Unlike the first season, we didn’t have to wait until the end of the season for the big reveal. (That should be a clue that a major spoiler is coming for those behind). Fans have speculated since the first episode that Eliot was really in prison or a psychiatric institution rather than living with his mother to provide more structure. This week, his psychiatrist asked Eliot where he believed he was. His mother’s townhouse faded away and he admitted to us that he had been suppressing the fact that he was in prison.
Where did the idea come from that you were going to disguise Elliot’s surroundings in this way?
Sam Esmail: It came from a two-prong approach. We knew exactly what the fate of Elliot was at the end of the last season, and we started breaking this season’s storyline. We’re always trying to stay as authentic to Elliot as possible, what he’s going through. Knowing Elliot, from the very first episode, he definitely has interesting coping mechanisms. Even from the pilot, he has this ability to reprogram his life: E Corp was turned into Evil Corp. When we thought about him being in prison, what would be that coping mechanism, this came to mind. The other approach was his relationship to us — to his “friend” — and how we left him at the end of the first season. He basically didn’t trust us anymore, he felt we were keeping things from him. So we wanted to develop that relationship as well. That was the one approach of, “This is what Elliot would do in this situation, to cope with being in prison,” and then the other of keeping it from us because he felt betrayed by us from the first season.
When we spoke at the end of season 1 about the Mr. Robot revelation, you said you would be hesitant in the future to do things that would leave people questioning the reality of the show. Did you have any concerns about doing another big, “This is what it really is!” reveal in that way?
Sam Esmail: I did. I remember bringing it up to the room. The one thing I also told you is I wanted to stay as authentic to Elliot as possible. And the truth of the matter is, the show is about mystery, and there will always be questions and we won’t actually see the full picture all of the time. Having said that, if we can’t invest in what is happening and what is going on, that would become very frustrating, to the point where you wouldn’t feel any stakes. That was the test we ran through with this idea: is this actually happening to him? Is what he’s experiencing still real? And can the audience still buy into this after the reveal? Those answers were obviously yes: the events that we saw were still very much real, and the consequences of them are real, and what Elliot went through is real. It’s just the coping mechanism he used was not exactly what he saw. To me, it was definitely one of those things that prompted a real conversation. Like I think I told you last year, we’re not in it for gotcha moments or shocking the audience, but we’re in it for interesting reveals and deepening and enriching Elliot’s experience. We felt that him going through his prison sentence in this way was more true to life to Elliot than actually having seen it as a prison.
But you understand how fandom works. Having done this two years in a row, you’ve now conditioned them to, whatever you do next, the fans will pick it apart frame-by-frame to explain what’s actually happening.
Sam Esmail: Yeah, well, truth be told, don’t you feel like it’s already happening this season?
True. How did you feel about people having this exact theory of prison after only the season premiere had aired?
Sam Esmail: It was weird. One thing that we always do is we never want to cheat the audience. We never want it to be some extraordinarily contrived thing where we’re basically lying to the audience and what they’re seeing isn’t actually happening, and we’re fooling them. In doing that, and being honest with what is going on, even though the surroundings aren’t actually what they are, we didn’t really hide it that well, right? I didn’t expect people to catch on from the very first episode, but I thought people would start to theorize and catch on. Look, a reveal is great when it’s surprising, but it’s terrible when it feels like a cheat. To me, the fact that some people who guessed it may not be surprised, it verifies that we didn’t cheat anybody, because it adds up and makes sense to them still.
I’m sure much of this will be explained in future episodes, in terms of why Elliot was in prison to begin with, but was Ray a guard in the prison? How much of Ray’s business involved prisoners versus the outside world?
Sam Esmail: That’s going to get revealed in a couple of episodes.
By sending Elliot to prison, you also spend the first half of the season with him physically separate from the other characters, give or take a brief visit by Gideon or Darlene. What did you see as the advantages and disadvantages of having him apart from the rest of the ensemble, other than Mr. Robot?
Sam Esmail: I’m glad you asked that question. Obviously, knowing we were doing this, it was very important for Elliot to address this incredibly internal conflict that sprung on him at the end of the first season: that he has an alter ego that he can’t control. That was the first and foremost issue that I wanted to tackle with Elliot. So of course the isolation of him being in prison really helped that. It meant that we get to basically do this deep dive into his internal battle with his demons. There is not much else for him to do. He couldn’t escape it. So it was great on that level. I knew it was going to be a polarizing choice to go in this direction with Elliot, but for whatever reason, it felt organic and natural. But when I took a step back and looked at the whole season, I realized that, when I think about the sequels that I really love, or second acts of movies or larger stories, they tend to do this: to go into this inward battle after accomplishing this big Herculean hero’s journey. The one uncanny similarity — which I only realized in hindsight — is Empire Strikes Back. At the end of the first movie, you take down the big band, the revolutionaries kind of win, but the second movie opens, they’re still battling, they’re still struggling, the Empire is rebuilding, and literally Luke goes off to another planet for most of that movie to learn to become a Jedi, while his sister is still out there fighting the good fight. This wasn’t something planned, but I looked at it and realized we were literally following that same pattern. And it’s not just with Empire Strikes Back. It’s Godfather Part II. There’s a lot of introspection that happens. That’s often the next stage after this huge external conflict comes to an end. Then it’s, “Well, then what?” It’s a hangover moment, of reflection and going inward. So that direction made sense for our story.
News also came out during the past week that Mr. Robot has been renewed for a third season.
In other genre news, Henry Cavill has teased what will happen to Superman when he returns for the Justice League movie, in light of what happened at the end of Batman v. Superman.
Agents of SHIELDwill be edgier with its move to 10 pm. It is a safe bet it will still be much tamer than the far better Marvel television adaptations on Netflix (one of which won a Hugo Award).
The 2016 Hugo Awards winners have been announced. The award for Best Novel went to The Fifth Season by N.K. Jemisin. The Martian won for Best Dramatic Presentation, Long Form. Jessica Jones: A.K.A. Smile won for Best Dramatic Presentation, Short Form. Unfortunately the awards continued to be tainted by conservative politics.
BBC America has announced that Doctor Who and other genre shows will be represented at New York Comic Con:
Mark your calendars: BBC AMERICA is coming to New York Comic Con in a big way this year. On Friday, October 7, the network will present a block of star-studded panels at The Theater at Madison Square Garden, featuring Doctor Who, with Peter Capaldi making his NYCC debut alongside new companion Pearl Mackie at her first-ever fan appearance. Ahead of its October 22, Dirk Gently’s Holistic Detective Agency will launch a world premiere screening followed by a panel with cast, showrunner, writer and executive producer. And the Doctor Who spinoff Class will have its first-ever U.S. panel with cast, executive producer, and creator of the series.
They included more on the panels including Doctor Who:
BBC AMERICA’s Doctor Who star Peter Capaldi will make his New York Comic Con debut along with the first ever fan appearance by new co-star Pearl Mackie, who joins the series as Bill, the Doctor’s new companion. When Pearl joined the cast, Emmy-winning lead writer and executive producer Steven Moffat teased “a new voyage is about to begin” and “this is where the story really starts.” Fans will get a sneak peek of what’s ahead including the upcoming Christmas Special this December on BBC AMERICA and hints on what’s in store for Steven Moffat’s final season as showrunner. The panel includes stars Peter Capaldi (The Thick of It) and Pearl Mackie (The Curious Incident of the Dog in the Night Time), as well as Steven Moffat (Sherlock) and executive producer Brian Minchin (Class, Torchwood). Doctor Who is a BBC Cymru Wales production for BBC One and a BBC AMERICA co-production.
Stranger Things was the surprise hit of the summer. It was as close to a perfectly structured television show as I’ve ever seen, both telling a complete story in eight episodes and leaving some things open for future seasons. It has an excellent cast, a story which was compelling from the start, and a lot to bring back fond memories of both the 1980’s and previous stories in the genre. The early 1980’s was a perfect period for this story, when kids could roam freely without being immediately available by cell phone, kids would have to ask their science teacher for information rather than looking it up on line, and Cold War paranoia made the background of the story seem a bit more plausible. I briefly discussed the show last week without spoilers. In order to discuss the finale and where the second season might go, major spoilers are unavoidable.
If I had any complaints after the conclusion, it might be that questions which we might not have had time to wonder about while binging were left unanswered. I’m thinking of where the story was at even before the final few minutes when additional teasers for the future were inserted. Fortunately the producers do have an outline which presumably contains information which might answer some of my questions in future seasons.
We know something about the research being done at Hawkins Lab, and how Eleven presumably opened a portal to another dimension. There could be far more going on at the lab, and was there a one through ten?
What happened in the other dimension, which appears to be like ours with the atmosphere destroyed and people no longer alive? Some scenes which looked up to the stars led me to believe it was due to aliens, while the 1980’s time frame also makes me suspect it was the consequence of a nuclear winter. Why did we see only one Demogorgon? Perhaps such monsters, and perhaps other types, are roaming the other dimension, and only this one made it to their version of Indiana. Did such monsters destroy Earth, or were they created by radiation from a nuclear war? The kids faced a Thessalhydra while playing D&D at the end of the episode. Is this what they will encounter next? Is there a connection between their games and what is found in the Down Under? What was the egg which Hopper discovered?
What happened to Eleven and the monster? If this was a completed story we might assume she died after saying goodby to Mike. However, as we are dealing with parallel universes and the ability to travel between them, it wouldn’t be surprising if a sequel shows that they did go to another dimension. Deaths always must be questioned if there is no body–and in this show even a body did not prove death. If two dimensions were shown this season, are there other dimensions which might come into play in future seasons?
