SciFi Weekend: Westworld Season Two Finale; The Expanse Season Finale; 12 Monkeys; Oprah’s Cameo On The Handmaid’s Tale; The Orville & Discovery Among Saturn Award Winners; Further Rumors On Patrick Stewart Returning To Star Trek; Jonathan Frakes On Star Trek and The Orville

Westworld concluded the second season by answering many of the questions raised during the season, and opening up a whole new set of questions for season three. One meta question about the series going into the season was whether the producers could surprise fans with twists after the major twists of the first season were predicted on line. I give them credit for pulling it off this year. While it was apparent that something was up with Delores not being seen in the most recent timeline, I don’t think many realized that she was in a host version of Charlotte Hale’s body. It would be interesting to watch Charlotte’s scenes again knowing that she could have been Delores in some.

We know Delores left the park in Charlotte’s body, but we later saw both Charlotte and Delores, raising the question of whose mind is in Charlotte’s body at that point. We know that Delores took the minds of some other hosts with her, but not which ones. It is like the mystery of the Final Five Cylons on Battlestar Galactica. Which of the apparently dead characters will return this way? Will she reconstruct Maeve? When Delores left the park, it was obvious that Stubb realized she was a host, and most likely that he was a host constructed to protect the other hosts. This leaves open the question of how many other hosts there are impersonating humans. While some apparently dead characters will return, I suspect we will never see those who went to the virtual reality heaven again, but nothing can be ruled out entirely.

One of the most interesting questions was raised in the final post-credit scene. I assume that William and Emily were both humans when William first killed Emily. Apparently at some time in the future, perhaps third season or perhaps long beyond then, there will be a host version of Emily doing a fidelity test on a host who has William’s mind inside, reliving the events of William in the park. As on Battlestar Galactica, all of this happened before and will happen again.

The producers did clear up many of the questions raised in the finale in various interviews, while making clear that other topics are being saved for next season. Following are some excerpts from various interviews:

Deadline

Wait a second, isn’t Dolores in Charlotte? Why are they standing together in the end?

JOY: What Dolores has done is that she’s smuggled herself out of the park while impersonating Hale. She has put herself back into her body, and yet Hale is still there. The question is where is Hale now? And that’s a question we’ll be visiting next season.

As Charlotte buzzes away from the island, in a bag she carries several pearls from The Forge.

JOY: In those pearls are a handful of hosts that she is smuggling out of the park. Which hosts they are, we’ll be exploring.

We see the Man in Black digging in his arm, and he’s not in a lot of pain. Does that make him a host? We see that there’s actually a back-up of him that exists.

JOY: This season we’ve been seeing him in a lot of pain and as he digs into his arm, he suffers from madness. He himself doesn’t know if he’s a host or not. We’ve basically had two time lines this season in the classic film noir structure. We’ve seen him playing the game and figuring his footsteps to the Valley Beyond, but he’s become confused on his side of reality, questioning his nature. If you immerse yourself in the game for too long, do you lose the sense of what is real and not real? He struggles with this and it leads to the moment where he kills his daughter Emily thinking she might be a host. He was in fact mistaken, and he’s digging into his own skin for answers and doesn’t find any wires by the time Dolores arrives. By the end of this time line, he’s being shipped out into the real world. He did kill his own daughter, he’s in the prison of his own skin, locked in his own confusion and guilt.

The chapter that occurs after the credits [editor’s note: Where the Man in Black arrives in an apartment that looks a lot like the one that housed android James Delos being interrogated by daughter Emily as though she is the human, and he the robot] is a little piece of what to come in the future. It gives full closure of the timelines by validating what happened in the park as the Man in Black leaves.

And Bernard?

JOY: He’s leaving his home in the end to be in the real world. Dolores is being totally upfront with him. That they escaped the park, and even if they’re working as foes, it will take both of them to survive. The real world is what we’re investigating next season.

Entertainment Weekly

ENTERTAINMENT WEEKLY:  Do you know who each of those balls represent in Dolores’ purse? Or is your cast on edge about which characters Dolores found worthy of survival?
JONATHAN NOLAN: We’ve had some interesting conversations. It’s a large ensemble cast and sadly we’re saying goodbye to some people at the end of this season. But as always with this show, who remains and who doesn’t is something we’re having a lot of fun with. There’s going to be a bit of a wait for a third season but we want to surprise and hopefully delight people with the way things progress…

When we see Dolores walking with Charlotte out of the room at the end on the mainland, does that mean there are now two Doloreses played by different actors?
Ehhh, not really. The question of who’s who and what we’re looking at is something we’re excited to play with. We’re excited to withhold a little from the audience but … it’s complicated…

Is it safe to assume — and perhaps it’s not — that Zahn McClarnon’s character, the Ghost Nation leader Akecheta, and others who went through the portal to the virtual Eden are not going to continue on?
I think that’s on the safer end of things to presume. But there’s a big story we’re telling here so … yeah.

I know you’ve drafted the broad strokes of your multi-year plan, can you say if next season largely take place outside the park?
Yes. We’re very excited about where the third season goes. It’s been a long build-up to get outside the park. And we’re incredibly excited about what that looks like and sounds like and what exactly our hosts discover out there…

Your Marvel-like post credits sequence with William and his daughter that brought us back to the horrifying James Delos fidelity apartment. My read was that Dolores printed out a version of the Man in Black and his daughter using the park’s secret guest data to leave them entombed in The Forge to do the fidelity test for all eternity and that scene takes place many years later. But that it doesn’t mean the Man in Black was a host previously or that he’s not still alive in the real world like we saw with him in the tent. Is that more or less how we should be interpreting this?
I’d agree with a lot of that. They do explicitly say they’re not in the system. And we do see the ruins of it. So that does suggest in that scene we are further in the future. We’d always said with this story we wanted to consider the beginning, middle and the end the of the emergence of a new form of life on Earth and we managed to cover a lot of those bases in this season.

Based on that final scene, should we assume there will be a time jump for season 3?
Not necessarily. We just love the ability to play in perceptual terms with the hosts being immortal. There is a subtle shift in this season, when you started seeing more and more backstory of the Man in Black, it should raise suspicions, and it has for a lot of people but, um … returning to the last question, your take it on it, which, as usual, is astute, is we’re watching a series of events play out: We see Emily’s dead body, we see the Man in Black in extremis — but not quite dead yet — but we also understand we’ve explored Delos’ greatest mistake, the one unalterable moment, the cornerstone decision he makes in his life, and we’re seeing that play out with the Man in Black. We’ve seen how it is that, using The Forge, that you’d be drawn back to these key moments and you’d run them again and again…

The Wrap:

TheWrap: Where exactly did Dolores send the Hosts who went into the Sublime when she changed the coordinates?

Joy: I think what she’s done is she fulfilled their wish. They wanted to escape to a digital space where they could be truly free and create their own world, untarnished by human interference. And in changing the coordinates and kind of locking in and stowing them away, Dolores has finally found a way to accept their choice and give them what they so desired.

TheWrap: After the guest data in the Forge is erased, Hale/Dolores leaves with five control units in a purse. Who is in them? Maeve? Armistice? And can “Halores” remake them then?

Joy: There is Host data in the actual hosts who did not “sublime” — so their CPUs are still intact. So, if they didn’t sublime, those pearls still contain their information. In each of those little balls in the purse is a Host, so there is a handful of them — but not an infinite amount of them. There are five. One Host per pearl.

TheWrap: When Halores left the beach, it seemed like Stubbs knew it was Dolores — or at least that it wasn’t Hale. Is that safe to assume?

