I with no victory in sight for either side. Having the Klingons be so dominant at this stage of the war also makes it less believable that the Federation seemed so dominant again by the time of the original show. Perhaps the resurgence of the Federation will be dealt with over the next few years on Discovery.

With the war over, there was time for a family reunion and an awards ceremony. Many questions already remained open. How will they deal with the spore drive, which now seems fully functional, but which needs to be forgotten within the next ten years? What is the meaning of the spore which landed on Tilly? Georgiou, L’Rell, and Tyler are all around in this universe, providing possibilities for a return. The Prime Lorca and perhaps the Mirror Burnham could also turn out to be alive.

After leaving the awards ceremony, the next question raised was the identity of the new captain. While the captain would be picked up on Vulcan, this may or may not mean that the person will be a Vulcan.

Then came the big surprise. The Discovery encountered another ship. The call letters began NCC17…

By then most fans probably knew what was coming next. They certainly could not tease this and then show the NCC1776, The USS Independence Day, or some other starship. It was NCC 1701, the original USS Enterprise, the flagship of Star Fleet, currently under the command of Captain Pike.

The episode then went into a new rendition of the original Star Trek end credits music, and we will have to wait until next season to see what happens with the Enterprise. This is the type of a cliff hanger I prefer for a series which will not return for months. Conclude the main story arc of the season, and then tease something from the upcoming season, as opposed to leaving the main arc unfinished.

For all but purists, the ship we saw did look like the Enterprise, regardless if there were slight changes. Matters will be more difficult if they show the interior, or the uniforms, considering how much Discovery has been updated. It would be an easy matter to recast Captain Pike, and most of the crew are unknown to us with one notable exception–Spock. While it would be amazing if Zachary Quinto were to play Spock, I doubt this is likely.

There are other difficulties. If Spock and Burnham interact, it would be a little more difficult to believe that Spock never mentioned his half-sister. There would be an even greater contradiction if Sarek and Spock see each other considering that, as established in Journey to Babel, the two were estranged for eighteen years. Of course it is possible that the two could avoid any contact with each other as they are estranged, or Spock could be elsewhere.

TVLine  discussed the episode with  Discovery executive producers Gretchen J. Berg and Aaron Harberts

TVLINE | Let’s start at the end, with the Enterprise reveal. What kind of storytelling avenues does that open up for you in Season 2?
AARON HARBERTS
 | I think one of the biggest things it’s going to allow us to do is start to develop how Discovery fits into canon. One of the big things that’s been polarizing for fans is, “We’ve never heard about Discovery! How does it fit? She’s related to Spock?” All those things. And what it’ll allow us to do is hit that straight-on. We see it as an exciting opportunity to say, “This is exactly how Discovery fits into the timeline. This is exactly how we can reconcile the choices we have made.” Because at this period in time, the Discovery and the Enterprise are the crown jewels in the fleet, so they should be face-to-face.

TVLINE | So does that mean Christopher Pike is a full-fledged character next season? Because we don’t know a lot about him, outside of “The Cage” and “The Menagerie.”
GRETCHEN J. BERG | Yeah, we can’t talk about specifics too much, but I think that because we are in canon, we look at things we know, and things we don’t know… and then there are the things we don’t know about the things we know! And there, often, you’ll find great opportunities for storytelling. But it is intriguing. It’s one of the fun things about playing within this box that is the timeline where we are.

HARBERTS | If there ever were to be a captain from canon that one could explore… Christopher Pike would certainly be that one.

TVLINE | So I guess you can’t tell us if we’ll see a ten-years-younger Spock next season, then?
BERG | [Laughs] No, we can’t!

HARBERTS | I can tell you: All you have to do is look at Michael Burnham and Sarek, and the look they exchange at the end of the show, and ask yourself what that could be about.

TVLINE | Maybe it’s safe to ask you about this: How great did it feel to lay down the old-school theme song over the closing credits?
HARBERTS | That was [executive producer] Akiva Goldsman’s idea. He is a huge Trek fan, and from the very beginning of his involvement in the show, he’s always been the guy who’s like, “And then the Discovery and the Enterprise will meet up!” And we’re like, “OK, Akiva, yes, yes…” [Laughs] It was his ultimate fanboy geekgasm… and it was a great idea. And then it was his idea to do the old theme at the end of the episode. I was at the scoring session, watching [composer] Jeff Russo lay that down. Tons of people were there, and you could have just heard a pin drop, and then there were smiles on everyone’s faces. It was very cool.

