SciFi Weekend: Star Trek Discovery Midseason Finale; The Orville Does Horror; Doctor Who; The Arrowverse And Crisis On Earth-X; Wonder Woman Easter Egg; You’re The Worst Renewed

CBS made a good decision in extending the fall season of Star Trek: Discovery by one episode to make Into the Forest I Go the final fall episode. Using last week’s episode as a cliff hanger with battle with the Klingons imminent would have been too much like the first episode. This episode seemed like a good way to wrap up the first chapter while leaving much more interesting questions hanging.

Initially Lorca was protective of Burnham, not wanting her to go on the dangerous mission (with Lorca also showing considerable concern for Burnham’s safety in Lethe). Once Bunham convinced Lorca that her few minutes aboard the Klingon ship previously made her more qualified, she was able to return to the Klingon ship where things went wrong at the start of the series. That mission did not go as intended, including the death of Captain Georgiou, leading to Burnham (probably unfairly) receiving the blame for the entire war. This time Burnham managed to bring everyone home, including Admiral Cornwell after her apparent death last week. Plus L’Rell also returned with her. Burnham’s was successful  despite Tyler suffering from PTSD, and them having to plant a pair of over-sized and noisy sensors without being seen.

Aboard the Klingon ship, we also learned that Klingons did not like the universal translator.

Once the sensors were in place, Discovery made 133 jumps to find a way to see through the Klingon cloaking. It was revealed on After Trek that the number was an homage to 33, the title of the first episode of the rebooted  Battlestar Galactica. This was a fitting homage as often Star Trek: Discovery has had more of the feel of Battlestar Galactica than much of Star Trek. This ability leads to more questions of continuity as the Federation is not able to detect cloaked Klingon ships in future series. Two possibilities are that this technology never reached the Star Base (and never will), or it is plausible that the Klingons improved their technology to prevent detection.

When the news came out that the series would be streamed instead of being on network television, there were questions as to how much further they would go than is allowed by network censors and the FCC. They previously dropped f-bombs, and in this episode had the first scenes containing nudity in a sex scene explicitly showing bare Klingon breasts. The episode also included the first kiss between two men on Star Trek.

It was clear that the relationship between L’Rell and Ash Tyler is important, but not clear as to exactly what the relationship was. Was it looked like rape as he has already stated had occurred, interspersed with torture, or were we seeing Voq being surgically transformed into Tyler? The ambiguity was increased later in the episode when Tyler confronted L’Rell in her cell. He asked, “What did you do to me?” She responded with,  “Do not worry. I will never let them hurt you.” This already suggested some connection between the two, which was made even stronger when she added, “Soon.”

If Tyler is Voq it does appear most likely that, as I suggested previously, he is a sleeper agent and does not realize it. As the conversion includes having human internal organs, as seen in the medical scan last week, I also wonder if Ash Tyler actually is a separate person and that somehow Voq’s mind was placed in his head, with plans to be activated at a future time.

With the success in defeating Kol’s ship, Discovery was preparing to return to the Star Base. While officially Lorca was returning as a hero, he still might have had concerns about losing his ship with Cornwell back. (Presumably his disobeying the Vulcan admiral’s orders earlier in the episode was not a concern as it is standard practice on Star Trek for captains to ignore admirals.) Stamets agreed to one last jump, saying he would never do it again. We know from virtually any genre that a statement such as this, along with him declaring his love for Culber, was a clear sign that something would go very wrong.

While something did go wrong, it appeared like it was due to Lorca tampering with the jump. With the preceding talk from Stamets about being able to see “all the permutations,” it does sound like they could have traveled to another dimension or through time, as opposed to simply jumping elsewhere in space.

We have already seen hints on the show about the Mirror universe. The upcoming episode is entitled Despite Yourself, which could have multiple possible meanings, but I wonder if it suggests meeting other versions of oneself. It is being directed by Jonathan Frakes, who already revealed that Discovery will include the Mirror universe.  A single Mirror universe with the evil doppelgangers of the main characters first appeared in the original series on Mirror, Mirror. It appeared frequently on Deep Space Nine and again on Enterprise (which showed it  splitting from our universe with First Contact going badly.  The Mirror universe was never used on The Next Generation, but the series did show thousands of parallel universes in Parallels, raising another possibility for Discovery.

If they are in the Mirror universe, this leads to the question of whether the Lorca we see is the evil version returning home. If not, would the Mirror version of Lorca be far more evil than the one we have seen? Perhaps Captain Georgiou or Kol is still alive in the Mirror universe. There could even be another version of Ash Tyler who has no connections to Voq.

While the second chapter sounds like it could be starting out like Voyager, an interview with showrunners suggests that it will not be another sequence of a ship trying to get home, disconnected from the rest of the Star Trek universe. From an interview at IndieWire with showrunners Gretchen Berg and Aaron Harberts

The Discovery may have found itself marooned in unfamiliar territory, but the showrunners aren’t worried about potential comparisons to “Star Trek: Voyager.”

The 1995-2001 spinoff starred Kate Mulgrew as the captain of a Federation ship catapulted into an entirely different quadrant. But Berg said that “You can’t help but tread into territory that some fans recognize, but I think that our characters are distinct. Our show is our show. And I think that the way that we’re going to handle the back half of the season is going to feel true to ‘Discovery.’”

For one thing, while the Discovery might be far from the front lines, Berg promised that “the war will continue in Chapter 2. It’ll be in there for sure. The Klingon war is this crisis where Burnham was there when it set off and she feels responsible for setting off. That is her arc for Season 1, and that is what will be paying off by the end of the season.”

Herberts added that “the war is always alive and always a motivator, but we also really wanted to try to tell some stories that stop down from the war. And I think that Chapter 2 will open in a place where as much as the war is weighing on our characters’ minds, they’ve got a bigger problem to solve.”

The Orville got scarier than usual in Firestorm. To some degree this episode centered around Alara was a bit of a cheat in turning out to be a simulation, but it remained enjoyable, and no more of a cheat than many actual Star Trek episodes. Being directed by Brannon Braga probably helped it feel like Star Trek. Directive 38 was exactly the type of scenario I could see him dealing with on Star Trek: The Next Generation or in some form on 24.

The show also included the first cameo by a former Star Trek star with Robert Picardo playing Alara’s father, calling humans the “hillbillies of the galaxy.”

The humor was more low key in this episode. Some of it centered around Bortus, such as him entering the simulator in costume asking, “Am I early?” while others are present. There was their over-used commentary on marriage, this week comparing it to purgatory. Isaac might have had the best line once again. Kelly was going to propose a wild idea starting out with, “This is going to sound like I’m talking out of my ass…” Isaac played Data’s role in not fully understanding humans in responding, “Then please try to enunciate.”

It was also announced that The Orville‘s planned thirteenth episode will be moved to next season. There will only be twelve episodes this season, with the season concluding December 2.

There will also be no new episode of The Orville this Thursday due to Thanksgiving, and Star Trek: Discovery is on hiatus until January 7. Many readers of SciFi Weekend have been coming from links at Discovery and Orville groups. Scifi Weekend will continue to be posted every week. I will continue to include links on Discovery and Orville groups if there is news on these shows when not on (with such links sometimes limited by restrictions from Facebook). If you are interested in additional genre coverage beyond these shows, I suggest you check directly for the post if you do not see a link. Among other features planned for the end of the year, there will be the annual list of top new genre shows, and naturally both Discovery and The Orville will be included. (Spoiler: as of now, neither is ranked number one).

A sneak preview of Twice Upon A Time, this year’s Doctor Who Christmas special, has been released. The first Doctor doesn’t particularly like the changes to the TARDIS while Mark Gatiss has a more traditional response to seeing the inside for the first time:

Radio Times looked at fan reaction to the clip.

There are also rumors that Matt Smith might be returning for the episode.

In other Doctor Who news, both Steven Moffat and Russel T. Davies will be writing adaptations of Doctor Who stories. Radio Times reports:

Though Steven Moffat may be exiting as Doctor Who showrunner this Christmas, that doesn’t mean he’s done with the wonderful world of the Whoniverse.

RadioTimes.com has learned that the screenwriter is teaming up with former Who boss Russell T Davies and novelists Jenny Colgan and Paul Cornell to write a series of Doctor Who novelisations.

Based on the iconic Target novelisations that retold classic Doctor Who episodes from the 1970s to the 1990s, this new ‘Target Collection’ will be published by BBC Books and Penguin Randomhouse, and will see Davies and Moffat adapt one of their own episodes each while Colgan adapts the first full episode featuring David Tennant’s Tenth Doctor and Cornell adapts Peter Capaldi’s final episode.

Davies will adapt Rose, the very first episode of the revived Doctor Who, which aired in 2005 and introduced the world to Billie Piper’s Rose Tyler and Christopher Eccleston’s Ninth Doctor. Meanwhile, frequent Who novelist Colgan is penning the novelisation for Davies’ 2005 festive special The Christmas Invasion, the first full outing for Tennant’s popular Tenth Doctor which saw the Time Lord face off against the Sycorax.

Following on from this, Moffat is set to adapt one of his own episodes – 2013 50th anniversary spectacular The Day of the Doctor, which united Tennant and Matt Smith’s Doctors with John Hurt’s previously-unseen War Doctor…

This year’s Arrowverse crossover event is being described as being a four hour movie with all the shows combined, as opposed to related episodes of each individual show. Promo above, and many more pictures available at TV LineCrisis on Earth-X will air November 27-8 and the storyline centers around villains, as well as evil versions of some of the heroes from another dimension, with a doomsday weapon. Plus it all starts with Barry and Iris’s wedding.

Prior to this, next week’s episode of Supergirl will have the return of Mon-El, who has Saturn Girl along with him. There will be even more of the Legion of Super Heroes in future episodes.

Last week Legends of Tomorrow had a huge Wonder Woman Easter egg.

You’re The Worst just completed a rather mixed season. It has been renewed for a fifth and final season. Keeping Jimmy and Gretchen apart was a huge mistake. Now that the main characters are back together, hopefully the series will return to what made it so great in previous seasons.

Unfortunately Difficult People has been canceled by Hulu after three seasons.

SciFi Weekend: Orphan Black; Dark Matter; Stranger Things; Star Trek: Discovery; Legion; The Flash; The Magicians; Doctor Who; And Other News From Comic Con

There’s a lot of lat minute news from San Diego Comic Con which didn’t make it into my run down last week, but first there was a major event Saturday night. With only two episodes left after last night’s episode, Guillotines Decide, Orphan Black is rapidly moving towards a conclusion for its mythology, and is free to kill of characters. (Major spoilers ahead.) There have already been deaths, such as M.K. and Susan Duncan, but this really accelerated last might. First Gracie was shot by people from Neolution after trying to protect Helena. Last week I noted a change for the better with Rachel.  Ferdinand, however, came to save her but did not realize her change in priorities, and almost got killed when Rachel betrayed him as part of her plan to take down Neolution.

Ferdinand survived the first threat and appeared like he was going to strangle Rachel, who should have been better prepared for the possibility of him surviving. This led to a showdown with Mrs. S. in which each got off a fatal shot at the other (sort of like what happened to one of the major characters in this season’s finale of Fargo). It is commonplace on television for major characters to not really be dead despite appearances but Maria Doyle Kennedy did confirm that he character was dead in an interview with TV Line.

Despite the three deaths, the episode also managed to have the type of fun sequence which is often most enjoyable for the show–seeing the clones and major cast members living their lives and interacting Felix had his art show, introducing what looked like various versions of his sister to those unaware of them being a set of clones. At the end, however, Sarah did feel the disruption in the Force with the death of Mrs. S.