It is plausible that Will remained alive as long as he did by hiding out in alternate versions of places he knows in his universe, but how did he communicate with the lights? Even if messing with the wires in one dimension affected them in the other dimension, he showed remarkable accuracy in turning flashing specific lights by specific letters. Barb was not so fortunate, but to maintain some degree of horror I think it was necessary for her to have been killed. Most of the characters who were put in danger did survive. Will was alive in the end. His mother and Hopper were both captured but managed to be released. The kids survived the final attack of the monster in their school Someone had to actually die for the monster to be menacing in the end, and a character such as Barb who was only in a handful of scenes was the obvious “red shirt.”
The final few minutes of the series went further in providing loose ends to tie up in the future. What happened when Hopper went in that car. Why was he leaving Eggos Waffles in the box in the woods? Either he knew that Eleven was out there and was leaving her favorite food for her, or he perhaps he was leaving them to see if she returned to take them. I think the later is more plausible as if he was actually feeding her he would have presumably left more.
The biggest sign that we have not seen the last of the Upside Down was when Will coughed up the slug and briefly saw the other dimension. Was that just a mental flash back, or was there a breakdown between the dimensions in the bathroom? Is this the original Will, or yet another type of fake, this time created in the Upside Down? What about Will’s mother and Hopper? Both were in the Upside Down and had breathed in the air.
The Duffer brothers have verified in various interviews that they are hoping to produce a second season involving the same characters, with additional ones added. There will be a time jump of one year which makes matters much simpler when dealing with children actors, and allows for the story to have advanced.
Here are some excerpts of interviews with Matt and Ross Duffer:
How much do we know about Eleven’s true origins at this point, and how much did you want to keep a mystery?
Ross: We get the hint that her mom was involved in the experimentations back in the day resulting in her being born with these powers, but what we wanted to do with the show — and this season specifically — was mostly seeing the mystery and these extraordinary things through the eyes of these ordinary characters. By the end of the show they don’t know or understand everything. That is purposeful.
We do cut away to the government occasionally for these pops of mystery or horror, but what we didn’t want was to have a scene of the scientist just sitting down to explain everything. We wanted to slowly peel back layers of this mystery for audiences through the eyes of these very ordinary people. It’s not all solved by the end of the season. We wanted to resolve the main mystery of Will being gone, that was the story of this season.
Do you see the government or science conspiracy angle as a long-term mystery for the show?
Ross: There’s a lot there we don’t know or understand. Even with the Upside Down, we have a 30-page document that is pretty intricate in terms of what it all means, and where this monster actually came from, and why aren’t there more monsters — we have all this stuff that we just didn’t have time for, or we didn’t feel like we needed to get into in season one, because of the main tension of Will. We have that whole other world that we haven’t fully explored in this season, and that was very purposeful.
Matt: We wanted a simple drive and a somewhat simple mystery with bizarre pops of supernatural horror and then add a larger mythology behind this rift that we only know and refer to as the Upside Down because that’s what the boys decide to call it. Everything they’ve learned about it is kind of hypothetical. They’re theorizing based on their knowledge from fantasy gaming and their science teacher, Mr. Clarke. That’s as much as we get to understand it. I think part of it is us thinking in terms of horror, it’s scarier when you don’t fully understand what’s happening. If you were to encounter something from another world or dimension, it would be beyond comprehension. We talked a lot about Clive Barker and his stories. They’re very weird, and the weirder it is, the more inexplicable it is, the scarier it is.
As you head into future seasons, have you thought about how much of that 30-page document you want to reveal and explore?
Ross: We leave these dangling threads at the end. If people respond to this show and we get to continue this story — we had those initial discussions of where we might go with it. If there was going to be a season two, we would reveal more of that 30 page document, but we’d still want to keep it from the point of view of our original characters.
Even though you tell a complete story within the season, you end on a couple of major cliffhangers — the first being Eleven’s disappearance. Did you want to hint at where she’s been with the scene of Hopper leaving Eggos in the woods?
Matt: Obviously something happened to her when she destroyed and killed that monster and we don’t know what she went. Hopper is left with this guilt because he sold her out. We wanted to leave it sort of mysterious exactly what he knows… Have there been sightings in the woods or is he hoping she’s out there or has he already made contact with her? We don’t answer any of that, but we like the idea of potentially putting her and Hopper together.
It also seems that the Upside Down has changed Will or maybe he’s brought some of it back with him. What can you say about the flash he has in the bathroom?
Ross: We love the idea that [the Upside Down] is an environment that is not a great place for a human being to be living in. Will’s been there for an entire week, and it’s had some kind of effect on him, both emotionally and perhaps physically. The idea is he’s escaped this nightmare place, but has he really? That’s a place we wanted to go and potentially explore in season two. What effect does living in there for a week have on him? And what has been done to him? It’s not good, obviously.
They discussed more of these plot points with IGN:
IGN: What can you say about where Eleven is? That’s a very open question, of course, since there are different worlds you’re dealing with here.
Ross: It is. We wanted to leave it purposefully ambiguous. We always, from the very beginning, liked this sort of childlike idea that this escapee from this facility with these amazing powers would be able to just move into Mike’s basement and they’d have this wonderful life together and she’d go to school. It’s not that simple. The goal is to make it as complicated as possible, and without going into too much detail, to really tear them apart at the end of that season, to make things much more difficult. But we love Eleven.
Matt: But the great thing about having a portal to another dimension is that you’re not boxed in, narratively. There’s a lot we can do.
Ross: What did James Cameron say? No one’s ever dead in sci-fi.
IGN: Will clearly has been changed by this experience, it doesn’t seem in a great way. But he’s not the only one that went over there. Should we assume he might not be the only one affected?
Ross: That’s a good question. Though I will say that Will obviously was in there much longer. He had that thing hooked up to him. He went through a much more traumatic experience. A big part of Season 2 that we’ve been discussing is what is that effect? Did it affect anyone else? But specifically, is Will okay? The short answer being no.
Matt: But you’re absolutely right, three of the other characters were in there.
Ross: And they took off their helmets. And we know it’s a toxic environment. Nancy was in there too. Yeah, that’s an interesting question…
IGN: Is that the cool thing about doing a time jump? Asking what has Will been like in the year in between?
Ross: Yeah, that’s exactly it. And how have these characters moved on with their lives and not just in the plot and supernatural [aspect] but also just in terms of their characters and what have they done to fill that time?
Matt: We like that they’ve all had a very traumatic, nightmare experience together and after it’s over they kind of try to sweep it all under the rug. Season 2 would be very differently, structurally. It would be that everything seems great on the surface and then there are hints that things aren’t okay or that there are lingering effects from what happened last year. The initial instinct is to push that back and sweep that crap back under the rug but eventually it becomes impossible to ignore and so they have to confront the repercussions of everything they’ve experienced. I like to think about Stephen King’s It too. — that’s a big time jump. They jump like thirty years. But the idea that the evil is still there and comes back to haunt them and one of the characters finds out about it and kills themselves immediately. That image always stuck with me.
IGN: We see Hopper go for a little meeting at the end there. What can you say about everything he was involved in and how it might open up the world?
Ross: The intention in the scene when he gets in the car – and we want to get into this in the next season – is the clean up of what happened and the mess of all this and Will dying and coming back to life, whatever happened at the school, and the dead bodies… This is not a simple clean up job. It’s complicated. We have all these characters that know that these crazy things happen. We liked the idea that, sort of lead by Hopper, our characters are drawn closer to the government, in terms of having to make a bit of a deal with the devil. To us, that’s an exciting place to take our story.
Matt: But also the idea of going back to the laboratory and pull back the curtain a little bit. Maybe they brought someone new in. It’s not as evil and mysterious as it was in Season 1. We might start to get into what they’re doing a bit little more. Maybe they seem a little bit more friendly… as least at the beginning. A lot of the agents involved in that project are dead.
Ross: The monster and Eleven did a clean sweep of that whole operation, really.
Matt: So it would be new people which I think is cool. I think our initial instinct, when you talk about all of this stuff and “Oh god, this is all such a pain in the ass. We created such a mess.” But then we decided let’s just lean into the problems this created.
Ross: And even someone like Barb, where we left them, her poor parents think she’s just run away. There’s no closure there at this point, which I think is another reason why audiences are reacting like that. They’re like “You saved this boy, but…” What we were trying to do with that last scene in the hospital when Nancy leaves and Jonathan catches her right as she’s going is that there isn’t closure for Nancy. There isn’t closure for Barb’s parents. There is still, despite the relief that our boys are feeling, there still was tragedy here. We want to make sure that we don’t forget about that. We don’t want to forget about Barb.
Collider asked about the benefits of working with Netflix:
Eight episodes was the perfect length for the Season 1 narrative. Was that your decision, to keep it that tight?
MATT: Yes, it was.
ROSS: When we first pitched it to Netflix, we said, “This is an eight-episode story,” and they were like, “Great!” That’s the amazing thing about Netflix. They do not dictate. They don’t tell anyone that it should be 10 episodes or 13 episodes. They just say, “What do you need to tell your story?,” and that’s an amazing freedom that most storytellers who are working in film or TV haven’t had. This is a very recent thing. On television, you’ve gotta have a certain number of breaks for commercials. You’re working on a very clear structure.
MATT: On Wayward Pines, we were writing to commercial breaks.
ROSS: And you know how many episodes it has to be because they’ve got so many slots. Or with a film, you know it can’t be too long ‘cause you can’t get enough showings in. You’re very locked in. So, I think it’s an exciting time. We can play around a bit with form and length, and all of that, and it really just boils down to what we need to tell the story.