TVLINE | Oh, so that was totally re-recorded? That wasn’t just the original theme replayed?
HARBERTS
 | Oh yes, that was re-recorded. We had a vocalist come in. They had a bongo player in an isolation booth to play the bongo part. [Laughs] It was legit…

TVLINE | There’s always a chance she could run into Tyler and Georgiou again, right? It’s a big universe, but not that big.
HARBERTS | Oh yeah. One of our goals was: We wanted to create a universe, and play in that universe. And it’s only fun if you’ve got a cast of characters who can continue to come and go…

TVLINE | You did leave us hanging on who the next captain of the Discovery will be. What kind of personality type are you looking for to fill that spot?
BERG | Well, I don’t think we could bring back a Lorca [type] again, just because he was a captain perfect for wartime. I think the crew would be suspicious of that again. [Laughs] Discussing who’s next in that chair is a big topic in the writers’ room, and we certainly have landed somewhere… but I think we’d like you to stick around and watch and find out who it is, and why.

ET Online also interviewed them:

ET: Why did you want to introduce the USS Enterprise now on Star Trek: Discovery?

Gretchen J. Berg: From the beginning, it was something that we knew that folks who are fans of Star Trek know the Enterprise is out there and it was kind of the elephant in the room. We knew eventually that we would want to address that and deal with it. Even though it’s a giant, giant universe, it’s something that’s on everybody’s minds. So we were glad to be able to take the whole season to get to know our crew because the storytelling is going to be told from the point of view from Michael Burnham and Discovery. Let everybody get to know our characters and our show and what we were doing before we brought in the Enterprise. We knew it would be exciting and provocative, for sure.

Aaron Harberts: We also knew that we couldn’t hold off on this because there are so many questions about Burnham in regards to the notion of Sarek and Spock’s family, which is not to say that we’re introducing Spock at the moment. We don’t want to spoil anything. But it’s certainly time to get the audience understanding that we fully intend to respect the original series and respect where Discoveryfalls in that. To do that, we have to show the Enterprise and at least have these ships cross paths.

What is your intention with establishing the Enterprise in this way? What are you comfortable saying with regards to its place in season two?

Berg: Usually, we like to say sit back and enjoy the ride because it’s one of those things… You know, as a writer, you work on something and work on something, and you’re always like, but wait! We’re working on it and we’re going to show it to you and you’ll see. We’re certainly acknowledging that they exist in the same time. But always, always, always, the story on Discovery will be told from the point of view of Disco and our Disco crew. I think it’s fair to expect something, but we probably couldn’t go too much into detail about what it is.

Harberts: More than anything, it is about what new stories does this provide for our crew, for Michael Burnham, for Saru, for Tilly. Our main interest is Discovery. However, if the presence of the Enterprise can show us new things about our crew, the better.

It’s notable that it’s Captain Pike who sent the distress signal for the Enterprise. Is he a character we could meet in season two, along with Enterprise crew members?

Harberts: The thing to consider about Captain Pike is, from an audience and writer’s point of view, there is something very exciting about a key character from [Star Trek: The Original Series] who’s only been explored in two episodes of the original series — three if you consider how [the rejected pilot for the original series] “The Cage” works into the puzzle in TOS. When we think about the idea of Captain Pike, it opens up some large possibilities. We will never say never to exploring him a little bit more…

Are you suggesting that the nine-month period in Prime during which Michael and crew were stuck in Mirror Universe won’t be revisited?

Harberts: To be honest, Episode 14 [“The War Without, the War Within”] was all about what had happened. With the destruction that was wrought by the Klingons and the Federation during those nine months, we tried to paint the picture of that. I think what’s exciting about moving into season two is we’ve got a fresh new palette. We’ve put the war behind us and we’re excited to move on into some things that Trek fans have been longing for, which is more exploration, more diplomacy, more planets, more away missions. We’re focused on serving up some new stuff.

What does this mean for the future of Jason Isaacs, whose Mirror Lorca was killed but the whereabouts of Prime Lorca are still unclear, or Michelle Yeoh, whose Mirror Philippa is still roaming the galaxy?

