Chloe Bennet sets the stage for Daisy in the upcoming season of Agents of SHIELD, which returns this week:
In light of the Sokovia Accords, S.H.I.E.L.D. has gone legit.
When Marvel’s Agents of S.H.I.E.L.D. returns, there’s a new director (Jason O’Mara), who tasks Agent Coulson (Clark Gregg) & Co. with tracking down enhanced individuals — and that spells trouble for Daisy (Chloe Bennet), who has gone rogue after Lincoln’s death.
“Everyone she’s gotten close to has died,” Bennet tells EW. “Her way of protecting the people that she cares about — which is Coulson and the rest of the team — is to distance herself. She’s doing anything she can to help people and try to makeup for what she feels is her fault.”
But her self-imposed exile doesn’t necessarily make her a hero. “We know from the past that your power comes with a price,” EP Jed Whedon says. “It damaged her when she first used it and you have to learn to control it. Part of her nothing-to-lose attitude has allowed her to unleash her power on a level that’s much more aggressive, but also much more dangerous.”
“She’s in a place where she’s pushing herself beyond her limitations,” EP Maurissa Tancharoen adds. “Whether or not that’s being self-destructive or just trying to be her own version of her best self, we’ll explore that question.”
Spoiler TV also reports that season 4 will include a loose cross over with the upcoming Doctor Strange movie:
“Our ties are at times very direct and at times are more thematic,” EP Jed Whedon tells EW. “The tie this year will feel more of a reflection of the movie, less an interweaving plot. As that movie hits the world, it comes at the right time in our show, and you will see some of those same ideas being explored.”
“The same questions that our team is exploring leading up to the premiere of Doctor Strange, perhaps some of those concepts will be reflected in the movie and then carried through,” EP Maurissa Tancharoen says. Adds Whedon: “Hopefully some of the questions that we’re asking will be answered by it and then pose some new themes and ideas for us to explore.”
Originally January was going to be significant for both the inauguration of the next president and for the start of Star Trek: Discovery. CBS has delayed the premiere from January until May, 2017. StarTrek.com reports:
Star Trek: Discovery will now launch in May, 2017, it was announced this afternoon by CBS All Access. The new premiere date is driven by the creative team’s belief that this will give the show the appropriate time for delivery of the highest-quality, premium edition of the first new Star Trek television series in more than a decade.
“Bringing Star Trek back to television carries a responsibility and mission: to connect fans and newcomers alike to the series that has fed our imaginations since childhood,” executive producers Alex Kurtzman and Bryan Fuller said in a joint statement. “We aim to dream big and deliver, and that means making sure the demands of physical and post-production for a show that takes place entirely in space, and the need to meet an air date, don’t result in compromised quality. Before heading into production, we evaluated these realities with our partners at CBS and they agreed: Star Trek deserves the very best, and these extra few months will help us achieve a vision we can all be proud of.”
Personally I’d prefer that we get Discovery in January, and postpone the inauguration of Donald Trump or Hillary Clinton (indefinitely).
Luke Cage is the next installment of the Marvel Cinematic Universe on Netflix, teaser above. Showrunner showrunner Cheo Hodari Coker discussed the series in an interview with SciFiNow (via MCUExchange):
In an interview with science fiction website SciFiNow, Coker calls Luke Cage a show that is about “a man who moves to a new section of town, which has deteriorated over time.” He goes on to say, “Instead of a saloon, we have a club named Harlem’s Paradise. And inside this ‘saloon’ there is another strong man who is controlling vice and – to some extent – has an amount of control in law enforcement [this would be Mahershala Ali’s crime lord Cornell ‘Cottonmouth’ Stokes], so he gets away with everything.”
When asked about how Luke Cage compares to the other MCU Netflix properties, Coker had this to say:
“Luke Cage has a different feel to Jessica Jones and Daredevil,” explains the self-confessed comic-book fan. “Let’s talk about the elephant in the room right now; it’s a black show. However, at the same time, it’s a different genre to the other shows to some extent, because Daredevil is a crime drama with superhero elements, and Jessica Jones is a psychological thriller, even though it has some classic ‘Sam Spade’ noir moments.”
The promos for HBO’s adaptation of Westworld continue to make me far more interested in the series than I was when it was first announced. SciFi Now has a spoiler-free review of the first four episodes.
Sci-Fi Storm reports on three pilots at the Syfy channel. Here’s the one I find most interesting:
The Machine, based on the 2013 UK cult film, explores humanity through artificial intelligence when a sentient AI is created, but the military wants to use it for war. Caradog James, who directed the film, is an executive producer with Red & Black Films and John Giwa-Amu, the film’s producer.
You may be aware that John Barrowman has been saying, publicly, that I’ve been blocking a new series of Torchwood. To be very clear – I haven’t blocked it; I wouldn’t block it; I wouldn’t even be ABLE to block it. I didn’t even know a revival had been mooted till I read about it on the Internet. As John perfectly well knows, it’s not my show and I could no more prevent it happening that he could cancel Sherlock. I am bewildered, and a little cross, even to be included in this conversation. For the record, I really liked the show (especially the third series) and would be very happy to see more – monsters and mayhem, why not? But the fact is, it has nothing to do with me. Please pass this on to the anxious and the angry – I’ve had enough hate mail now.
George Takei discussed Star Trek with Stephen Colbert. Video above. Nerdist reports:
Yesterday was the 50th anniversary of the debut of the original Star Trek (well, in America at least: sorry to Canada that we didn’t do this two days earlier), so fittingly the tributes and odes were pouring in from fans around the globe. However, it was George Takei who best summed up what the franchise is really all about, and in doing so explained why it is so beloved and has endured for so long.
The O.G. Sulu was a guest of super nerd and Trekkie Stephen Colbert on The Late Show last night, and Takei shared his memories of the “very special” first time he went to work on the series, where franchise creator Gene Roddenberry described to him and the rest of the cast at their first table read what story the space adventure show was really telling.
“Gene explained to us what Star Trek was all about,” said Takei, “He said that the Starship Enterprise was a metaphor for Starship Earth, and the strength of this starship lay in its diversity coming together.” Roddenbery then explained that the possibilities of “infinity diversity in infinite combinations” (IDIC) would force the crew, representing the many people of the planet, to combine their abilities to solve problems as one.
Majel Barrett has had both on-screen roles and has been on multiple versions of Star Trek as the voice of the ship’s computer. Her voice was recorded phonetically before she died and there is talk of using her voice on Star Trek: Discovery, along with using it Siri-like virtual assistants. I want my Amazon Echo to use her voice!
Bryan Fuller continues to slowly provide hints about other aspects of Star Trek: Discovery. He tweeted than an episode from The Original Series, Balance of Terror, is a “touchstone” for Discovery’s story arc. The episode introduced the Romulans, and TrekMovie.com speculates on what this might mean.
Greg Berlanti is working on yet another superhero show, now Black Lightning for Fox.
IndieWire has interviewed Gregg Berlanti about his multiple superhero shows. He has news on several of them, including the cross-over episodes:
As “Supergirl” leaps to The CW, how has the network move – and the relocation to Vancouver – been going?
I just saw the director’s cut of the first episode, and I’m in as much love with the show as ever. It’s been challenging to figure out all the moving parts, moving the show across cities and across networks. But the reality is, I think the show is as strong as ever and it feels really seamless. People will not be able to tell that it’s not L.A. It feels like National City still. There are some new enhancements to the set that we were going to do anyway. Obviously some new characters are coming to the show that we would have brought in anyway to the second season. And so I’m really pleased. CBS in their own wisdom recognized it, there’s no part of the show that’s fighting itself anymore. It has a youthfulness and appeal because of the age of the leading lady, and it gets to embrace that a touch more.
What more can you tell us how often we’ll see Calista Flockhart’s character, Cat Grant?
She’s recurring. We’re trying to get her for at least six episodes this year, and she’s in the first two episodes. We’re just trying to see when she can come back now.
And will we see her interact with Superman?
I don’t want to give it away, but she has a special kind of dynamic with Clark Kent.
How far along is the “Supergirl”/”The Flash” musical crossover?
We just finished writing the fall crossovers. And now we’re trying to figure out how to produce them. That’s probably the most challenging thing we do all year. And now we’re doing it across three shows! But next week we’ll have to start talking about clearing music. I have a few ideas for tone and style in my head but we’re just starting to talk about what that can be. I do want to try and get an original piece of music written. As we make a deal on that we’ll probably make some announcements on the original songs.
Perhaps written by, I don’t know, Lin-Manuel Miranda?
[laughs] I would say, pretty close. I can’t say yet because we don’t have a deal yet, but I did speak to someone we’re really excited about. There are some writers I’m incredibly excited to work with.
Back to the big CW series crossover, how difficult is that to pull off across so many series?
You really are trying to run a single production across three different productions. But they’re run as three separate entities. We have to figure out when we’re borrowing one actor from where. We’re telling one cohesive story; “Supergirl” will participate, but the storyline doesn’t actively begin there. There are some characters who show up in her episode, but the story begins with “The Flash” episode and goes to “Arrow” and “Legends of Tomorrow.” We’re just getting into designing the bad guy for it, and we start now but it doesn’t air until the end of November. We will put a lot of time between now and then figuring out visual effects sequences. Just today I was holding the three scripts back-to-back – that’s 180 pages of material. It’s a three-hour story, almost a miniseries.
And when you place all three scripts together, it unlocks some sort of fortune.
[laughs] It’s very daunting when you hold them all together like that. Each one of these pages is 10 hours of shooting and a visual effects extravaganza. But hopefully it feels like a great kind of crossover comic book sell.
The Spoiler Room at Entertainment Weekly has news on several genre shows, including this about Felicity on Arrow:
Emily Bett Rickards has been training a lot lately. Does it mean Felicity will be involved in more action scenes in Arrow season 5? — Itakha
At first, Felicity will be dealing with the fallout of Havenrock’s destruction. “In the first five episodes, we face head-on the decision that Felicity made,” EP Marc Guggenheim says. “We are most definitely not ignoring it.” Following that, though, Guggenheim cryptically teases what could be Felicity jumping in on the action. “We’re positioning her to do something in the second half of the year that is really, really key, and that isn’t about her relationship with Oliver or even necessarily her father or her mother. It’s really new territory for her, and we’ve very excited about it. Some big things are going to happen with Felicity.”