MATT: But even though this show has been successful, there’s no pressure to make it 13 episodes. People say, “They need to make way more episodes,” but I like to think one of the reasons it works for people is because it’s paced and it feels like a movie, and that’s because it’s not too long. I think, if we pushed it to 13 episodes, we’d have to start coming up with all these bullshit adventures they’re going on, that aren’t directly tied to the main tension. Eight felt about right. But if we’re developing Season 2 and it feels like seven or nine or eleven, Netflix would support any of those lengths.
How long do you see this series running? Have you thought about future seasons?
ROSS: We don’t know, specifically. We’re very weary of making it go on past the point it should. You want to end on a high note. That’s the goal. We’ve had initial discussions, but we haven’t quite landed on it.
One reason “Stranger Things” is effective is because the monster is revealed slowly. At first, it’s only glimpses. That out-of-sight, fear-of-the-unknown quality feels very “Jaws.”
Ross: “Jaws” was a big one. It’s a classic. The shark not working while making that movie made it much better. Also, we looked a lot at Ridley Scott’s “Alien.” On YouTube, there’s a cut of all the instances where you see the alien in that first movie, and it’s a couple minutes long. And that’s a two-hour movie. I think the reason it’s so scary is that, when it does appear, it has a certain amount of impact. So we thought, OK, we’re going to see the shadow in Episode 1, because we knew we had eight episodes. We were trying to slowly reveal it, until you finally saw the full thing. We don’t really deal with it until Episode 8. It’s a dude in a suit, and I remember reading old interviews with Ridley Scott about “Alien.” The studio was upset with him for it because it’s an amazing alien suit and you’re not shooting it. But the reason is because so much of it will look like a guy in a suit, and so much of it is that what you don’t see is much scarier. We tried to go back to that old-school style of filmmaking…
I want to pose a logistical plot question: Why did Will survive the Upside Down but Barb didn’t?
Matt: Right, I guess we think of it as ― and this is continuing with the “Jaws” references ― it’s the other dimension, the Upside Down, where the shark lives, and every once in a while it comes out of that ocean into our world on the surface and then it grabs a victim and pulls them down to the Upside Down. You saw Barb at the top of Episode 3 in the Upside Down. Just imagine that’s a world, and Barb tried to escape and failed to escape, but Will was sneakier, so he was able to escape. He was able to hide. He goes, initially, to that cubby in Episode 3 inside the Byers’ house, which is why Joyce is able to communicate with him. We had this whole backstory for what Will is doing, but we don’t see it all.
Ross: It’s more like the monster bringing him back to the net, which is why Hopper and Joyce are able to distract Will into being held in this net like a spider caught in its web. He’s brought there by the monster for eating later. Is he there for other reasons? We don’t know. We have ideas.
The way the season ends, there are enough questions answered for it to almost stand as a complete series. But the many unresolved mysteries set up an obvious next chapter. How much of the backstory regarding Dr. Brenner’s experiments and Eleven’s history did you have in place from the get-go?
Matt: We had ideas that we were sort of feeling out. We have a lot more backstory built in for Brenner and Eleven. Every time that we were writing scenes in the Hawkins Lab, we wanted to stop writing them, just because it seemed like we wanted to experience as much of it as possible in the present day and through the eyes of our ordinary characters. We just wanted to leave that as mysterious as possible. I hope that, with the mystery, people are responding to it and it’s not frustrating. But to us, the sci-fi elements are so much more fun if we’re understanding it via our characters. I like that basically everything we understand about what is going on is pretty much through the boys. And they’re only able to understand it through Dungeons and Dragons terminology and by talking to their science teacher, Mr. Clark. It’s all sort of hypothetical. I never wanted any scenes in the laboratory where you have Brenner and the scientists sitting around discussing what’s going on. And Eleven even doesn’t fully understand how she wound up where she wound up and what their plans for her are, so there are very few scenes with Brenner without one of our other main characters. The scenes that are with Brenner and not our main characters have almost no dialogue in them.
Ross: Moving forward, we’re going to get more into detail about the monster and where it came from and what the Upside Down really is. But with this season, we talked a lot about “Poltergeist.” At the end of the day, what really matters in “Poltergeist” is that Carol Anne is missing and they have to go through a portal in the closet to get her back. That matters more than the backstory. People want explanations for all that, so while we have answers for all this, what we really wanted to get from this first season is that this gate opens to this other dimension. What it really boils down to is, Will is in there and we have to get him back. The hope was that, because we resolved that, the first season will be satisfying to people and work as a stand-alone. Hopefully we get to go back and explore more of this stuff.
While Stranger Things brought us back to the 1980’s, Mr. Robot had a surprising beginning by opening as if it was a 1990’s sit-com, including appearances from Alf. If you haven’t watched it yet, do not skip the commercials, as they play into the illusion of a 1990’s television show. Of course, like other less obvious examples on the show, we are seeing what is happening in Eliot’s head as opposed to reality. There was even a plausible explanation for this, which led to a reconciliation with the imaginary Mr. Robot portion of him, after attempts by each to destroy the other earlier in the season. While we still do not know what happened to Tyrell Wellick, he does have a symbolic appearance here also.
Bryan Fuller is slowly teasing news on Star Trek Discovery. It will take place ten years before the original show, bridging events between Enterprise and the original Star Trek. There will be seven lead characters including a gay character, and a female lead who plays a lieutenant commander, providing a different perspective than leading with the Captain as on other series.
The bathroom at The Way Station bar in Brooklyn is bigger on the inside than on the outside. The video above has a tour of the TARDIS themed bathroom.
In other Doctor Who news, the 1996 movie staring Paul McGann is being released on Blu-ray later this year.
Jenna Coleman and Karen Gillan had a joint appearance at Boston Comic Con. Hopefully someone videotaped it and will upload it soon.
Kenny Baker, who played R2-D2 in the Star Wars movies, died at age 81 during the past week.
Agents of S.H.I.E.L.D. is sliding into its last few episodes for the season three finale, and they’re going for the hype by promising someone is going to die in promo art. The illustration is an homage to the cover of Amazing Spider-Man #121; that’s the one hinting at the death of you-know-who. Uh-oh. The art by Greg Land will actually be available as a variant cover in comic book shops, too. It will be a rare catch for Civil War II #0.
The official synopsis for the penultimate episode of the season ties into Captain America: Civil war, as the first season tied into Captain America: The Winter Soldier.
With only two episodes left before S.H.I.E.L.D. loses one of their own, Daisy’s prophecy ticks closer towards a major loss, as the aftermath of the events of “Marvel’s Captain America: Civil War” force S.H.I.E.L.D. to register the Inhumans, on “Marvel’s Agents of S.H.I.E.L.D.,” TUESDAY, MAY 10 (9:00-10:00 p.m. EDT), on the ABC Television Network.
Nonetheless, in an exclusive interview with Express.co.uk, Mikkelsen has revealed that the story is far from over – and that there is hope for a reboot yet. When asked whether the series still has the potential to be picked up by another network, the actor revealed that the ball is firmly in show creator Bryan Fuller’s court.
“It all depends on Bryan. He is the key, the base, the heart,” Mikkelsen said. “We will wait and see what happens next in his career. But we all know that we can easily pick this up in two or three years, there are breaks in the stories. We could pick it up, say, four years later. If Bryan is up for it, we will all go for it.”
But will Fuller be up for it?
“He loved it. It was his baby. Let’s wait and see,” the 50-year-old actor teased, a knowing glint in his eye.
After a successful prequel, Netflix is returning to Wet Hot American Summer once again with Wet Hot American Summer: Ten Years Later. This time the cast will look more like the ages they are playing, but it was amusing during First Day of Camp to see the adult actors playing themselves as teenagers in the original. That’s except for Paul Rudd, who seemed to have barely aged, possibly due to a painting in the attic.
Avengers: Age of Ultron written and directed by Joss Whedon (Marvel Studios; Walt Disney Studios Motion Pictures)
Ex Machina written and directed by Alex Garland (Film4; DNA Films; Universal Pictures)written and directed by Alex Garland (Film4; DNA Films; Universal Pictures)
Mad Max: Fury Road written by George Miller, Brendan McCarthy, and Nico Lathouris, directed by George Miller (Village Roadshow Pictures; Kennedy Miller Mitchell; RatPac-Dune Entertainment; Warner Bros. Pictures)
The Martian screenplay by Drew Goddard, directed by Ridley Scott (Scott Free Productions; Kinberg Genre; TSG Entertainment; 20th Century Fox)
Star Wars: The Force Awakens written by Lawrence Kasdan, J. J. Abrams, and Michael Arndt, directed by J.J. Abrams (Lucasfilm Ltd.; Bad Robot Productions; Walt Disney Studios Motion Pictures)
BEST DRAMATIC PRESENTATION (SHORT FORM)
Doctor Who: “Heaven Sent” written by Steven Moffat, directed by Rachel Talalay (BBC Television)
Grimm: “Headache” written by Jim Kouf and David Greenwalt, directed by Jim Kouf (Universal Television; GK Productions; Hazy Mills Productions; Open 4 Business Productions; NBCUniversal Television Distribution)
Jessica Jones: “AKA Smile” written by Scott Reynolds, Melissa Rosenberg, and Jamie King, directed by Michael Rymer (Marvel Television; ABC Studios; Tall Girls Productions; Netflix)
My Little Pony: Friendship Is Magic: “The Cutie Map” Parts 1 and 2 written by Scott Sonneborn, M.A. Larson, and Meghan McCarthy, directed by Jayson Thiessen and Jim Miller (DHX Media/Vancouver; Hasbro Studios)
Supernatural: “Just My Imagination” written by Jenny Klein, directed by Richard Speight Jr. (Kripke Enterprises; Wonderland Sound and Vision; Warner Bros. Television)
Barack Obama had his final appearance at the White House Correspondents’ Dinner (full video above). He said that “if this material works well, I’m going to use it at Goldman Sachs next year,” mocking Clinton’s paid speeches. He also made fun of her attempts to appeal to young voters: “Look, I’ve said how much I admire Hillary’s toughness, her smarts, her policy chops, her experience. You’ve got admit it though, Hillary trying appeal to young voters is a little bit like your relative who just signed up for Facebook. Dear America, did you get my poke? Is it appearing on your wall? I’m not sure I’m using this right. Love, Aunt Hillary.’”