Berg: If they’re out there, the possibilities are endless. Never say never. That’s the great thing about this universe: there are so many more different ways to go. I can’t confirm or deny anything, but…

Harberts: If we find Prime Lorca, I sort of want to find him making artisan sourdough bread in a bakery in San Francisco. That’s how that storyline could start and we’d just build from there. (Laughter.)

Because it seems the Mirror Universe isn’t a destination you’ll go back to anytime soon, what about Paul Stamets and Hugh Culber’s future? Wilson Cruz told us recently that their story isn’t over.

Berg: Wilson’s correct. We have just begun to tell the love story between Culber and Stamets, so I would just say hold tight.

Harberts: Stamets has got a lot to process that he hasn’t had time to process yet, in terms of not being in charge of the spore drive and having lost Culber. We’ve got to take Stamets on a journey as well and then we’ll see. But Culber is a character who is part of this Star Trek world, no doubt.

You’re already knee-deep on season two planning. What are you looking to achieve thematically and creatively?

Harberts: Chapter 1 of this novel was war, and right now, we’re thinking about Chapter 2. One of the themes we continue kicking around is the conflict between science and spirituality, and that’s something that we’re very interested, particularly after you finish a war. How do you rebuild yourself? What’s required for that? What we’re most excited to do is to continue thematic exploration and philosophical exploration and debate, and these characters are perfectly primed to carry storylines like that. That’s one thing that we’re thinking about. We have a few things up our sleeve, but we’d be lying if we knew everything, because that’s the fun of it is as well. You go into it, you see what’s working and you see what’s interesting, and you build from there.

Berg: The joy is in the journey for us as well in creating it.

This week’s episode of The Magicians was significant for introducing Poppy Kline, played by Felicia Day, but regular Summer Bishil (Margo) certainly held her own. Margo wound up in an undesired marriage to young Fomar, and turned to her version of sex ed to attempt to turn him off to the idea. While she pulled out a thick volume which contained female anatomy, her suggestion of the presence of teeth provided the title for the episode.

As usual, The Magicians did an excellent job of combining such amusement with advancing the plot. While Fumar was knocked out (later to be told he did great), Eliot and Margo found a massive field of the Fairy Queen’s mushrooms, which turned out to be fairy incubators to grow a fairy army. It will be interesting to see what happens now that Margo has taken hostages.

More also happened in this episode, including a look at depression with Felicia Day’s story. Inside The Magicians video below:

The CW Network rivals Syfy in the number of genre shows. They have announced that they will be expanding their programming to six nights a week, adding Sunday. This should increase the chance of their bubble shows returning and provides room for new shows. Next season this includes remakes of Charmed and Roswell.  Jeanine Mason (Grey’s Anatomy) has been cast a the lead for the Roswell reboot.

The highlight of the past week on CW was an appearance by Constantine on Legends of Tomorrow. It has been confirmed that Constantine will return later in March.

The biggest genre news of the week was the record smashing opening weekend of Black Panther.

SciFi Weekend: Star Trek Discovery; The Magicians Get Timey Wimey; The X-Files On The Horrors Of War; Nudity On Altered Carbon; Star Wars

The War Without, the War Within is largely a table-setting episode of Star Trek: Discovery to transition from the Mirror Universe episodes to the season finale. While the season is supposedly about the Klingon War, we seemed to have missed a lot of key developments, with these covered by quick explanations of what happened over the past nine months

We learned that the war has gone badly with the Klingons dominating the war after Discovery failed to deliver the information regarding detection of cloaked Klingon ships to Starfleet. As we know that this ability is not present in future series, the question remains as to whether the information is never received from Discovery, or if the Klingons subsequently find away around this.

The ISS Discovery was apparently destroyed by the Klingons, so we will probably never see stories about Captain Killy in the Prime Universe. They suggested that Prime Lorca could not have survived, immediately making me suspicious that he will turn up in the future. Similarly have been led to assume that Mirror Burnham has died, but cannot be certain. I also suspect that the writers might have left this open even if they do not have plans for either character to show up at present.

Admiral Cornwell and Sarek took control of Discovery early in the episode. While I was not surprised to see Sarek being used for mild melds in the Mirror Universe, where ethics are loose, I have missed feelings about him doing involuntary mind melds in the Prime Universe. However, these are desperate times, and we later are led to believe that Sarek and Cornwell were going along with a plan which stretches usual Starfleet ethics.