Joy: Yes! It is safe to assume. And there is a step further that you can assume too. And we don’t say it explicitly, but if you are left wondering with all [Stubbs’] talk, his knowing talk about, “I’ve been at the park a very long time,” and Ford designed him with certain core drives, and he’s gonna stick to the role he’s been programmed with; it’s a little acknowledgement of just why he might have his suspicions about what’s going on with Hale, and then lets her pass.

And doesn’t it make sense if you are Ford and designing a park and you have a whole master plan about helping robots that you would keep one Host hiding in plain sight as a fail-safe? Maybe the Host who’s in charge of quality assurance? And by the way, that was totally meant to be subtle [laughs]…

TheWrap: So, because we do know that Emily died in the current timeline we’re in, is it fair to assume whoever is down there with this iteration of the Man in Black is similar to Dolores training Bernard? That has to be a Host or some other something if this is in the future and Emily died. Yes?

Joy: Oh yes, the Katja Herbers in the future talking to the Man in Black is now a Host version of Katja Herbers.

More on the finale in the Behind the Scenes video above.

The Expanse season three was by far the best season yet, making me very happy that Amazon is keeping the series alive. I am also glad that they did move at a quicker pace and conclude Abaddon’s Gate. If they had ended a season mid-book again, it would have been really frustrating if the series was not renewed.

Showrunner Naren Shankar discussed the season finale and plans for season four with Entertainment Weekly:

ENTERTAINMENT WEEKLY: Let’s start right at the very end: What is the meaning of that last shot where the Roci goes through the Ring, and as Holden passes through it, there is a burst of energy. What’s going on there, and what are you setting up for season 4?
NAREN SHANKAR:
 When Holden was in that vision with Miller, he learns the beings that built the Rings, they’re gone. So what killed them? Because he had a vision of these things, he had a vision of something destroying the Rings and shutting them down. And Miller says, “I kinda wanna know too.” And so when the Roci goes to the Ring at the end, it comes to kind of an ominous little harbinger of things to come. That there is something inside that Ring space, in places between the Ring gates, that’s gonna come into play at some point as the series goes on.

We’ll talk more about what you have in store for season 4 in a bit, but let’s get into what happened this season. First off, you really sped through book 3, Abaddon’s Gate, doing the whole thing in seven episodes — much faster than the first two books. Why the accelerated pace for what is, in my opinion, one of the best books in the series?
Book 3 was a challenging thing to adapt. What was tricky about Abaddon’s Gate was that it starts with an entirely new cast of characters. It kind of builds up to getting them through the Ring. It’s more philosophical than intellectual. The space where they go into, it’s sort of the most… I don’t want to use this term disparagingly at all, but sort of science-fiction-y thing we have done in the run of the show. Which tends to be sort of more like science-realistic, or at least tries to achieve that. So for a lot of reasons, we felt like we had 13 episode seasons, we were gonna finish off Caliban’s War mid-season. We took the approach that we compressed it and we launched Anna, who was the character, really kind of the focus character in Abaddon’s Gate, early in the season, which we did because she is not actually in the second book at all…

One of the most interesting things you did on the show was your treatment of Ashford. He’s a pretty detestable character in the book, but you made him much more layered here and turned him into a guy who, while on the wrong side of things, does think what he’s doing is right and is admirable in the way he is willing to sacrifice himself for that. How did that character evolve for you?
Part of it was when we got this point in the narrative, it was about Fred and Dawes and their dueling agendas. But when we got to the Behemoth, it would be kind of weird to have Fred and Dawes on this ship. And so, it led us to this idea of their lieutenants. So Drummer was a logical one to take it for Fred Johnson, and then we were like, “Who’s the guy who worked for Dawes?” Then that was the starting point for Ashford, because he doesn’t have really that backstory in the book. And we asked ourselves, what would a guy who worked for Dawes have done before?

And so we crafted that character and built a backstory around him. And then, as we understood what he was going to do, we had the opportunity to reach out to David Strathairn. He was older than we thought initially the character was going to be, but that actually allowed us to give more layers and more depth to it. And so what you saw in the final product was kind of the aggregation of all of those different things. I think that it’s one of my favorite things in season 3, honestly. He just gives a terrific performance, all over.

Let’s talk about season 4. What can you say about where the story goes next?
One of the things that seems pretty clear, and we set it up at the end of the episode 13 with Holden’s thing, it’s going to be another blood-soaked gold rush. That’s about to happen, because you’ve got an entire species and several societies that have defined themselves on the fact that the solar system is all they’ve got, that those resources are what they have. But suddenly that all changes. It’s like the discovery of the New World — suddenly there’s land, there’s resources, there’s the potential of making incredible fortunes right there. What’s going to happen? Well, readers of the book know that these are things that that destabilize societies, and that’s what you are going to see the beginnings of in season 4.

The fourth book, Cibola Burn, takes place pretty much all on the planet Ilus, or in orbit of that planet. Will that be the same deal here? Is that going to be the battleground and the space version of expanding west?
[Book authors] Ty and Daniel often refer to the story of Ilus and Cibola Burn as kind of a classic Western in many ways. The book Cibola takes place entirely on Ilus. We are there for one complete novel. We are going to tell that story in season 4, sure, but we’re not leaving Earth and Mars and the Belt behind. They’re part of the story, and both of fans of the books and fans of the show are going to see something really interesting and new in season 4…

Finally, how does the show change now being on Amazon as opposed to Syfy?
There are some things that are amazing that we don’t have to worry about: restrictions on nudity, restrictions on language, and restrictions on length to some extent. It’s like we don’t have to jam the episodes into 43-minute boxes if they’re going to spill over into a 50-minute box. There were times in season 3 where I wished that I had been able to put another four or five minutes into certain shows, it would have been great. And we certainly would have done it, and that’s the beauty of being on another platform like this, is that if the material demands it, you can make the story a little bit longer to accommodate it.

We never wrote it going, “Oh, God, it’s going to be on basic cable so we’ve got to tone this down.” I think we did some pretty drastic things when we needed to. None of that’s going to change, and I hope that as we get into it more, we’re going to find more and more opportunities to really make the platform work for us, because it’s a great way to watch the show. When you can stream this thing in 4K and it’s seamless and there are no commercial breaks — we don’t even go to blacks — it’s a different experience when you watch. It’s incredibly engaging, and every time I show it to people that way, they go, “That’s a completely different experience than watching it on basic cable.” So we’re really excited to be on Amazon.

This week set of three episodes of 12 Monkeys was darker than the previous three as expected. While characters might not actually be gone in a time travel series such as this, it appears to have been the conclusions of the stories for Deacon, Hannah and Emma. The twist with Hannah was unexpected until late in the episode, but in retrospect makes perfect sense. Showrunner Terry Matalas told  TVLine that this was planned from the start: “From the moment we mentioned Marion Woods, I knew. In fact, on Brooke’s first day, I told her, right after she was cast. It was something that was always planned. And if you go back and watch the series, you can see many hints of that throughout.”

Like last week, the episode also ended with a family drink thanks to time travel.

There were other twists. We found that Cole is the living anomaly in the timeline, and the weapon mentioned in the previous episodes was designed to wipe him out of time. Yet another major twist had Cassandra be the one to release the virus, with the alternative being even worse should they not have time travel available to fight the threat against time itself. The danger is accelerating as Titan is completed and the sky is turning red over New York. The episoded ended with the message, To Be Concluded.

During last week’s episode of The Handmaid’s Tale, June was briefly free, and turned on a car radio to hear this message from Radio Free America:

And now, this news. The American Government in Anchorage today received promises of economic aid from India and China. In the United Kingdom, additional sanctions on Gilead were announced, as well as plans to raise the cap on American refugees relocating from Canada. Now, a tune to remind everyone who’s listening, American patriot or Gilead traitor; we are still here. Stars and stripes forever, baby.