The best lines in the episode came when Donnie complained about Alison being too controlling. She responded, “I’m not going to micromanage you, Donnie.” This was quickly followed by, “Is that what you’re wearing?”

Entertainment Weekly discussed the episode with Graeme Manson:

ENTERTAINMENT WEEKLY: How dare you go and depress all these people on a Saturday night. What’s wrong with you, for chrissakes?
GRAEME MANSON: Because if you track the story and you track the story of Sarah and Mrs. S, we’re telling a generational story now. Ultimately, we’re telling that story about Sarah’s journey, and to step into those big shoes of her mother is really the strongest journey that Sarah can make. So, there was a drop in the writer’s room. There was one of those moments of deep breath when the idea came up because it’s our final season. Someone has to go, and this made sense. And the first phone calls that we made were to Tatiana and to Maria to talk about this, and everybody had the same reaction — that gut reaction that this was the gut punch the series needed.

So why was this the time and place and way to do it and kill off Mrs. S?
We have two episodes left, and it was the most traumatic point that we could do this and complete the journey of the girl that we saw step onto the train tracks in the very first episode of Orphan Black. And it’s time to set the stage for the final two episodes now. We’ve got a two-parter coming up, and what is Sarah’s reaction going to be? Is she going to be the impulsive Sarah that we’ve known so much? Is she going to be beaten down? How are her sisters going to get through this together without the mother figure of this chosen family? We’re just tremendously excited to see this play out and see how our girls will take the hardest thing that we could throw at them…

Of course, Mrs. S not the only character who died. You also killed off Ferdinand and Gracie, who have been big characters on this show. Are you guys like, the end is near, let’s just start offing everybody now?
[Laughing] Well, it’s definitely ramping up, and it’s ramping up in real time with Helena’s pregnancy, so the crux of what’s coming is about new life, as well as the loss that we’ve just experienced. I just can’t wait for these final two episodes. It’s a great two-parter.

What if Ferdinand had taken Rachel up on her offer to go off the grid? Would they be sipping Mai Tais somewhere right now?
Yes. And so I think she would have left Kira. But that was the moment when Rachel chose to stand with her sisters, and it’s more than just the I. Rachel and Mrs. S had a moment where they connected, and Mrs. S had told her before — there will come a time when you need us. So Rachel’s journey over the last couple of episodes has been one of our favorites as well, certainly one of Tatiana’s favorite to play. Episode 7 was very deep, and in episode 8 we see the results. Rachel is stepping to our side, what’s going to happen now? Rachel and Sarah the old arch enemies. This is what the death of Mrs. S does. It throws everybody together…

And looking ahead a little bit to that, what can you say about Helena? We see her taken — I’m guessing being taken to the island now. What can you say as far as that?
End game. It’s coming from all ends. Now, the crux is all coming down to Helena’s babies. Rachel did the right thing and saved Kira, but now we’ve got Helena out there, and she’s about to have those valuable genetic children that everybody wants. So, the stage is set, my friend. Next week’s episode is really about getting back together, closing the circle with Rachel. Is Sarah going to murder Rachel? There’s a lot of stuff up in the air, and it all hinges on Sarah’s reaction to this event. So, it’s a great episode that ends in a huge, huge cliffhanger that’ll lead us into the finale.

Who would have predicted during the first season that the end game would be about rescuing Helena?

Also this weekend, Dark Matter continued to cycle through all the major genre troupes, this time with the time travel episode in which their actions led to the technology they depend upon. Plus they did the Stranger Things homage including kids, and there were video games.

Speaking of Stranger Things, ScreenRant report that it was revealed at Comic Con that the upcoming second season will help set up the eventual end point for the series, whenever that may be. More news on Stranger Things last week.

Last week we also learned that Michael Emerson will have a recurring role on Arrow next season. Spoiler TV reports that he will also have a recurring role on Mozart In The Jungle:

Emerson plays Morton Norton, an eccentric collector of classical music ephemera and curiosities who prefers the past to the present. He spends his days alone in a gothic mansion surrounded by classical music relics, dressed as a 16th century homicidal composer named Gesualdo (a composer he finds very underappreciated). When Rodrigo (Gael García Bernal) arrives, he will be pulled into Norton’s bizarre world, taking a tour of his collection.

The Star Trek: Discovery panel begins with the video above. TrekMovie.com has coverage including here, here, and here. Quotes include the producers considering both long time fans and a new audience:

We are very, very attentive of the divergence between audience bases. We know that there are folks like us – who know way too much – and folks who know little or none at all. So the barrier to entry has been reduced. We are trying to be welcoming to people who have never seen an episode of Trek, but also really delightful to those us who can’t stop seeing them. So that is our outcome goal. Star Trek is always about a world that is for everyone. Our show tries to be for everyone…

The fact that we are on a streaming channel allows us to tell the stories in a different way. These are serialized stories. They are not stand-alone stories. So there there is an emotional continuity and characters are learning as they go. They don’t forget what happened last week. And that is really exciting. So in the way you would watch any series for the characters and for that approach we get to do that here and that is really exciting…

With the increased tensions between the United States and Russia, I am happy to see that Discovery is getting away from the idea of the Federation vs. Klingon conflict being analogous to the United States vs. the Soviet Union:

We are also talking about not only war, but something that is really bubbling up in the United States right now, isolationism. Our country has so many different philosophies. Do we extend a hand? Do we shut it down? And that is also two viewpoints that are being expressed. The Klingons are not necessarily the Russians anymore. The Klingons – I think we will see far more in, frankly, people in the United States and different factions in the United States.

And that is not to say they are bad, but what we really wanted to do too is understand two differing points of view and really explore it. And I think when people look at the Klingons – I frankly love what they represent. Not in terms necessarily of all the messaging, but in terms of learning about them and learning why they are who they are and making sure they aren’t just the enemy.

And then finding a way to come together. How do we bring everyone back together? What do we do? What does it take? It is a big challenge for us, but that is what season one is all about.

The biggest news revealed was that Sonequa Martin-Green revealed that her character, First Officer Michael Burnham, is actually the adoptive daughter of Spock’s parents Sarek and Amanda. That explains earlier reports that Sarek will be included on the show, and leaves open the possibility of a younger Spock.

While they have taken liberties with the look of the Klingons and giving it a more modern look than The Original Show, they are considering canon. A video has also been released with producer Alex Kurtzman discussing the show and canon:

If you are a fan of Trek you are going to see a lot of things which hearken back to the original series and elements of the original series. I am not just talking plot, but the spirit of what that show was. We are going to be revisiting a couple of things on Star Trek: Discovery that I think people are going to find familiar. Without spoiling anything we are adhering to a timeline and sticking to the rules, but also I think finding some new areas and avenues that have only been alluded to, but never fully explored…

You have got a roomful of people with very different and very devoted relationships to Star Trek in that writers’ room. And that carries on a pretty proud tradition of Trek being written by fans.

You have to respect canon as it’s being written. You cannot say, “That never happened.” No, no no, you can’t do that, they would kill you. Star Trek fans would kill you. No, you have to respect canon. You have to understand the timelines and what the different timelines were and what the different universes were and how they all worked together. You have to keep very meticulous track of who, what, where, when and why. And we have people in the writer’s room whose sole job is to say, “Nope, can’t do that!”

We also learned more about Bryan Fuller leaving the show, and his initial plans to make Discovery an anthology show.

International Business Times summarized what was learned about season two of Legion at San Diego Comic Con:

Hawley already revealed that the second season will spread across 10 episodes. At the Comic-con, he revealed that he was not sure when the show will end but he confirms that it will come to an end when it has to.

“I have a structure, I have a kind of endpoint in my mind, but I don’t know yet how many episodes or seasons that is. I never want to overstay the welcome and I never want the show to become predictable. There will be an ending, that we know,” he told Comicbook.com.

Discussing the second season, David actor Dan Stevens told the website that the new season will most definitely explore David’s mind and things will become more complicated.

“We haven’t even really scratched the surface of the number of characters or entities that are contained within Legion. The Shadow King was obviously one of them and a large part. But there’s a lot more going on and anyone who knows the comics knows the scope of the world in which it set. So yeah, there’s a lot more to dig out of his head,” he told.

So will fans get to see Professor X aka Patrick Stewart in the upcoming episodes? According to Stevens, he surely will be a part of the show. Talking to ET Online, the actor revealed that the new season will talk about David’s dad. And according to Stevens, Stewart seems interested in reprising the role of Prof X in the show.

“He seemed very unaware of the show, but I mentioned that he was my dad, and he seemed pleasantly surprised. I think we want to address that,” he said.

“It’s normal when you learn you’re adopted to want to know who your real family is. He doesn’t yet know the identity, so I think it will be a process to get there. There’s quite a lot of explaining there, that your dad is Professor X,” Stevens added.

While the mystery about Professor X remains to be seen in the new season, Hawley did confirm that Wonder Woman star Saïd Taghmaoui will be donning the role of Shadow King. “Theres going to be a lot of things that are going to happen that I can’t tell you. But what I can tell you is that Saïd Taghmaoui, who was recently on Wonder Woman, will be playing Amahl Farouk a.k.a. the Shadow King,” Hawley confirmed.

Last week I had posted trailer and some news on the upcoming season of The Flash. Comic  Book has more on the changes in Barry Allen after spending time in the Speed Force from Grant Gustin:

“We’re not necessarily going to see Barry’s experience in the Speed Force. We’ll see kind of the effects that the Speed Force has had on Barry, and he’s been in there six months real-time,” Gustin started.

“I suspect the Speed Force is kind of nonlinear with time, so Barry has experienced his entire life from star to end infinity times over since he’s been in there.”

Continuing, the actor said, “He’s going to have kind of an awakening when he comes out. He’s going to have some knowledge that he probably doesn’t even quite understand yet. He’ll also be little scrambled; He won’t really be himself the first time we see him.”

Fans won’t be too surprised to hear about the Speed Force’s effect on the Flash; After all, Barry was well-aware during the season three finale that his sacrifice wasn’t going to be an easy one. Being stuck in the Speed Force is damaging, and The Flash went so far as to prove that by trapping Wally West there for a spell. When Barry exits the Speed Force, he will not be the same man he was before he stepped foot into it, and Gustin said that truth makes his job a bit more exciting next year.

“It’s almost like a fresh start for me as an actor,” the actor said, nodding to how different Barry will be in season four.

The Flash movie will deal with Flashpoint, and there has been speculation that this will provide a way to do a reset for Batman from the Ben Affleck version.

IO9 reports on next season of The Magicians:

The Magicians took the chance provided by Comic-Con to reveal the Muntjac, a magic, living ship that will play a huge part in season three of the Syfy show. In a press event that same day, executive producer John McNamara said, “It will kind of be our Fury Road season. No resources. What do you do?”

Season two ended with Quentin (Jason Ralph) and Julia (Stella Maeve) causing a bit of a problem for everyone. “Quentin and Julia kind of killed magic,” explained executive producer Sera Gamble. “It’s still called The Magicians, so we felt a certain responsibility to bring something cool and magical. It just comes from completely unexpected and different places in season three,” she continued.

Gamble also revealed a bit about where certain characters would be starting the season, with Quentin thinking about how much he would like to have magic back, while Alice (Olivia Taylor Dudley) is trying to figure out who she even is without it. There’s also the question of Julia, who was shown in the end of the season to still have at least a bit of magic. Gamble added that Margo’s (Summer Bishil) story was, and is, about how when you are in charge and have to make decisions, sometimes there is no perfect answer and people you love get hurt…

Interview with Olivia Taylor Dudley in the video above, discussing what happens with Alice now that she is human again. 

Jodie Whittaker already had a run in with the Daleks at the BAFTA awards ceremony in 2013. See the video above. Curiously the next Doctor showed that she recognized the Daleks, but they did not appear to recognize their most powerful enemy.