When they learned what had gone on, Sarek did have an entirely logical explanation for nobody suspecting being suspicious about Locra’s origin: “That Lorca was an imposter from an alternative universe was not the most obvious conclusion.”

Making information on the Mirror Universe classified helps explain how Kirk and Spock were unaware of what was going on when they appeared in the Mirror Universe.

There was also advancement on the Ash Tyler storyline, and I continue to suspect that he will be significant in what happens with the Klingons. He apparently is no longer really Ash or Voq, but is more Ash with Voq’s memories. However, is it really safe to trust what  L’Rell said, considering that she created him to be a sleeper agent in the first place? If  L’Rell is still up to something, hopefully the “Fitbit” placed on him will be enough to contain him.

Tilly has a traditional Starfleet argument for trusting Tyler: “What we do now, the way that we treat him, is what he will become.” I’m just wary that this is the wrong attitude during a war which is not going well. Burnham is more wary, considering both her underlying distrust of the Klingons who killed her parents, along with having had Ash just recently try to strangle her. Saying “things got complicated” was a real understatement, sounding more like a Facebook status than a full description of the complexities of their relationship.

The one thing even more dangerous than trusting Ash Tyler would be to trust Mirror Georgiou. It appears that, having conquered the Klingons, she knows things about the Klingons which those in the Prime Universe do not know–and has a plan which the crew of Discovery might not go along with. It is disturbing that Starfleet is not able to come up with their own leaders who can win the war but, as Sarek argued, “Starfleet tactics have failed us.”

It did seem strange that  Burnham and Saru weren’t briefed about the plan to pretend that Mirror Georgiou was the Prime Georgiou. At very least they should have been told so that they did not give things away, but the scene was probably written this way to be more dramatic for the viewers. Considering that the transporter officer saw her come aboard, and everyone else just came from the Mirror Universe were everyone had a double, I wonder whether the crew of the Discovery will remain fooled about this for long.

The spore drive, which appeared to be out of commission for a while, is now a factor again with Stamets finding a way to grow spores quickly. Apparently they are to emerge in the caverns within Qo’noS as part of their final plan. Presumably, regardless of what their actual plan is, the outcome will lead to the Cold War situation with the Klingons we saw on the original show as opposed to serious damage long term damage to either side.

The Magicians had a real timey wimey episode last week, with Quenton and Elliot going back in time and living another life. While the time travel element was different, this reminds me to some degree of the Star Trek: The Next Generation episode, The Inner Light, in which Captain Picard had another entire life. Penny’s situation is a bit better, but for now he is still dead.  TV Guide interviewed executive producers John McNamara and Sera Gamble the episode:

Give it to me straight, does this mean Quentin has grandchildren running around Fillory?John McNamara: Hmmm…
Sera Gamble: It might mean that, yeah.
McNamara: He’s got to be very careful who he marries.

Let’s talk about that Quentin/Elliot hook up! Why did you guys decide to have those two share a night together amidst all the puzzling?
Gamble: It felt true about their relationship… What would these two people do if they were together every single day of their lives in one location, and frankly they’ve hooked up before. It just didn’t seem that weird to us that they might get drunk one night and one of them would make a pass at the other.
McNamara: The last time they hooked up, it was a Margo sandwich.
Gamble: Yeah, last time it was a threesome.
McNamara: But there was the reference in dialogue, I believe, in that episode or the next episode, where Alice (Olivia Taylor Dudley) says to Quentin because she walked in on the threesome, “The last time I saw you Elliot’s dick was in your mouth.” So that’s on record. It didn’t come out of nowhere.
Gamble: We say this a lot when we’re talking about the show, but the job of the writer is often just to sit around and talk about what they did when they were in their 20s, and occasionally getting drunk and sleeping with a friend is a fairly normal part of being in your 20s, especially in a situation when you are very intensely hanging out with them to the exclusive of almost everyone else for a long period of time. That’s the causes and conditions for a hook up.

How does the knowledge that he had a wife and a kid and a whole life affect Quentin moving forward?
Gamble:
 They do remember it, there are references later in the season. There’s a scene I’m thinking of, I don’t want to spoil it, but there’s a really beautiful scene that Quentin has late in the season. It’s maybe my favorite scene of the whole season, where he sits down with someone he loves and he talks about what he has experienced on the quest. A huge part of what has changed him in his own mind is that he experienced a whole lifetime trying to solve the mosaic with Elliot, and he talks really specifically about how that changed him and how it changed his outlook on the quest and on his entire life.