Obama also mocked Donald Trump: “There’s one area where Donald’s experience could be invaluable, and that’s closing Guantanamo. Because Trump knows a thing or two about running waterfront properties into the ground.” Plus he praised his foreign policy experience: “They say Donald lacks the foreign policy experience to be president, but in fairness, he has spent years meeting with leaders from around the world — Miss Sweden, Miss Argentina, Miss Azerbaijan.”
Some of Obama’s top jokes can be read here and here.
Bored with the current set of presidential candidates? Take a look at Andrew Basiago, who claims to have traveled back in time and to have teleported to Mars in the 1980’s with a young Barack Obama. It is surprising that Obama has never mentioned this.
The X-Files concluded last week, with my discussion of the prior episodes appearing here. The six-episode revival rebooted the mythology storyline, and then wound up the earth on the brink of destruction, plus a UFO flying overhead. It is quite dissatisfying if you want a coherent mythology storyline for the season. Instead it is necessary to think of a cliff hanger on The X-Files as being more like the annual cliff hanger on Dallas as opposed to a complete genre story. It was enough to have me wanting to see more, so in the business of television it was a success.
Another plus was the introduction of Robbie Amell and Lauren Ambrose as recurring characters, the mini-Mulder and mini-Scully. I don’t know if they could carry the entire franchise on their own in the future, but at very least they reduce the burden on David Duchovny and Gillian Anderson, which could make a difference in making future seasons.
TV Line spoke with Chris Carter about the finale. Here is a portion:
TVLINE | Let’s say the planets don’t align and there are no movies and no more seasons — are you OK with ending the series on that note?
I can tell you this: Fox owns this show. I can’t imagine, with the ratings that we’ve got and the way we ended this season, that there won’t be more X-Files. They will find a way to get that done. Because I spoke about it briefly with [Fox CEO] Dana Walden today, so there’s an appetite there and… a chance certainly to find how we’re gonna get ourselves off this precipice.
TVLINE | We had that shot of Alien Scully at the end of the cold open, which Fox released weeks ago. Was that just to mess with us?
[Laughs] Well, if Scully believes that she has alien DNA, this is something that’s going on in her subconscious. She’s possibly as alien as she is human, and that was playing with that idea.
TVLINE | Between the first episode of the revival and the finale, Scully and Mulder feel as though they’re growing back together — maybe not romantically, but they seem to want to be in each other’s company again.
Yes. There’s tension there, because they love each other and have, I think, since the first season — maybe even from the moment they first met. There’s a tremendous amount of love and respect there. That is what still exists, even if they’re not back together, I think you saw through our six episodes a warming, a thawing of whatever cold places they’d both found themselves in. And when they are arm in arm, or hand in hand, walking in front of Mulder’s house there [in Episode 5, “Babylon”], I think that’s a moment, for me, of a thawing of the situation.
TVLINE | William was referenced in a bunch of the episodes, then again right before the cliffhanger. In your mind, do you know where he is and what he’s up to?
[Laughs] I can’t tell you.
TVLINE | Of course you can’t! But do you know?
Well, if anyone knows, it’s me.
The big reveal of the week (major spoilers) was the identity of Zoom on The Flash. Variety discussed this reveal with Andrew Kreisberg:
While fans may be forgiven for thinking that the Zoom storyline seems eerily reminiscent of last season’s twist, which revealed that the Reverse Flash, Eobard Thawne (Matt Letscher), had assumed the identity of scientist Dr. Harrison Wells (Tom Cavanagh) in order to gain the trust of Barry Allen (Grant Gustin), executive producer Andrew Kreisberg tells Variety that the parallel is entirely by design.
“For us, it could only happen because of what happened last season,” Kreisberg explains. “For Barry and the others, as much as they were stung by Wells/Thawne’s betrayal, he had been their mentor and friend and they all felt that vacuum when he was gone. Jay had been watching them and knew that so he was able to masterfully step into the role each of them needed. He became a friend and mentor to Barry. A love interest to the heartbroken Caitlin. He skillfully played them all.”
The twist is particularly surprising given Jay’s iconic status in the DC universe, but Kreisberg says that fan expectations helped conceal their master plan for Zoom. “We knew there’d be a fair amount of the audience who would know who Jay Garrick was and would take the character and anything he said at face value because of his past history,” he points out. “With this, we were better able to hide the ball as it were as to Zoom’s true identity. Who would suspect the big bad was the classic hero from the comics?”
“The consequences of Civil War will have an even more significant impact [than The Winter Soldier]. In Civil War, we’re going to change the Marvel Cinematic Universe’s Psychology, and it’s an extreme shift.” He added: “Winter Soldier was a political thriller; this is a psychological thriller.” Now, there have been a lot of rumours about how the end of the movie is going to play out, and Anthony went on to promise that fans should expect a “very dramatic ending that will be controversial for a lot of people.”
Netflix has released the above trailers for season 2 of Daredevil. The first is discussed here and the second, featuring Elektra, is discussed here. Den of Geek also has a spoiler-free review of the series, which will be released on March 18.
“When I talk about inclusivity its not excluding gay characters, it’s about inclusivity so of course,” Abrams said at the U.S.-Ireland Alliance Oscar Wilde Awards on Thursday when asked if the franchise might include a gay character in the future. “To me the fun of Star Wars is exploring the possibilities, so it seems insanely narrow minded to say that there wouldn’t be a homosexual character in that world”
The six episode revival season of The X-Files concludes Monday. The series was worthwhile for old fans but I couldn’t recommend it to others. Those who have not seen it would be better off watching some of the top old episodes. The original series ended with a convoluted mythology which was no longer making any sense. For the revival they dispensed with much of it. Spoilers ahead: Mulder now believes that he was being intentionally deceived, leading him to come up with many false conclusions. Rather than an alien threat, it now appears that humans killed an alien years back and stole their technology, with plans to use it to conquer the earth.
Some of the episodes are stand alone. For fans, the most fun was the third episode, Mulder & Scully Meet the Were-Monster. The first episode was a mythology episode in that it got Mulder and Scully back together. The second episode to air did have a suggestion of the conspiracy with the Cigarette Smoking Man (old Alec Sadler to Continuum fans) appearing at the end. However, this was originally intended to be the fifth episode, and there has been nothing more on this. Presumably it will play a key part in the final episode, which it appears might not be the end. Variety reports:
“The X-Files” reboot has been a major success for Fox, but will there be more episodes after the event series wraps this upcoming Monday?
While there are no firm plans at this time for a second round of episodes, with the ratings proof, Fox execs are undoubtedly discussing the possibility of ordering more episodes. Plus, the network has been promoting Monday’s finale as the “season finale” — not the “series finale.”
“We said before it aired that we would love to do more, and we are over the moon with the performance. So far, the response has been really encouraging,” Fox entertainment president David Madden tells Variety, speaking in an interview conducted earlier in “The X-Files” season.
He adds, “We haven’t talked to the talent yet about Season 2 in any more definitive way than we had prior to airing the show, but certainly, it seems like there’s an audience responding to the show that would love to see more episodes.”
…Insiders tell Variety there are no official conversations under way regarding the future of the franchise, but Fox would love to make more “X-Files” happen, if they can — the main hurdle would be getting the schedules of Chris Carter, Gillian Anderson and David Duchovny to align, given their other commitments.
When asked about the possibility of a second rebooted season last month at the Television Critics Association press tour, Fox bosses Dana Walden and Gary Newman also touched on the talent subject, saying, “The biggest impediment to going forward with ‘The X-Files’ is the schedule of David and Gillian and, to an extent, Chris…but even the other night at the premiere, we were all laughing and joking that we would love to do this again. So we would be on board if schedules can be worked out.”
Long before the six revival episodes aired, Duchovny talked to Variety about the possibility of returning for more episodes.
Agent Carter has been excellent this year, I think better than the first season. It is winding down with two episodes to be aired back to back again before the finale. Agents of SHIELD will return on March 8 with promo above.
Comic Book Resources has a report on how Brett Dalton (Ward)’s character will be used after having been killed by Coulson before the midseason break. (Some might consider this spoilers):
Since the episode aired, fans have speculated about the comic book roots of Ward’s surprising transformation. While speaking at Wizard World Portland earlier today, series star Elizabeth Henstridge (who plays Jemma Simmons) let slip Ward’s new identity. As it turns out, the fans were right.
Discussing how her character deals with the constantly shifting circumstances of the show’s world, Henstridge said “…and now Ward is Hive and takes on the memories of people he’s killed, so that’s going to have some interesting situations.”
Though a brief mention, her statement is confirmation that Hive is now part of the Marvel Cinematic Universe. Created by Jonathan Hickman in his “Secret Warriors” series, Hive is a mass of genetically engineered parasites created by Hydra to personify the best qualities of the organization and the individuals therein. The parasites latch onto a human host, increasing its strength while absorbing its memories.