Steven Moffat certainly foreshadowed the upcoming regeneration into a woman, leaving open the question of whether he knew that it would be as soon as the December? Moffat revealed that he knew all along at Comic Con: “I’ve known for the entire series I’ve been working on that the next Doctor was going to be a woman. I didn’t know that it would be Jodie. I didn’t know that until the Friday before the announcement. I didn’t want to know until Peter knew. That was my rule.”

Den of Geek has several excerpts from Peter Capaldi’s comments in his last appearance at SDCC as the Doctor.’

While not at all genre, I can’t resist noting this additional bit of television news: Megyn Kelly’s show on NBC has been cancelled after just eight episodes due to poor ratings.

SciFi Weekend: News From Comic Con Including CW Shows, Stranger Things, Star Trek Discovery, 12 Monkeys, Outlander, & Doctor Who; Briefs On Orphan Black and Other Current Genre Shows

There is a lot of news, and lots of videos, from San Diego Comic Con. Here are some of the highlights, with more likely to be posted next week.

The video above was released at the panel for The 100. TV Line has this information:

 “The prison ship [from the season finale] is from Earth,” Rothenberg revealed. “They’re from before the first apocalypse. They were in hyper-sleep for 100 years. They’ve come back to this planet that they don’t recognize. All that’s left is this Garden of Eden that Clarke’s been living in with her daughter.”

“It’s nice to be playing someone a little closer to my age,” Taylor said of the time jump. “It’ll be exciting to see her as a 24-year-old woman who’s been through so much, and is now taking on this maternal role.”

“Octavia doesn’t have a clue what she’s doing,” Avgeropoulos admitted, “but she doesn’t want to set off chaos with 1,200 people in the bunker. … You’ll see what her plan is to keep the peace and how she reprimands others in her own special way.”

“Raven is so special because she’s so smart,” Morgan said. “She’s a key ingredient in the mix for their survival. Her heart weighs on her a lot. The only reason everyone is in space is because of Raven.”

“All of us have to change up [in space],” Harmon said. “It’s freeing in a lot of ways. Over six years, a lot of therapy can happen. Murphy’s definitely going to change.”

“Harper is Monty’s main lifeline at the current moment,” Larkin said. “He owes her his life. She chose him. I don’t know if they’re still together. … Maybe Monty and Murphy are together. It’s been six years!”

New series regular Tasya Teles also arrived on stage to talk about Echo’s future: “I think about it a lot. Who will she become friends with? … I was thinking she’d get close to Raven for some reason. They’re girls who get things done. I see those two having an alliance.”

Rothenberg wouldn’t say whether any new couples have formed during the time jump, but he reminded us that “six years is a long time.”

Supergirl has new show runners, and it sounds like there will be more of Calista Flockhart. Entertainment Weekly reports:

Calista Flockhart will return as Cat Grant in the Supergirl season 3 premiere, new showrunners Jessica Queller and Robert Rovner told reporters ahead of the Supergirl panel at San Diego Comic-Con Saturday. She is expected to recur on the CW drama in the new season.

“The way that Calista appears in the first episode is really clever,” star Melissa Benoist told reporters.

Supergirl also intends to give up being Kara Danvers and be Supergirl full time, but I bet she changes her mind regarding this.

The trailer for The Flash shows a new team while Barry is in the speed force, with Iris left in charge. Caitlin Snow also appears to be back with the team, and the trailer does hint at Barry returning. SyFy Wire has this information from producer Todd Helbing:

According to Helbing, this season picks up six months after the events of the finale. Iris will be stepping up as team leader, trying to do what Barry told her to do. According to star Candace Patton, that means stepping back from her journalism career and taking over as leader of Team Flash at Star Labs. She’ll be playing a similar role to Felicity/Overwatch on their sister show, Arrow.

Wally will also be taking on new responsibilities this season as he goes from Kid Flash to just The Flash. That transition is a big challenge, though, says Keiynan Lonsdale. Wally’s relationship with Iris will also deepen as the two work through their respective grief over losing Barry.

And what about Barry? Well, it turns out we won’t be seeing him in the speed force at all, but we will see the effect the experience had on him. According to Grant Gustin, Barry spent his time in the speed force watching his life from start to end, and he’ll have much better insight into himself. He’ll also be a much lighter version of Barry in a much lighter season, a welcome reprieve from the darkness that has overtaken the show in recent years. Welcomed by both the audience and the actor. Gustin said Season 3 was hard on him, admitting that he sometimes went home and cried in the shower.

Helbing also stressed the lightness of the new season, saying they’ll also be taking a break from time travel this year.

The rest of the crew will be back too. Cisco will be further exploring his relationship with Gypsy this season, but he won’t be getting a new suit. Says Carlos Valdez, “My ass feels great in the pants.” Of course, the season won’t be entirely happy for Cisco. He’s feeling the loss of his friends and is working to bring them back.

Cisco isn’t the only one with romance in his future. Joe’s relationship with Cecile will also grow more. But, as always, Joe’s focus will be his children. According to Jesse L. Martin, while Joe is very proud that Wally was able to step into Barry’s shoes, he’s worried about all the pain Iris is going through.

Caitlyn fans, though, will apparently be the happiest of all this season. After succumbing to her Killer Frost instincts, Caitlyn ended Season 3 by leaving her friends to go soul searching, finding the balance between Caitlyn Snow and Killer Frost. Danielle Panabaker was particularly tight-lipped about what’s to come for her character, but she did say that she’s enjoying the opportunity to bridge light and dark.

Speaking of the darkness, what of this year’s villain, The Thinker? According to Helbing, he’ll be the big theme of the year. He did not elaborate, though, so anything beyond that will have to be left to the imagination.

Michael Emerson of Lost and Person of Interest will have a recurring role on Arrow next season, but there is no word about his role.

BuddyTV has this information on Legends of Tomorrow:

The quartet of villains who terrorized the group in season 2, The Legion of Doom is a large part of why Legends of Tomorrow was received so well in its second year. It is no surprise then then that in season 3, two of the four member of the group will make their reappearance. After the trailer which opened the panel, embedded below, the show confirmed that Wentworth Miller’s Captain Cold and Neal McDonough’s Damien Darhk will be back.
Miller and McDonough will both be series regulars for season 3 but their characters won’t be exactly as people remember them. The Darhk of season 3 will less “silly” than the version from season 2. As for Cold, Dominic Purcell who plays Mick Rory, cautioned that the Snart of season 3 won’t be exactly be the same friend that Mick lost in season 1 (and to a lesser extent season 2).

While Miller and McDonough will stay on the show as series regulars, Arthur Darvill won’t be quite as prominent. The actor who played Rip Hunter, the team’s original leader, will still appear in season 3. Darvill will just be a recurring role rather than a series regular one, which is not that surprising since Rip did give up his spot on the team in the season 2 finale. Rip will still play a big part in the season as he is mentioned to have some big secret that he is hiding in the trailer.

E! summarizes Marvel news from Comic Con here. The trailer for Thor:Ragnarok is above.

A trailer for the second season of Stranger Things was released with this description: It’s 1984 and the citizens of Hawkins, Indiana are still reeling from the horrors of the demogorgon and the secrets of Hawkins Lab. Will Byers has been rescued from the Upside Down but a bigger, sinister entity still threatens those who survived.

TV Guide has this information from the Stranger Things panel:

1. The Duffer Brothers wanted to do TV because it’s more like movies now. “We were big movie nerds, and we started to get into television as it got more cinematic,” Matt Duffer told the room, crediting shows like True Detective. They thought about what would be the best “long movie,” and decided a Spielberg homage was the way to go.

2. They knew what the title font should be, before they even started. Producer Shawn Levy credited the Duffer Brothers’ clarity of vision coming in to the project as the reason Netflix decided to take a chance on the unknown filmmakers, citing that they even knew what they wanted the now iconic title to look like from their first meeting.

3. More Will in Season 2! Will was offscreen most of last season, but from Schnapp we learned that not only will, uh, Will show up more, but he’ll be “braver” and we’ll learn more about how the Upside Down affected him.

4. Eleven had less lines, but a harder job. Millie Bobby Brown cited the difficulty of acting with a minimal amount of lines — particularly around “boys who like to play pranks.” But ultimately it was about concentrating, and feeling inside what needed to be expressed — and then letting that come through just with her facial muscles.

5. Hopper may be connecting with Eleven. Harbour stated that his character’s arc in Season 2 is definitely “very different” than it was in Season 1, and “it all begins with some Eggos he’s leaving in the woods.” The actor added that we know he has some daughter issues from Season 1, and that may play out in Season 2. Chances are, Hopper and Eleven are gonna team up, right?

6. Meet the new guys! Dacre Montgomery is playing Billy, Sadie Sink is Max (“a.k.a. Mad Max” quipped Keery), and Paul Reiser is Dr. Owens. Max moves from California, Owens may or may not be evil (though he’s definitely brought in to “clean up Dr. Brenner’s mess”)… And that’s all the info we got on the new folks. This show is a big secret!

7. The new trailer dropped! The new trailer showed off bigger monsters, Halloween costumes, some Michael Jackson music — and Eleven is back! You can watch it right here.

8. No, Barb is not coming back. The first audience question was from — surprise! — Shannon Purser, who played fan-favorite Barb on the show. She asked if Barb was coming back for Season 2, which was, sadly, a resounding “no.” That said, Season 2 will deal with Barb’s death, and give us some #Justice4Barb. “She will be avenged,” swear the Duffer Brothers.

More at USA Today.

Star Trek Discovery trailer. From ScreenRant:

Viewers are told in the teaser that Klingons have been submerged in chaos for a number of years, but are coming back to the surface for a battle against Starfleet. They also get their first look at Rainn Wilson in the role of Harry Mudd, and it’s revealed that the invention of warp drive will somehow also play into the series. It’s a lot to take in, but Star Trek fans will be thankful for it.

The trailer for the final season of 12 Monkeys was released last week with discussion at SDCC covered here.

The cast of Outlanders took questions at SDCC with video here. Deadline interviewed Ron Moore:

MOORE: It’s a transitional season. You know, the franchise kind of pivots from this point because, it’s not really a huge spoiler, but essentially, the show will relocate to the American colonies after this season. So they’ll always have a foot in Scotland, because there’s always a piece of the story that will continue to play out in Scotland, but Claire and Jamie and their family really do kind of relocate to North America after this season and establish a place called Fraser’s Ridge, which is up in the mountains of North Carolina — and that’s where the rest of the season in the books takes place.

So this is a really important year because it’s leaving sort of one setting, traveling literally across the Atlantic Ocean. You know, we went down and shot on the Black Sails ships and sets in South Africa to do that section of the story, and then end up in the Caribbean, and then eventually into the American colonies. It’s a big transitional year for this show…

Looking at some of the genre shows currently airing, Orphan Black is moving towards its end game, and had probably its goriest scene ever this weekend. There has been some real change for the better with Rachel, and change which I’m undecided about with Allison. Krystal Goderitch finally returned the previous week. (Was the actress who played her unavailable until then?) Recent highlights also include Cosima and Delphine at a strange dinner party on the island. Pictures of Delphine released before the season led to rumors that the two were getting married. While that did not turn out to be the explanation, there are still a few episodes left.

I hope that the writers on Dark Matter aren’t running low on original ideas. In recent weeks we’ve had their takes on Groundhog Day and The Mattrix. There are a lot of interesting threads being developed which will hopefully culminate in something great (and original).

Syfy has renewed Wynonna Earp for a third season.