I was pleasantly surprised to see Emily Bett Richards while watching Brooklyn last weekend. (Sorry, it was not a major role, and the movie, while excellent, is totally non-genre).
Agents of SHIELD has a promo for Ghost Rider. More at Screen Rant.
Hulu has picked up a sci-fi comedy entitled Future Man from Seth Rogen.
Vince Gilligan is producing a limited series for HBO on Jim Jones for HBO entitled Raven. My bet is that he will do a good job of showing Jones’ life, but after Breaking Bad I would prefer to see him invent more flawed characters of his own.
Netflix has renewed Narcos for season 3 and 4.
It appears that the next season of Doctor Who will start in April based upon reports in Radio Times and a comment from Peter Capaldi. Before that, there will also be the Christmas episode. Plus in November there will be an animated version of a lost story:
It’s one of the Doctor’s most celebrated adventures and yet no complete film recordings of The Power of the Daleks are known to have survived. The master negatives were destroyed in an archive purge in 1974.
BBC Worldwide has announced that a brand new black and white animation based on audio recordings of the programme using the original cast, surviving photographs and film clips will be released 50 years to the minute after its only UK broadcast on BBC One.
The six half hour episodes feature the regeneration, or as it was then called ‘renewal’, of First Doctor William Hartnell into Second Doctor Patrick Troughton, as the Time Lord and his companions Polly (Anneke Wills) and Ben (Michael Craze) do battle with the Daleks on the planet Vulcan.
Anne Hathaway told Variety she would live to play Catwoman again. That might be difficult as the Christopher Nolan Batman stories, where she appeared, have concluded, but that doesn’t entirely rule out her reprising the role in a future movie.
A few genre shows have already won awards last night at the Creative Arts Emmys. Winners included Jessica Jones (Outstanding Original Main Title Theme Music), Mr. Robot (Outstanding Music Composition For A Series), and Man In The High Castle (Outstanding Main Title Design and Outstanding Cinematography For A Single-Camera Series). Hopefully some of these series will also win some of the more major Emmy awards.
Bryan Fuller has explained the name Discovery was chosen for the upcoming Star Trek series:
“This ship is called the Discovery for a few reasons,” Fuller explained. “Not the least of which is Stanley Kubrick’s contribution to the Discovery on 2001: A Space Odyssey, NASA’s vessel the Discovery, and also the sense of discovery.” He added that the title of Star Trek: Discovery was also about “what the word ‘discovery’ means to Star Trek audiences who have been promised a future by Gene Roddenberry where we come together as a planet and seek new worlds and new alien races to explore and understand and collaborate with.” Fuller went on to say that sense of discovering would manifest as the show reintroduces new and familiar aliens, ships, and technology to the Star Trek universe.
TV Guide reports that there will be more than just a television series:
Star Trek: Discoveryis going really, really big when it debuts on CBS — before moving to CBS’ All Access portal in January of 2017: not just with a new ship, new aliens and new planets; but a novel and comic book series, too.
Kristen Beyer, who’s overseeing a line ofStar Trek novels, announced the big plans for the series at the Star Trek: Mission New York convention this weekend, where she and Nicholas Meyer, writer and director of the acclaimed movie Star Trek II: The Wrath of Khan, celebrated the franchise’s 50-year milestone.
At the gathering, Beyer said that longtime Star Trek author David Mack will write the Discovery tie-in novel, while writer Mike Johnson will have a hand in developing the comic series. “We’re creating these in real time [with the show],” Beyer said, according to a report from Yahoo. “They’re going to support the story in a way we don’t normally have the chance to do.”
HBO has a new trailer for Westworld.
Westworld looks quite promising but looking at the trailer, I have my doubts about Aftermath. It looks like they tried to throw in far too much, but we won’t know until actual episodes are on, and perhaps others will find this above trailer more compelling than I did.
Netflix has picked up season two of Stranger Things. The second season will contain nine episodes and take place in 1984. That is not the only Netflix series to take place in the 1980’s. Netflix has also picked up G.L.O.W., a ten-episode comedy by Jenji Kohan of Orange Is The New Black. The series about a 1980s female wrestling league is primarily of interest as it will star Alison Brie of Community and Mad Men.
DC’s Legends of Tomorrow fortunately is being largely redone for the second season. Trailer above. The addition of the Justice Society of America gives another reason to give the series a second chance.
Supergirl will finally show Superman on screen second season. The first set pictures of Superman (played by Tyler Hoechlin ) with Supergirl have been posted this week.
Radio Times reports that Doctor Who has had a huge influence on names in England and Wales:
Amelia – the dearly departed Amelia Pond of course – is the most popular girls’ name in England and Wales for 2015. Even more significantly, Clara entered the top 100 for the very first time in 2015 – the same year as Clara Oswald’s final moments in the Tardis.
Rose (Tyler), Martha (Jones), Sarah (Jane), Victoria (Waterfield – an assistant to the second Doctor) and Grace (Holloway – pal to the eighth Doctor) all feature in the top 100 names for girls.
In fact, according to our calculations, 3 per cent of all girls born in 2015 were named after Doctor Who companions.
And the boys? Well, Rory (Williams) and Michael (‘Mickey’ Smith) both have a place in the top 100. Jack (Captain Harkness) meanwhile, is the second most popular name for boys in 2015.
I’m not so sure that we can attribute the Michaels and Jacks to Doctor Who, but is is far more likely that others such as Clara, Amelia, and Rory were influenced by the show.
Amelia Pond is also quite busy in new roles. Karen Gillan has been cast in the remake of Jumanji. This is among other upcoming roles including returning as Nebula in Guardians of the Galaxy Vol. 2 and a role in the movie version of The Circle.
When word came out that Star Trek Discovery (officially abbreviated DSC, not STD) would take place about ten years before the original show, and it would feature a female lead who is not the Captain, many fans realized that this would put it around the era of The Cage (the original pilot which was re-cut into flashbacks on The Menagerie). Some also speculated that the female lead could be Number One from that episode if she transferred to a new ship. Bryan Fuller has told Ain’t It Cool News that the female lead will be know as Number One. It was not stated whether this will be the same character, or perhaps another character is being referred to in this manner (as Riker was on The Next Generation).
As for the other project upcoming from Bryan Fuller, I09 discussed plans for digital erections in American Gods.
Collider interviewed producer Andrew Kreisberg regarding plans for Supergirl’s second season:
With all of the great things that come with getting to continue the show on The CW, one of the things you lost was the ability to have Calista Flockhart on as a regular cast member. How often can we expect to see her?
KREISBERG: Well, she’s in the first two episodes and we’re talking to her about doing more. It’s funny because, from our perspective, we thought she wouldn’t do any. And it’s not because she doesn’t love the show. She’s such a huge fan of the show, but moving to Vancouver, we assumed that we would part as friends. But she’s so into the show and feels such an allegiance and a responsibility to it that she’s agreed to come back, so we’re very happy. We’re not focusing on what we don’t have. We’re focusing on what we do have, and it’s allowed us to have Ian Gomez, who’s playing Snapper Carr, come in, in a more supervisory capacity, which is fun. Kara has spent two years of her life learning to deal with Cat Grant’s idiosyncracies, foibles, short temper and mixed signals, and just when she finally got that down, she’s now introduced to a new boss who’s very different, has his own thing, and isn’t quite as impressed by her spunk as Cat always was, even if Cat wouldn’t admit it. It’s a journey, like any of us go on. We’ve all had different bosses, over the course of our careers. Just when you finally feel like you’ve nailed your job, you get promoted and you’re suddenly like, “I don’t know what I’m doing anymore!” That’s what’s going to happen to Kara this season…
What can you say about the addition of Christopher Wood and how his character will fit in with things?
KREISBERG: We don’t want to say too much because we’re doing our own version of Mon-El. Obviously, he’s a character from the comic books and he’s much beloved, and we’re putting our own spin on it. What’s interesting about Mon-El joining the show, from Kara’s perspective, is that Kara has spent her whole life as someone who’s been mentored, first by her mother, and then by the Danvers and Superman and Cat. She’s always been somebody who’s been taken care of, in a way. Now, with Mon-El, he’s fresh off the boat. As far as he’s concerned, living on another planet happened yesterday, and suddenly, he’s on Earth and everything he knew was lost, just the way it was for Kara, but she’s had 12 years to process it and he’s struggling with it. So, Kara is now the one in the mentor position. Ironically, she even says in an episode, “I was sent to Earth not to be a hero. I wasn’t sent here to be Supergirl. I was sent here to protect Clark and take care of Clark. Now, in an odd way, with Mon-El here, I’m getting to fulfill that original mission that I had.” So, it’s a big change and a big growing experience for Kara, this season.
How daunting was it to figure out how you wanted to portray Superman, what you wanted the dynamic between Clark and Kara to be, and finding the right actor to take all of that on?
KREISBERG: I think our take on him is probably something a little bit more traditional. There’s certainly a little bit of the “Aw shucks” about him, but he’s been Superman for awhile, so there’s a savviness about him as Superman and as Clark. If he’s been Superman for 12 years, that also means that he’s been Clark Kent for 12 years. He knows how to interview somebody. He knows how to get a story out of someone. As always, with any of these things, we’re never doing a direct adaptation of a specific comic book. We cherry pick the best parts and things that we love. So, there’s a little bit of the Christopher Reeve Superman in there, a healthy dose of the Superman animated series, which we’re huge fans of, a little bit of Lois & Clark, a little George Reeves, and a little Super Friends. And as far as finding the right guy, as soon as we said we were going to do Superman, Greg [Berlanti] mentioned Tyler [Hoechlin]. We’ve been fans of his for years, and when we sat down with him, he is Superman. Not just with the looks, but he’s such a good guy, such a nice guy, and he’s so open and forthright and brimming with life. You just feel better when you’re around him, which I think is part of the secret of Superman. He is that ideal, but not in an unattainable way. Superman should make you feel like you can do anything, even though he’s the one that can do anything. And Tyler just had all that in spades. So, it was less a question of us reaching out. It was more a question of hoping he would say yes. After Tyler, I’m not sure what we would have done…
What’s in store for J’onn J’onzz?
