SciFi Weekend: Late and Abbreviated Wedding Edition Including Star Trek News, Renewals for Westworld & The Handmaid’s Tale, And How To Find Out If Thanos Killed You

There have been reports for a while that Star Trek 4 will include Chris Hemsworth reprising his role as the father of Captain Kirk, despite being killed in the first J. J. Abrams Star Trek movie. Jennifer Morrison might have given away how that can happen while at a panel where she was primarily speaking about her role on Once Upon A Time. From ComicBook.com:

However, her moderator was Star Trek: Voyager star Garrett Wang and Wang began by referencing Morrison’s role as Winona Kirk, the mother of James T. Kirk, in the opening scene of 2009’s Star Trek movie.

Wang said, “As an actor, I think it is incredibly difficult to play the role of a mother who just gave birth to James Tiberius Kirk, knowing that your husband is 36 seconds away from death, basically…”
And that’s when Morrison interrupted and corrected Wang’s statement, saying “Supposed death,” and then smiling to add, “Just saying.”

A reunion between James Kirk and his father is not the only Star Trek related reunion lately. Star Trek: Discovery has begun filming season two, with Jonathan Frakes directing the second episode. He was joined on the set by Star Trek: The Next Generation co-star and eventual on-screen wife, Marina Sirtis.

Two excellent genre series are currently showing their second season. Not surprisingly both  Westworld and The Handmaid’s Tale have also been renewed for a third season.

This week is both a late and abbreviated version of SciFi Weekend. This has been posted continuously every week for over ten years and I was not going to entirely skip a week, but it was also complicated this week as I did not have much time to either watch any of the past week’s shows or read very much on line. That does not mean I did not think of genre. I wore the Star Trek cuff links in the picture above for my daughter’s wedding while my nephew, who also officiated the wedding, wore the Yoda cuff links. The groom wore ones with Darth Vader. There was also a Welcome Reception the night before the wedding which occurred on Star Wars Day (May the Fourth…) and this was reflected at the event. Finally, my speech at the wedding included brief references to Tolkien, Wakunda, Star Wars, and I quoted the great Jewish philosopher Leonard Nimoy in wishing that the newlyweds Live Long and Prosper.

There is another big wedding to come this week. TV Line spoke with, Steve Holland, the showrunner for The Big Bang Theory about Sheldon and Amy’s upcoming wedding.

Finally, while I won’t give any specifics or numbers, I don’t think it is a real spoiler to say that there were many deaths in Avengers: Infinity War. There is a web site to tell you whether you lived or died entitled Did Thanos Kill Me?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Theme of season two: Science vs Faith

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

He added in a comment:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HBO has renewed Silicon Valley for a sixth season

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

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

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

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

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

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

Do you think that will also get her in trouble?

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

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

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

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

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

How threatened does she feel by being looked into?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Hollywood Reporter interviewed showrunner Justin Marks:

Howard Alpha kills Pope. How does that change him?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

More in an interview with The New York Times:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

Entertainment Weekly discussed the decision with Marc Guggenheim:

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

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

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

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

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

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

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

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

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

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

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

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

Best Dramatic Presentation – Long Form

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

Best Dramatic Presentation – Short Form

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

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

The full list of nominees is here.

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

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

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

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

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

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

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

Syfy Wire interviewed Chris Carter about the episode:

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

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

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

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

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

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

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

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

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

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

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

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

What was the wrap shot for the season?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Regarding being in the Prime Timeline:

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

Regarding the dark tone of the first season:

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

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

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

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

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

About the uniforms:

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

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

Regarding Saru:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(more…)

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

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

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

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

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

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

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

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

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

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

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

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

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

SH: Yeah!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How did fans react?

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

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

Love has a way of telling its own story

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Following is the official synopsis of the season from NBC:

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