The TV show has clearly taken a different route with the character, as it has already been revealed that it is an Inhuman, and that freeing the creature and harnessing its powers is the reason Hydra was originally founded. Still, the increased strength and memory absorption remain part of its power set.
Orphan Black returns on BBC America on Thursday, April 14th. The official trailer (which shows a lot) is above. Here is BBC America’s description of the season:
Season 4 of the drama will see leader-of-the-pack, Sarah, reluctantly return home from her Icelandic hideout to track down an elusive and mysterious ally tied to the clone who started it all — Beth Childs. Sarah will follow Beth’s footsteps into a dangerous relationship with a potent new enemy, heading in a horrifying new direction. Under constant pressure to protect the sisterhood and keep everyone safe, Sarah’s old habits begin to resurface. As the close-knit sisters are pulled in disparate directions, Sarah finds herself estranged from the loving relationships that changed her for the better.
Ex Machina, Written by Alex Garland Inside Out, Screenplay by Pete Docter, Meg LeFauve, Josh Cooley; Original Story by Pete Docter, Ronnie del Carmen Jessica Jones: AKA Smile, Teleplay by Scott Reynolds & Melissa Rosenberg; Story by Jamie King & Scott Reynolds Mad Max: Fury Road, Written by George Miller, Brendan McCarthy, Nick Lathouris The Martian, Screenplay by Drew Goddard Star Wars: The Force Awakens, Written by Lawrence Kasdan & J.J. Abrams and Michael Arndt
Tim Kring discussed the recently concluded Heroes Reborn miniseries, including whether Heroes will return (not that I see much point in any more):
Have you had any indication as to whether NBC are open to another miniseries?
It was very important that this be a stand-alone event. In looking back at the original series, I was not comfortable with the ongoing serialized saga model of the show. It was extremely difficult to sustain, and relied heavily on cliffhangers that kept attempting to top themselves each episode. I believe the show always wanted to be rare and special, and as I have said it is impossible to be rare and special when you on the air all the time. We had orders of up to 26 episodes a year on the original series. Each one of these episodes is like a mini movie, and we just could not maintain the quality with that heavy of an order.
As for Heroes Reborn, there was literally never a word of discussion with the top brass about doing more episodes. However, I think it was always expected that when the 13 episodes came to an end we could gauge whether or not there was an appetite for another series somewhere down the road that would tell a completely different story in the Heroes saga. We wanted to keep the door open by teasing a tiny bit of story to come, and I certainly have ideas about what that story would be, but I have yet to have any of the initial discussions about this with NBC.
Daredevil Season 2 returns on Netflix on March 18. Trailer above and Entertainment Weekly has further information.
Unbreakable Kimmy Schmidt returns on April 15 for its second season, and the show has already been renewed for a third season. Teaser above (which does not appear to contain new material).
Ashley Judd is the latest big name star added to the cast of the Twin Peaks revival. Of course to Star Trek fans, she will always be Ensign Robin Lefler.
There has been a reduced television schedule so far this year, (giving me time to watch the second seasons of Catastrophe, Mozart In the Jungle, and Tranparent), but many shows are starting or coming back soon. Blastr has a list of nine science fiction shows premiering in January. I have already discussed Legends of Tomorrow and the revival of X-Files several times in the past. The trailer for Legends of Tomorrow,which premieres on CW on Januray 21 is above. ScreenRant discussed Sara Lance’s mental state on the new series with Caity Lotz.
As for the three shows I mentioned watching above, Catastrophe‘s second season was broadcast in the U.K. on Channel 4 late last year but is not availably yet on Amazon, while the second seasons of the other two shows recently became available. The first season of Catastrophe, which I ranked as the best new comedy of 2015, is available on Amazon.
Getting back to the science fiction shows premiering this month, I have heard some favorable buzz for The Shannara Chronicles which began on January 5 on MTV. Nerdist interviewed the executive producer, Miles Millar. Other shows on the list which have received the most interest so far have been The Magicians (with Syfy streaming the pilot early) and Colony (with initial reviews being better for the first). Initial buzz has been negative for Second Chance, and there are questions as to whether Lucifer can make it on a major network.
There will be many additional genre shows premiering later in the year, along with the return of other shows. What Culture has a list of original shows appearing on Netflix this year, including Daredevil, which returns on March 18 (trailer above).
Sherlock returned for a single episode,The Abominable Bride, on New Year’s day. Those of us expecting a self-contained story in Victorian times were surprised by what was actually done with the episode and how it actually played into last season’s cliffhanger.
ABC has ordered a pilot for the Agents of SHIELD spinoff, Marvel’s Most Wanted. The series will center on Bobbi Morse (Adrianne Palicki) and Lance Hunter (Nick Blood).
Among the shows I’m most interested in seeing, 11.22.63 premiers on Hulu on February 15, with new episodes being released weekly as opposed to all episodes being released at the same time as on Netflix and Amazon. (Trailer above.) There will be some changes from the Stephen King novel. More here and here, plus J.J. Abrams also addressed the controversy over the female lead in Star Wars: The Force Awakens (reviewed here) being left out of the Star Wars themed Monopoly game.
In my review of Star Wars: The Force Awakens I noted how the novelization has filled in some plot holes. Mashable has more from the novelization. In addition, the script has been released which also provides further explanation of some plot points.
J.J. Abrams also says that Person of Interest will probably end after this season, which is no surprise considering how it is receiving a reduced thirteen episode run and has not made the schedule for this season yet. As long as it ends well this season, that is fine with me. The show gradually changed over time from primarily a procedural show to a true science fiction show, and it is better to have it end well as a great genre show as opposed to continuing indefinitely as a typical CBS procedural.
Like Person of Interest reinvented itself this year, Blacklist has also been considerably different from how it began. It was also off to an excellent start in this week’s episode. Unfortunately I don’t know how much longer they can continue this storyline for.
The trailer above shows how the second season of Outlander will be much different from the first when it returns in April.
Besides all the speculation as to the fate of Felicity, there have been rumors that Stephen Amell would leave Arrow, presumably ending the series, in the next year or two. Amell responded by saying his contract runs through 2019 (which doesn’t guarantee that CW will continue the show that long).
Laura Dern has been added to the cast of Showtime’s revival of Twin Peaks. While her role has not been announced, there have been rumors that she might play Special Agent Dale Cooper’s previously unseen secretary, Diane. The cast also includes Kyle MacLachlan, Sheryl Lee, Sherilyn Fenn, Jennifer Jason Leigh, Robert Knepper, Balthazar Getty and Amanda Seyfried. The first three were from the original cast.
Class, the Doctor Who spinoff from BBC Three taking place at Coal Hill School, will also be available on BBC America sometime in 2016, but no date has been set yet.
Doctor Who has made the short list for the National Television Awards in the Drama category. It is up against Downton Abbey, Broadchurch, and a show I am not familiar with named Casualty. Humans is among the nominees for New Drama. Downton Abbey has completed its run in the U.K. (doing a good job of concluding the series) and has resumed in the United States.
BBC America is also working on a new television adaptation of Douglas Adams’ Dirk Gently series.
There is now hope that Parenthood will return in some form, with Jason Katims being inspired by the movie Boyhood to return to the lives of the major characters over time. (Review of the finale here). It is interesting that two of the shows which might return in such a manner both star Lauren Graham, with a revival of Gilmore Girls now being filmed. Katims made it sound unlikely that the rumored follow up of his other show, Friday Night Lights, will return.
Yahoo Screen has been discontinued, making it even less likely that Community will ever return.
Update: News came in overnight that David Bowie died of cancer. The New York Times reports:
David Bowie, the infinitely changeable, fiercely forward-looking songwriter who taught generations of musicians about the power of drama, images and personas, died on Sunday, two days after his 69th birthday.
Mr. Bowie’s death was confirmed by his publicist, Steve Martin, on Monday morning.
He died after having cancer for 18 months, according to a statement on Mr. Bowie’s social-media accounts.
“David Bowie died peacefully today surrounded by his family,” a post on his Facebook page read.
His last album, “Blackstar,” a collaboration with a jazz quartet that was typically enigmatic and exploratory, was released on Friday — his birthday. He was to be honored with a concert at Carnegie Hall on March 31 featuring the Roots, Cyndi Lauper and the Mountain Goats.
Following is a video of David Bowie’s Space Oddity, recorded by Commander Chris Hadfield on board the International Space Station in 2014:
The Force Awakens was the sequel to Star Wars we were looking for after the original trilogy. While J.J. Abrams has never understood Star Trek, he is a perfect fit for a franchise such as Star Wars which centers more on action and mythology than the type of ideas which characterize Star Trek when done well. Rather than rejecting parts of of the original as with Star Trek, J.J. Abrams made a sequel to Star Wars which was a true homage to Star Wars: A New Hope. The movie has many parallels to the original, but does introduce a new generation of characters and mix things up enough to keep it fresh. It avoided the mistakes of the second trilogy. There was no Jar Jar Banks, and it presented a cuter version of R2-D2 for a new generation. This review contains major spoilers, along with looking at some of the questions left unanswered in the movie.
In many ways, The Force Awakens was a retelling of the original story for a new generation. Both The Force Awakens and A New Hope have much of the early action on a desert planet with a droid carrying important information playing a major part. Therefore it did not came as a surprise that the escape was on The Millennium Falcon. Having it sitting there unused for years but all fueled up and ready to fly is just one of many plot holes which are easily ignored. Nor was it a surprise that Han Solo showed up. Many of the scenes on The Millennium Falcon felt quite familiar. Rather than repeating one classic scene, Harrison Ford did provide another reference to the original when asking about a garage chute.