The message was read by Oprah Winfrey. Showrunner Bruce Miller explained how this cameo came about:

“We’d heard Oprah was a fan of the show, and had a story idea, and thought, wouldn’t it be wonderful if… So we asked and she said yes, and it was a lovely, easy process,” showrunner Bruce Miller says. “The radio segment she recorded was inspired by the free radio of the Allies from World War II.  It was an absolute honor to have Oprah featured on the show, and especially thrilling as she was the one who presented us with the Emmy last year.”

The Orville has won the Saturn Award for Best Science Fiction TV Series. The full list of awards is here. Awards for best television series in various categories went to:

Best Science Fiction TV SeriesThe Orville
Best Horror TV SeriesThe Walking Dead
Best Action/Thriller TV Series Better Call Saul
Best Fantasy TV SeriesOutlander
Best Presentation on Television:
  Twin Peaks
Best Animated TV Series:  Star Wars Rebels
Best Superhero Adaptation Television Series:  The Flash
Best New Media TV Series:  
Star Trek: Discovery
Best New Media Superhero Series:  Marvel’s The Punisher

Star Trek: Discovery won another Saturn Award with Sonequa Martin-Green winning as Best Actress on Television. Kyle MacLachlan (Twin Peaks) won for Best Actor on Television.

Blade Runner 2049 received the award for Best Science Fiction Film. Black Panther won the award for Best Comic-to-Film Motion Picture

The rumors continue that Patrick Stewart might be reprising his role as Jean-Luc Picard . While it is not clear how reliable this is, The Mirror makes it sound like they are close to a deal:

Sir Patrick, 77, is “close to securing a deal” to return as Captain Jean-Luc Picard for a reboot of the Generation series.

The star is keen to reprise his most ­famous part – and deals are close to ­being struck, says a TV source…

The show’s co-creator Alex Kurtzman has a five-year contract to forge new adventures for the small screen. And his team has spoken to Sir Patrick about returning as Picard to helm the Enterprise for run or even longer.

An LA source said: “Patrick is ­looking pretty good to get back on board the Enterprise. There are some aspects of the deal to be finalised, but there is a verbal commitment from all parties.”

He said: “There are animated series also in the works, and Patrick could easily lend his voice to them.

“An announcement will be made in the next few weeks and the show should be out next year.”

If it comes down to one or the other, I hope it is a live action reboot of The Next Generation as opposed to having Stewart work on an animated series. It would also be great to see Star Trek finally move forward again, with the last two series and recent movies all taking place at earlier times. As other former Star Trek stars have not been mentioned, I wonder if the plan is to secure Stewart first, or if this would be done with a new crew under Picard.

TrekMovie.com has posted an interview with Jonathan Frakes in which he discussed both Star Trek and directing The Orville. He had this to say about type-casting:

And I don’t know if I knew subconsciously or consciously that there’d be this typecasting. As Leonard Nimoy famously said, “It’s better to be typecast than not to be cast at all.” But there was a certain thing that happened after the show that you can see evidence of from The Original Series, from our series, Voyager, DS9, Enterprise. The exceptions were Bakula, and Patrick, and Bill and Colm, and Rene and Kate, maybe, to a certain point. Jeri Ryan. More of a handful people were not painted with the Star Trek brush, right? I don’t know what you’d call that in your world, but there certainly is … It was a double-edged sword.

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; Rebooting Gotham; Steven Moffat on Dracula And Other Doctor Who Related News; Mark Hamill On The Big Bang Theory; The Spy

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

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

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

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

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

Theme of season two: Science vs Faith

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

He added in a comment:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HBO has renewed Silicon Valley for a sixth season

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

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

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

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

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

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

Do you think that will also get her in trouble?

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

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

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

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

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

How threatened does she feel by being looked into?

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

Entertainment Weekly discussed the decision with Marc Guggenheim:

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

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

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

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

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

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

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

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

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

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

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

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

Best Dramatic Presentation – Long Form

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

Best Dramatic Presentation – Short Form

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

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

The full list of nominees is here.

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

Trump Brings Ultra-Warmonger Into Administration. How Much Should We Worry?

Donald Trump’s choice of John Bolton to be National Security Adviser greatly diminishes any hopes that Donald Trump actually meant it when he (sometimes) spoke out against war as a candidate. Perhaps it is possible that Trump just likes to bring in people from Fox and does not realize that Bolton’s views differ sharply from some of the views he has promoted. Considering how inconsistent and incoherent he was on foreign policy, it is also possible that his opposition to the Iraq war was primarily an attack on Jeb Bush via his family, and his criticism of regime change in Libya was also based more on a desire to attack Hillary Clinton than any real understanding of the situation.

With the range of views on Bolton ranging as to how much to panic, Andrew Sullivan predicts the worst case scenario:

This is the second phase of tyranny, after the more benign settling-in: the purge. Any constraints that had been in place to moderate the tyrant’s whims are set aside; no advice that counters his own gut impulses can be tolerated. And so, over the last couple of weeks, we have seen the president fire Rex Tillerson and Andrew McCabe, two individuals who simply couldn’t capitulate to the demand that they obey only Trump, rather than the country as well…

No one with these instincts for total domination over others is likely to moderate the longer he is in power. Au contraire. It always gets worse. And so Tillerson has been replaced by a fawning toady, Mike Pompeo, a man whose hatred of Islam is only matched by his sympathy for waterboarders. Pompeo has been replaced in turn by a war criminal, who authorized brutal torture and illegally destroyed the evidence, Gina Haspel. Whatever else we know about Haspel, we know she follows orders.

Gary Cohn has been replaced by Larry Kudlow — a sane person followed by a delusional maniac Trump sees on Fox, who instantly thought up ways for the president to cut taxes further without congressional approval. And the State Department, indeed the entire diplomatic apparatus, has, it seems, been replaced by Jared Kushner, a corrupt enthusiast for West Bank settlements who no longer has a security clearance.

Then the president’s legal team was shaken up — in order to purge those few who retain some appreciation for the rule of law in a constitutional republic and to replace them with conspiracy theorists, thugs, and the kind of combative, asshole lawyers Trump has always employed in his private capacity. Trump is self-evidently — obviously— preparing to fire Mueller, and the GOP’s complete acquiescence to the firing of McCabe is just a taste of the surrender to come. “Now I’m fucking doing it my own way!” was how he allegedly expressed his satisfaction at the purge, as his approval ratings from Republicans increase, and as the GOP’s evolution into a full-fledged cult gathers pace.

And then last night, we saw McMaster fall on his sword, replaced by John Bolton, an unrepentant architect of the most disastrous war since Vietnam, a fanatical advocate for regime change in Iran, an anti-Muslim extremist, and a believer in the use of military force as if it were a religion. And this, of course, is also part of the second phase for Plato’s tyrant: war. “As his first step, he is always setting some war in motion, so that people will be in need of a leader,” Plato explains. In fact, “it’s necessary for a tyrant always to be stirring up war.”

…I worry that the more Trump is opposed and even cornered — especially if he loses the House this fall — the more dangerous he will become. If Mueller really does have the goods, and if the Democrats storm back into congressional power, then Trump may well lash out to protect himself at all costs. We know he has no concern for the collateral damage his self-advancement has long caused in his private and public life. We know he has contempt for and boundless ignorance of liberal democracy. We know he is capable of anything — of immense cruelty and callousness, of petty revenge and reckless rhetoric, of sudden impulses and a quick temper. We also know he is commander-in-chief, who may soon need the greatest distraction of all.

War is coming. And there will be nothing and no one to stop him.