Now that Game of Thrones is back we can explain the last election in terms which fans of the show will understand. We were spared having Cersci Lannister take over, but got stuck with Joffrey Baratheon. For those disappointed that we did not get a female president, keep in mind that should the earth fall under alien invasion after the regeneration to the 13th Doctor on Doctor Who, she will become the President of Earth to deal with the invasion (if Chris Chibnall keeps this rather silly idea from the Moffat era).

Unfortunately there have been some complaints about Jodie Whittaker being given the role of the thirteenth doctor. The BBC has issued this response to complaints:

Since the first Doctor regenerated back in 1966, the concept of the Doctor as a constantly evolving being has been central to the programme. The continual input of fresh ideas and new voices across the cast and the writing and production teams has been key to the longevity of the series.

The Doctor is an alien from the planet Gallifrey and it has been established in the show that Time Lords can switch gender.

As the Controller of BBC Drama has said, Jodie is not just a talented actor but she has a bold and brilliant vision for her Doctor. She aced it in her audition both technically and with the powerful female life force she brings to the role. She is destined to be an utterly iconic Doctor.

We hope viewers will enjoy what we have in store for the continuation of the story.

It is impressive that the BBC has a site to take such complaints and that they do respond. It is less impressive that this casting decision about a fictional alien is bothering so many people.

There is help for those men who cannot handle a female lead despite having thirty-six seasons with a male lead, The Doctor Who Help Line. For those who don’t want to watch the full video above, the funniest lines include a man calling in saying he hoped that at least Jodie Whittaker will only be paid  seventy-nine cents on the dollar of what Peter Capaldi was paid, and a suggestion that she get her own show about a time traveling nurse. The BBC says that Jodie Whittaker will be paid as much as Peter Capaldi. At least as of now this will be her last appearance:

 “That’s it,” said Mackie. “The Christmas special is your last chance to see Bill. But I mean, hey, it’s Doctor Who, so never say never.”

The trailer for the Christmas episode released at SDCC, entitled Twice Upon A Time, reveals that, in addition to two Doctors played by Peter Capaldi and David Bradley, the cast includes Mark Gatiss and Pearle Mackie, returning as Bill.

Deborah Watling, who played the second Doctor’s companion Victoria Waterfield, died last week.

Update: More news from San Diego Comic Con here.

SciFi Weekend: Jodie Whittaker Cast As The 13th Doctor; Game of Thrones Returns; George A. Romero and Martin Landau Die

After fifty-four years there will be a female lead on Doctor WhoJodie Whittaker shows that glass ceilings can be broken, especially when you have the right woman. News came out earlier in the week  that the identity of the thirteenth doctor would be revealed with a video which featured the number 13:

We finally saw who held the key to the TARDIS in another video earlier today:

Jodie Whittaker was revealed to be the thirteenth Doctor, and Chris Chibnall said he had always wanted his first lead to be a woman:

“I always knew I wanted the 13th Doctor to be a woman, and we’re thrilled to have secured our No. 1 choice. Her audition for the Doctor simply blew us all away. Jodie is an in-demand, funny, inspiring, super-smart force of nature and will bring loads of wit, strength and warmth to the role.”

In retrospect this is should not come as a surprise. While Jodie Whittaker has had more genre-oriented roles, the most important one leading to getting this role must have been playing Beth Latimer in Broadchurch, which Chibnall was show runner for. He showed that he thought Whittaker was important by giving her a new position in the third season to provide for significant on screen time even though the focus of the show had changed.

Her role on Broadchurch also enabled Whittaker to work with both a former Doctor (Peter Tennant) and a former companion (Arthur Darvill).

The BBC has posted an interview with Jodie Whittaker about taking this new role:

1) What does it feel like to be the Thirteenth Doctor?
It’s very nerve-racking, as it’s been so secret!

2) Why did you want the role?
To be asked to play the ultimate character, to get to play pretend in the truest form: this is why I wanted to be an actor in the first place. To be able to play someone who is literally reinvented on screen, with all the freedoms that brings: what an unbelievable opportunity. And added to that, to be the first woman in that role.

3) Has it been hard to keep the secret?
Yes. Very hard! I’ve told a lot of lies! I’ve embroiled myself in a whole world of lies which is going to come back at me when this is announced!

4) Who was the first person you told when you got the role?
My husband. Because I was allowed to!

5) Did you have a codename and if so what was it?
In my home, and with my agent, it was The Clooney. Because to me and my husband, George is an iconic guy. And we thought: what’s a really famous iconic name? It was just fitting.

6) What does it feel like to be the first woman Doctor?
It feels completely overwhelming, as a feminist, as a woman, as an actor, as a human, as someone who wants to continually push themselves and challenge themselves, and not be boxed in by what you’re told you can and can’t be. It feels incredible.

7) What do you want to tell the fans?
I want to tell the fans not to be scared by my gender. Because this is a really exciting time, and Doctor Who represents everything that’s exciting about change. The fans have lived through so many changes, and this is only a new, different one, not a fearful one.

8) What are you most excited about?
I’m most excited about becoming part of a family I didn’t even know existed. I was born in 1982, it’s been around longer than me, and it’s a family I couldn’t ever have dreamed I’d be part of.

9) How did Chris sell you the part?
We had a strange chat earlier this year where he tricked me into thinking we were talking about Broadchurch. And I started to quiz him about his new job in Wales, and asked him if I could be a baddie! And he quickly diverted the conversation to suggest I should consider auditioning to be the 13th Clooney.

It was the most incredible chat because I asked every question under the sun, and I said I’d take a few weeks to decide whether I was going to audition. He got a phone call within 24 hours. He would’ve got a phone call sooner, but my husband was away and there was a time difference!

10) Did he persuade you?
No. There was no persuasion needed. If you need to be persuaded to do this part, you’re not right for this part, and the part isn’t right for you. I also think, for anyone taking this on, you have to want to fight for it, which I certainly had to do. I know there will have been some phenomenal actors who threw their hats in the ring.

11) What are you going to wear?
Don’t know yet.

12) Is that your costume in the filmed sequence which introduced you as the new Doctor?
No.

13) Have any of the other Doctors given you advice?
Well they can’t because they haven’t known until now, but I’m certainly expecting a couple of calls – I’ve got a couple of mates in there. I’m mates with a companion [Arthur Darvill], I’m mates with a trio of Doctors. I know Matt Smith, Chris Eccleston and obviously David Tennant. Oh! And let’s throw in David Bradley! Four Doctors! So I’m hoping I get some calls of advice.

I first heard Whittaker’s name as a front runner yesterday, and was excited by the prospect of an actress of her ability taking on the role. Being an American who watches some, but limited, British television, this was only the second time (after Peter Capaldi) I was familiar with an incoming Doctor’s work at the time they were cast. I had previously gotten accustomed to the idea of a woman receiving the role when another British actress I’m familiar with, Phoebe Waller-Bridge, was often being called the front runner.

In retrospect I suspect that Steven Moffat was helping Chris Chibnall set up for this transition. The first mention I can recall that a Time Lord can regenerate into a man or woman occurred in The Doctor’s Wife. There have been minor characters who changed gender as Time Lords, but the most significant was when The Master regenerated into Missy, played by Michelle Gomez. The possibility of the Doctor being a woman was further foreshadowed this season. The Doctor suggested that he might have been a woman in the past in World Enough And Time. In the season finale, The Doctor Falls, there was an exchange in which the Master asked, “Will the future be all girl?” and the Doctor answered, “We can only hope.”

There has been some negative reaction among fans, but reaction has generally been positive among reviewers (such as here) and those involved with the show. Peter Capaldi had this to say: “Anyone who has seen Jodie Whittaker’s work will know that she is a wonderful actress of great individuality and charm. She has above all the huge heart to play this most special part. She’s going to be a fantastic Doctor.”

The Guardian had additional comments:

Emily Cook, editorial assistant at Doctor Who magazine, said: “I am very excited about this. As soon as I saw Jodie Whittaker appear on the video in the BBC clip announcing her, it just felt right – she just felt like the Doctor. Having a female Doctor is really exciting and significant. I cannot wait to see what she does with the role and where she takes the show.

“She will bring a freshness. She is younger than Peter Capaldi and, being a woman, she will have a different approach to the role. It’s completely new territory for the show and that is very exciting. Whittaker has worked with David Tennant on Broadchurch and St Trinian’s so there is a strong Doctor Who connection there.”

Erica Lear, the social secretary at the Doctor Who Appreciation Society, said: “I think it’s very brave but she is a brilliant actress. I did not expect it but I think it’s brilliant. My only wish was that we have a good actor and that is what we have.”

But Lear noted that the appointment might divide opinion. “It will spark debate and split fandom; there will be lots of people not happy with the decision but it’s up to the new series to change their mind.”

It will be interesting to see what direction the show goes in beyond naming a woman Doctor. While they can take the show in multiple directions, I suspect that her portrayal of the Doctor might be more conventional beyond the gender change, while it would have probably been more off beat if they had gone with Phoebe Waller-Bridge. In order to save time in getting to the action, it is commonplace for the Doctor to go to new surroundings and quickly take control. Will this stay the same or will they show a woman having more difficulty here? Will the Daleks recognize her as the Doctor? What will be her relationship with her companion or companions?

It could also be interesting to bring back some past characters. Doctor Who has had a female Time Ladies in the past, including two different regenerations of Romana. Maybe Romana can return, possibly regenerated into a male Roman. For that matter, will she be called a Time Lord or Time Lady?

The most interesting match up could be if they bring back River Song. There were two different situations in the Star Trek universe in which aliens changed sex in situations somewhat comparable to regeneration involving Beverley Crusher and Dax. In both of those situations, romances were not continued when the gender of both partners became female, although different reasons than being the same sex were given. Society has changed a lot since then. Today I think the best way to handle River Song meeting Thirteen would be for her to just say “hello sweetie” and totally ignore the gender change.

Game of Thrones has also returned tonight. In the spirit of today’s lead story I’ll direct your attention towards a story at Wired entitled, This Is How GAME OF THRONES Ends In Total Matriarchy.Of course there are some major characters who are male who are not likely to give up without a fight.  Incidentally, Sophie Turner does not think that Sansa Stark should sit on the Iron Throne. She sees Sansa as taking control of Winterfell while Jon Snow ultimately sits on the Iron Throne.

There was news of two deaths. George A. Romero, creator of  Night of the Living Dead, died at age 77. The Los Angeles Times reports:

Legendary filmmaker George A. Romero, father of the modern movie zombie and creator of the groundbreaking “Night of the Living Dead” franchise, has died at 77.

Romero died Sunday in his sleep after a “brief but aggressive battle with lung cancer,” according to a statement to The Times provided by his longtime producing partner, Peter Grunwald. Romero died while listening to the score of one his favorite films, 1952’s “The Quiet Man,” with his wife, Suzanne Desrocher Romero, and daughter, Tina Romero, at his side, the family said.

Romero jump-started the zombie genre as the co-writer (with John A. Russo) and director of the 1968 movie “Night of the Living Dead,” which went to show future generations of filmmakers such as Tobe Hooper and John Carpenter that generating big scares didn’t require big budgets. “Living Dead” spawned an entire school of zombie knockoffs, and Romero’s sequels included 1978’s “Dawn of the Dead,” 1985’s “Day of the Dead,” 2005’s “Land of the Dead,” 2007’s “Diary of the Dead” and 2009’s “George A. Romero’s Survival of the Dead.”

The original film, since colorized, has become a Halloween TV staple. Among other notable aspects of the cult classic was the casting of a black actor, Duane Jones, in the lead role, marking a milestone in the horror genre.

Martin Landau died at age 89. Deadline reports:

Academy Award winning actor of Ed Wood, Martin Landau has died at the age of 89. Also known for his versatile roles in classic films like Alfred Hitchcock’s North by Northwest and for his role in the Mission: Impossible television series as master of disguise Rollin Hand , the actor died Saturday of “unexpected complications.”