KREISBERG: Part of the reason we’re bringing on Miss Martian is to give J’onn his own story this year and his own emotional ride, meeting her and having this tie to his home world that he thought he would never have again. As he has to keep reminding people, he’s been here for 300 years and isolated for most of it. Last year, with his relationship with Alex and his relationship with Kara, he started to come out of his shell a little bit and wasn’t quite so afraid to show who he really was. So, in getting to interact with M’gann, he’s going to have a whole new person with which to share his martian experience. We think it’s going to be a great story.
On the weekends I often wear somewhat subtle genre t-shirts such as Stark Expo, Wayne Enterprises, or Nelson and Murdock, Avocados At Law. I have a lot of ties with hidden, and in some cases not so hidden Mickeys (and one with both Mickey and Goofy). Now it is possible to go all out with superhero themed suits. Fun Suits has put out a line of discrete Marvel and DC based suits. The Mary Sue provides a description. The downsides are that they are polyester, and won’t be available until November.
In other Marvel news, Marvel has revealed what Thor was busy doing during the events of Captain America: Civil War in the above video, which was shown at San Diego Comic Con.
Variety reports on Ron Moore’s comments about season 3 of Outlander:
“Outlander” showrunner Ronald D. Moore told an audience at the Edinburgh Intl. Television Festival on Thursday that in Season 3 the show would start in Scotland but would then be making a sea voyage in the 18th century.
“There’s an extended journey across the Atlantic and then the story eventually goes to Jamaica, the Caribbean and ending up in the New World,” he said. “Season 3 will be as different to Season 2 as Season 2 was to Season 1.”
These dramatic shifts threw up challenges for Moore, who said: “It’s exciting creatively; it’s very hard in terms of the production… You are doing a whole new series with every season. So that’s very difficult. Scouting new locations, building new sets, bringing in new cast members, new costumes, different eras. It increases the expense, it increases the time necessary to prep everything, to shoot everything… So it makes it more difficult and it also takes more mental energy having to crack new problems.”
…Moore underscored the differences between the novel and the show. “You are not capturing Diana’s voice in the show, so much as you are capturing her world and her story. Diana’s voice is there for you on the page. When you read the book, or any book, the author is speaking to you directly,” he said. “The TV show has a vision, feeling and vibe that is an entity unto itself. All these component pieces then combine into our voice.”
Ingrid Oliver says she knows the difference between the human and Zygon version of Osgood:
Discussing last year’s last year’s ‘The Zygon Invasion’ and ‘The Zygon Inversion’ episodes, Oliver told Doctor Who: The Fan Show: “In the script it simply said Osgood 1 and Osgood 2. Steven [Moffat] never said explicitly ‘This is Zygon Osgood and this is not Zygon Osgood – or Hybrid Osgood’, so I sort of made a choice, but I don’t know if it’s right!”
Asked if there were any tells to signify which Osgood is which, she revealed: “Yes, in my head there are some very small tells. But, having said that, it’s sort of open to interpretation – because I guess that’s the point of the episode. In my head, inevitably there are a couple of little things that I did.”
Oliver joked: “I don’t know if people have noticed it – probably not… the Zygon one strokes her chin a lot!”
You’re the Worst returns on Wednesday. Season three trailer above. I hear the first episode is rather Not Safe For Work, and the season also includes an episode entitled The Last Sunday Funday. TV Line has more on the season.
I am waiting to see what happens next on tonight’s episode of The Last Ship. Last week’s episode felt like a look at Donald Trump’s America with that wall going up.
Stranger Things was the surprise hit of the summer. It was as close to a perfectly structured television show as I’ve ever seen, both telling a complete story in eight episodes and leaving some things open for future seasons. It has an excellent cast, a story which was compelling from the start, and a lot to bring back fond memories of both the 1980’s and previous stories in the genre. The early 1980’s was a perfect period for this story, when kids could roam freely without being immediately available by cell phone, kids would have to ask their science teacher for information rather than looking it up on line, and Cold War paranoia made the background of the story seem a bit more plausible. I briefly discussed the show last week without spoilers. In order to discuss the finale and where the second season might go, major spoilers are unavoidable.
If I had any complaints after the conclusion, it might be that questions which we might not have had time to wonder about while binging were left unanswered. I’m thinking of where the story was at even before the final few minutes when additional teasers for the future were inserted. Fortunately the producers do have an outline which presumably contains information which might answer some of my questions in future seasons.
We know something about the research being done at Hawkins Lab, and how Eleven presumably opened a portal to another dimension. There could be far more going on at the lab, and was there a one through ten?
What happened in the other dimension, which appears to be like ours with the atmosphere destroyed and people no longer alive? Some scenes which looked up to the stars led me to believe it was due to aliens, while the 1980’s time frame also makes me suspect it was the consequence of a nuclear winter. Why did we see only one Demogorgon? Perhaps such monsters, and perhaps other types, are roaming the other dimension, and only this one made it to their version of Indiana. Did such monsters destroy Earth, or were they created by radiation from a nuclear war? The kids faced a Thessalhydra while playing D&D at the end of the episode. Is this what they will encounter next? Is there a connection between their games and what is found in the Down Under? What was the egg which Hopper discovered?
What happened to Eleven and the monster? If this was a completed story we might assume she died after saying goodby to Mike. However, as we are dealing with parallel universes and the ability to travel between them, it wouldn’t be surprising if a sequel shows that they did go to another dimension. Deaths always must be questioned if there is no body–and in this show even a body did not prove death. If two dimensions were shown this season, are there other dimensions which might come into play in future seasons?
It is plausible that Will remained alive as long as he did by hiding out in alternate versions of places he knows in his universe, but how did he communicate with the lights? Even if messing with the wires in one dimension affected them in the other dimension, he showed remarkable accuracy in turning flashing specific lights by specific letters. Barb was not so fortunate, but to maintain some degree of horror I think it was necessary for her to have been killed. Most of the characters who were put in danger did survive. Will was alive in the end. His mother and Hopper were both captured but managed to be released. The kids survived the final attack of the monster in their school Someone had to actually die for the monster to be menacing in the end, and a character such as Barb who was only in a handful of scenes was the obvious “red shirt.”
The final few minutes of the series went further in providing loose ends to tie up in the future. What happened when Hopper went in that car. Why was he leaving Eggos Waffles in the box in the woods? Either he knew that Eleven was out there and was leaving her favorite food for her, or he perhaps he was leaving them to see if she returned to take them. I think the later is more plausible as if he was actually feeding her he would have presumably left more.
The biggest sign that we have not seen the last of the Upside Down was when Will coughed up the slug and briefly saw the other dimension. Was that just a mental flash back, or was there a breakdown between the dimensions in the bathroom? Is this the original Will, or yet another type of fake, this time created in the Upside Down? What about Will’s mother and Hopper? Both were in the Upside Down and had breathed in the air.
The Duffer brothers have verified in various interviews that they are hoping to produce a second season involving the same characters, with additional ones added. There will be a time jump of one year which makes matters much simpler when dealing with children actors, and allows for the story to have advanced.
Here are some excerpts of interviews with Matt and Ross Duffer:
How much do we know about Eleven’s true origins at this point, and how much did you want to keep a mystery?
Ross: We get the hint that her mom was involved in the experimentations back in the day resulting in her being born with these powers, but what we wanted to do with the show — and this season specifically — was mostly seeing the mystery and these extraordinary things through the eyes of these ordinary characters. By the end of the show they don’t know or understand everything. That is purposeful.
We do cut away to the government occasionally for these pops of mystery or horror, but what we didn’t want was to have a scene of the scientist just sitting down to explain everything. We wanted to slowly peel back layers of this mystery for audiences through the eyes of these very ordinary people. It’s not all solved by the end of the season. We wanted to resolve the main mystery of Will being gone, that was the story of this season.
Do you see the government or science conspiracy angle as a long-term mystery for the show?
Ross: There’s a lot there we don’t know or understand. Even with the Upside Down, we have a 30-page document that is pretty intricate in terms of what it all means, and where this monster actually came from, and why aren’t there more monsters — we have all this stuff that we just didn’t have time for, or we didn’t feel like we needed to get into in season one, because of the main tension of Will. We have that whole other world that we haven’t fully explored in this season, and that was very purposeful.
Matt: We wanted a simple drive and a somewhat simple mystery with bizarre pops of supernatural horror and then add a larger mythology behind this rift that we only know and refer to as the Upside Down because that’s what the boys decide to call it. Everything they’ve learned about it is kind of hypothetical. They’re theorizing based on their knowledge from fantasy gaming and their science teacher, Mr. Clarke. That’s as much as we get to understand it. I think part of it is us thinking in terms of horror, it’s scarier when you don’t fully understand what’s happening. If you were to encounter something from another world or dimension, it would be beyond comprehension. We talked a lot about Clive Barker and his stories. They’re very weird, and the weirder it is, the more inexplicable it is, the scarier it is.
As you head into future seasons, have you thought about how much of that 30-page document you want to reveal and explore?
Ross: We leave these dangling threads at the end. If people respond to this show and we get to continue this story — we had those initial discussions of where we might go with it. If there was going to be a season two, we would reveal more of that 30 page document, but we’d still want to keep it from the point of view of our original characters.
Even though you tell a complete story within the season, you end on a couple of major cliffhangers — the first being Eleven’s disappearance. Did you want to hint at where she’s been with the scene of Hopper leaving Eggos in the woods?
Matt: Obviously something happened to her when she destroyed and killed that monster and we don’t know what she went. Hopper is left with this guilt because he sold her out. We wanted to leave it sort of mysterious exactly what he knows… Have there been sightings in the woods or is he hoping she’s out there or has he already made contact with her? We don’t answer any of that, but we like the idea of potentially putting her and Hopper together.