With establishment Democrats having also adopted neoconservativeism and abandoned standing up to warmongers (having even nominated one of the worst in 2016) I’ll turn to another conservative critic of Trump, and someone I rarely quote or agree with. Jennifer Rubin described the horrors of having Bolton in this position, but left more room for hope than Sullivan:

Bolton frequently advocates use of military power, specifically against Iran and North Korea. With regard to North Korea, he believes diplomacy is useless and the only “solution” is reunification of the Korean Peninsula — as a free and democratic country. If that is a short-term goal rather than a long-term aspiration, a massive war almost certainly would be necessary. On Iran, he has declared the deal unfixable and advocated for military strikes on Iran.

The question of the moment is whether the John Bolton we read in print and see on TV will be the same John Bolton who is charged with coordinating foreign policy. Advocating in print a position a Democratic president will never undertake is one thing; presenting to your boss a viable plan for military action that may result in mass casualties is quite another. In other words, we’re about to find out if Bolton is really serious about all his views or has simply enjoyed the role of gadfly…

Where Sullivan sees nobody who could stop him, Rubin has a suggestion which is more grounded in the Constitution than recent precedent:

The Bolton pick should be a wake-up call to Republicans who always assumed wise, calm advisers would be there to constrain Trump. It should motivate both Republicans and Democrats to start reclaiming Congress’s power, for example, by declaring that congressional authorization is required for a first strike on either Iran or North Korea. They cannot prevent Bolton from assuming his job, but together with Republican colleagues can begin to exercise more restraint on the use of force and, as Menendez suggested, to conduct robust oversight.

As for outside foreign policy gurus who have advocated high-stakes strategies (e.g., threatening to pull out of the JCPOA and use military force against Iran), they would do well to realize this is no academic exercise. In Bolton, the president has someone who may well encourage his most outlandish ideas.

It could be a favorable “legacy” of Donald Trump, even if not what he desires, if the outcome of his presidency is greater constraint on presidential power, as well as corruption.

Meanwhile Guardian editor David Shariatmadari, after writing of the risk of war, concluded with, “Help us Mad Dog Mattis, you’re our only hope.” It is scary that the most sane foreign policy voice left is someone called Mad Dog.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Assignment X interviewed Mitch Pileggi about returning to the role:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SciFi Weekend: Star Trek Discovery; Counterpart; The Gifted; The Magicians

I like how Star Trek: Discovery is rapidly providing payoff to the mysteries of this season rather than dragging them out too long. The Wolf Inside provided answers to two big questions, while showing more of the Mirror universe.

The big event of the episode centered around  the rebel camp where Firewolf, the rebel leader, had been hiding. (This briefly sounds more like Star Wars than Star Trek). Burnham’s logic for going to the planet didn’t make all that much sense but I’ll forgive it as 1) we’ve often seen that Burnham does not make the greatest decisions, even if she means well, and 2) it did a lot to propel the story. This led to a great scene for fans, seeing other Star Trek aliens, including Voq as Firewolf and seeing Sarek with the obligatory Vulcan goatee. I loved seeing the goatee enough to overlook the problem that this conflicts with the idea of a goatee representing an evil Mirror version.

This leaves open a lot for a possible novelization regarding Sarek as there are questions which I suspect are beyond the narrative on Discovery. Sarek must have learned a lot of interesting things about the two universes which he kept quiet about. I also wonder about the family dynamics. When we first learned in Despite Yourself of how xenophobic the Empire is, I questioned Spock’s position as seen on Mirror, Mirror. I rationalized that as being a rare exception, with Spock being half-human. I also suspect they are emphasizing the xenophobia more in the current incarnation of the Mirror universe as a reflection of our current politics. Spock’s position becomes even more complicated with Sarek and Spock being on opposite sides–not that the two were all that close in our universe. Presumably there was not a relationship between Sarek and Burnham in the Mirror universe, unless this is something being left unmentioned until a later date.

Meeting mirror Voq provided the trigger to finally reactive Voq in Tyler’s body, answering the question of how long until he was exposed now that Discovery finally revealed his identity. It turns out that the Tribble on Lorca’s desk did not play a part as many had predicted.

This also set up the solution to another dilemma. Somehow Burnham and Saru were able to easily communicate with holograms but she could not transmit the data she found back to the Discovery. While the problem is therefore questionable, it was a great solution to place the data on Tyler’s body before beaming it into space. Having Tyler/Voq in custody also raises questions should Tyler’s identity resurface as that part of the duo is innocent.

There were other good moments in the episode, such as Burnham’s interaction with Mirror Saru and Stamets meeting Stamets. Of course I did not believe that Stamets was dead for even a moment.

Ultimately the episode concluded with the answer to another question, confirming as I predicted that the Emperor would turn out to be Georgio. I still hope that, considering how Discovery frequently throws in references to past Star Trek shows, that them also mention a previous Empress Sato.

The huge question remaining is what Lorca is up to, including whether he is the Mirror version and intentionally brought the Discovery to the Mirror universe as part of a bigger plan following his attempt to assassinate Mirror Georgio. With the show appearing to be moving in this direction, Lorca’s decision to get Burnham on board Discovery does seem to fit into the dynamics of the Mirror universe power struggle.

Syfy Wire interviewed Shazad Latif about playing both Ash Tyler and Voq. Here is a portion:

This has been a huge few episodes for you. What is it like to play a character who’s so conflicted?

It’s one of the greatest gifts, and scariest gifts at the same time, that you can get as an actor. Just so much going on, double the amount of things that would normally go on with just one person. Getting to explore that, doubly, at the end of the day is stressful and scary, but very beautiful and very rewarding, as someone who likes to express themselves. It’s just crazy.

Ash has been through a lot, but I loved the decision to portray a character who believed he was experiencing, and was experiencing in many ways, PTSD.

It was always there. You think it’s because he’s been through this war stuff or this torture, and it’s not. He’s been in this crazy war zone, it’s just this trauma that you’ve never seen before. It’s this crazy alien operation.

Me and Sonequa, we always wanted to push it. Because you meet Tyler and he’s this guy who’s going through this trauma and we’ve seen that story many times. It’s amazing to explore, but we wanted to see him … With him and Michael Burnham, she’s always very strong. She’s the strong one and she’s the one looking after him, and he’s weak around her and he’s vulnerable around her, in the bedroom, in the hallway.

I wanted to make sure that that was clear because, to show a man’s vulnerability and weakness and show that you can still be a man and vice versa, that Sonequa is a very strong female character — it was very important to us in the scenes that we played that and we showed that. It’s nice to play the inner turmoil and suffering and weakness of the man as well, rather than being this classic sort of rogue action hero. There’s more to it than that.

Because when you first see him, he is playing that, we’re playing that sort of archetype. He’s this guy coming from the ship, he’s getting his job and “Aha! He’s a classic American hero,” but really he’s crumbling, and it’s very beautiful to watch.

There was a lot of fan speculation about Ash’s true identity. Was that hard to keep quiet about? You were doing publicity with so much of the cast towards the beginning of the show. People were like, “Wait til you see him,” but we had seen you but we didn’t know it yet.

It was my idea. I’ve been keeping it for a year now. It’s harder than any acting … That’s the hardest acting I’ve ever done; I did it terribly. I actually chose the pseudonym for the actor who played Voq in the beginning.

On the credits, it’s Javid Iqbal who played Voq, and we created a fake IMDb page, but that was my father’s name, who passed away about six years ago. I was asked to choose a pseudonym, so it was a shout out to him. He was a big movie lover, changed the film reels in the cinema when he was young. I just wanted to shout out to him. We kept that a secret for a long time.

It’s nice to have the buzz, still keeping a secret. You know people are going to find out, whether they find out in the first episode or the last episode.

The characters always find out secrets about the show and stuff like that, but it’s more about how you tell the story and execute. How it’s executed is more interesting. Even if you have figured it out, you still tune in to go, “Am I right or am I wrong? Or how have they done it?” Really, just to see the acting, to see the way they’ve cut the story…

Can you tell us anything about what’s coming for Ash/Voq?