The biggest surprise of the movie was that Rey turned out to be the character with the Force. We saw this when Rey found Luke’s lightsaber at Maz’s watering hole (reminiscent of the Cantina scene), with no explanation of why it was there. The producers did an excellent job of keeping this secret, such as showing the rare scenes in which Finn held the lightsaber in previews and posters.The experience would have been quite different if the previews showed the battle between Rey and Kylo Ren, or showed Rey holding out the lightsaber for Luke at the end.
Once we learned that Rey was really the main character with the Force, her path in the movie became clear. She would fight the movie’s villain, be tempted by and resist the dark side, and ultimately find Luke–after this movie’s version of the Death Star was destroyed (including flights through the trenches).
Once we saw the bridge in this part of the universe where hand rails have never been invented, it was also obvious that Han Solo would reprise Obi Wan Kenobe’s death scene. J.J. Abrams explained that this was also done to establish how evil Kylo Ren was so that he could be at the level of a Darth Vader. Of course moments later in the movie R2-D2 woke up, so that viewers wouldn’t be sad for too long.
The movie introduced other characters. One of the new characters, Poe, was intended to die but instead he turned up later in the movie. This isn’t the first time that Abrams planned to kill a character who seemed like a major character and later changed his mind. The original plan was to for Jack to be killed on Lost. While it might have been a surprise to see him later in the movie, most genre fans know that if you don’t see the body, the character most likely isn’t dead. I would have preferred it if there were brief scenes of Poe surviving but getting separated, and showing how he escaped from the planet.
Abrams also repeated an error he made in Star Trek in ignoring how big space is. The Enterprise seemed to travel from Vulcan to Earth in minutes, and in the alternate universe it is possible to beam by transwarp onto a starship traveling at many times the speed of light. The hyperlight weapon in The Force Awakens seems implausible, undoubtedly as a result of a desire to have a weapon even more powerful that the Death Star. The weapon was capable of destroying four distant planets as if they were nearby, with the four planets also appearing to be very close to each other.
The politics of the movie was also puzzling. It looked like we had a civil war between the Republic and the First Order. If that was the case, why weren’t the forces under Leia’s command the military for the Republic, as opposed to a rebel group? While I’ve seen explanations on line such as a peace treaty between the Republic and the First Order which made it necessary for the Republic to hide their actions against the First Order, the meta reason is most likely to be reminiscent of the rebel forces in the original trilogy. I suspect that having had its capital and a few other planets destroyed, we won’t see much more of the Republic, except possibly at the conclusion.
If a big moment in the second movie of the first trilogy was Darth Vader telling Luke that he was his father, I wonder if the second movie of this trilogy will be Luke saying the same to Rey. While I think that this is the most likely reason for Rey having the force, there are other possibilities. Maybe Leia is her mother, making Ren her brother, but this would require an explanation for Leia giving no indication of knowing about a daughter. Possibly Rey is descended from Obi Wan Kenobe. This could also explain the connection with the lightsabre as Luke’s lightsaber previously belonged to Obi Wan.
Another theory is that Ren’s parents are not from the characters we know. In The Empire Strikes Back, after Luke completed his training under Yoda, Obi Wan said , “This boy is our last hope.” Yoda replied, “No, there is another.” It was assumed he was referring to Leia, but she was never trained in the Force. Perhaps Yoda was referring to someone else that we do not yet know about.
There are many other questions raised, some of which will probably be answered in subsequent movies. Others might be plot holes which there is no good reason for, but the movie was so much fun that most viewers won’t care. Some elements of the movie were taken from plot points in the expanded universe which was invented after the movies, which should give fans a lot to speculate on. The novelization for The Force Awakens also fills in some points.
The Daily Dot listed ten things learned from the novelization. Among the most interesting are the description of Kylo Ren’s feelings about killing his father:
In the movie, it isn’t clear what’s going through Kylo’s mind after he stabs his father through the chest with his lightsaber. The scene quickly shifts gears, and Kylo, wounded by a shot from an enraged Chewbacca, snarls up at Finn and Rey from a crouched position before the two heroes flee.
In the novelization, Kylo feels “stunned by his own action.”
“Following through on the act,” the narration says, “ought to have made him stronger, a part of him believed. Instead, he found himself weakened.”
Foster wrote the novelization based on a version of the script that later underwent significant revisions. It’s possible that the discrepancy between page and screen here is not a casual inconsistency but a deliberate choice—that J.J. Abrams and company didn’t want to suggest that Kylo felt conflicted after the fact. Of course, given how difficult it is to visually convey an internal monologue, it’s also possible that this moment wasn’t so much deliberate struck as overlooked for simplicity’s sake.
Rey’s battle with the dark side was more obvious in the novelization than the movie:
Rey’s triumph over Kylo in their lightsaber duel is widely considered one of the film’s greatest moments. But what you don’t fully see on-screen is that, standing over a defeated Kylo, Rey faces a final challenge. The novelization portrays it thusly:
Kill him, a voice inside her head said. It was amorphous, unidentifiable, raw. Pure vengeful emotion. So easy, she told herself. So quick.
Instead of killing Kylo, Rey “recoil[s]” from the feeling, which the narration describes as the pull of the dark side.
This is a very significant moment. Every Force-strong Star Wars hero faces this kind of challenge. When the narration refers to “pure vengeful emotion,” it’s important to remember that part of what drove Rey was seeing Kylo brutally defeat her new friend Finn. She had just seen Kylo deal Finn what might have been a killing blow. She was no doubt furious in that moment—the perfect target for the lure of the dark side.
This is, in essence, the dark side’s modus operandi. It’s how Anakin Skywalker began his fall in Attack of the Clones, when he slaughtered a village full of Tusken Raiders after they kidnapped his mother, who died in his arms.
But Rey, like Luke, is stronger than Anakin. She resists the urge to deliver her own killing blow. In the movie, a chasm quickly opens up between her and her vanquished foe, appearing to foreclose the possibility of her killing him. In the novelization, she makes her choice before that happens. She runs to Finn, to her friend, instead of yielding to her rage. In refusing the dark side, she has just taken the biggest step of her life.
I will be looking forward to seeing where they go with the next installment. It might be difficult to top the Starkiller base, and I hope they are not tempted to come up with a more implausible threat. The answer might be to concentrate more on the characters now that The Force Awakens has made them important to the viewers. Will Luke have a more significant role? Presumably we will learn more about Ren’s back story, and possibly more about Snoke, assuming he remains a factor.
Christmas also meant the annual specials from British television. This year’s specials included Doctor Who, Call the Midwife, and Downton Abbey. The Downton Abbey special was also the series finale, and therefore I will not give any spoilers for those who are waiting for the US showing of the final season. I wills say that they ended the series quite well.
The Doctor Who Christmas Special, the Husbands of River Song, was a very fun episode. The actual story hardly mattered. What was important was that it set up the situation where the Doctor met River Song with a different face that she knew, with River not recognizing the Doctor at first. This provided the Doctor a chance to act like those who see the inside of the TARDIS for the first time, and Peter Capaldi really hammed it up:
River: Oh, before you come in, you’d better prepare yourself for a shock. It’s not as… snug as it looks.
The Doctor:Finally… It’s my go. Oh… my… God! It’s bigger!
River: Well, yes.
The Doctor: On the inside!
River: We need to concentrate.
The Doctor: Than it is!
River: I know where you’re going with this, but I need you to calm down.
The Doctor: On the outside!
River: You’ve certainly grasped the essentials.
The Doctor: My entire understanding of physical space has been transformed! Three-dimensional Euclidean geometry has been torn up, thrown in the air and snogged to death! My grasp of the universal constants of physical reality has been changed… forever. Sorry. I’ve always wanted to see that done properly.
River: Would you like a drink? Aldebaran brandy. Help yourself, but don’t tell Dad.
This also allowed River to describe her relationship with the Doctor, more than once. First, someone looking for the Doctor questioned River, having identified her as “the woman who loves the Doctor.”
River: Yes, I am. I’ve never denied it. But whoever said he loved me back? He’s the Doctor, he doesn’t go around falling in love with people. And if you think he’s anything that small or that ordinary, then you haven’t the first idea of what you’re dealing with.
River discussed their relationship once again, when they were in danger, just before the Doctor revealed his identity:
River: When you love the Doctor, it’s like loving the stars themselves. You don’t expect a sunset to admire you back. And if I happen to find myself in danger, let me tell you, the Doctor is not stupid enough, or sentimental enough, and he is certainly not in love enough to find himself standing in it with me!
The Doctor: Hello, sweetie.
Another of my favorite exchanges between the two when in danger:
River: Does sarcasm help?
The Doctor: Wouldn’t it be a great universe if it did?
The dangers in this episode were handled, but we know there are other dangers ahead for River Song. She had a feeling for this when she saw how little room was left in her diary and noted, “The man who gave me this was the sort of man who would know exactly how long a diary you were going to need.”
The Singing Towers of Darillium was established as the location for their last night together when in 2008 in Forest of the Dead. However things were not as bad as they looked, even if this is truly their last night together before River met a younger Doctor in the library:
The third Democratic Debate (transcript here) was most significant for Sanders doing his best job yet in the debates of taking on Hillary Clinton on foreign policy. Unfortunately, with the debate airing on the Saturday night before Christmas, The Guardian might have it right in this headline: Sanders outshone Clinton on foreign policy at the debate. But who watched? Both Sanders and O’Malley were also critical of Clinton’s Wall Street ties and economic views. During much of the evening I felt like I was watching a debate between two Democrats and a Republican.