…His career in television, film, and stage spanned over five decades.  “Martin Landau is living proof that Hollywood will find great roles for great actors at any stage of their careers,” said Guttman in a release.

He made his big screen debut the Gregory Peck war film Pork Chop Hill in 1959, but his first major film appearance was North by Northwest, a role he nabbed when Hitchcock after saw his stage performance with Edward G. Robinson in Paddy Chayefsky’s Middle of the Night. In addition to the classic film and TV’s Mission: Impossible, he starred opposite Jeff Bridges in Francis Ford Coppola’s Tucker: The Man His Dream in 1988, where he received his first Oscar nomination. The following year he earned his second Oscar nod for his role as Judah Rosenthal in Woody Allen’s Crimes and Misdemeanors. In 1994, when he received a third nom and won for Best Supporting Actor in Tim Burton’s Ed Wood where he played Bela Lugosi.

His performance in Ed Wood also earned him a Golden Globe Award the Screen Actor Guild’s first annual award, The American Comedy Award, The New York Film Critics Award, The National Society of Film Critics Award, The Chicago Film Critics Award, The Los Angeles Film Critics Award, and every other award for Best Supporting Actor in 1994. He collaborated with Burton again as a voice actor for his animated features 9 and Frankenweenie.

Landau also stared in the science fiction television show, Space 1999 in 1975-6.

SciFi Weekend: Doctor Who; The Americans; American Gods

I looked at the regular season finale of Doctor Who, The Doctor Falls, last week. The episode ended with Peter Capaldi fighting his inevitable regeneration. Peter Capaldi discussed why he is leaving the show with Radio Times:

Why make this your final series?

I love this show, but I’ve never done anything where you turn up every day for ten months. I want to always be giving it my best and I don’t think if I stayed on I’d be able to do that. I can’t think of another way to say, “This could be the end of civilisation as we know it.”

With episodic television of any genre, the audience wants the same thing all the time – but the instinct that leads the actor is not about being in a groove…

What’s the hardest part of being the Doctor?

Doctor Who is a hugely challenging show to write and to act in. It has to turn on a dime from comedy to terror to tragedy. It’s a children’s show that developed into something more complex, a bit more adult-orientated, but we have a duty to play to the seven-year-old as well as the 42-year-old. Sometimes you have to be more comic than you’d normally be comfortable with, but it’s important.

How would you describe your Doctor?

The Doctor is deeply sad – I think he always has been. When you’re wise and you’ve lived a very long time, that’s how you’d be. Although you have to be careful with very human emotions and the Doctor because he’s an alien. It’s more straightforward to play the human elements, but then it might as well be a cop show…

What can you say about your regeneration?

I can’t go into the details. I know what happens, but I don’t know how it happens. Certainly it’s not straightforward. It’s more complicated than recent ones. That’s one of the appeals of being in the show – it has death at the heart of it. He’s the only hero on TV who dies again and again.

The article also includes interviews with Michelle Gomez and Steven Moffat. From the interview with Steven Moffat:

How would you describe your Doctors?

He is someone who’s running towards everything at once because he might miss it. He doesn’t understand why anyone would do the same thing every day or sit in the same room every day. He doesn’t understand why you would live a life in safety when you could be running from fires and explosions. He doesn’t understand why we volunteer to be dull – he needs to be out there and experiencing everything at once.

Along the way, of course, he helps people and people start to think of him as this great hero, but he doesn’t understand that – he’s just running past people and seeing that they need help, so he helps. Actors either have it or they don’t. The first time I saw Matt Smith – only the second person to audition for the role – you could instantly tell that he was Doctor Who. There was nothing clever about saying, “Well, obviously it’s him.”

In another interview, Moffat discussed possibly leaving a cliffhanger for Chris Chibnall, and the problem with gender pronouns when dealing with Missy and the Master:

After talking about the — incestuous? masturbatory? — vibes between Missy and The Master, something previous Doctor Who showrunner Russell T. Davies wanted more of when Moffat told him about his plans to bring back Simm, Moffat revealed that he thought about ending his tenure as showrunner with a cliffhanger that incoming showrunner Chris Chibnall would have to resolve.

“We concocted this whole scheme that I’d cliffhanger out of my era of Doctor Whoand hand over to Chris with Missy telling the Master and the Doctor that she’s pregnant,” Moffat revealed. “I decided not to do that. Over to you, Chibs. Sort that one out, mate.”

While Moffat admitted that the idea was just “email lunacy,” he also called for a societal change as a result of his experience talking about the character’s gender.

“We have to ban gender pronouns. I can no longer talk about the character of the Master ‘slash’ Missy without having to go ‘slash.’ It’s exhausting,” Moffat complained. “Let’s just rid of them. It’s a stupid idea in the first place. What do we need them for?”

We still have the Christmas episode to look forward to. The Doctor has sometimes seen previous companions at the time of his regeneration, and it has been reported that Jenna Coleman will be appearing in the episode. There is no information as to whether this will show what has happened since she went off to explore the universe, or if this will be a visit with Clara Oswald from earlier in her life, or perhaps just something in the Doctor’s head. Jenna Coleman currently stars on Victoria.

Of course leaving Doctor Who won’t be the end for Steven Moffat. In a recent radio interview, he left open the possibility of Sherlock returning for another season. Variety reports that Steven Moffat and Marc Gatiss are working on an adaptation of Dracula. Like Sherlock, it will consist of short seasons of feature length episodes. No word as to where and when this will be set.

Besides last week’s finale of Doctor Who, other shows have had season finales worth noting. I have recently discussed iZombie here, and The Leftovers and Fargo here. Due to traveling and other distractions, I have fallen behind on other finales and will catch up on a couple more today–The Americans and American Gods. In the near future I also hope to look back at the finales of additional shows including The Handmaid’s Tale, Gotham, Veep, and Better Call Saul. Plus there should be a lot more news on next season’s shows as we get into Comic Con.

The Americans has been one of the best dramas on television the last several years. Much of this season was to set up the final season next year, and the ending this year felt somewhat like a tease. It looked like Philip and Elizabeth might return home, but obviously that could not happen until the end of next season, if it ever does happen. Instead they were given a reason to remain at the last minute. Stan also suggested he might leave his position at the FBI, but Renee quickly argued that he should not. That is also a tease for the viewers who have been wondering (along with Elizabeth and Philip) if Renee is a Russian spy who wanted Stan to remain where he is for her own reasons. Of course Stan had no such thoughts. TV Line interviewed the producers and asked about this scene:

TVLINE | In the finale, we also saw Renee try to talk Stan into staying with the FBI. Is he starting to get suspicious of her? And will Laurie Holden be back next season?
WEISBERG | [Laughs] No comment on the latter. Nice try! But on the former, we don’t particularly think so. Stan would have no more reason to be suspicious of the woman he’s dating than he does the neighbors across the street.

Deadline also discussed the finale with Joe Weisberg and Joel Fields. Topics included where the show will be going in the final season, whether it will lead into the collapse of the Soviet Union, and whether Donald Trump will appear. Here are some excepts:

DEADLINE: So, after all that anticipation this season, a big CIA catch means Philip and Elizabeth are not heading home to the Soviet Union. So what’s next?

WEISBERG: Still not going home. They still can’t get home. It was so close though, so close. They’re not only not going home, but it sure sounds like Philip is quitting his job — at least his spy job. It sounds like he’s going to work at the travel agency full time.

DEADLINE: Well, I doubt you mean that, but it did seem like you had Keri’s character looking for a reason not to return home, which, of course, is a real turn for her from her contempt for the West that has fueled much of the series.

WEISBERG: We think that she was being sincere in what she told Philip about why she couldn’t go back. Whether she was dying to go back, having second thoughts about going back, whatever it was, it felt to us like that was classical Elizabeth Jennings that when duty calls she had to answer the call. It was certain she couldn’t go home when she and Philip now have their hooks in the new head of the Soviet division at the CIA.

DEADLINE: Which brings us to the sixth and final season for next year. With history catching up to the 1991 collapse of the Soviet Union, will we see Season 6 pick up from the Season 5 events of 1984 or move ahead in time toward a real resolution?

FIELDS: Dominic, you know we don’t like to give away really anything, but probably one thing we’re willing to say is that there’s going to be a resolution. Sometimes people will ask about The Americans. Is it moving slowly? Is anything happening? I think we are all willing to give away that there is something that most people who speak the English language would be willing to call a real ending…

DEADLINE: For a show so authentically drenched in the 1980s, there is one real-life character I’ve always been sure we would see one day on The Americans, a certain Art Of The Deal author who really became known back in the Reagan Era. So why hasn’t Donald Trump appeared on The Americans, even in the background or as an aside?

FIELDS: You know, it’s a funny thing. Had Donald Trump not become such a prominent part of our lives today, he certainly could have appeared in the background of the show (both laugh). Joking aside, that’s exactly the sort of reference we feel we could never make in the show, because it would have a self-conscious link. We feel would take the audience out of the experience of being immersed in the show and yank them back into today, and really isn’t the whole point of watching TV today to not have to think about today?

DEADLINE: So, going into Season 6, we’ll never see Donald Trump on The Americans?

FIELDS: I think as much as we try to prevent spoilers I am confident in saying we won’t. Joe, are you OK with that spoiler?

WEISBERG: I think we can say he’s not going to be in the show. Although, if you print that, I wouldn’t be surprised if we get a call from him asking to be in the show.

The Hollywood Reporter looked at the final minutes of the finale of American Gods and how they are likely to lead into the second season:

While Wednesday’s true identity is certainly an important revelation for the series, it’s not the stopping point most fans of the Gaiman novel would have expected for the season. Instead, those fans were likely expecting to see Wednesday, Shadow and some of the other deities — including Orlando Jones as Mr. Nancy and Peter Stormare as Czernobog — arriving at the The House on the Rock, the site of what’s easily the single most iconic moment from the source material.

Based on the real-life Wisconsin tourist attraction of the same name, the House on the Rock is an architectural anomaly designed by Alex Jordan Jr. and originally opened in 1959. For those unfamiliar, the YouTube channel Atlas Obscura has an excellent breakdown of the “mind-tripping brain warp” nature of this extremely unusual location, which you can watch below.

In the fifth chapter of Gaiman’s book, Wednesday takes Shadow to the House on the Rock, and he explains it as “a place of power,” due to its nature as a roadside attraction. He says: “In other countries, over the years, people recognized the places of power. Sometimes it would be a natural formation, sometimes it would just be a place that was, somehow, special. They knew that something important was happening there, that there was some focusing point, some channel, some window to the Immanent. And so they would build temples, or cathedrals, or erect stone circles, or…well, you get the idea.”

…Shadow finally speaks Odin’s true name, and once he does, the whisper becomes louder and louder until it’s an undeniable echo, bellowing within a great hall in which Wednesday conducts his meeting with the other gods. From this point forward, Shadow knows that the oddities he’s experienced during his travels with Wednesday are more real than he could have ever imagined.

It’s a massive turning point in Gaiman’s novel, and given that the climactic scene occurs little more than 100 pages into the book, many fans expected to see the House on the Rock sequence in the season one finale. Instead, what they saw was Bilquis (Yetide Badaki) driving on a bus past a sign for the House on the Rock in the final scene of the season — a promise that the sequence is very much still ahead, albeit a bit further down the line than expected.