It’s all coming to a head. This four-way love triangle in three bodies, basically. It’s L’Rell and Sonequa and Tyler. That’s gotta come to a head. The solving of the Culber case, all this kinda stuff. Some people don’t know, how are people gonna react to it? It’s a culmination of everything, and it’s going to be very exciting to watch.

One theme of the Mirror episodes of Star Trek: Discovery is to see how different versions of the same person turned out in a vastly different environment. There is another show starting with a similar theme. Counterpart (trailer above) is sort of a combination of a John le Carré novel and Fringe’s alternate universe stories. The Starz series premieres this month, but they have been offering the pilot for free since December. J.K. Simmons stars as a low level employee of some sort of spy agency, but we learn in the pilot that he has a double in the other universe who is far more important. From reviews coming from those who have seen episodes beyond the pilot, there are many characters whose lives were dramatically different due to a single change after the two universes diverged due to a Cold War experiment which went wrong.

The Gifted concluded its first season. While certainly not ground breaking like Legion, it was an entertaining X-Men spin-off. Unlike Inhumans, the show did have some success and will be back for a second season. The show did a good job of progressing over the season, initially centering around one family, and growing to develop a far more complex world. The Frost triplets made matters much more complicated with next season likely to feature a three-way conflict with different mutant camps and humans. The conflict between The Frost triplets and the original Mutant Underground somewhat parallels that of Charles Xavier and Magneto. It is made more complicated with members of the Mutant Underground joining the Frost triplets, including one member of the original family, creating divided loyalties.

The Magicians has started the second season with two strong episodes. I especially liked all the genre references–and how they were used to overcome surveillance. I didn’t notice in the first episode, but they stopped editing out the f-bombs in the second episode for the first run of the show as they had done previously.

Vox spoke with Lev Grossman, who wrote the novels the series is based upon, about seeing his stories being remixed:

Constance Grady

You’re someone who does a lot of remixing in your storytelling and is now watching your own stories get remixed. What’s it like having been on both sides of the process?

Lev Grossman

Well, the kind of remixing I did, The Magicians, and the kind of remixing it’s undergone on TV are not exactly the same kind of remixing. They’re not perfectly analogous.

I would say that I do very much think of The Magicians as a remixing kind of book. I was very conscious of that when I was writing it. In fact, I found it really energizing to imagine myself taking other people’s work, C.S. Lewis’s or J.K. Rowling’s, and — I don’t know if remix is actually the word I’d use, but recasting it, retelling it, in a way that was both an homage and a kind of critique at the same time.

I was conscious that I was doing something that gets done a lot in fanfiction. And then there’s a longer tradition of it; I also had in mind Rosencrantz and Guildenstern Are Dead by Tom Stoppard, or Wide Sargasso Sea by Jean Rhys, high-culture works that take another story and remix it, retell it, reimagine it. I was very aware of all that stuff.

I was aware I was doing something that legally was kind of a gray area right now in the culture that we write in, which was interesting. But I found it just incredibly energizing.

There’s a book called The Anxiety of Influence by Harold Bloom. He has this theory that the way in which artists and creators come into their own is through this act of remixing, which he sees as quite an aggressive act. I think he describes it almost in terms of an Oedipal struggle.

 I thought that was very true. I realized that through this kind of imaginary exchange, which was both aggressive and loving at the same time, that was how I was figuring out who I was as a writer. Which is paradoxical! Because we often think of working with someone else’s material as unoriginal and derivative, but at the same it was through taking control of someone else’s work that I came to understand what my own voice was.

Since then, I’ve seen The Magicians remixed in different ways. I’ve seen it be an influence on other books, I’ve seen fanfiction based on it, and of course there’s the TV show based on it. I’d love to able to say it was a completely joyful and unproblematic process watching The Magicians be adapted — and it was joyful and exciting and thrilling. But it definitely took some getting used to.

I realized that when you write novels, you have a lot of control over what’s going on. It’s not a collaborative art form. It’s one of those art forms where you get to do it all. You write all the dialogue; you point the camera where you want to; you dress the set; you do the costumes. So really, it’s a one-person act.

And when it came to collaborating, to passing this story that I’d written on to other creators, it was definitely unnerving. It provoked a lot of feelings. It was exciting and thrilling and stimulating, but it was also a real gut-check feeling where I had to tell myself, “It’s time to let go, and to let other people find different kinds of meanings in this story, which you’re used to thinking of as your own.”

More on last week’s episode below:

SciFi Weekend: Mr. Robot Season Finale; Doctor Who; The Orville; Star Trek Discovery; Outlander Finale; Apple and Disney Moving Into Streaming; The Punisher Renewed; The IT Crowd

Mr. Robot completed its third season and has officially been renewed for a fourth. While I don’t think the third season was able to be as good as the spectacular first season, I did feel that it was something of a comeback after the less successful second. The finale seemed to go full circle with the hack, had revelations for both Elliot and Angela, and put Dom in a new dilemma. Following are excerpts from four interviews with Sam Esmail about the season finale, including the impact of Donald Trump’s election on the show.

Entertainment Weekly:

ENTERTAINMENT WEEKLY: The season ends with the suggestion that the hack will be undone. Was this the plan from the outset?
SAM ESMAIL: If I’m going to conjure up my original feature plan, this was always part of it. The plan was that basically toward the end of act two, he would reverse what he did, but still kind of be in a position of now pivoting and targeting the real top one percent that orchestrated the 5/9 hack behind his back. That was always a plot point, but as you can see, that kind of gets unwieldy because your main character’s goal is essential reversed as you go through the second act of the story.

Yeah, it’s basically Mad Max: Fury Road, turning back around and going back to where they came from.
Exactly. It’s literally turning the main motivation and main dramatic drive upside down. It’s kind of an Odyssey structure. With Elliot, because the journey is really internal and really about his emotional growth, having the plotline be circular like that lent to that more internal exploration…

I didn’t see the Angela-Price twist coming. What’s exciting for you about that dynamic going forward?
I’ve read this somewhere — though I wasn’t conscious of it when creating the show — that people consider this a family drama. In a weird way, I see the underpinnings of that. Obviously you have Elliot, Darlene, and Mr. Robot being this weird dysfunctional family. But then you throw in Angela, who, because she’s such a close friend, she is sort of part of that family unit that Elliot created growing up. One of the things that I think drives a lot of our characters are those family ties and the history of their families. In fact, that’s how they even know each other — because of Elliot’s father and Angela’s mother going through the same trauma. What I always felt was interesting was to reveal that this whole thing was actually kicked off by another family connection that we had no idea about: Price being the estranged father of Angela. If you peel back the onion and think about it. That caused this chain reaction. It’s because of Price’s connection to Angela that he hired this company that had no business being a cybersecurity company for a major conglomerate, and it’s because Angela worked at Allsafe that Elliot was offered a job there and had the idea to initiate the 5/9 hack. I thought it was interesting that, when you boil this massive global tragedy down, it was really these family connections that motivated and kicked off this whole event. That was always there from the get-go. In fact, that was the one reveal I thought people would most likely guess by the end of the first season, given how close we played Price and Angela together…

Do you intend for White Rose to remain a target for Elliot?
Yeah, I believe that the thing about the show is that we set up Tyrell as the main villain, when in fact, it’s White Rose, and that’s something that comes out this season. The ultimate target is White Rose and the Dark Army. Moving forward, that’s the pivot we’re trying to make. Elliot is going to go after them.

I have time for only one question, so I’m going to make it count. Does the pee tape exist in the world of Mr. Robot?
I think far worse than the pee tape exists in the world of Mr. Robot and our real world.

The Hollywood Reporter:

In the past, you have talked about envisioning Mr. Robot as a five-season arc. Exiting season three and heading into season four, does that plan remain intact?