It also seems that the Upside Down has changed Will or maybe he’s brought some of it back with him. What can you say about the flash he has in the bathroom?
Ross: We love the idea that [the Upside Down] is an environment that is not a great place for a human being to be living in. Will’s been there for an entire week, and it’s had some kind of effect on him, both emotionally and perhaps physically. The idea is he’s escaped this nightmare place, but has he really? That’s a place we wanted to go and potentially explore in season two. What effect does living in there for a week have on him? And what has been done to him? It’s not good, obviously.
They discussed more of these plot points with IGN:
IGN: What can you say about where Eleven is? That’s a very open question, of course, since there are different worlds you’re dealing with here.
Ross: It is. We wanted to leave it purposefully ambiguous. We always, from the very beginning, liked this sort of childlike idea that this escapee from this facility with these amazing powers would be able to just move into Mike’s basement and they’d have this wonderful life together and she’d go to school. It’s not that simple. The goal is to make it as complicated as possible, and without going into too much detail, to really tear them apart at the end of that season, to make things much more difficult. But we love Eleven.
Matt: But the great thing about having a portal to another dimension is that you’re not boxed in, narratively. There’s a lot we can do.
Ross: What did James Cameron say? No one’s ever dead in sci-fi.
IGN: Will clearly has been changed by this experience, it doesn’t seem in a great way. But he’s not the only one that went over there. Should we assume he might not be the only one affected?
Ross: That’s a good question. Though I will say that Will obviously was in there much longer. He had that thing hooked up to him. He went through a much more traumatic experience. A big part of Season 2 that we’ve been discussing is what is that effect? Did it affect anyone else? But specifically, is Will okay? The short answer being no.
Matt: But you’re absolutely right, three of the other characters were in there.
Ross: And they took off their helmets. And we know it’s a toxic environment. Nancy was in there too. Yeah, that’s an interesting question…
IGN: Is that the cool thing about doing a time jump? Asking what has Will been like in the year in between?
Ross: Yeah, that’s exactly it. And how have these characters moved on with their lives and not just in the plot and supernatural [aspect] but also just in terms of their characters and what have they done to fill that time?
Matt: We like that they’ve all had a very traumatic, nightmare experience together and after it’s over they kind of try to sweep it all under the rug. Season 2 would be very differently, structurally. It would be that everything seems great on the surface and then there are hints that things aren’t okay or that there are lingering effects from what happened last year. The initial instinct is to push that back and sweep that crap back under the rug but eventually it becomes impossible to ignore and so they have to confront the repercussions of everything they’ve experienced. I like to think about Stephen King’s It too. — that’s a big time jump. They jump like thirty years. But the idea that the evil is still there and comes back to haunt them and one of the characters finds out about it and kills themselves immediately. That image always stuck with me.
IGN: We see Hopper go for a little meeting at the end there. What can you say about everything he was involved in and how it might open up the world?
Ross: The intention in the scene when he gets in the car – and we want to get into this in the next season – is the clean up of what happened and the mess of all this and Will dying and coming back to life, whatever happened at the school, and the dead bodies… This is not a simple clean up job. It’s complicated. We have all these characters that know that these crazy things happen. We liked the idea that, sort of lead by Hopper, our characters are drawn closer to the government, in terms of having to make a bit of a deal with the devil. To us, that’s an exciting place to take our story.
Matt: But also the idea of going back to the laboratory and pull back the curtain a little bit. Maybe they brought someone new in. It’s not as evil and mysterious as it was in Season 1. We might start to get into what they’re doing a bit little more. Maybe they seem a little bit more friendly… as least at the beginning. A lot of the agents involved in that project are dead.
Ross: The monster and Eleven did a clean sweep of that whole operation, really.
Matt: So it would be new people which I think is cool. I think our initial instinct, when you talk about all of this stuff and “Oh god, this is all such a pain in the ass. We created such a mess.” But then we decided let’s just lean into the problems this created.
Ross: And even someone like Barb, where we left them, her poor parents think she’s just run away. There’s no closure there at this point, which I think is another reason why audiences are reacting like that. They’re like “You saved this boy, but…” What we were trying to do with that last scene in the hospital when Nancy leaves and Jonathan catches her right as she’s going is that there isn’t closure for Nancy. There isn’t closure for Barb’s parents. There is still, despite the relief that our boys are feeling, there still was tragedy here. We want to make sure that we don’t forget about that. We don’t want to forget about Barb.
Collider asked about the benefits of working with Netflix:
Eight episodes was the perfect length for the Season 1 narrative. Was that your decision, to keep it that tight?
MATT: Yes, it was.
ROSS: When we first pitched it to Netflix, we said, “This is an eight-episode story,” and they were like, “Great!” That’s the amazing thing about Netflix. They do not dictate. They don’t tell anyone that it should be 10 episodes or 13 episodes. They just say, “What do you need to tell your story?,” and that’s an amazing freedom that most storytellers who are working in film or TV haven’t had. This is a very recent thing. On television, you’ve gotta have a certain number of breaks for commercials. You’re working on a very clear structure.
MATT: On Wayward Pines, we were writing to commercial breaks.
ROSS: And you know how many episodes it has to be because they’ve got so many slots. Or with a film, you know it can’t be too long ‘cause you can’t get enough showings in. You’re very locked in. So, I think it’s an exciting time. We can play around a bit with form and length, and all of that, and it really just boils down to what we need to tell the story.
MATT: But even though this show has been successful, there’s no pressure to make it 13 episodes. People say, “They need to make way more episodes,” but I like to think one of the reasons it works for people is because it’s paced and it feels like a movie, and that’s because it’s not too long. I think, if we pushed it to 13 episodes, we’d have to start coming up with all these bullshit adventures they’re going on, that aren’t directly tied to the main tension. Eight felt about right. But if we’re developing Season 2 and it feels like seven or nine or eleven, Netflix would support any of those lengths.
How long do you see this series running? Have you thought about future seasons?
ROSS: We don’t know, specifically. We’re very weary of making it go on past the point it should. You want to end on a high note. That’s the goal. We’ve had initial discussions, but we haven’t quite landed on it.
One reason “Stranger Things” is effective is because the monster is revealed slowly. At first, it’s only glimpses. That out-of-sight, fear-of-the-unknown quality feels very “Jaws.”
Ross: “Jaws” was a big one. It’s a classic. The shark not working while making that movie made it much better. Also, we looked a lot at Ridley Scott’s “Alien.” On YouTube, there’s a cut of all the instances where you see the alien in that first movie, and it’s a couple minutes long. And that’s a two-hour movie. I think the reason it’s so scary is that, when it does appear, it has a certain amount of impact. So we thought, OK, we’re going to see the shadow in Episode 1, because we knew we had eight episodes. We were trying to slowly reveal it, until you finally saw the full thing. We don’t really deal with it until Episode 8. It’s a dude in a suit, and I remember reading old interviews with Ridley Scott about “Alien.” The studio was upset with him for it because it’s an amazing alien suit and you’re not shooting it. But the reason is because so much of it will look like a guy in a suit, and so much of it is that what you don’t see is much scarier. We tried to go back to that old-school style of filmmaking…
I want to pose a logistical plot question: Why did Will survive the Upside Down but Barb didn’t?
Matt: Right, I guess we think of it as ― and this is continuing with the “Jaws” references ― it’s the other dimension, the Upside Down, where the shark lives, and every once in a while it comes out of that ocean into our world on the surface and then it grabs a victim and pulls them down to the Upside Down. You saw Barb at the top of Episode 3 in the Upside Down. Just imagine that’s a world, and Barb tried to escape and failed to escape, but Will was sneakier, so he was able to escape. He was able to hide. He goes, initially, to that cubby in Episode 3 inside the Byers’ house, which is why Joyce is able to communicate with him. We had this whole backstory for what Will is doing, but we don’t see it all.
Ross: It’s more like the monster bringing him back to the net, which is why Hopper and Joyce are able to distract Will into being held in this net like a spider caught in its web. He’s brought there by the monster for eating later. Is he there for other reasons? We don’t know. We have ideas.
The way the season ends, there are enough questions answered for it to almost stand as a complete series. But the many unresolved mysteries set up an obvious next chapter. How much of the backstory regarding Dr. Brenner’s experiments and Eleven’s history did you have in place from the get-go?
Matt: We had ideas that we were sort of feeling out. We have a lot more backstory built in for Brenner and Eleven. Every time that we were writing scenes in the Hawkins Lab, we wanted to stop writing them, just because it seemed like we wanted to experience as much of it as possible in the present day and through the eyes of our ordinary characters. We just wanted to leave that as mysterious as possible. I hope that, with the mystery, people are responding to it and it’s not frustrating. But to us, the sci-fi elements are so much more fun if we’re understanding it via our characters. I like that basically everything we understand about what is going on is pretty much through the boys. And they’re only able to understand it through Dungeons and Dragons terminology and by talking to their science teacher, Mr. Clark. It’s all sort of hypothetical. I never wanted any scenes in the laboratory where you have Brenner and the scientists sitting around discussing what’s going on. And Eleven even doesn’t fully understand how she wound up where she wound up and what their plans for her are, so there are very few scenes with Brenner without one of our other main characters. The scenes that are with Brenner and not our main characters have almost no dialogue in them.
Ross: Moving forward, we’re going to get more into detail about the monster and where it came from and what the Upside Down really is. But with this season, we talked a lot about “Poltergeist.” At the end of the day, what really matters in “Poltergeist” is that Carol Anne is missing and they have to go through a portal in the closet to get her back. That matters more than the backstory. People want explanations for all that, so while we have answers for all this, what we really wanted to get from this first season is that this gate opens to this other dimension. What it really boils down to is, Will is in there and we have to get him back. The hope was that, because we resolved that, the first season will be satisfying to people and work as a stand-alone. Hopefully we get to go back and explore more of this stuff.
While Stranger Things brought us back to the 1980’s, Mr. Robot had a surprising beginning by opening as if it was a 1990’s sit-com, including appearances from Alf. If you haven’t watched it yet, do not skip the commercials, as they play into the illusion of a 1990’s television show. Of course, like other less obvious examples on the show, we are seeing what is happening in Eliot’s head as opposed to reality. There was even a plausible explanation for this, which led to a reconciliation with the imaginary Mr. Robot portion of him, after attempts by each to destroy the other earlier in the season. While we still do not know what happened to Tyrell Wellick, he does have a symbolic appearance here also.