While Sanders was prepared to take on Clinton’s foreign policy views, he did begin with his usual themes in his opening statement:
I am running for president of the United States because it is too late for establishment politics and establishment economics. I’m running for president because our economy is rigged because working people are working longer hours for lower wages and almost all of new wealth and income being created is going to the top one percent. I’m running for president because I’m going to create an economy that works for working families not just billionaires.
I’m running for president because we have a campaign finance system which is corrupt, where billionaires are spending hundreds of millionaires of dollars to buy candidates who will represent their interests rather than the middle class and working families. I’m running because we need to address the planetary crisis of climate change and take on the fossil fuel industry and transform our energy system away from fossil fuel to energy efficiency and sustainable energy.
I’m running for president because I want a new foreign policy; one that takes on Isis, one that destroys ISIS, but one that does not get us involved in perpetual warfare in the quagmire of the Middle East but rather works around a major coalition of wealthy and powerful nations supporting Muslim troops on the ground. That’s the kind of coalition we need and that’s the kind of coalition I will put together.
The breech in security on the DNC’s voter data base came up. Sanders explained the situation, including an open admission of what staffers had done wrong, and then was asked if Clinton deserved an apology:
Not only — not only do I apologize to Secretary Clinton — and I hope we can work together on an independent investigation from day one — I want to apologize to my supporters. This is not the type of campaign that we run.
And if I find anybody else involved in this, they will also be fired.
Clinton appeared shocked, as if she didn’t see this coming. Such an honest response to a scandal is so foreign to her.
It didn’t take long for the debate to turn to foreign policy. Sanders criticized Clinton’s interventionist foreign policy views and support for regime change. There was a detour on gun control when Clinton was asked, ” Secretary Clinton, in the wake of the San Bernardino attack, you all emphasized gun control. But our latest poll shows that more Americans believe arming people, not stricter gun laws, is the best defense against terrorism. Are they wrong?”
Clinton stumbled in answering but I do think she was trying to say the right thing here. She finally did say, “Guns, in and of themselves, in my opinion, will not make Americans safer.”
The problem with citing a single vote against any Senator is that bills contain multiple items, and it is possible that Sanders voted against the amendment based upon details unrelated to the general issue. This vote took place in 1996 and in more recent interviews Sanders has not been able to recall the specifics of why he voted against this at the time. More importantly, Sanders now favors funding for this research. All three candidates are strongly promoting gun control.
Hillary Clinton often seemed to deflect from questions by bringing up criticisms of Donald Trump. Most were valid, but Clinton was wrong on one point:
And we also need to make sure that the really discriminatory messages that Trump is sending around the world don’t fall on receptive ears. He is becoming ISIS’s best recruiter. They are going to people showing videos of Donald Trump insulting Islam and Muslims in order to recruit more radical jihadists. So I want to explain why this is not in America’s interest to react with this kind of fear and respond to this sort of bigotry.
The fact check sites, including Factcheck.org, states that no such video exists. This is apparently as fictitious as the videos which Carly Fiorina claimed to have seen regarding Planned Parenthood at the second Republican debate.
Clinton was confronted with the contradictions in her statements on Syria by Martha Raddatz, who tried to force Clinton to defend her foreign policy failures several times during the debate:
Secretary Clinton, you too have ruled out a large U.S. combat force, yet you support sending in special operations forces to Syria, and sending those 100 to 200 troops to Iraq to do exploitation kill raids.
We’ve already lost one Delta Force member in a raid. It has looked very much to me like we’re already in ground combat on frequent trips I’ve made there.
After a weak answer from Clinton, Raddatz followed up:
Secretary Clinton, I want — I want to follow up on that. You do support sending special operations forces there. You support what the president has done already. One of the lessons people draw from Vietnam and war since is that a little force can turn into a little more and a little more. President Obama certainly didn’t expect to be sending 30,000 additional troops into Afghanistan the first year of his presidency.
Are you prepared to run the risk of a bigger war to achieve your goals to destroy ISIS, or are you prepared to give up on those goals if it requires a larger force?
Clinton continued to struggle to defend her foreign policy views. After Clinton mentioned her support for a no-fly zone in Syria, Raddatz asked, “Secretary Clinton, I’d like to go back to that if I could. ISIS doesn’t have aircraft, Al Qaida doesn’t have aircraft. So would you shoot down a Syrian military aircraft or a Russian airplane?”
Both O’Malley and Sanders criticized Clinton’s views, with Sanders putting it all in perspective:
I have a difference of opinion with Secretary Clinton on this. Our differences are fairly deep on this issue. We disagreed on the war in Iraq. We both listened to the information from Bush and Cheney. I voted against the war.
But I think — and I say this with due respect — that I worry too much that Secretary Clinton is too much into regime change and a little bit too aggressive without knowing what the unintended consequences might be.
Yes, we could get rid of Saddam Hussein, but that destabilized the entire region. Yes, we could get rid of Gadhafi, a terrible dictator, but that created a vacuum for ISIS. Yes, we could get rid of Assad tomorrow, but that would create another political vacuum that would benefit ISIS. So I think, yeah, regime change is easy, getting rid of dictators is easy. But before you do that, you’ve got to think about what happens the day after. And in my view, what we need to do is put together broad coalitions to understand that we’re not going to have a political vacuum filled by terrorists, that, in fact, we are going to move steadily — and maybe slowly — toward democratic societies, in terms of Assad, a terrible dictator. But I think in Syria the primary focus now must be on destroying ISIS and working over the years to get rid of Assad. That’s the secondary issue.
With Clinton lacking any arguments of substance to defend her views, Clinton resorted to her usual tactic of deception. She tried to deflect from such criticism, and deny the substantial difference in their views, by distorting Sanders’ record in saying, “With all due respect, senator, you voted for regime change with respect to Libya. you joined the Senate in voting to get rid of Qaddafi.” As Politico pointed out after the debate, the vote referred to a nonbinding resolution he voted for, which asked the dictator to “desist from further violence, recognize the Libyan people’s demand for democratic change, [and] resign his position.” This was hardly comparable to the removal of Qaddafi by force which Clinton backed.
O’Malley criticized Clinton’s antiqued thinking, with this not being the only time he contrasted his age to his two older opponents:
During the Cold War — during the Cold War, we got into a bad habit of always looking to see who was wearing the jersey of the communists, and who was wearing the U.S. jersey. We got into a bad habit of creating big bureaucracies, old methodologies, to undermine regimes that were not friendly to the United States. Look what we did in Iran with Mosaddegh. And look at the results that we’re still dealing with because of that. I would suggest to you that we need to leave the Cold War behind us, and we need to put together new alliances and new approaches to dealing with this, and we need to restrain ourselves.
I mean, I know Secretary Clinton was gleeful when Gadhafi was torn apart. And the world, no doubt is a better place without him. But look, we didn’t know what was happening next. And we fell into the same trap with Assad, saying — as if it’s our job to say, Assad must go.
We have a role to play in this world. But we need to leave the Cold War and that sort of antiquated thinking behind.
O’Malley was strong in criticizing Clinton’s ties to Wall Street and pointed how in the second debate she “very shamefully, she tried to hide her cozy relationship with Wall Street big banks by invoking the attacks of 9/11.” Clinton down played her contributions from Wall Street by ignoring her super PAC contributions, while Sanders pointed out, “Secretary Clinton, I don’t have a super PAC. I don’t get any money from Wall Street.” I am even more concerned about the corrupting effects of the contributions to the Foundation and unprecedented speaking fees paid to her husband.
The debate moved to health care with Sanders repeating his support for Medicare for All and Clinton objecting based upon the tax increases this would require. Sanders defended his proposal from Clinton’s attacks:
But Secretary Clinton is wrong.
As you know, because I know you know a lot about health care. You know that the United States per capita pays far and away more than other country. And it is unfair simply to say how much more the program will cost without making sure that people know that, we are doing away with cost of private insurance and that the middle class will be paying substantially less for health care on the single payer than on the Secretary’s Clinton proposal.
Clinton continued to channel right wing attacks on progressive programs by concentrating on their costs while ignoring their benefits in saying, “I don’t think we should be imposing new big programs that are going to raise middle class families’ taxes.”
Sanders responded by once again showing how he supports the economic policies of FDR and LBJ:
Number one, most important economic reality of today is that over the last 30 years, there has been a transfer of trillions of dollars from the middle class to the top one-tenth of one percent who are seeing a doubling of the percentage of wealth that they own.
Now, when Secretary Clinton says, “I’m not going raise taxes on the middle class,” let me tell you what she is saying. She is disagreeing with FDR on Social Security, LBJ on Medicare and with the vast majority of progressive Democrats in the House and the Senate, who today are fighting to end the disgrace of the United States being the only major country on Earth that doesn’t provide paid family and medical leave.
Sanders was the strongest candidate in speaking out for social justice:
Well, this whole issue concerns me. And I agree with much of what the secretary and the governor have said. But let’s be clear. Today in America we have more people in jail than any other country on earth, 2.2 million people. Predominantly African-American and Hispanic.
We are spending $80 billion a year locking up our fellow Americans. I think, and this is not easy, but I think we need to make wage a major effort, to come together as a country and end institutional racism. We need major, major reforms of a very broken criminal justice system. Now, what does that mean?
Well, for a start it means that police officers should not be shooting unarmed people, predominantly African-Americans.
It means that we have to rethink the so-called war on drugs which has destroyed the lives of millions of people, which is why I have taken marijuana out of the Controlled Substance Act. So that it will not be a federal crime.That is why we need to make police — and I speak as a former mayor. I was a mayor for eight years, worked very closely with a great police department. And what we did is try to move that department toward community policing, so that the police officers become part of the community and not, as we see, in some cities an oppressive force.