Honestly, I’ve always said it’s four or five seasons, and I’ve said that because I think it’s somewhere in between. Whether that means the next two seasons are two short seasons, or it could technically still be two full ten-episode seasons, we’re still kind of figuring that out. It’s something the writers’ room and I take very seriously. We never want to feel like we’re treading water. Hopefully it fits into two more seasons, but we’re trying to figure out that number…

Season three ends with Elliot reversing the Five/Nine Hack, or at least beginning that process. How will that change the show moving forward, tonally?

It brings the show back to its initial promise of Elliot wanting to take down the guys behind the scenes who are manipulating society. The journey between seasons one to three has been about discovering who the real culprits are. The hack was merely a distraction that was coopted by these people, and it’s finally been revealed and exposed to Elliot. In a weird way, the next season will return back to that initial premise of the show and have Elliot be motivated by that, with this new clarity.

In a second story at The Hollywood Reporter:

Elliot and Mr. Robot finally return to each other’s lives, at one of their earliest meeting spots. Can you talk through the different ideas that were in place for how to get these characters back together on the same page after so much time apart, and to have that meeting of the minds at Coney Island, where it all started — at least as far as the show’s depiction of events, that is?

This is funny because so many of our pitches for this moment made their way into the episode in one way or another. When we started to brainstorm ideas for this reunion, we naturally were drawn to those Mr. Robot/Elliot milestones from the pilot and season one. Sam loved the idea of them speaking to each other on the Wonder Wheel again. I was pushing for a callback to that symmetrical shot of them sitting on opposite sides of a subway train. Someone else pitched the subway platform from the pilot. We ended up seeing all of that in this finale. The Wonder Wheel ended up being the initial reunion because of how uniquely tied to Mr. Robot it was. We’ve seen Elliot in all of these other locations already (the arcade, the subway, his apartment). It made sense that Elliot would allow himself to feel safe enough to talk to Mr. Robot on the Wonder Wheel.

It’s a very emotional moment, realizing that as much as Elliot has shades of Mr. Robot, the Mr. Robot side of his personality has his own shades of Elliot. Has that always been a tenant in writing the character, that Christian Slater’s side of Elliot has more in common with Rami Malek’s depiction than he or we realized? Is it something that was discovered in the writing of the character? And how critical is that reveal, moving forward?

The plan was always to evolve the relationship between Elliot and Mr. Robot. We’ve already been through so much manipulation, betrayal, and battling with them. To me, this is finally a beautiful moment of sincerity and honesty. It’s also cool because you, as Elliot’s friend, are able to witness how Mr. Robot is helpful in certain situations and how Elliot really needs him at times. It’s definitely a crucial reveal, as it’s that first step in the healing process — the path toward integration. By the end of this episode, in one of many callbacks to our pilot, we have a heartfelt exchange between Mr. Robot and Elliot. In a way, we’re healing Elliot and resetting him back to his old self. He still wants to take down the men who play god without permission, but he has a clearer view on who those people are now…

Elsewhere in the episode, we have Phillip Price’s Darth Vader moment, revealing himself as Angela’s biological father. Two-fold: was this always part of the character’s design, and do you think this news refocuses Angela? By the end of the finale, it’s hard to tell if she’s fully recovered from the Whiterose experience… do you think it’s fair to say she at least realizes she was being used, even if she still believes in Whiterose’s agenda to some degree?

This wasn’t always part of the character’s design. I think we decided on this about halfway through season two. Initially, we were working toward some kind of twisted, sexual infatuation that Price had with Angela. There actually was a pitch on the table in season two for Angela and Price to sleep with each other, but we ended up changing that to her going for an older dude at the bar. (Maybe she’s just into old dudes?) That sexual infatuation idea still works as a misdirect until the moment of the reveal. Of course, we dropped hints throughout this season that I know you picked up on (the anonymous benefactor, Price’s reaction when Whiterose confronted him about Angela, etc). I think it’s meant to be ambiguous at the end of that scene, but I definitely agree that she realizes she was being used by Whiterose, regardless of how much she still might believe in “the cause.”

Deadline Hollywood:

Let’s talk about what we saw tonight. Elliot is still bent on taking down the 1% of the world, but his dilemma is that he’s now in the pocket of WhiteRose.
The way we are ending the third season is that we’re coming back to the original promise: Elliot’s mission to take down secret organizations who are controlling things behind the scenes. It’s the first time that Elliot has exposed them and seen their true identity in that they’re being led by White Rose and the Dark Army. It’s an interesting predicament: He has leverage of them, but they have leverage over him as well. It’s an interesting Mexican standoff.

Elliot’s decision to reverse the 5/9 hack: Is this just a means to ease his own guilt after blowing up all those E-corp buildings?
Yeah, I think that with the journey of Elliot, we started the series with this guy in an immense amount of pain. Instead of facing that, he blamed it on society and externalized to the world around him what needed to be fixed, when in fact, he was avoiding facing the problem within. That’s what this moment in this season was about: His realization that what he wanted was not co-opted by the very people he was trying to take down; that it was wrong.  There are a few internal struggles he also faces in regards to his relationship with Mr. Robot and its evolution.

Angela learning that she was Phillip Price’s daughter. Why was this important to establish and was this something you knew going into the season? 

The thing about that revelation is that what I always thought was interesting in regards to the entire chain reaction of things that led to the 5/9 hack and the global catastrophe is that it all started with broken family ties. And really the chain reaction of Price who is estranged from his daughter her whole life, and reaching out in the distance, by hiring this (small) cybersecurity company which has no business representing E-Corp; then because of that, Elliot joins the company to avenge his father’s death — that strategy to attack E-Corp, that spiraling out of control, is in essence about broken family ties. Now (Price and Angela) are trying to heal that tragedy and trauma that comes out of it. We planned this very early on; at the end of the first season Price takes Angela in…

Dom and Darlene, where does this leave them now?
Dom is at a crossroads. She’s the most noble character to her cause in the entire series. She’s now in with the Dark Army in this brutal way and we’re going to see the aftereffects of that. In terms of Darlene, she’s going to have to live and process a lot of guilt of what she’s put Dom through. There’s a genuine relationship there: They did care for one another. It’s going to be interesting though because they’re on opposite sides. We’re going to explore that relationship and whether they survive through that.

The Brave Traveler at the end of tonight’s show, that’s the drug kingpin Fernando Vera who double-crossed Elliot in season one and took girlfriend Shayla’s life. What now?
Well, he’s a crazy person, an egomaniac and hopefully very entertaining to watch. I’ll leave that as my answer. There’s a personal connection here with Elliot and out of all the global chaos that he’s been experiencing on the show, this one narrows the field a bit on a personal level. Shayla was the only true connection Elliot made when we began the series. We’ll definitely explore the blowback from all of that with her murder and how Elliot assisted in breaking Vera out of prison.

Variety:

While Esmail said the current political climate doesn’t influence the plot itself, he noticed it affects the energy writers bring into the room. Esmail called the election “catastrophic not just for the country, but for the world.” Still, he says he is open-minded about politics.

“I never try and tune anything out. I think that’s a mistake,” he says. “You want to bring all the honest stuff that’s going on inside you into your work. Otherwise you’re keeping a lot of authenticity out.”

Following President Donald Trump’s election, Esmail said the writers felt the same apprehension that many others experienced.

“When you’re talking about a man that’s incoherent and inarticulate and unintelligent, egomaniacal, it’s a dangerous thing for the world,” Esmail said of Trump getting elected. “We also felt a little responsibility to it. That we underestimated him, that we underestimated that this can possibly happen,” he explains.

That sense of accountability then loosely paralleled Elliot’s journey this season, he said.