Bryan Fuller is slowly teasing news on Star Trek Discovery. It will take place ten years before the original show, bridging events between Enterprise and the original Star Trek. There will be seven lead characters including a gay character, and a female lead who plays a lieutenant commander, providing a different perspective than leading with the Captain as on other series.
The bathroom at The Way Station bar in Brooklyn is bigger on the inside than on the outside. The video above has a tour of the TARDIS themed bathroom.
In other Doctor Who news, the 1996 movie staring Paul McGann is being released on Blu-ray later this year.
Jenna Coleman and Karen Gillan had a joint appearance at Boston Comic Con. Hopefully someone videotaped it and will upload it soon.
Kenny Baker, who played R2-D2 in the Star Wars movies, died at age 81 during the past week.
Agents of SHIELD concluded the third season with a jump ahead showing that someone other than Coulson will be Director of SHIELD. Marvel has revealed that Jason O’Mara will play the Director. While vague, the release did say that he will be “playing a character whose Marvel roots go back to the 1940s.” The synopsis for the upcoming season explains the reason for the change, as well as the changes in the role of some of the other characters:
In light of the Sokovia Accords, and with Hydra obliterated, S.H.I.E.L.D. has been legitimatized again and no longer needs to operate in the shadows. Since the world presumes that Coulson is dead, the organization needed a new Director (Jason O’Mara) to be the face of the organization.
Coulson finds himself back in the role as an agent and teamed with Mack (Henry Simmons), and together they are tasked with tracking down and confirming the presence of Enhanced people, aka Inhumans. They have been trying to track down and capture Daisy (Chloe Bennet), aka Quake, who has gone rogue in an attempt to atone for sins from the past. But with the world believing that Daisy is a dangerous outlaw who has taken down banks and bridges, the new Director has no qualms about taking her down for good.
Agent May (Ming-Na Wen) is tasked with training specialist strike teams, and Fitz (Iain De Caestecker) and Simmons (Elizabeth Henstridge) have taken a big step forward in their relationship. But with Simmons’ new promotion as Special Advisor to the Director in Science and Technology, Fitz, as well as her former team members, finds it hard to confide in or trust her since she’s now the Director’s confidant.
Robbie Reyes (Gabriel Luna) will roar into the lives of Agent Coulson and the team as a junkyard mechanic who can turn on a dime into the terrifying Ghost Rider. Will Robbie be a friend or foe to S.H.I.E.L.D. – as well as the world, itself? Meanwhile, Fitz discovers that socially awkward genius and friend Dr. Radcliffe (John Hannah) has started putting the finishing touches on a new, secret invention.
Chloe Bennet talked with TVLine about Daisy going rogue and her agenda.
In other news about Agents of SHIELD, ABC Entertainment President Channing Dungey said at the Television Critics Association press tour that Adrianne Palicki and Nick Blood could possibly return. As I noted last week, the return as a regular would be complicated by Palicki being cast in another role.
“Better late than never.” That was one Warner Bros. executive’s reaction to the excitement at Suicide Squad‘s splashy Aug. 1 premiere in New York. Tracking indicates the film could open to more than $140 million domestically and potentially hand the studio its first unequivocal megahit since American Sniper‘s $547.4 million in December 2014. With March’s Batman v. Superman: Dawn of Justice grossing $873 million worldwide but failing to impress audiences or reach the hoped-for $1 billion mark, Warners still urgently needs to jump-start its critical DC Comics universe, raising the stakes for Suicide Squad, which cost at least $175 million to make.
Yet if the villain team-up ultimately works — and it has drawn some harsh early reviews — it will be in spite of the kind of behind-the-scenes drama that is becoming typical for giant franchise movies that now are the main focus of the studio business: a production schedule engineered to meet an ambitious release date; a director, David Ayer (Fury), untested in making tentpole movies; and studio executives, brimming with anxiety, who are ready to intercede forcefully as they attempt to protect a branded asset. Often, efforts to fix perceived problems ratchet up costs, which drive anxiety ever higher. In extreme cases, such as Fox’s troubled Fantastic Four, the intervention is so aggressive that it becomes unclear what it means to be the director. (In each such case, studios are careful to stress that the credited director is on-scene and in charge, which is essential to avoid DGA issues. And the wise director plays along.)
The video above is a tribute to Star Trek with clips from ever show and movie.
Star Trek Into Darkness ended with Carol Marcus appearing to be a new crew member but she was not seen in Star Trek Beyond. Simon Pegg, who c0-wrote the movie responded to questions about this by explaining they didn’t have a role for her which made fit into this movie and,“We thought rather than have Carol Marcus be not used to a reasonable capacity, let’s just not include her, have her be alive, in canon, and be ready to come back at any time.” As Star Trek Beyond took place three years later, it is quite plausible that she spent some time as a part of the Enterprise crew and then either left or was not present for some other reason in Star Trek Into Darkness.Nerdophiles has information from the cast on the third season of Gotham.
I’m sure that by now pretty much everyone has heard the hype about Stranger Things. It deserves all the hype, and more. Some compare it to E.T. and to Super 8. It is very rare to see a television show which is as immediately captivating as Stranger Things. The show brings three television series to my mind with their ability to also do this: Twin Peaks, Lost, and The X-Files. One other thing that all three have in common is that they went downhill. The mythology on Lost and X-Files got too convoluted, and they didn’t know where to go beyond the initial story on Twin Peaks.
The format on Netflix should reduce the risk of the show deteriorating over time. Eight episodes allowed them to tell a complete story, while leaving some things open for future seasons. There was no need for filler episodes, and there won’t be the same push as on network television to continue too long. Matt and Ross Duffer have hinted at a second season and it would be quite a shock if Netflix didn’t go with it.
The BBC has a round up of news since series ten of Doctor Who went into production here. More pictures at DoctorWhoTV.
I’ll conclude with commentary on this year’s election from The IT Crowd:
Star Trek Beyond is the third installment since J.J. Abrams took over Star Trek. Like the first two movies, it is fun to watch, and in this one there is more of an effort (only partially successful) to make this movie actually be Star Trek. There will be some spoilers here, but not to the point of giving away anything which isn’t becoming obvious in the first half of the movie.
The movie has a lot of action, but also makes an effort to get a feel for the characters early in the movie. The Enterprise is now on the third year of its mission in deep space which began at the end of Star Trek Into Darkness. This work mean that, although James Kirk took over the Enterprise at an earlier point in his life, that they have been in deep space for approximately as long as the crew on the original show. (The original series ended in its third season, but they had already been on their five year mission for some time when the show began). In this universe, we also know that they have encountered Tribbles and Khan earlier.
Whatever they have experienced, Kirk now feels that “things have started to feel episodic” and is contemplating a desk job. It should be no spoiler to say that he doesn’t go through with it. There was a reference to the original when he complained that his shirt got torn on an away mission. There was also time for Kirk and the rest of the crew to take break when they traveled to a space station. Again, it should be no spoiler that something happened there which pulled the Enterprise into an adventure.
Before going off to fight another villain, and meet another memorable character, Spock also had to deal with both romantic problems with Uhura and learning of the death of Ambassador Spock, his future self from the origianl Star Trek universe. That is obviously an homage to the death of Leonard Nimoy. The ending of the movie also had a tribute to the death of Anton Yelchin, who plays Chekov. While a fourth movie has already been approved, a decision has been made to not replace Yelchin. Chris Hemsworth will reprise his role as Kirk’s father in the fourth movie, despite having died in the first movie. No word whether that will involve time travel, a revelation that he somehow survived, or some other means.
Spock contemplated leaving Star Fleet to continue Ambassador Spock’s work and his people following the destruction of Vulcan. This provided no more drama than Kirk contemplating taking a desk job. While at this star base we also learned that a ship even bigger and more powerful than the Enterprise was being built. Do I need to label it a spoiler to say that this guaranteed the repeat of what didn’t occur to the Enterprise in the prime universe until its third movie?
While no longer directed by J.J. Abrams, his influence was seen. I have some of the same nit picks as I did with Star Trek Into Darkness. Everything must be bigger, including getting yet a bigger and better version of the Enterprise and the incredible size of the space station out in deep space (which seemed partially modeled on Epcot). Once again, distance did not seem to matter. The Enterprise has gone where no one has gone before, but is not far from a station of this magnitude, and right around the corner from an almost unexplored nebula.
The most important thing about the Star Trek movies is that they have kept Star Trek around in some form. Star Trek has always worked better as a television show than movie series, and it will return to television early in 2017. Bryan Fuller announced at Comic Con that the next series will be named Star Trek Discovery, (referred to as DSC rather than the initials STD). The series will premiere on CBS television but subsequently be shown on CBS All Access, a paid streaming service. Episodes will also be available internationally on Netflix within twenty-hours making me wonder if it will be accessible in the US if using a VPN. With such limited availability, I bet it will also be heavily pirated.
Star Trek Discovery will tell a single story in thirteen chapters, with episodes released weekly. The series will take place in the prime timeline, but it has not been announced when. There has been speculation that the registry number of NCC-1031 for the Starship Discovery suggests it could take place before the original show, but that is far from definitive.
The above trailer for Sherlock season 4 was presented at San Diego Comic Con.
That naturally leads to recent news related to that other show run by Steven Moffat. Moffat predicts that Peter Capaldi will be remaining with the show after he leaves as show runner in 2017.
Karen Gillan has been cast as the female lead in All Creatures Here Below, an indie drama written by and starring David Dastmalchian. (I just thought of Amy Pond earlier today when I was walking by a house with a small angel on its lawn. I did not blink).
Jenna Coleman will be playing Queen Victoria for ITV. She has not ruled out returning to Doctor Who some day, but told Collider she will probably not return “for a good while” if she ever does.