While the House on the Rock’s veritable absence from the finale is certainly disappointing for the book-reading faithful, it wasn’t without some warning. Fuller told THR before the season’s launch that due to some episode restructuring, budget that would have gone toward the House on the Rock sequence was instead repurposed to streamline the show’s narrative. What’s more, given that the first season of American Gods didn’t quite crack the first 100 pages of the book (with a total count of 541 pages in the updated and expanded 10th anniversary edition, including forewords and afterwards), fans can rest assured that the show will adapt almost every granular detail of the novel — eventually, anyway.

Deadline interviewed Michael Green and Bryan Fuller about the finale. Here are some excerpts, beginning with a question about House on the Rock:

DEADLINE: Where does the end of this season leave us, going into Season 2 and going into the rest of Neil’s book?

GREEN: Precariously. We always knew we wanted to end the season with our weight tilted towards House on the Rock. We talked a lot, early on about wanting to get there and even starting that story, then advancing the narrative that far. But we enjoyed our time with our characters so much and were doing so many things that took so much time and resources that we realized that we had a very interesting and satisfying ending with Wednesday taking his first real aggressive stance against the new gods. With him saying, ‘You were very, very unwise to count me out and to speak in those tones to me.’ So Wednesday has the upper hand in two ways, he is taking a shot across the bow that’s going to hurt the new gods and he has a believer in Shadow Moon. Those are two things that are not without significance.

DEADLINE: With where we are in terms of Neil’s book, will that play a big part in the consequences of Season 2?

FULLER: I think the bigger interpersonal dramas that are waiting for us in Season two that excites us greatly is the notion of Laura Moon versus Mr. Wednesday. We see, by the end of the season, that Laura understands that Wednesday had her assassinated, specifically, to put Shadow in this situation. We always talked about Laura becoming that metaphor for the last Catholic who can, you know, shake her fist at the sky, and say, “Fuck you, God.” But now she actually gets to say it to a real god and she’s a god that she can get her hands on so what is she going to do next?

DEADLINE: You strode into some sprawling themes in Season 1–faith, obviously, but also immigration, gun violence, race, sexism. From the reaction online and elsewhere, it felt like the audience was very receptive to those conversations and those discussions. Did that surprise you?

GREEN: I feel like the people who wouldn’t be receptive to those conversations aren’t watching the show…

DEADLINE: Speaking of anger, one of the new characters invented for the series was Corbin Bernsen’s god Vulcan. He appeared to meet a fiery end but are we going to see more newly created characters for Season 2?

FULLER: Yes but you know, there’s lots of new characters to come into this world that were part of this story in the book as well as some that weren’t that we want to include. We’re excited about Mama-Ji and we’re excited about Sam Black Crow. There were a lot of characters that we want to start weaving into the mythology of the television series, and we’re really excited about seeing characters from the first season, again, that you may not expect to see again.

DEADLINE: Obviously, a character we fully expect to see more of is Shadow Moon. Over Season 1, we’ve seen him go from a very closed, almost one-dimensional character, who is trying to find his way to someone or something, who now at the finale, has literally and figuratively seen the world open up in front of him and maybe some sense of who he really is becoming close to home now. How is that arc moving forward in Season 2?

FULLER: Well, it has to move forward in a proactive way for his character. So much of what we had in the first season was Shadow as passenger to the narrative He was in a situation where he had everything removed from him, so he didn’t know what he wanted as a character. He just knew that he had to fill his days. Now that he understands a little bit more about the world and the world of gods, we get to witness him as an apostle of sorts – and see what kind of apostle he could be.

The Wrap has more with Bryan Fuller. The Los Angeles Times has an interview with Neil Gaiman.

SciFi Weekend: Doctor Who, World Enough and Time; Carrie Coon In Ambiguous Finales On The Leftovers & Fargo

World Enough and Time was an excellent way to move into the season finale of Doctor Who, and a near final chance for Steven Moffat to go meta. The episode began with a scene of the Doctor regenerating, which presumably will be continued next week. The actual story got underway with Missy exiting the TARDIS saying, “Hello. I’m Doctor Who.”  Moffat has often liked to play with the show’s title by setting up situations where people ask “Doctor Who?” as a question. Missy said she was “cutting to the chase,” saving time from having to go through the introduction and follow up question, but then went on to claim it is his real name.

Bill had struggled with this issue in Pilot arguing that, “The Doctor’s not a name. I can’t just call you Doctor. Doctor what?”

In recent years you could often tell that people talking about the show were not actual viewers when they made reference to the lead as Doctor Who as opposed to the Doctor. Now we have Bill questioning why Missy called herself Doctor Who. Missy claimed it was his real name and the Doctor did not deny this. DoctorWho TV says that Hartnell, Troughton, Pertwee, Baker, Eccleston, and Tennant were all credited as “Dr. Who” or “Doctor Who.”

Moffat also played with the role of the companion. Missy called them her assistants, which was more common in the classic shows. When Bill objected to being called Missy’s “plucky assistants,” she asked what he does call them, “companions, pets, snacks?” Neither the words “assistant” or “companion” are actually used very often on the show and Bill said that the Doctor called them friends. Missy claimed that only Time Lords can be friends to each other and “anything else is cradle snatching.” Missy also saw them as “disposable” with their names not mattering. Instead they had their roles, “exposition and comic relief.”

We learned via flashbacks that this was all a test for Missy. The Doctor not only wanted Missy to be good, he has unrealistically wanted her to be like him. While Bill objected that Missy is a murderer, the Doctor showed a different moral code, noting that Bill could similarly be seen as a murderer from the perspective of the pig who died for her bacon sandwich. The Doctor decided to graze for distress calls and look for a good one, like their usual Saturday. This might also refer to how the show airs on Saturdays. The Doctor explained how Missy is “the only person I’ve met who is only remotely like me.” This could refer to them not only being Time Lords, but also both being renegades in their own way. After all, the Doctor did steal the TARDIS and has often been at odds with the Timelords.

The Doctor spoke about Missy as having been his best friend from when they first met at the Academy. “She was my man-crush.” He further explained, “I think she was a man back then. I’m fairly sure I was one too. It was a long time ago, though.” He also told Bill, “We’re the most civilized civilization in the universe. We’re billions of years beyond your petty human obsession with gender and associated stereotypes.” Bill noted that despite this, they still call themselves Time Lords She hasn’t had the experience with them to also question how advanced the Time Lords really are.”

This might be Moffat’s answer to the controversy over whether there will be a woman playing the Doctor. The actual decision is no longer in his hands but if the regeneration of the Master as Missy was not enough, this scene firmly sets in cannon that it is possible to have a woman Doctor. It is not actually possible that the Doctor could have been anything but a man at the Academy unless he had another regeneration which we are aware of, and has not been counted like the War Doctor. While there were questions in the past whether William Hartnell played the first Doctor, the count was established during the Matt Smith era (with the War Doctor creating some wiggle room). While it is unlikely the Doctor was ever a woman, we have seen other woman in a near-Doctor role. This includes Moffat having River Song, Clara Oswald, and Ashildr (the guest role played by Maisie Williams) all pilot a TARDIS.

Bill did not feel safe playing Missy’s companion, and asked the Doctor to “promise you won’t get me killed.” He could not do that, with this flashback scene played right Missy was shot.

The first sixteen minutes of this episode were a great opening sequence. Unfortunately the ending of the show suffered because the realities of the modern world. It would be impossible for them to have filmed scenes with the Cybermen without this news getting out and spreading rapidly on line. Therefore they made no attempts to keep this a secret, announcing that both the original Mondasian Cybermen and the John Simm Master would be present. Stephen Moffat had also warned that one of the trailers would give away a lot.

The episode certainly would have been even greater when watching if we were not aware that the Cybermen were present. The episode set up a fascinating scenario in which a four hundred mile colony ship caught by a black hole had time pass at a far greater speed at the far end than at the other.  Again going meta, this later allowed Bill to view the Doctor in slow motion on a monitor and explain his actions. It also led to a situation in which people trapped on the ship were driven to drastic measures, giving a new explanation for the genesis of the Cybermen.

There were many clues throughout the episode that Cybermen were involved. The hole in Bill’s chest was fixed, with the surgeon saying, “full conversion wasn’t necessary.” Words such as “conversion” and people being “upgraded” provided clues, along with people partially through the process with Mummy-like facial covering like the original Mondasian Cyberman. Later Missy found that the ship was not from earth but from Mondas. It became increasingly obvious when the rod-like headgear was shown to be added to those converted so they would not care about the pain. If someone had not known going into the episode that it was about Cybermen, I wonder how long it took to figure it out.

The other surprise which was tipped off was that Razor turned out to be the Master in disguise. In the past, the Master has used names which were anagrams. In this case, presumably the destructive nature of razors has some meaning in the choosing of the name.

On a personal level this could be one of the most evil acts by the Master–facilitating the conversion of Bill while the Doctor was on his way to save her. She had listened to him and waited, like a tragic variation of The Girl Who Waited. This betrayal seems even more evil  on the part of the Master considering that, due to the effects of the black hole, Bill had spent years with the Master before the Doctor could make it down the elevator to come after her.

The John Simm version of the Master was certainly playing a long game here, but I imagine that is no different than Matt Smith defending a planet before his regeneration or Peter Capaldi agreeing to guard the tomb (even if he didn’t follow through with that). The Master has a lot at stake: “I’m very worried about my future.” Missy does not recall being on the ship previously. While difficult to understand, there have been similar memory issues on episodes involving multiple versions of the Doctor.

We have a certain symmetry here. Steven Moffat has seen Peter Capaldi, an older actor, as being like William Hartnell. Harnell played the first Doctor, while Capaldi is the first of the new regenerations granted to Matt Smith. There have been references to the first Doctor, such as with the picture of Susan on the Doctor’s desk at the university. The Mondasian Cybermen were introduced in the 1966 episode, The Tenth Planet, in which the first doctor died and regenerated.

A big question here is whether the Doctor dies next week, or if this is to occur in the Christmas episode. In some interviews Moffat has suggested he is going to handle the regeneration differently, and questioned if Christmas is the best time for a death. We already know that the first Doctor will be appearing in the Christmas episode, to be played by David Bradley who played William Hartnell in the documentary An Adventure In Space In Time.

It is just a guess, but I’m speculating that the Doctor really does die and go into a regeneration cycle next week. This could have his meeting with the first Doctor as an adventure inside  his own head, comparable to one’s life passing before their eyes. It could be like a longer version of Peter Davison’s regeneration scene in which his companions appear in his head begging him not to die, while the Master encouraged him to do so. Alternatively it could be a final trip through time for the Doctor in his final moments, just as David Tennant visited his past.

We also do not know for certain if Bill will be returning, but it is believed that Chris Chibnall will be starting with a clean slate. Pearl Mackie stated in a radio show that she has met with Chris Chibnall and gave no indication that her status was final, but she might have just been avoiding spoiling the season finale. Her conversion to a Cyberman could very well be Bill’s fate, although this still would not prevent her from helping the Doctor next week. On the other hand, Steven Moffat has avoided killing companions who are leaving, and also might not want a fate like this for her. Amy Pond went into the past and Clara Oswald went on to explore the universe with Ashildr despite being on her last heartbeat. River Song not only escaped death, but appeared multiple times afterwards (at earlier times in her timeline). Perhaps the conversion isn’t final for Bill. Even if she cannot become human again, maybe she can go off and travel through space and time with her friend from Pilot.

There have been multiple season finales to discuss recently, including American Gods, Gotham, and Better Call Saul. I’m going to begin with two this week, The Leftovers and Fargo, as they both have something in common. Both end with Carrie Coon sitting at a table and telling a story to a male lead on the show, with the episode ending in ambiguity. Both are in the tradition of The Sopranos in having an ending which people might be talking about for a long time afterwards.