“That indirect responsibility led to a lot of Elliot’s feeling at the beginning of the season of his responsibility in the 9/5 hack, which was a lot more direct, but that energy that we were all feeling and sensing in the room,” Esmail says. “This dread that we have committed this crime by not doing something enough definitely fueled a lot of Elliot’s motivations.”

Mozilla upset some users when they inserted a browser extension which promoted Mr. Robot into their Firefox browser, leading users to think their computer was hacked. There is a similar virtual reality game available on Amazon’s Alexa products, but they handled it in a safer manner. Ads during the show show people asking Alexa for the Daily Five/Nine. For this to work, it is necessary for users to specifically enable the Daily Five/Nine skill. Generally I find it to be a negative for Alexa that some information is not obtainable unless the user knows which skill to activate, but in this case it is for the better that users only receive paranoid news from the Mr. Robot universe if they activate it.

Steven Moffat originally did not plan to have Bill Potts in the Christmas episode of Doctor Who and explained why he changed his mind:

“I was 20 pages in to the script, and I thought, ‘I need Bill here. There isn’t a witness for this. The Captain [played by Mark Gatiss] isn’t quite right as the witness. I want to hear what Bill would say.’ I needed that voice back in the show. I just did.

I missed her terribly. I missed the way Bill reacted to things. Also, if the Twelfth Doctor’s got someone as forthright and irreverent as Bill, you really want the First Doctor to meet her! [Laughs]”

Following a screening of Twice About A Time, Steven Moffat argued that Doctor Who is the greatest show ever made:

“It’s worth saying, because I don’t think it’s ever said enough… the reason Doctor Who is as successful – I mean humanly successful – for so long in such an enduring way – and I’m just gonna say it because I don’t ever say it, but now I’m leaving I’ll say it – it is actually the greatest television show ever made.

“I’m gonna prove it to you. There are probably press here who are ‘No, it’s The Wire’. It’s not The Wire. It’s not I Claudius. It’s not The Office. It’s not even Blue Planet. It’s Doctor Who and I’m gonna prove to whoever is doubting me the hardest that they’re wrong to doubt me.

“How do you measure greatness? Do you measure it by ratings? Do you measure it by reviews? Christ no, of course you don’t.

“Do you measure it by perfection? Is Doctor Who perfect every week? No, it’s not. It really isn’t. It can’t be. Because every episode of Doctor Who is an experiment, and if you experiment every single week, sometimes you get a faceful of soot and you’re blinking the smoke away and you look a bit ridiculous. That happens. Perfection is the refinement of boredom, it’s doing the same thing all the time perfectly. Doctor Who, by always being different, can never be perfect.

“But yes, how do we measure its greatness?

“There are people who became writers because of Doctor Who. Loads of them.

“There are people who became artists because of Doctor Who.

“There are people who became actors because of Doctor Who. Two of them have played the Doctor.

“There are people, believe it or not, who become scientists because of Doctor Who. That seems improbable given we said the moon was an egg, you’d think they’d have a problem with it.

“But people become scientists, people change their view of the world and what they’re capable of, because of a silly show about a man who travels around in time and space in a police box.

“So, never mind the reviews. Never mind anything. Never mind the ratings. Never mind any of that.

“Count the scientists, the musicians, the scholars, the writers, the directors, the actors, who became what they are because of this show.

“Count, as you might say, the hearts that beat a little faster because of Doctor Who.

 “I do not even know what is in second place, but without doubt, and by that most important measure, Doctor Who is the greatest television show ever made.”
Peter Capaldi also had this to say:

“I’d like to thank all my friends on Doctor Who for sharing their good humour, talent and life with me over the last four years. And particularly, Steven Moffat, who has brought so much to Doctor Who, even more than might be realised today, but will be seen clearly in the future.

“I’d like to thank everyone who loves the show for sharing it with me, and sharing the boundless generosity of spirit that it embodies. I wish Jodie and the new TARDIS team all the best for the future, and the past, and everything inbetween, and look forward to watching them journey to new and wonderful places.

“For me, it’s been an amazing trip. I went to the end of time, I met fantastical creatures… and I blew them up. But now it’s over. Time I was off.”

Last week’s post included additional Doctor Who news including information on a special about the Peter Capaldi era which will air after the Christmas episode, a trailer for the episode, a link to an interview with Steven Moffat, and an article on David Bradley.

For the benefit of those who did not see it because of more problems with Facebook, last week I had a review of  Mad Idolatry, the first season finale of The Orville. Until links from Facebook groups to the post were shut down by Facebook, the link to this video of  Sports Illustrated model Kyra Santoro as the scantily-clad Ensign Turco had a quite a few hits. Hopefully this remains up this week–there is little consistency to Facebook’s censorship.

In an interview with Digital Spy, Seth MacFarlane argued that The Orville filled a void left behind by the classic Star Trek:

Speaking to Digital Spy, the creator and star of The Orville said that he was heavily inspired by the themes and direction of classic Star Trek – aspects which he feels haven’t been replicated much since then.

“I kind of miss the forward-thinking, aspirational, optimistic place in science fiction that Star Trek used to occupy,” he said.

“I think they’ve chosen to go in a different direction which has worked very well for them in recent years, but what has happened is that it’s left open a space that has been relatively unoccupied for a while in the genre.

“In the same way that when James Bond kind of moved into a different area than classic James Bond, Iron Man came along and sort of filled that void.

“So for me, it’s a space that’s kind of waiting to be filled in this day and age when we’re getting a lot of dystopian science fiction, a lot of which is great and very entertaining, but it can’t all be The Hunger Games.”

MacFarlane added: “It can’t all be the nightmare scenario.

While MacFarlane has used a lot of humor in the series, the show did turn out to be more like Star Trek and Star Trek: The Next Generation as opposed to being a parody as many pre-season articles incorrectly described the series. MacFarlane also corrected this misconception in another interview with Digital Spy, saying that The Orville was not influenced by Galaxy Quest.

The titles for the chapter 2 episodes of Star Trek: Discovery have been revealed:

Episode 10:  “Despite Yourself” (January 7)

Episode 11: “The Wolf Inside” (January 14)

Episode 12:  “Vaulting Ambition” (January 21)

Episode 13: “What’s Past Is Prologue” (January 28)

Episode 14: “The War Without, The War Within” (February 4)

Episode 15: “Will You Take My Hand?” (February 11)

Four new character posters, including the one above, have also been released. The full set can be seen here.

Last week I linked to a couple of articles on the fall portion of the season of Star Trek: Discovery. Bleeding Cool also weighs in, arguing that Star Trek: Discovery Absolutely Earns Its Place in the Star Trek Continuity. My review of the fall finale was posted here, and I looked at other aspects of the show, including continuity, here. I will resume weekly reviews of the episodes after Discovery returns.

Wil Wheaton tweeted about wearing his Star Trek uniform to the opening of Star Wars: The Last Jedi. While I didn’t go until last night, for the record, as I don’t have a Star Trek uniform and it was too cold for either of my Star Trek t-shirts, I wore a Gallifrey swhttp://www.washingtonpost.com/eatshirt and, again as it was cold out, my Tom Baker Doctor Who scarf.

Outlander also had a season finale last week. Deadline talked to Ron Moore about the episode and future plans. Apple has also ordered a science fiction show from Ron Moore, who also was behind the revival of Battlestar Galactica. Deadline reports:

Created and written by Moore, along with Fargo co-executive producers Matt Wolpert and Ben Nedivi, the untitled series  explores what would have happened if the global space race had never ended. Tall Ship Prods.’ Moore and Maril Davis executive produce with Wolpert and Nedivi.