How dead is Penny right now? Like he’s dead, but he’s still kind of around? How much hope can we have that he’ll be able to get back to the land of the living?
Gamble: He’s going to try!
McNamara: Whatever you think is going to happen, it’s not going to happen.
Gamble: I have to say, Penny this season though — John speaks the truth. Of any storyline we’ve ever done on this show, Penny this season is the one that has surprised me the most. Right around the time we decided we were going to burn his body, we really felt like we were walking on a tightrope without a net in a super exhilarating way. The pitches from the writers about where to take this character next were so exciting and unusual. And Arjun came to play, and in episodes to come I think you’ll see him doing his best work of the series, and that’s saying a lot because he’s always great.

The X-Files looked at Skinner’s past and the horrors of war. While not one of the top episodes of all time, it was a solid story. This  also provided an explanation for Skinner helping Mulder and Scully,  as they “taught me not to hide, but have the guts to shine a light into the darkest corners.” The finals scene also played into the general paranoia of the series.

Assignment X interviewed Mitch Pileggi about returning to the role:

ASSIGNMENT X: Were you surprised when X-FILES came back for a tenth season two years ago, or are you at this point, “Nothing about X-FILES surprises me”?

MITCH PILEGGI: Nothing surprises me. No, it was a pleasant surprise when it came back two years ago, and then to have it come back again this time, and even have more episodes, it was a treat.

AX: What was the point when you stopped being surprised at the longevity of X-FILES? I’m sure at the beginning, it was like, “This is still here?” Not because of quality, but just because it’s so hard for anything to endure the way X-FILES has.

PILEGGI: I came in late in the first season, so they had been going a little bit at that point. And when I came on, we didn’t really know what we had. David said he thought the show would last six episodes and be out. Here we are twenty-five years later. Not the case [laughs]. So with any show, it’s really difficult to anticipate or predict how it’s going to do or what it’s going to do. You think you’re on a show that’s going to last forever, they pull the plug on it after eight episodes. You don’t know. It’s so unpredictable that there’s no point in even trying to guess, but I think the second season, we were nominated and won the Golden Globe. If you put any weight into awards, that was fairly impressive and gave some indication that there was a pretty positive thing going on with this, with what we were doing…

AX: What is Skinner’s attitude at this point towards belief/non-belief/what he thinks is happening as far as the paranormal and/or extraterrestrial visitations?

PILEGGI: He’s definitely seen things, and he definitely has his own beliefs, and he’s seen things previously when he was in Vietnam. He had an out-of-body experience that he relates to Mulder, I think, in Season 2 or 3. So he’s had his past experiences, and that’s one of the things that draws him to Mulder and Scully. So there is definitely a belief system set up within him to accept it.

AX: But does Skinner believe less than Mulder does, or is he just more pragmatic about fighting the system?

PILEGGI: I think he’s definitely pragmatic in everything he does. But he does have faith in what Mulder and Scully are searching for, so that’s why he’s become their champion within the FBI.

AX: Who has a more secure secrecy system, the X-FILES production company, or the government?

PILEGGI: Well, I’ll tell you what – we’ve been able to keep secrets pretty good this time around, so THE X-FILES right now, I think we’ve probably got it down where leaks are not prevalent. Our government is what it is.

AX: Did you at any point do research for the character into the FBI, or Area 51, or …?

PILEGGI: I grew up around the military, I grew up around the government. My dad worked for them, and eventually I did, too, before I started acting. So I had a pretty good taste of the procedure and behavior.

Gamespot discussed the frequent use of nudity on the new Netflix series Altered Carbon with showrunner Laeta Kalogridis:

“Our worst instincts as human beings have to do with our carelessness with natural resources, and when the body itself becomes just one more of those resources, how will we treat it? Will we treat it with such indifference and with such depersonalization that it becomes more like a very fancy car than a repository of the self?” Kalogridis continued. “And that, I think, is one reason that the nudity itself is not gratuitous; it’s meant to reinforce to you, as a viewer, that the advent of this technology fundamentally and substantially changes people’s relationships with their idea of their own body.”