Set 300 years in the future, the untitled show — MacFarlane’s first live-action TV series — follows the adventures of the Orville, a not-so-top-of-the-line exploratory ship in Earth’s interstellar fleet. Facing cosmic challenges from without and within, this motley crew of space explorers will boldly go where no comedic drama has gone before.
MacFarlane plays Ed, captain of Orville. Palicki plays Kelly Grayson, Ed’s ex-wife and the newly appointed First Officer of the Orville. Grimes plays Gordon, Ed’s best friend whom he hires to pilot the Orville.
This should answer the question as to whether Palacki will return to Agents of SHIELD after ABC decided against picking up the proposed spin-0ff which she was to star in. While she was written out of SHIELD, the manner in which it was done did not make it too difficult to have her return.
The Last Ship has been renewed by TNT for a fourth season. It has taken a different approach for the third season, reminding me of previous post-apocalyptic shows such as Jericho and Revolution. It is like rebuilding society in Revolution, with a recent plague being far more plausible than the loss of electricity on Revolution.
There is no question I will be binging on Gilmore Girls Thanksgiving weekend until I hear the four final words which Amy Sherman-Palladino has always planned to end the series with. She had hoped to have the show released in individual episodes to avoid spoiling the ending, but Netflix insisted on releasing all four episodes on November 25. I can’t think of any better place than Stars Hollow to spend Thanksgiving weekend. Trailer above. John Oliver did respond to Lorelei’s question while appearing on Stephen Colbert’s show:
Then on Christmas we can get more of Sense8 as opposed to watching it for the eighth time. ONTD has these items from the J. Michael Straczynsk’s panel at Comic Con:
– He confirms they’re filming in more cities because the Sense8 will be meeting more Sensates and some of them might be evil.
– There’s a lot more action than in Season 1.
– They’re gonna dig a lot deeper into the company searching for Sensates.
– Kala/Wolfgang storyline evolves a lot from S1.
– He confirms Sun gets out of jail ‘but not in the way you’d expect’.
– They’re working more like a group and having more scenes together.
– Netflix revealed that most Netflix shows are re-watched once at most. Sense8’s rewatchability index is off the charts. People rewatch Sense8 up to 7 times in average (end to end).
– Season2 is more ‘hopeful’ about LGTB people, privacy and relationships
– Riley’s gonna be the one leading the agenda to meet more sensates and she uses her DJ concerts to do so.
– Christmas movie airs on Christmas Day and the rest of the season shortly after in 2017.
Orphan Black concluded its fourth season and has been renewed for one final season. The finale did feel like the midst of a two season arc, with cliff hangers for multiple characters, along with the end for Evie. The simplification of the season (at least by the standards of previous seasons) did work, with this season a big improvement over the third season. While they continued with the overall mythology of the show, including showing much more about Beth, there were far fewer organizations to keep straight.
Previously we went through what could have been a never-ending sequence of having a season deal with one shadowy organization, only to find that there was another one behind it. Ending next season probably means that the Neolutionists will be the final one we have to deal with, and P.T. Westmoreland just might actually be the person behind it. For now we know he built Rachel’s eye and is “the man behind the curtain. The man who wrote the book over a century ago.” Of course, as Mrs. S explained to Sarah, “There’s always a bloody board.” There was little talk of Proletheans, Topside or Dyad this season, and we were down to just one Castor clone.
There was an increase in Leda clones. with a lot of Beth being seen in flashbacks, the introduction of MK, and an expanded role for Krystal Goderitch. In the finale, Tatiana Maslany even played Sarah impersonating Krystal, impersonating a reporter for TMZ. Krystal both understands little and has figured out key points during her independent investigations. She is oblivious to being a clone, even denying that Sarah looks the same as her: “Even if you could drag a comb through that hair, she’s like a seven on a good day and I’ve been told I’m a 10.”
Krystal’s theory of the conspiracy is surprisingly close to the truth, if not for her confused view that it involves the cosmetics industry: “Hold on tight, cause this is very confusing. This is about human experiments and two factions fighting to control them. So we have Estee Lauder, okay, and then we have this Swedish company called Neolution.” She had the important information that Delphine is alive and that Van Lier was involved:
So, Dr. Van Lier is absolutely Neolution because he, like, showed up out nowhere with all this medical gear right after that French doctor was shot, okay, and then they, like, took her off in a van. So Van Lier, like knew my name, which was super freaky and I will never forget his face because he was so pissed at me for being there. And because he definitely had teenage acne. I could tell. No question.
Other highlights of the later episodes in the season was Helena returning in time to rescue Alison and Donnie, shooting their captor in the neck with an arrow. Rachel has once again become purely evil, plotting to take over everything, but did take a break with Ferdinand. Ira, the sole Castor clone of the season, got a good line:
Ira: Who is this?
Rachel: He’s just a toy.
Ira: He has his socks on.
Rachel: What do you want, Ira?
Plus the season ended with Cosima appearing to finally having the cure.
TV line discussed the finale with executive producer Graeme Manson. Here is a portion:
TVLINE | This felt like one of the show’s darkest and most twisted episodes to date. Was that the intention going into the finale?
It was probably our darkest season, certainly since the first. Obviously, we had Krystal. We’re never all dark. But what Sarah was going through this year was a dark journey. We thought it really had to pay off, and we knew it wasn’t going to be a pleasant climax to the season – but is it ever?
TVLINE | What note do you hope the finale leaves viewers on heading into Season 5, then?
We love a nice note of, “WTF?” with a smattering of, “How the hell are we going to get out of that?” We’ve thrown open this door of P.T. Westmoreland, and we’ve spent some time on this island. We’re very excited to explore that world. Sarah and all the clones, including Rachel, they’ve really done a lot to climb that pyramid. Now, what are we going to find at the top?
TVLINE | Quite a few characters were left in jeopardy at the end of the finale: Cosima, Sarah, Susan Duncan, even Mrs. S and Kira. Who should we be most worried about?
We have to be worried about everyone equally. But Sarah’s got two main issues: She came to the island to rescue Cosima, and now Kira is a hostage back with Mrs. S. So Sarah’s got two huge concerns, not to mention she’s pretty beat up and bleeding.
TVLINE | That confrontation between Sarah and Rachel was so intense, almost like a horror-movie thriller with the monster getting loose.
[Co-creator/director] John [Fawcett] and myself – particularly John – really love the horror and the visceral horror. It’s part of what we do. We love mashups on the show. We love mixing tones. That horror element that you’re talking about is really one that we can pull off well with everything that Tatiana [Maslany] does. Sarah vs. Rachel, too, is bringing us back to our earlier seasons, where Rachel came out of the woodwork and was Sarah’s real nemesis. Moving forward, we have narrowed it back down to clone vs. clone. I’m very interested in exploring that nemesis relationship.
TVLINE | Rachel has never been the warmest or sanest person. But it really felt like she cracked in this episode. What sent her over the edge?
On a deep psychological level, her hatred of Sarah is because Sarah has had so many of the things that Rachel has not had. Sarah has freedom, whereas Rachel has been ordained to be who she is more than any of the other clones. Sarah has perhaps a slightly dysfunctional but certainly a nurturing family, a chosen family. And Sarah has the love of her sisters. This is the root of Rachel’s jealousy and bitterness and true hatred. It’s a self-hatred at its core.
Mr. Robot, the surprise hit from last summer, returns on July 13. If I wasn’t behind on so many other shows, this is one series which I would really like to re-watch before going into the second season. Definitely watch it if you haven’t. It is now available for streaming on Amazon Prime and with the USA Network app.
Collider interviewed the stars. Here is the start of the interview, with major spoilers present (which will probably not sound very coherent) for those who have not seen the first season:
Collider: Christian, now that everybody is in on what’s going on . . .
CHRISTIAN SLATER: I love that you think that.
. . . at least as far as who your character is, does that chance your approach to things?
SLATER: I always looked at it as though I was as real as Elliot imagined me to be, and that was pretty real. I am there as his partner, as his protector, and as his enemy. I’m there sometimes for the right reasons and sometimes for the wrong reasons. It’s a continual struggle between the two of us. It turns into a real psychological journey for Elliot.
Rami, things must be a bit different in Season 2, now that Elliot is more aware of what’s actually going on in his life. Does it feel different for you, as an actor?
RAMI MALEK: It changes him, entirely. It gave me heart palpitations because when you do something that people respond to, and then you start altering the blueprint for what worked, it’s pretty fear-inducing. But sometimes, you have to do that, in order to push the boundaries. For this character and story to be as provocative as it was in the first season, we can’t rest on our laurels. You really have to just take some more risks and chances that I don’t think are for the sake of just taking risks and being different. They’re grounded in the story that Sam [Esmail] has created, with the trajectory and arc of all of these characters. I happened to know where he was headed this season, so I took some big changes and I think the audience will be rewarded by them. Maybe they’ll end up on the editing floor, but that remains to be seen.
As an actor who’s been in this business a long time, and had ups and downs, what’s it like to get such great scripts, every week?
SLATER: It’s great, getting the scripts and working with somebody like Sam Esmail, who is such a great leader. He’s just so prepared and there’s so much attention to detail. And then, you add Rami Malek to the mix, and Carly Chaikin and Portia Doubleday. And in Season 2, we have Joey Badass and Craig Robinson, who are amazing. To get to play a character like this, there’s so much freedom and fun with it that it’s very exciting.
You’ve known what the twists and turns were with this, from the very beginning. Were you ever bummed that you were in on it?
SLATER: No, I liked being in on it. I felt in on it, from the get-go. When I read the pilot, there was something so mysterious about the guy that it made me very suspicious. And then, when I went and met with Sam and asked him about it, he asked me if I really wanted to know. I said, “Yes,” so he told me. And then, he told me more details and revealed the relationship that I have with Elliot. I think that helped to add a deeper layer, across the board, throughout the whole season. So, it was great to know.
The 2016 presidential election already looks like it should be an unusual one, with the Republicans likely to nominate a racist and xenophobic reality host star with shocking lack of understanding of the issues, and the Democrats breaking pattern in probably nominating a candidate who is both ultra-hawkish and quite conservative on First Amendment issues. It might get even weirder, with Cory Michael Smith who plays Edward Nigma, on Gotham, saying next season will parallel the election:
Gotham, like many superhero stories, is a parallel of today’s society, of what happens every day. And in the third season, in the fall, when the United States will stand preparing to face one of the most important presidential elections in their history, even Gotham will address in parallel the issue.