The finale of any show by Damon Lindelof is going to be compared to the conclusion of Lost. Lindelof handled matters much better with The Leftovers. Neither series could ever have a finale which tied things up. While The Leftovers did not have anywhere near as many episodes and mysteries to tie up, it is based upon a novel which specifically avoided giving any answer for its central event–the rapture-like disappearance of two percent of the world’s population. The episode actually gave more of an explanation than I ever expected, even if not clear if true, leaving me more satisfied than after Lost, while still leaving plenty to wonder about.

For a while the series finale of The Leftovers  was very hard to figure out. After Kevin found Nora he acted as if most of what the two had gone through together on the series never occurred. Was this yet another reality, or perhaps she had gone over and there was another version of Kevin there. Were they in purgatory? Later it became clear that this was our earth when Nora spoke with Laurie on the phone. Ultimately this was explained as Kevin telling a story as a way for them to start over after being apart for several years.

The episode ended with Carrie Coon’s character, Nora, telling a remarkable story to Kevin, but not necessarily any stranger than what we have seen on the show. Two things make it hard to tell if the story is true. She went into a chamber which supposedly was going to send her to where the missing two percent were. At the final moment, as the chamber was filling up with a fluid, she opened her mouth. Was she gasping to hold her breath as instructed, or was she exercising the option of telling them to stop? Those controlling the device had made a point of saying they could hear her the whole time.

It is also not possible to determine if the story was true because we never saw any of the adventure described. All we know is what Nora said.

The description of the episode was “Nothing is answered. Everything is answered. And then it ends.” This is exactly what happened with an answer which felt good at the time but which actually left key matters unexplained, and which may or may not be true.

Nora told a story of going to another place which was exactly like our world, except that to the people there ninety-eight percent of the world had disappeared, instead of two percent like in our world. Naturally their world was changed far more.

If her story was true, we know nothing about how this happened, or about events such as the world Kevin seemed to go to in two episodes when he died and returned. However, we would know that there is a physical explanation for reality being divided in two, with a physicist even developing a way to travel between the two realities. Instead of a religious rapture, people were not divided into those taken and left behind. They just wound up in one of two possible places.

Damon Lindelof had even spoken in interviews of filming such a scene in the pilot showing everyone else disappearing from the perspective of one who disappeared from our earth, giving some plausibility to Nora’s story on a meta level. Within the episode, there are arguments both for believing and disbelieving Nora. She even seemed surprised that Kevin believed her. She said, “You do?” He responded,”Why wouldn’t I? You’re here.”

In various interviews Lindelof discussed how this was written to leave things open for interpretation, how those on set changed their minds about whether Nora was telling the truth, and also claims there was a clear intention as to whether she was telling the truth–which he will not reveal. From USA Today:

…Lindelof reveals the episode was designed in such a way that left the truth open to interpretation — one last mystery for fans to chew over. “We all came to the conclusion that Nora telling the story of where everybody went was going to be the best ending, as long as we didn’t show it. And then the audience would get to decide whether they believed her story. We have a clear intention as storytellers as to whether or not the story is true, and if you watch the episode or the season again, perhaps that intention becomes more clear.”

What matters at the end of the day? That Kevin is just glad to be in the same room again with a tearful Nora telling him, “I’m here.”

“Whether he actually believes her or he wants to believe her because this will allow them to be together, that’s the $64,000 question,” Lindelof says. “But what is very clear at the end of the series is that these two people are going to be together and they’ve suffered enough. I hope.”

However, Lindelof reveals the episode was designed in such a way that left the truth open to interpretation — one last mystery for fans to chew over. “We all came to the conclusion that Nora telling the story of where everybody went was going to be the best ending, as long as we didn’t show it. And then the audience would get to decide whether they believed her story. We have a clear intention as storytellers as to whether or not the story is true, and if you watch the episode or the season again, perhaps that intention becomes more clear.”

Watching the show I thought it is possible that Kevin only said he believed her because he wanted to be together and didn’t really care what had  happened. An interview with Lindelof at The Daily Beast  does confirm that Kevin does believe her:

They’re together, but Nora never actually reunited with her kids.

There’s a number of different ways of looking at that. One potential interpretation is that that didn’t happen at all. That she chickened out and got out of the voice and put herself in self-induced exile and made the story up because it was the story that she needed to tell herself and the story that Kevin needed to hear for them to be together. That’s a cynical interpretation, but it’s one that I’ve heard.

Yes, I’m sure there will be a lot of people who think she made it all up.

Another interpretation is that when she saw her children and they were happy that she suddenly realized, “Who am I to come jamming into their happiness after seven years. There’s not a place for me in this unit anymore.” Not to mention that her husband has been cheating on her and he’s with another woman and her children have learned to be without her. So she must learn, too.

But if you take her story at face value, there’s nobility in her gesture. I think Nora is an incredibly brave and stoic character, and the idea that she went all the way to the top of Everest and then just didn’t plant her flag there. She realized, “Oh. Why did I need to climb Everest again? I think it’s time for me to go back down to the mountain and reevaluate things.” I think there’s nobility in that, too.

Kevin says he believes her. Does he?

Yeah!

Should we believe her?

I can’t tell you what to believe and what not to believe in a show that is based on people telling insane stories. I think that Kevin does believe her and he is the audience’s proxy. Nora is surprised. She’s like, “You do?” Because the story is so incredible, if you really sit and listen to what she says happened to her and, more importantly, how she says she got back. But hopefully it becomes, over time, less and less important whether it is literally true and more and more important that it was emotionally true. I’ve learned the hard way not to tell the audience what to believe and what to think and what to feel.

Lindelof had this explanation in Esquire:

We don’t know if Nora’s story was true.

If we showed it, you would know that it was true. By not showing it, you have to believe that it’s true, if that makes any sense. I think that what’s important is Kevin says that he believes her, and she seems surprised by that. She says, “You do?” And he says, “Why wouldn’t I? You’re here.” That’s kind of everything we have to say about how relevant the truth is, because if a belief system works for you, if it brings you together with the people that you love, it’s actual veracity is secondary to what that belief system basically gets you. That’s not like self-help guru promise bullshit, that’s the way that I think things work. I think that this finale and this season and this series is packed with people who are telling stories. Part of the territory, the very rich territory that we wanted to explore was: Are any of these stories true? Or do these stories have an added veracity because they’re told in a world where this crazy supernatural event happened? Or are they all bullshit? We want the audience to be thinking and feeling and wrestling with all of those questions.

What our intention was in writing the scene is 100 percent clear. I would never be like, “Well, that’s up to you to decide. It’s all in the eyes of the beholder.” No. The writers had a clear intention. I will bring with me to my dying day exactly what our intention was in whether or not Nora’s story is true by the metric of “did it actually happen.” That said, Carrie Coon and I never talked about that. She just read the script and then played it. Mimi Leder and I never talked about whether or not it was true. She just read the script and directed it. And so the more interesting question is: When the same scene is basically interpreted by multiple artists, what is the truth, even? I think it is sort of a fascinating Rorschach test in a sense that if you’re an agnostic or an atheist and you didn’t want an answer to where all the departed people went, you’re probably not going to believe Nora’s story. Even if you had been multiple times that you weren’t going to get the answer, but when Nora gave it to you and you felt relief, you’re probably going to want to believe her story. Again, all that matters to us is that Kevin really does believe it. There’s no ambiguity about that. And his belief in her story is going to allow them to be together, because now they’re both present, probably for the first time.

There are arguments both for and against believing Nora. She certainly had this story down and was ready to tell it when Kevin arrived. At one point during this episode Nora had even said, “I never lie.” She left Kevin at the wedding after she couldn’t handle the story Kevin was making up, appearing to be opposed to dishonesty. However we have seen her lie, such as in initially denying that she knew Kevin when she was told he was looking for her. Much of the series has been about the stories people tell themselves to explain events.

I wonder if Lindelof was giving away the answer when he said in the interview from The Daily Beast that, “the story is so incredible, if you really sit and listen to what she says happened to her and, more importantly, how she says she got back.” There were  points in the story when I did question it. It is a little hard to understand how she could arrive in the other place naked and with no money, but ultimately make it from Australia to the United States, but this felt more like the type of suspension of disbelief which is commonplace in genre stories. It was a realistic touch that, with only two percent of the world’s population left, it was not possible to support an airline industry.

I found it more surprising when Nora described returning to her old house. While it was no surprise that her husband and family had moved on and were involved with someone else, it is questionable that in such a world, with its infrastructure destroyed by the loss of so many people, her family would still be living in the same house. Most likely there would be a tendency for those remaining to join up into communities with others. It is also hard to believe that the physicist would, and could in this world, remake the machine just to send her back. If two-way travel had been developed, it is also hard to believe that there would not be others coming back here and word getting out.

Many arguments can be made for whether Nora was telling the truth, and my answer would probably be that there is no answer if Lindelof hadn’t messed with our heads by claiming there is an answer.

Fargo typically ends each season, which tell an independent story, with characters receiving punishment in some form. This was more ambiguous this season, and also ended with Carrie Coon sitting at a table saying something which may or may not be true. In this case her character believed what she was saying, but we were then given reason to question if she was right.

The beginning of the end occurred when Nikki confronted Emmit Stussy and it appeared that she was going to kill him to get revenge for Emmit having killed his brother (and Nikki’s boyfriend). Instead there was a freak shoot out between Nikki and a police officer who came along, with both killing the other. This is definitely believable in the world of Fargo. Emmitt appeared to have a happy ending, until years later when he was shot in the head

This left Varga, the real villain of the story, at large. In the jump forward, Carrie Coon had moved on to another job at the Department of Homeland Security. Varga was identified at an airport and pulled into a room by Coon’s character, Gloria Burgle. Her talk with him led up to her telling him what was going to happen next:

Let me tell you what’s going to happen next. Three agents from homeland security are going to put handcuffs on you and take you to Rikers and then we’re going to charge you with felony money laundering and six counts of conspiracy to commit murder. And then I’m going to go home to my son — it’s his birthday tomorrow. I promise I’d take him to the state fair.

It appeared that justice would prevail. Then Varga responded:

No. That’s not what’s going to happen next. What’s going to happen next is this. In five minutes that door is going to open and a man you can’t argue with will tell me I’m free to go. And I will stand from this chair and disappear into the world, so help me god. Trust me the future is certain. And when he comes you will know without question your place in the world.

The camera then looked at the door and the episode ended, like The Sopranos ending by going to black without revealing what happened. We never saw whether three agents from homeland security came through next and put him in handcuffs, or if a lone man came through and ordered him to be released. Varga was right so many times during the season, and appeared to be in control. It is impossible to ignore the possibility that he could be right.

There is no correct answer here, and perhaps it does not matter. Whether or not Varga gets away with his crimes, there will always be those who do.

Deadline had this information on Noah Hawley and the finale:

Hawley said it was always his intention to leave the ending open-ended for us to decide. Typically the tragedies in Fargo have happy endings: Marge gets in bed with her husband in the movie, Molly (Allison Tolman) gets to be police chief at the end of Season 1, and Patrick Wilson’s Lou Solverson takes his daughter (the younger Molly) fishing. But for Hawley, the cliffhanger ending tonight stems from “Our living in a complicated moment in time,” he says, referring to the President Donald Trump era.

“If I present you with a choice, you have to decide how that door is going to open and if it’s going to end well. It still has a happy ending if you’re an optimist. It just becomes a more active process. It’s an allegory to the conversation we’re having at this moment. How will we treat each other? Is it American carnage?” adds the EP.

But poor Nikki. Did she really have to die? “There was a degree of playing that by ear,” explains Hawley. “I wanted to save her, but I also didn’t want it to feel like a movie twist. At the end of the day, Fargo is a tragedy.”