In other words, in a world in which bodies are interchangeable, what does nudity even matter? It’s not really “you” being seen naked–it’s just your sleeve. Depending how wealthy you are, it might not even be the one you were born in–or even a real human body, since synthetic sleeves are also a thing.

As Kalogridis pointed out, Altered Carbon‘s nudity is “equal opportunity”–the show features a comparable number of naked male bodies as female. She emphasized that the whole thing only works because so many of the actors were onboard to strip down.

Game of Thrones creators David Benioff and D.B. Weiss will be writing and producing a new series of Star Wars movies. Does this mean there will be nudity and dragons?  (Probably not.) From the announcement:

“David and Dan are some of the best storytellers working today,” said Kathleen Kennedy, president of Lucasfilm. “Their command of complex characters, depth of story and richness of mythology will break new ground and boldly push Star Wars in ways I find incredibly exciting.”

“In the summer of 1977 we traveled to a galaxy far, far away, and we’ve been dreaming of it ever since,” Benioff and Weiss said in a joint statement. “We are honored by the opportunity, a little terrified by the responsibility, and so excited to get started as soon as the final season of Game of Thrones is complete.”

No release dates have been set for the new films, and there have (thankfully) been no sightings of White Walkers around Lucasfilm.

SciFi Weekend: Star Trek Discovery; Interviews With Jason Isaacs; The Good Place Second Season Finale; American Gods Gets New Showrunner

What’s Past Is Prologue was an exciting episode of Star Trek: Discovery in which a lot happened (with major spoilers ahead). In a single episode, Lorca went from a prisoner to taking control of Georgiou’s ship. Georgiou agreed to team up with Burhnam and they not only retook control of the ship, but Georgiou went along with Burnham and her plan to destroy it. The threat to the entire multiverse from the corruption of the mycelial network was resolved, and the Discovery made it home to the prime universe. The title, like so many this season, was quite appropriate considering how the events of the start of the season were mirrored in these events.

That certainly made for an exciting episode, but considering how they had the luxury of telling the story over multiple episodes, I wish that they had given more time to these events to make them more plausible. I’ve seen quicker, less plausible, resolutions in single episode stories, but there was no need to resolve everything so quickly in a serialized format. It seemed way too easy for Lorca to take control. Why were his allies even kept alive after all this time and not beamed into space as we have seen done with other traitors? It was also too easy for Burnham to move around the ship and for her to get Georgiou’s help. Why did Georgiou so quickly give up on her own future after putting down the rebellion?

Putting aside these questions, this has us back to the prime universe with a nine month jump in which the Federation went from appearing to be winning the war with the Klingons to now appearing to have lost the war. If the Federation bases nearby were all destroyed, I do wonder where the Discovery pulled up that map from. Were the conquering Klingons now putting out the information on some sort of public channel to brag about their victory? Of course I’ll let this nitpick go as it allowed the story to progress without a diversion to figure things out--analogous to how they picked up information when first appearing in the Mirror Universe.

Seeing the Federation being defeated when we obviously know they survived the Klingon war raises questions which presumably will be answered in the final two episodes of the season. Is this a case of a war in which each side dominated at various times, leading to the outcome we know of? Or is this a different timeline, and will time travel be used to change events of the preceding nine months? I hope that this is not the case and we don’t wind up with problems of fixing problems with time travel as we have seen on The Flash. I also wonder if the tide changes in the war due to help from Mirror Georgiou.

Regardless of whether Georgiou helps them, it is a big question as to what they do with her. Star Fleet security often seems very limited, but would they allow her to roam freely on the Discovery? On the other hand, it would he difficult to confine her as a prisoner as she has committed no crimes in our universe (and any terrible acts she might have committed in the Mirror Universe were presumably legal over there). Perhaps Discovery might be more realistic than past Star Trek series in having a situation in which someone is not a prisoner, but can be restricted from any sensitive areas and have use of the computer either prohibited or restricted.

Besides having a former Mirror Universe Emperor on board, there are also one and one-half Klingons, and they are also likely to play a role in what is to come this season.

Saru is Captain for now, giving us the first example of an alien being the Captain on a Star Trek series. Previously I had difficulty taking Saru seriously as a Captain, thinking he would not be bold enough for the role. However he did give a great speech to the crew, reminiscent of both Kirk and Picard. Still I bet that next season we will again have a ship with a human captain.