I certainly could see Donald Trump as a super-villain. Sample trailer above. If only we had Batman, or at least Jim Gordon, to save us from the real candidates.
Doctor Who now qualifies to be nominated for Emmy Award now that BBC America has joined the BBC as a co-producer. Variety reports:
BBC America’s “Doctor Who” has been submitted for Emmy consideration for the first time ever. Now that the American cabler has come aboard as a co-producer, the venerable Brit series is finally eligible for consideration. Although it was not submitted as a drama series, star Peter Capaldi is on the lead actor ballot, showrunner Steven Moffat and director Rachel Talalay are on the writing and directing ballots for the episode “Heaven Sent” and the series is a possible nominee for costumes, production design, prosthetic makeup, and visual effects.
The show has not been nominated in the best dramatic series category, where it would be up against quite strong competition in a category where genre shows do not do well.
The CW network has released the premier dates for their shows, which continues to be dominated by genre next fall:
October 4 (Tuesday) The Flash No Tomorrow
October 5 (Wednesday) Arrow Frequency
October 10 (Monday) Supergirl
October 13 (Thursday) DC’s Legends of Tomorrow Supernatural
October 17 (Monday) Jane the Virgin
October 21 (Friday) The Vampire Diaries Crazy Ex-Girlfriend
The 100 and iZombie will be starting in the winter.
Anton Yelchin, who played Chekov in the new Star Trek movies, was killed in a freak auto accident today. The New York Times reports:
Anton Yelchin, a charismatic actor best known for playing Chekov in the new “Star Trek” films, died early on Sunday in a car accident in Los Angeles. He was 27.
His death was confirmed by his publicist, Jennifer Allen.
Mr. Yelchin was struck by his own car as it rolled backward down his driveway in Studio City, the police said. The car pinned Mr. Yelchin against a brick mailbox pillar and a security fence.
He had left the car momentarily, but the police did not say why he was behind it when it started rolling.
He was on his way to meet friends for a rehearsal, the police said. When he didn’t show up, the group came to his home and found him dead.
Mr. Yelchin began his career as a child with roles in independent films and on television before breaking out in films like the crime thriller “Alpha Dog” and the teenage comedy “Charlie Bartlett.” His biggest role had been as Pavel Chekov, navigator of the Starship Enterprise, in the rebooted “Star Trek” films, the third of which, “Star Trek Beyond,” is to be released in July.
More at TMZ , which also linked to this video of the Best of Chekov:
Captain America: Civil War, like the previous movie in the series, made major changes in the Marvel Cinematic Universe which also extend to Agents of SHIELD on television. Spoilers ahead for both the movie and television series. Civil War showed a continuation of what was seen in Captain America: Winter Soldier, which led to moving SHIELD underground. It ends not with Captain America being killed as in the comics, but with both giving up his shield and going underground. Other members of the Avengers are in similar situations. Collider summarizes how the MCU has changed, with major spoilers for those who have not seen the movie and recent episodes of Agents of SHIELD.
It did seem strange that Nick Fury was not involved, and his role since the changes in SHIELD remain unclear. Civil War writers Christopher Markus and Stephen McFeely were asked about this by The Los Angeles Times:
I’m curious. Where was Fury?
Stephen McFeely: I’m curious too!
Christopher Markus: We called him, but he let the line blink. Primarily it felt like one too many possible opinions. We didn’t want him to take one side or the other, because that’s not his place in the universe. And then we didn’t want another, “Is he still with the government? Is he opposed to the government but supporting the government?” It got to be the potential for a lot more polemic discussion that the movie did not have room for.
He’s the guy who put it together. He’s been the sort of parent figure to the Avengers. Let the parent go away, and see if the kids can handle this. See if the kids can be who they’re supposed to be without that governing voice. Um… and they didn’t do that good of a job.
Are we going to see him in “Infinity Wars?”
McFeely: I would think.
Markus: It’s probably all hands on deck.
McFeely: Don’t you assume you’ll see everybody in the “Infinity Wars?”
You heard it here first: Everybody is in “Infinity Wars.” Hopefully that includes Sam Rockwell’s Justin Hammer and Whiplash’s bird.
Captain America: Civil War acted as the origin story for Black Panther, and introduced Spider-Man to the rest of the MCU. Iron Man will be appearing in Spider-Man’s upcoming solo movie, Spider-Man: Homecoming. There is also speculation that there is yet another connection, with “homecoming” being one of the trigger words used by Hydra in brainwashing Bucky Barnes.
Deadline has a long interview with Kevin Feige. One of the many items discussed included the possibility of Black Widow getting a solo movie in the future:
DEADLINE: You’ve got a bunch of characters in this movie from Falcon and War Machine and Black Widow and Hawkeye, who have so far guest starred in movies with another characters title above the fold. Is there one destined to get a solo movie down the line? FEIGE: We’ve announced the next nine movies, 10 counting Civil War, through the end of 2019. Where we go beyond that are ongoing discussions that we’ll focus on in the next few years because we have a lot to do before then. Of the characters that you’ve just mentioned I would say certainly the one creatively and emotionally that we are most committing to doing is Black Widow.
DEADLINE: Why? FEIGE: We think she’s an amazing character. We think Scarlett Johansson’s portrayal of her is amazing. She’s a lead Avenger and has amazing stories in her own right to tell that we think would be fun to turn into a stand-alone franchise.
Agents of SHIELD also worked in the Sokovia Accords, the movie version of the Superhero Registration Act, and ended the season with some deaths. Even Daisy now appears to be on the run, and who is this new Director of SHIELD? There was a second death for a Brett Walton villain, first Grant Ward, and now Hive. It looks like he might finally be finished with the series. Jed Whedon and Maurissa Tancharoen spoke with Comic Book Resources about the finale.
CBR News: How difficult was it to say goodbye to Brett Dalton and Lincoln Mitchell?
Maurissa Tancharoen: It was so, so hard. There were many tears. It was very emotional. Even in the process of developing their arcs and breaking the season, it was a decision we struggled to finalize. We knew that we had to, though. We had to close a chapter with Ward. To sustain an antagonist for this long or to go beyond three seasons — we just didn’t want it to lose any steam. At our wrap party, there were several emotional speeches being made for both of those guys.
Jed Whedon: One of the things about television is that it’s fluid. You always have to generate a lot of different stories. Sometimes you eliminate a character and it’s easy, because you either don’t like the person or you don’t like the character. This was a situation where we didn’t have that. Both of these actors are just great guys, they’re great to work with and are pros. It was a very emotional end of the season for everybody.
Tancharoen: A week before we wrapped, we were here at home. I was thinking of Brett and Luke. They are such great people, and so talented and so handsome. “Oh, my God. What have we done?”
After watching Ward evolve from a member of S.H.I.E.L.D., to Hydra agent, to Hive, why did it feel that this was the time to let him go?
Whedon: One of the reasons we closed that chapter was to start a very different, very new chapter next year. We’re very excited about it, but that’s as specific we can get.
Now that viewers have seen the finale, what were the most important aspects, to you, about the send-off you gave Ward/Hive?
Whedon: Hive revealed his motivation: “I want a connection.” That’s a fitting end to his story. Also, to Ward’s story, he wanted that with Skye. Now, here he is, sitting with Lincoln, the one person who had that with Skye/Daisy. There’s some poetry to the simplicity and the quietness in that moment that we loved. It was a fitting end for someone with [goals of] world domination, and to our buddy Grant Ward, who we managed to maintain as an antagonist for three seasons, which is a lot for one character.
While some themes from the movies are reflected in Agents of SHIELD, the two are also disconnected, especially with Coulson being alive in the television show but still considered dead in the movies. It is also strange that nobody from The Avengers got caught up in the battle against Hive. Chloe Bennet talked about this last week. When asked if she would like to show up in the movie universe she replied, “The Marvel Cinematic Universe loves to pretend that everything is connected, but then they don’t acknowledge our show at all. So, I would love to do that, but they don’t seem to keen on that idea.”
The Berlanti shows on CBS and the CW Network are almost completed for the season, with Arrow and The Flash presumably to complete their story lines related to Zoom and Damian Dahrk next week. Legends of Tomorrow remains the weakest of the four, but did improve in its final episodes. The good news was that it got more timey wimey. The bad news is that it handled their rules of time travel much more poorly than other genre shows such as Continuum and 12 Monkeys. As time travel does not really exist (which I assume as I have never received a list of winning lottery winners from my future self), a show can get away with their own rules, but they should be internally consistent and make sense. Screen Rant has more on the plot holes. More spoilers ahead.
It should help the show in the future to have Vandal Savage defeated. Having them spend the season getting close to him but not killing him led to many unsatisfactory episodes. Some old members of the cast will be gone. Ciara Renée is leaving as a series regular, but the manner in which Hawkgirl and Hawkman flew off certainly leaves open for the possibility of their return, even without using time travel. Wentworth Miller’s character Leonard Snart (Captain Cold) sacrificed his life on Legends of Tomorrow. In the Berlanti universe, death is not a permanent change (except for the Earth 1 Laurel Lance), and Miller will be a recurring character in various shows in the universe. Presumably time travel or effects from the destruction of the Oculus will provide the explanation.
While some characters are gone, the ending suggested the introduction of the Justice Society of America. Collider has background information on this. Marc Guggenhein also discussed this with The Hollywood Reporter:
The CW’s Legends of Tomorrow used Thursday’s season one finale to reveal that Rex Tyler aka Hourman (Patrick J. Adams), along with the JSA, would be a major part of the Arrow/Flash spinoff’s sophomore run. He arrived on a Waverider as the Legends team intended to take off as Time Masters, warning them that they would all die if they did.