This is is the third original scripted series ordered by Apple via its recently formed worldwide video programming division headed by former Sony TV presidents Jamie Erlicht & Zack Van Amburg, joining a morning show drama series project, executive produced by and starring Jennifer Aniston and Reese Witherspoon, which has a two-season pickup, and Amazing Stories, a reimagining of the classic anthology from Steven Spielberg and Bryan Fuller.

It looks like Apple is working hard to make a credible entry into original programming with such orders. Of course they will have very tough competition from not only the established sources, but from Disney when they launch their planned streaming service.  Assuming the deal goes through, their acquisition of much of Fox will give them an incredible library, including many major genre franchises, along with a controlling stake in both Netflix and Hulu.

Netflix has renewed The Punisher for a second season. Last week’s post included the trailer for season two of Jessica Jones, which will be released March 8.

HBO has renewed Larry David’s show Curb Your Enthusiasm for a tenth season.

NBC is trying yet again to have a US version of The IT Crowd. Maybe they will have better luck this time as Graham Linehan, who created the original, is going to be the writer and executive producer. Besides being an excellent comedy, the show teaches the most important lesson you will ever need to fix computer problems (as explained in the video above).

SciFi Weekend: Star Trek Discovery; The Orville; Doctor Who Reveals Jodie Whittaker’s Costume; Disney Plans And Genre; Mr. Robot; Felecia Day On The Magicians; Supergirl; Legends Of Tomorrow

Si Vis Pacem, Para Bellum was an episode of Star Trek: Discovery which hopefully satisfied those who complain that Discovery doesn’t feel like Star Trek to them. The bulk of the episode centered around an away mission which could have been on either TNG or the original show. Probably the most similar episode was the original series episode This Side of Paradise.

There are further references to Star Trek history with Ash Tyler using Vulcan pick up lines on Michael Burnham, with a variation of “The needs of the many outweigh the needs of the few.” Tyler was so smooth that I was questioning if he was really a Klingon spy per the fan theory I have discussed in previous posts. Seeing the away team receive physical exams in sick bay with their internal organs showing on the screen also casts doubt about the theory. Presumably he was also examined when he first came aboard the Discovery after being a Klingon prisoner. Lorca would have been in a better position to refuse such a scan.

Saru wound up being in a position analogous to Burnham in the pilot in being the mutineer, even if under alien influence. We also learned that Saru is both fast and strong, unless the communicators are extremely flimsily built. If Saru is a member of the prey species, just imagine what the predictor species must have been like.

Stamets came out of the spore drive calling Tilly “Captain.” Was this momentary confusion on his part or was Stamets seeing into the future? We already know that Tilly aspires to be the Captain. Alternatively, was he seeing the Mirror universe where somehow a Mirror version of Tilly already is the captain aboard a version of the Discovery where advancement is based upon assassination?

The Klingon side story was also getting more interesting last week. L’Rell tried to free Admiral Cornwell and defect with the specific goal of getting to Discovery. Was this an attempt to join up with Ash Tyler if he really is Voq? She was certainly not telling the full truth when she referred to him as being gone. If Tyler is Voq then they would be revealing this on air at some point. A meeting between L’Rell and Tyler might reveal something. On the other hand, if Tyler is not Voq, he would not be all that happy to see L’Rell if he was truly her abused prisoner. Similarly, if the counter-theory that Voq replaced Lorca is true, there could also be some clue regarding that if L’Rell comes aboard. (It is curious that the Tribble has not been seen on Lorca’s desk anymore.)

Cornwell appears to be dead, which would make it impossible for her to take the command of the Discovery away from Lorca as she threatened. Of course it is not uncommon in genre for apparently dead characters to return. There is an interview with Jayne Brook, who played Admiral Cornwell here.

Tonight we have the midseason finale with some teases about the episode at Radio Times. Star Trek: Discovery is returning on January 7.  The official synopsis says, “In Chapter 2, while in unfamiliar territory, the U.S.S. Discovery crew is forced to get creative in their next efforts to survive opposing and unprecedented forces and return home.” I wonder whether this is intended for the opening of Chapter 2 or if the entire second half of the season will be a Voyager/Lost In Space scenario. Alternatively, instead of being elsewhere in space, could they be in the Mirror universe, which we do know will play a part in the series?

The bickering between Ed Mercer and Kelly Grayson over Kelly’s infidelity was a highly over-used attempt at humor in early episodes of The Orville. There was finally some degree of pay-off in Cupid’s Dagger. Darulio, the alien Kelly slept with, was aboard the Orville, and we now know that her infidelity could have been because of pheromones she could not resist. Will this knowledge change the relationship between Ed and Kelly in the future?

The Orville has had mixed success in combining humor with science fiction. Their most successful attempts have been when the humor wasn’t forced and they were not just throwing in jokes at times when it made no sense in the story. Their best successes have included a couple of episodes with Isaac trying to understand humans. The humor worked again on Cupid’s Dagger after Darulio’s pheromones caused Ed to fall in love with him, with Ed’s actions being both humorous and fitting into the plot of the story. There was a parallel story with Dr. Finn and Yaphit (who has also been a frequent source for comedy on the series). The fairly explicit sex scene between the two was unforgettable.

While it was karaoke, the episode did show an improvement in musical taste from Barry Manilow last week. Unfortunately we did not get to hear Bortis sing.

The BBC has released a picture showing how Jodie Whittaker will look as the 13th Doctor, along with some minor modifications to the exterior of the TARDIS. Elements of the outfit have been compared to previous Doctors as wall as to Mork on Mork and Mindy. While the stripes most likely come from Tom Baker’s scarf, they are also similar to a shirt worn by Wesley Crusher. I wonder if the change in color of the TARDIS is real or just a matter of the lighting in this picture.

Incoming companion Bradley Walsh has discussed how he obtained the role without having to audition with the Sunday Express.

Netflix has released the official trailer for season two of The Crown, staring Claire Foy and Matt Smith. Season 2 premieres December 8th, 2017.

There has been a tremendous amount of news about Disney recently which impacts genre. They probably intend to make money off of Star Wars forever, now announcing yet another trilogy. From the Star Wars web site:

For director Rian Johnson, Star Wars: The Last Jedi was just the beginning of his journey in a galaxy far, far away.

Lucasfilm is excited to announce that Johnson will create a brand-new Star Wars trilogy, the first of which he is also set to write and direct, with longtime collaborator Ram Bergman onboard to produce. 

As writer-director of The Last Jedi, Johnson conceived and realized a powerful film of which Lucasfilm and Disney are immensely proud. In shepherding this new trilogy, which is separate from the episodic Skywalker saga, Johnson will introduce new characters from a corner of the galaxy that Star Wars lore has never before explored.

Disney is also moving ahead with their plans to start their own streaming service. They certainly have a far more impressive library than CBS, which is citing its library, along with new shows such as Star Trek:Discovery, in promoting CBS All Access. However one ramification is that new Marvel shows like the ones on Netflex such as Jessica Jones and Daredevil are more likely to appear on Disney’s own streaming service. If this is the case, I hope that Disney doesn’t decide to tone them down to fit in better with other shows on the service.

Disney has also been in talks to buy Fox. While the creation of such a huge studio has massive repercussions, one being discussed by genre fans is that this means that the X-Men and Fantastic Four franchises will be under the same ownership as Disney’s other Marvel characters. This opens the way for cross-over movies between the Avengers and the X-Men, but also might mean that these franchises will receive less attention.

Mr. Robot has been mixed in its second and third season, but last week’s episode was one of the better ones. The episode include significant progress for the plot. More on the episode at Vulture.

Felecia Day has been cast in a key role on The Magicians season three.

We will be seeing the Legion of Superheroes later this season on Supergirl. Laurie Metcalf will also have a guest appearance later this season, playing Winn’s mother.

Damien Darhk has returned to life on Legends of Tomorrow. Screen Rant explained his rather convoluted time line.