Lorca appears to be dead, but perhaps being absorbed by the mycelial  network gives him a way to return. That speck of the mycelial network falling on Tilly may or may not be significant. I sure hope that it is not foreshadowing Lorca taking over her body. Besides the question of whether the Lorca we know can return, they left matters open so that the original prime Lorca could still be around. Same is true of the original Mirror Burhnam. My suspicion is that neither might be seen this season, but the writers were leaving their options open for future seasons.

Jason Isaacs will be a big loss to Discovery if he is really gone. Entertainment Weekly recently interviewed him:

ENTERTAINMENT WEEKLY: Okay, so in terms of Mirror universe Lorca — who as it turned out was the Lorca we knew all along — he’s really, truly dead, right?
JASON ISAACS: Here’s the context: I’ve lied to all of the press constantly since the very first day I got this job. So why would you believe anything I say now?

Well, because there is some seeming finality to his story, at least to this version of the character?
I would say, yeah, the prognosis is not good for him given he was dissolved into a million pieces on camera. There are not many homeopathic cures that can help that.

When did you know Lorca’s secret backstory?
I knew before I took the job. It was pitched to me that he was from the Mirror world. I said, “What’s he doing here? How did he get here? What does he want? And how’s he going to go about achieving those things?” And at first they went, “We’re not really sure, it could be one of 20 different things.” And I blinked slightly and I said, “I’m not sure I want to do the job if I don’t know exactly what he’s after, because then I won’t be able to act!” Then we had a bunch of discussions and came up with a plan which we pretty much stuck to all the way through. Then it was not just easy, but a joy, because I had that lovely thing that actors always love, and the camera likes, and that’s that I had secrets. I knew what I was after, why I was doing stuff, and I knew when I would reel Michael Burnham [Sonequa Martin-Green] in, what I wanted her for. It was deliciously ambiguous for viewers but if you watch it a second time you’ll see it was always crystal clear.

Is there anything in particular we should go back and look for in your performance?
Well, there’s the giant bold story points: Why the hell would I get some prisoner, some mutineer, re-route her ship, and promote her way beyond her capacity, in defiance of everybody else in Starfleet? If not to engender loyalty because I had a long-term plan for her. She’s great, but nobody is that great. There’s a number of little things. The fact that [Admiral Katrina Cornwell] and I, that I can’t remember instances that she’s referring to. And I sleep with a phaser in a paranoid way. And when it looks like she might take the ship from me, I consign her to a trap that I must have seen coming or set up. And then there’s forcing Stamets to do a bunch of jumps that were unnecessary, and the mapping I was doing privately. I was prepared to break Starfleet rules and directives. And even when I’m back in the Mirror world pretending to be Prime Lorca who’s pretending to be Mirror Lorca — if you can follow that twisted logic — and when Burnham comes to be and says they’re asking me to kill the people down on the planet and I say, “Just do it.” I’m not sure Kirk or Picard would have done that. This is a guy who’s had his eye on the prize for a very long time, and he gets very close.

What was his biggest mistake? 
In the end, he hadn’t read Burnham correctly. He thought of her as practical, pragmatic, having made out-of-the-box decisions earlier on, that she’d see the best option for her is to stay and help him rule this empire and maybe she might buy into the racist philosophy he adheres to — the lack of assimilation and that the world is healthier and better when those who are powerful and strong rule it and the weak are kept down. He’s blinded by that kind of bigotry, and it’s never going to fly for her.

It’s never quite made clear, I don’t think, exactly what was going on with Prime Lorca, who we assume he switched places with …
There was a Prime Locra, he was captain of the Buran in the Prime world. He swapped with him and found himself captain of the Buran. This never came out, this backstory detail we never put in the dialogue: Lorca spins this story having had to sacrifice the men on Buran and had to blow them up to save them from Klingon torture. Actually, if I remember correctly, there was some kind of DNA identification that would have exposed Lorca as not being Prime Lorca, and so he blew up the ship and killed everyone on it.

But what happened to Prime Lorca is now an open question …
It is.

Do you know the answer to that? 
If I did, you’d have to stand behind my wife, friends, and professional collaborators to find out the answer. I’ve kept this one big secret for six months — I am certainly going to keep any others.

Well, are you signed on for season 2?
I’m sorry, is that not a related question?