We need to make police departments look like the communities they serve in terms of diversity. We need to end minimal sentencing. We need, basically, to pledge that we’re going to invest in this country, in jobs and education, not more jails and incarceration.
Secretary Clinton, I want to circle back to something that your opponents here have brought up. Libya is falling apart. The country is a haven for ISIS and jihadists with an estimated 2,000 ISIS fighters there today. You advocated for that 2011 intervention and called it smart power at its best. And yet, even President Obama said the U.S. should have done more to fill the leadership vacuum left behind. How much responsibility do you bear for the chaos that followed elections?
Clinton tried to deflect and Raddatz followed up:
Secretary Clinton, I want to go back. That — government lacked institutions and experience. It had been a family business for 40 years. On the security side, we offered only a modest training effort and a very limited arms buy-back program. Let me ask you the question again. How much responsibility do you bear for the chaos that followed those elections?
Sanders also showed his disagreements with Clinton on regime change:
SANDERS: Look, the secretary is right. This is a terribly complicated issue. There are no simple solutions. But where we have a disagreement is that I think if you look at the history of regime changes, you go back to Mossaddegh (ph) in Iran, you go back to Salvador Allende who we overthrew in Chile, you go back to overthrowing Saddam Hussein in Iraq, you go back to where we are today in Syria with a dictator named Assad.
The truth is it is relatively easy for a powerful nation like America to overthrow a dictator but it is very hard to predict the unintended consequences and the turmoil and the instability that follows after you overthrow that dictator.
So I think secretary Clinton and I have a fundamental disagreement. I’m not quite the fan of regime change that I believe she is.
After many questions of substance, the final questions were rather lame regarding the role of the president’s spouse. The candidates then gave their closing statements, with Clinton going last and concluding, “Thank you, good night and may the force be with you.”
The force was strong in Bernie Sanders, while Hillary Clinton (and Debbie Wasserman Schultz) have been taken away by the dark side.
I don’t want to spend too much time on an episode of Doctor Who which I really did not like very much. Sleep No More did not have the usual intro sequence to the show but did start with a character giving this warning: “You must not watch this! I’m warning you. You can never unsee it.” Viewers should take his advice and apply it to the episode.
It is hard to say exactly what to make out of an episode where the Doctor says he’s confused and that it doesn’t make sense. Perhaps this was written to lead into future events of the season. We know Jenna Coleman is leaving, and we are told that the Morpheus process has already begun in Clara. I hope that this is not the episode which leads into Clara’s departure, especially if it means she dies. A major character deserves to go out better than this. This could be the worst exit for a character (even if not the final episode for her) since Tasha Yar’s death on Star Trek: The Next Generation.
Mark Gattiss warns that a sequel is planned. He should not be judged primarily on this episode after all the great writing he has done. Fans might be more interested in this interview with Tor, released earlier this week
Doctor Who Extra videos can be seen here. (I have not watched them–I have no further interest in this episode).
While the show itself was weak, presumably it inspired the great cover for Doctor Who Magazine. More on the contents of the issue here.
Next week Fear the Raven features the return of Maisie Williams.
The BBC has released the synopsis for the Hell Bent, the final episode of Doctor Who before the Christmas episode:
If you took everything from him, betrayed him, trapped him, and broke both his hearts…how far might the Doctor go?
Returning to Gallifrey, the Doctor faces the Time Lords in a struggle that will take him to the end of time itself. Who is the Hybrid? And what is the Doctor’s confession?
These trailers for Jessica Jones continue to create considerable interest in the show, premiering November 20 on Netflix.
I09 reports that Georgina Haig of Fringe will have a recurring role on Limitless:
Georgina Haig is set for a recurring role as Piper. Per the producers, Piper was once like Brian, naive and sheltered—then she lost everything. Now, self-trained in many forms of combat, she has a mission to stop the man who took it from her—with Brian as either her ally or her enemy.
This TV spot for Star Wars: The Force Awakens has also been released.
NBC has renewed Blindspot for a second season. That is good news, but also means there is no hope for an explanation this year.
The above featurette was released on Syfy’s upcoming adaptation of Arthur C. Clarke’s novel Childhood’s End.
Julian McMahon and Charles Dance, who star in Syfy’s new Childhood’s End talk about what it means to be a part of a utopian society. Childhood’s end looks at a peaceful alien invasion of Earth by the mysterious “Overlords.” The group’s arrival begins decades of apparent utopia under indirect alien rule…but at the cost of human identity and culture.
…And The Beast From The Sea continued the portrayal of Red Dragon on Hannibal, and provided the first glimpse of Hannibal Lecter wearing the mask he is famous for in the movies. Hannibal remained in contact with the Tooth Fairy, and even joked about using personal ads or notes on toilet paper to facilitate this in a reference to the novel where this was a more substantial plot point. Hannibal suggested that Dolarhyde kill Will’s family, leaving viewers uncertain if he would succeed in killing Molly or Walter. Instead a guy just happening to drive by became the victim. Dolarhyde presumably also poisoned the dogs, but fortunately they also survived.
In some ways Hannibal seemed even more evil in this episode, placing Will’s family in risk in this manner. (“They’re not my family, Will”). To Hannibal, perhaps Will is his family, but Molly and Walter are just in the way. Elsewhere in the episode,it was not surprising to see Dolarhyde’s relationship with Reba fall apart, despite how Hannibal characterized the relationship.
Jack and Alana showed again that they do not really understand Hannibal, thinking he would assist them in tracking a call to Dolarhyde. Hannibal played with them, and then tipped off Dolarhyde with the warning that they were listening. Hannibal had previously given Alana the ominous warning, “I always keep my promises.” Now it was Alana’s turn: “You’re not the only one who keeps their promises, Hannibal.” In response to this latest betrayal. She had all the amenities removed which kept Hannibal so comfortable, “The toilet, too.” As these were removed from the cell, the mask was placed on Hannibal for the safety of those in there.
On Mr. Robot, Elliot had a brief meeting with the time-obsessed White Rose, but it was the meetings and surprise interactions between older characters on the show which were of greater interest. There is a major spoiler ahead for those who have not seen this episode yet.
The first big surprise was that Angela and Darlene not only knew each other, but at yoga class both talked about Elliot, showing concern for him. Later there was the meeting between Tyrell Wellick and Mr. Robot, with the two apparently working together, even if not entirely comfortably. This seems to confirm that Mr. Robot is real, but raises major questions, especially for those who think that Mr. Robot and Elliot are the same person.
The biggest scene was when Darlene told Elliot that she loves him, Elliot kissed her, and Darlene recoiled in horror asking, “Did you forget who I am?” Soon it was revealed that Darlene is Elliot’s sister. It was as if Luke had kissed Lea, but is Mr. Robot now Darth Vader?
This led to memories flooding into Elliot’s head. Going meta, Elliot looked at the camera and asked us viewers, “Were you in on this the whole time?” and then“Were you?” Maybe to some degree we are in on it, but we are also quite confused at the moment, also looking for answers.
There was the suggestion that Mr. Robot is Elliot’s father, previously said to be dead. This has been interpreted differently by fans who think that Mr. Robot and Elliot are different manifestations of the same person, and those who think he is a separate and real individual. Mr. Robot showed up at Elliot’s apartment to supposedly explain, so maybe we will learn the answer next week. I wonder if the show will move onto a quite different path as it heads toward its second season.
Indiewire reports that Jessica Jones will be a psychological thriller, reporting statements from executive producer Jeph Loeb and showrunner Melissa Rosenberg at the TCA Press Tour. They also discussed a major role for David Tennant:
“When we first sat down and started talking about ‘Daredevil,’ what we said was, for all intents and purposes, it was a crime drama first and a superhero show second,” Loeb told the room. “One of the things we’ve talked a lot about is that ‘Jessica’ is in many ways a psychological thriller first and then a superhero show second.”
…Loeb then went on to say that Tennant’s role in the show would be a key part of what differentiates “Jessica Jones” from other superhero series: “What you get out of ‘Jessica’ is a sort of hold-your-breath tension as to what’s going to happen. When you see the dynamic between Krysten Ritter and David Tennant… that question of ‘What’s going to happen next?’ and ‘What could happen next?’ and how that’s driven by character is something that is so important to not just the scripts but also the way the show is shot, and the way that everyone reacts, and the way those two react with each other.”
Elsewhere in the Marvel universe, Professor X (Patrick Stuart) will have a substantial role in the third Wolverine movie.
Moving on to DC, next season we will see the return of Sarah Lance on Arrow. Ausiello discussed how Lance responds to the return of Sarah:
Frankly, it could be the last thing Sara’s family needs! “Thanks to Laurel helping him see the light at the end of last season, Lance is back on the wagon for now, trying to keep on the straight and narrow,” Paul Blackthorne previews. “But that will of course be tested when Sara comes back from the dead. Because I think when your daughter’s coming back from the dead, she may not necessarily come back as quite the same person. Yeah, that’s going to be an issue for the family to deal with!’
Her return will also be in an episode with a cross over from Constantine, who assists with her return to life, which in turn leads into the origins of Legends of Tomorrow.
Despite previous reports to the contrary, CBS is now saying there will not be crossovers between Supergirl and Arrow or The Flash. Reportedly they are in the same universe, so this might be open to reconsideration if the right story is presented.
Disney has always provided synergy between their films, theme parks, and merchandise. Therefore it was no surprise to find that, with Star Wars expected to be a huge blockbuster film this December, there will be a fourteen acre expansion based upon Star Wars at Walt Disney World and Disneyland.