“With his final words in the finale, he planted a pretty deep flag about where we’re headed in season two, which is not just introducing Hourman but introducing his teammates in the Justice Society of America,” executive producer Marc Guggenheim tells The Hollywood Reporter. “For comic book fans, everyone knows the Justice Society is really the precursor to the Justice League, so it’s a pretty big move in our DC universe here on TV.”
Although the DC Comics franchise keeps its film and television projects separate (unlike rival Marvel, which connects its film and TV projects in one shared universe), it’s interesting to note that it’s the newest — rather than the highest-rated DC show (Flash) — that is going to be the one introducing the iconic superhero team…
The introduction of Hourman and the JSA won’t be the only reason Legends of Tomorrow will look different in season two. Along with some casting shakeups, the elimination of the Time Council and the set timeline takes away a huge part of the story and the rules that were established all season long.”One of the other big things we’ve done in the season finale is we planted another flag in the form of Rip’s [Arthur Darvil] statement. Because the Time Masters are essentially gone and the Legends have destroyed the Oculus, that all means that someone else has to do the job of the Time Masters,” Guggenheim says. “Our Legends take that on as their new responsibility. It’s sort of like, you break it, you buy it.”
“That’s really exciting to us, that our team of Legends, our misfits, are going to be responsible for the preservation of the timeline and protection of history,” he adds. “As we’ve seen, our team, our guys are not always the most responsible people around so maybe time has got some new troubles. But it will provide a lot of fodder, a lot of fun story for season two.”
With Supergirl getting picked up by the CW Network, they didn’t waste any time in announcing plans for a four way crossover with Arrow, The Flash, and Legends of Tomorrow. This is facilitated by all four now being on the same network and all being filed in Vancouver starting next season. These matters are far more important then the logistics of getting Supergirl involved with characters who are on a different earth.
Above is a trailer for the movie Star Trek Beyond. It also looks like Paramount has been convinced that it is not a good idea to sue fans over copyright infringements in fan-made movies. JJ Abrams made this announcement:
A few months back there was a fan movie, Axanar that was being fan made, and there was this lawsuit between the studio and these fans. And Justin was sort of outraged by this as a longtime fan. And, we started talking about it and realized this was not an appropriate way to deal with the fans. The fans should be celebrating this thing, we all [as] fans are part of this world. So he went to the studio and pushed them to stop this lawsuit and now within the last few weeks it will be announced that this is going away and the fans will be able to [continue] their productions.
Hopefully they realize that it has been the fans who have kept interest in Star Trek alive, enabling them to make money from continued movies and soon a new television series.
CBS also released the above teaser for the upcoming Star Trek television series, which does not really provide any information. There has been some speculation that the statement of “new crews” in pleural might suggest more than one crew, possibly taking place in different eras.
The above trailer was released for season two of Mr. Robot which begins on July 13. We see that Christian Slater’s character is still around, and don’t know how much of anything else is real or in someone’s head.
With it doubtful that CBS will renew Limitless (but no cancellation announcement either), there is now talk of trying to sell it to another network. I don’t know if the finances would work, but it seems like it might be a good fit at USA Network. Supergirl has already moved from CBS to the CW Network, and I’m still hoping attempts to keep Person of Interest alive at anther network are successful.
While technically a spoiler for those who have not seen lase week’s episode of Game of Thrones, there was little doubt that Jon Snow would return in some form. While he has returned to life, so far all we have seen is his eyes open and beyond that he might not be entirely the same. Vulture looks at some of the possibilities, including that his wounds might never heal or that he might not have his memories. They also speculate that his death might have terminated his vow to to the Night’s Watch which “shall not end until my death.” If so, this would allow him to take other roles, such as leading the North and/or returning to aide the surviving Starks.
Regardless of what happens to him, Kit Harrington is happy that he no longer has to lie to everyone.
Orphan Black started out the season with a bit of a reboot and simplification of all the various conspiracies. The show is always at its best in dealing with the characters as opposed to overly complex conspiracies. While Tatiana Maslany is generally the show, supporting characters do have a lot to add, such as seeing Donny and Felix posing as a gay couple as part of the investigation of one of those conspiracies. It got even better when Donnie called Alison to help him provide a sperm specimen with phone sex in yet another classic scene in this series.
Person of Interest returned for its final season on CBS. A sneak peak from Comic-Con is above. The AV Club spoke with executive produces Jonathan Nolan and Greg Plageman. Here is a portion:
The A.V. Club:Since the beginning, this show that’s ostensibly been about artificial intelligence is really about human connection. What’s it like to thread that needle and how has it evolved over time?
Jonathan Nolan: It’s a great question. And it’s a big challenge. I remember Greg and I talking from the beginning about the collision between the more esoteric ideas in the pilot and how we were going to draw emotions and humanism and a recurring interest from the audience out of all those ideas. There are a lot of ideas in the show, and it’s something I’m very proud of. It’s funny, it’s not a normal show for CBS, but people kind of found it, which is exciting.
That link between the big ideas of the show and the characters—we’ve concentrated on it so hard from the beginning, because we wanted to explore all these crazy ideas about the surveillance state, big data, and AI—and the collision of all of that on a personal level. And from the beginning, I’ve felt like there was a great connection there between big data and the kind of “normal” violent crimes that you find in a major city like New York. I’m just kind of fascinated by the idea of the collision of all of those things. But the thing that people keep tuning in for is the characters. Week in, week out, you’re looking not for ideas, necessarily, although it’s great when your shows have ideas in them, but for the characters to become extended family. Especially in broadcast TV, that’s what happens on that level: When you’re on weekly, your characters come back and you connect with them every week. So, as you said, threading that needle becomes the challenge throughout all five seasons.
AVC:One of the great things is how you were able to connect to The Machine, even on a very personal level. The Machine was gendered female, whereas Samaritan has stayed relatively genderless. Can you expand on that?
JN: I think the gender question, you know, they’re obviously connected. If you want to understand the impact that any SI, or super intelligence, will have—and it’s pat, but it’s accurate—but it’s as if there were no gods and we made them, right? God has often been gendered in the West in a masculine light, which is absurd, but it evolved sort of organically, talking about The Machine as a person. Finch always referred to The Machine as “it” or a thing, but for Root there’s always been more of a personal connection there, a belief in The Machine as a being. So her personification of it—sadly, in the West, we have to gender things to personify them—it seemed most apt that she would think of it in those terms. There’s also something else we’re doing with that: If you’ve paid close attention to the show and where we’re going, there’s a little bit of foreshadowing there as well.
AVC:It seems as though The Machine went through a rebellion phase when it really started to only speak through Root. Will this season be about The Machine becoming more mature in that sense and answering to everybody?
JN: I’m picturing a hormonal artificial super intelligence.
Greg, what are you thinking?
Greg Plageman: I think the interesting relationship for me is Harold Finch and his creation. And there’s always been a troubling conundrum for Finch, building this thing that’s so powerful yet that could overtake us. He’s never been quite comfortable with the idea of an ASI—building something that’s more intelligent than us and us expecting that we could still actually control it. So he’s always had that dilemma that he’s been grappling with, and that caused him to put a limiter on The Machine. What Root has always implored Harold Finch to do is take the gloves off the thing because we’re losing—we’re losing to a much more diabolical creation.
So I think the evolution of that relationship of Harold Finch and his machine this season, in terms of reconstituting it, and how it’s going to be different this time, it’s almost like, what’s the point? What’s the point, Harold, if you’re going to put a limiter on this thing all over again, as Root has always told him in terms of her wanting to let this thing go and to see what it can do. It becomes an exploration of Harold Finch’s character that I think the audience is going to find very fascinating.
AVC:Do you think that if we had been watching the team behind Samaritan from the beginning, rather than the team behind The Machine, that we would be pro-Samaritan?
JN: I think that’s one of the delicious things about what we’ve been doing with this storyline and where we’ve gone with it in this last season. I’m always most excited about and drawn to villains who have a point of view and have a plan. One of the most exciting things about The Joker in The Dark Knight is, he may be a villain in your eyes, but he’s the only person who hasn’t broken his own rules. Everyone else has, everyone else has corrupted themselves, but he’s in many ways one of the most ethical people in the film in terms of their own ideas. He had an idea, and it drives the story forward. We applied a similar approach here, but even more rationally. A lot of things that Samaritan espouses are believed by the people who work for Samaritan, the same way that I’m sure people who work for Facebook don’t believe that they’re working for the company that will destroy the world. But, you know, they are. And everyone gets through the day rationalizing their own existence.
GP: It’s sort of fascinating right now what’s happening in Russia with Putin’s control of the media and the way the everyday Russian views the West now or the United States. It just depends on who’s telling the story. There was a moment where Root met Greer and he sort of said these things to her: “You and I are not all that unalike.”
CBS has not decided yet about renewing Supergirl, with cost being an issue. Ideas being considered include moving the show to Vancouver and airing fewer episodes. It might also move to CW with the other Berlantiverse shows. (If necessary to make room for all the superhero shows, I’d suggest cancelling Legends of Tomorrow and airing Supergirl instead).
At ABC, it has not been decided whether to return Agent Carter or go ahead with Marvel’s Most Wanted. If they don’t air the second, I wonder if they would write Adrianne Palicki and Nick Blood back into Agents of SHIELD. With the way they were written out, it wouldn’t be hard for Coulson to decide he doesn’t care what the Russians think and bring them back–especially as they are operating secretly. We should have news on May 17 from ABC.
Needless to say, there has been a lot out in the past week on the Marvel Cinematic Universe with the release of Captain America: Civil War. To avoid spoilers I will postpone discussing this until a later date. Here is one link of interest–the backstory from the comics of the history of fights between Captain American and Iron-Man.
CBS All Access remains on track to begin the new Star Trek series in January, 2017. They will be releasing one episode per week.
Hulu will be showing a ten-episode miniseries based upon Margaret Atwood’s novel The Handmaid’s Tale in 2017. It will star Elizabeth Moss (Mad Men) had will be written by Bruce Miller of The 100. Miller will c0-executive produce the series along with Daniel Wilson (who worked on the movie version of the book), Fran Sears (The Sophisticated Gents) and Warren Littlefield (Fargo). I suspect they will also be releasing an episode a week as they did with the adaptation of 11.22.63.