It’s my tricky way of asking if we’re going to meet Prime universe Lorca. 
Oh God, that totally would have worked on me if I had the IQ of a sock. If I do do another season, I know I won’t have to wear that leather coat anymore. It turns out I had to revoice every voice I made during those scenes because [the jacket] squeaked like a rusty bedpost in a brothel.

Jason Isaacs was also interviewed by Variety:

Was his interest in Burnham just to use her as a tool to get to Georgiou or was it that he was attracted to her?
It’s twofold. It was 99% “She is the tool by which I will pry open the locked doors and gain access to the Emperor.” Without Burnham, he would just be killed if he reappeared. So he needed Burnham. And not only did he need her, he needed to win her over and make her feel like he was her best friend in the world and her confessor and she could trust him and possibly have faith in him beyond any of her training. And at the same time, in the back of his head, less important, was the idea that if he could gain the throne, she might rule alongside him.

Lorca is revealed to be someone who is pretty racist …
That’s absolutely right. The Terran world, unlike the original incarnations of the Mirror Universe where they were just a kind of one-dimensional evil, this is a world that is not very far from our very own. We could all wake up and be mirror versions of ourselves any day. It’s a very Darwinian world, and a world that from Lorca’s point of view and for millions of people with his point of view, where assimilation is a bad thing and there’s a natural hierarchy of racists. To disrespect that is to sow chaos and anarchy, and lying is a perfectly reasonable technique to get what you want. Sadly, I don’t think we need to look very far to find those these reflected in our headlines every day.

Was it important to you that his thinking be rooted in something and that he not just be a mustache-twirling villain?
Yeah, I wouldn’t have taken the job. But luckily it was important to everyone. I had no interest in playing a mustache-twirling villain and they had no interest in creating one. When we got to the mirror world, it was very important to me that the dialogue feel like it was in many ways ripped from the headlines. It’s no coincidence that I’m exhorting my followers to make the Empire great again.

‘Star Trek’ has always had a socially progressive element to it. Were you surprised or pleased as the season played out to see just how much the the writers dug in on fairly complicated ideas about racism?
One of the great skills of the writers is that it’s never about those things. It’s about the plot. Incidentally you’re looking at a fully ethnically inclusive crew and gay couples and straight couples. It’s a future which is inclusive. But that’s never front and center in the story. What surprised me, given that I know the huge, incredibly welcoming reception that the show’s had from “Star Trek” fans, is the people who, online at least, pretended to be “Star Trek” fans to attack it on racist lines. People would be coming out from where they should be hiding in the shadows to say the most racist things, all sorts of white supremacists and haters, feigning the mask of “Star Trek” supporters, attacking it for the very things that “Star Trek” has always stood for — which makes them look, frankly, ridiculous.

Last week also featured the season finale of The Good Place. For the benefit of those not watching, despite being a comedy, The Good Place has had an ongoing fantasy story line, and has often dealt with philosophical issues. The first season finale totally shook up everything we thought about the show during the season. The second season finale was also a huge change, but not as big as after the first season. Instead it continues from where the season was heading, which is a good thing. The show might have lost credibility if it once again said they were deceiving us and something else was going on.

Among the highlights, there was the opportunity to have Ted Danson back behind the bar like on Cheers. It is not clear whether Eleanor and the others were really returned to Earth and their death was undone, whether this is some sort of simulation created to test them, or whether the distinction even matters. It is somewhat reminiscent of the final season of Lost, with the connection to the afterlife not being clear until the finale. Presumably all four will ultimately wind up back together, perhaps even figuring out once again what is going on. Wherever they are going with this, the twist opens a lot of possibilities for the third season.

American Gods just might have a showrunner who can keep the show going after the loss of Bryan Fuller. The Hollywood Reporter has a story on the newly hired showrunner:

After an extensive search, American Gods has enlisted a new showrunner for season two.

Jesse Alexander, who worked with Bryan Fuller on shows including Hannibal and Star Trek: Discovery, will take over showrunning duties alongside novel scribe Neil Gaiman…

“I’m thrilled that Jesse is [the] showrunner. He loves and understands the book, he loves and understands the TV series and he’s dedicated to making future seasons of American Gods as good and as beautiful and as unique as they can be,” Gaiman tells THR. “Shadow’s journey is going to take him, and Mr. Wednesday, and the New Gods and the Old, to some very strange places. I’m glad that we, and the cast and crew, will have Jesse shepherding us on the way.”