In regards to Emmit, he’s a standard Fargo archetype; the guy in the middle, a la Martin Freeman’s Lester or William H. Macy’s Jerry, who always has to choose between right and wrong. The accidental murder of Emmit’s criminal-like brother Ray (also portrayed by McGregor) early on urged viewers to have an ironic respect for Emmit. We only sympathize with him further as the underdog as he remains under Varga’s thumb. But with Nikki dead, Hawley relied on Mr. Wrench, a deaf henchman from Season 1, “as the final arbiter of justice. He’s not in their story, he’s an outsider, and he can dispense the cosmic justice that Nikki tried and failed.”

“There aren’t any real heroes and villains, especially if I can make you empathize with these people,” Hawley says of his storytelling technique. “It complicates the violence that’s going to come, and I don’t want people cheering for the violence.”

The article also reports that it is undetermined whether there will be a fourth season:

“I always agreed with FX that the only reason to do another Fargo is if the creative is there,” says Hawley, who at the moment is drawing a blank in regards to what Season 4 would center around.

“It took 15 months to get Season 2 off the ground, and 18 months to get Season 3 on the air. I have to turn my attention to the second season of Legion and a film potentially the winter after next. We’re looking at three years from now,” the EP about a rough timeline for a Fargo Season 4.

It  makes sense that any decision on a fourth season be based upon whether there is a story idea good enough to justify it. Many shows have been continued far longer than they should be. It  is also a good thing that there is no pressure on FX to make a decision by next season. It is better to wait until any future seasons can be done right.

The article also reveals that, in addition to his work on Legion, Hawley will be doing a limited series adaptation of Kurt Vonnegut’s 1963  novel Cat’s Cradle.

SciFi Weekend: Doctor Who, Eaters of Light Review and Chris Chibnall Hints At Plans For Next Season

Eaters of Light was a filler episode of Doctor Who before we get into the two-part season finale. It was written by Rona Munro, who wrote Survival, the last serial of classic Doctor Who. Some elements of the old serials could be seen compressed into this episode. Munro has also been working as a play write, and this could be seen in the excellent dialog of the episode, which helped make up for the weakness of its plot.

In some ways I felt like I was watching a different version of last week’s Empress of Mars. Like last week’s episode, it began with a brief scene in the present or near-future which raised a question–this time the TARDIS engraved on a stone. The story then went back to resolve the mystery. Like last week, the plot was pushed forward by Bill falling. Again there were the themes of redemption for cowardice, the folly of war, and the need for enemies to work together for their common survival.

Besides the minor mystery of the TARDIS being engraved on the stone, two other common ideas from Doctor Who were seen. An old mystery, in this case what happened to the Ninth Roman Legion  in the second century AD, was “answered.” We also “learned” a lot about crows and how they communicate.

Bill showed her science fiction geekiness in figuring out the telepathic autotranslation functions of the TARDIS, although this revelation would have made more sense earlier in the season. This came into play in also allowing the previously warring parties to communicate and settle their differences in order to work together. Bill’s sexual preferences were easily understood by a Roman soldier. Bill also played a role in motivating the others, which ultimately set them up for their sacrifice at the end: “If you come with me, I can’t promise that you won’t die but, I can promise you this: you won’t all die in a hole in the ground.”

Nardole played comic relief, initially going around in his bathrobe like Arthur Dent in The Hitchhiker’s Guide To The Galaxy. Later he changed clothes and did some face painting to fit in with the natives.

The plot did have its problems. I was bothered early on when Bill just went off on her own with no weapons, no way to communicate, and no way for anyone to track her. This did propel the plot, and everyone did get together after being separated, as often happened over and over again in the classic serials.

The entire enemy creature was weakly described. After other episodes in which the “monster” turned out to not be entirely evil, with motivations which made sense, we had a rather simple monster here. It is best to ignore much of the explanation and settle with this:

The Doctor: “It’s as if his bones disintegrated.”

Nardole: “What could do that?”

The Doctor: “A complete and total absence of any kind of sunlight.”

Nardole: “Death by Scotland.”

It was predictable that the Doctor might be willing to spend eternity battling the monster to protect earth, but hardly clear how the gate works or how the humans, with their brief lifespans and no regenerations, could accomplish this. It is best to just move on and get back to the TARDIS where we were surprised by the presence of Missy. The Doctor has upset both Bill and Nardole by allowing her out, but for the moment it appears she is trying to be good. Unfortunately for the Doctor, that does not mean she sees things the same way as he does.

Missy: “Those little people, trapped in a hill, fighting forever – – is that really up to your bleeding-heart standards?

The Doctor: “You understand the universe, you see it, you grasp it, but you never learn to hear the music.”

We should learn soon whether Missy really is good, and the previews reveal (as was already known) that both the John Simm version of the Master and the Mondasian Cybermen play a part.

The upcoming two part episode and the Christmas episode will also mark the end of Steven Moffat’s tenure as show runner, and the end of the current configuration the Doctor and his current companions. We may have learned something interesting about next season from incoming show running Chris Chibnall:

Season 11 of Doctor Who is going to be new… very new. There will be a new Doctor, a new showrunner, and apparently a new format. Chris Chibnall, who is slated to come on board as showrunner in 2018, has hinted at going away from the monster of the week format and into a more broad series storyline. As long as the TARDIS allows.

The writer/producer, who is coming off of the blazing BBC hit Broadchurch is fond of season-long storytelling, proven through the compelling, addictive crime drama. As the new head honcho, the style could easily bleed into Doctor Who, giving the season one single storyline…

Though Chibnall stayed mum on most Doctor details (ahem, like who is going to play the Doctor), he did respond to the question if he would be allowed to do a whole-season story­line, like Broadchurch, rather than individual episodes. To which he responded: “Yes. What the BBC was after was risk and boldness.”

Considering how difficult it must be to come up with a fresh story every week, this might be a good idea. Chibnall showed that he can keep a season long story arc interesting on Broadchurch (with the first and third seasons far better than the second). More on Chris Chibnall here.

***

Much more has happened in genre beyond Doctor Who, but I have had to limit the last couple of posts due to traveling. I still want to get to the question of whether Nora was telling the truth in the series finale of The Leftovers. Gotham ended the season with major character development for many characters, including Bruce Wayne. Dark Matter has continued from where last season left off, and is pushing some of its characters in new directions. Wynonna Earp has also returned on Syfy. I have not seen this series yet, but based upon recommendations of others it is now high on my list of series to catch up on. Orphan Black has also had major developments in its first two episodes, including the death of a clone. We are well into the revival of Twin Peaks, but still have not seen the real version of Special Agent Dale Cooper in the real world. I also just completed House of Cards, which is struggling to be even more outrageous than real life politics these days.

I am hoping to get caught up by next weekend to review some of these shows in greater detail.

SciFi Weekend: Doctor Who, Empress of Mars

Empress of Mars felt like an old style Doctor Who story which pays homage to both classic Doctor Who and modern movies. Mark Gatiss does’t know if he will be invited back to write for Doctor Who after Steven Moffat leaves, and had requested this opportunity to write one more story about the Ice Warriors.

The story began with a quick visit to NASA in the near future when Americans land on Mars with everyone surprised to see the message, “God Save The Queen” written in stone on the surface of Mars. The Doctor, along with Bill and Nardole, went back in time to find the origin of this on Mars, which involved Victorian soldiers and Ice Warriors. The episode was written before Nardole became a companion, and he was quickly written out of the story by having the TARDIS disappear with him for no good reason other than to take him out of the story. There was no explanation of the change in his attitude to be willing to leave Missy unguarded in the vault.

The story questioned the wisdom of war, which is a common topic of stories on Doctor Who. There were the type of scenes which we have become accustomed to on Doctor Who, such as an Ice Warrior serving Victorian soldiers. This is no stranger than seeing the Daleks serve tea to the British during World War II in a past episode.

Bill raised her usual science fiction references, such as to The Terminator and The Thing. Once again it is clear that Bill travels with the Doctor because she is a sci-fi nerd. Bill is also a woman, which raised issues for the older soldiers. This led to one of the best lines of the episode: “I’m going to make allowances for your Victorian attitude…because you actually are Victorian.”

The episode has additional girl power as the Empress recognized Bill as another woman, and asked for her advice. “What do you say? I would value your opinion. We are both surrounded by noisy males.”

The twist in this episode is that the British soldiers were the invaders, claiming Mars for the British empire. They failed to see the threat from a couple of  “upright crocodiles,” unaware that others were about to awaken. There was also a side story about one soldier having almost been executed for cowardice, and alliances crossed species lines.

The Ice Warriors are like the Klingons of the Doctor Who universe, not necessarily good or bad, but concerned about honor in battle. This played well into the side story mentioned above, giving a satisfying ending for the soldier mentioned.

The Doctor forced an end to the conflict by pointing out that firing their weapon would lead to them all being trapped under the ice, like Frozen, which he pointed out is a movie. He was not going to let Bill be the only one to drop movie references. Beyond the movie reference, his message was that we all live together or die together.

The episode contains a lot of Doctor Who history, from the sonic screwdriver still being unable to work on wood to references to the Peladon stories of the third Doctor from the 1970’s. It also fills in a gap in the history of Mars, or as the Doctor said, “This may be the beginning of the Martian Golden Age.”

Nardole returned at the end and had done something even more surprising than to agree to travel with the Doctor off earth. He turned to Missy for assistance, and she was piloting the TARDIS. It appears she is trying to uphold her promise to learn to be good–at least for now. She did possibly foreshadow the end of the season  and upcoming regeneration by repeatedly asking the Doctor if he was okay.

***

Due to traveling this weekend I am limiting this week’s SciFi Weekend to the review of Doctor Who, and will have to hold off on other major subjects such as the return of Orphan Black and Dark Matter.  I also have a post on last week’s finale of The Leftovers partially written, but I want to do that fantastic episode justice and not rush the post. Depending upon how much free time I have this week, I will either post a second science fiction installment, or hold these topics for the future.

I also have to at least mention in passing the death of Adam West, best known for playing Batman not long after Doctor Who began.

SciFi Weekend: Doctor Who, The Lie of the Land; Class Finale; Sense8 Cancelled; A Week of Apologies; Wonder Woman

The Monks trilogy on Doctor Who was an excellent two and a half or so episodes. The Lie of the Land did start out great with the earth under the control of the Monks. It had an extreme take on alternative facts and fake news with a propaganda piece showing the Monks as having been here since before humans evolved.

This episode did feel a lot like a remake of The Last Of The Time Lords with a companion having to rescue the Doctor and free the earth. The episode was fine until they got to the part where Bill shot the Doctor and everyone laughed at how they tricked Bill to test her. This also included a fake regeneration scene which, while perhaps exciting for the previews, doesn’t fit well into the series. Sure we did see one incomplete regeneration before in The Stolen Earth, but in general, unless there is a very good reason for the story, regeneration energy should be reserved for regeneration into the next Doctor, not recovery of the same Doctor from bullet wounds. This scene was partially redeemed when the Doctor asked Nardole if the regeneration was a touch too much.

From some comments from Steven Moffat, I believe he might have taken three different story ideas by different writers, and then combined them into a trilogy. It was a clever idea for the Monks to rule by convincing everyone they had always been there, preventing thought of repelling the invaders who actually had only been there for six months. However this, along with how easily the Monks were repelled, did not fit with what was established in the first two episodes. This would not be necessary if they really only took over planets which requested their assistance, but if this was the only contradiction I might forgive it as humans beyond Bill and the dead generals did not really agree. I think that it would have been better if we had two different stories about different aliens to use the main ideas used in each episode.

Among the other questions raised, despite building such a detailed simulation of the earth in Extremis, did the Monks not think of trying to predict what dangers they could have with their occupation? In The Pyramid At The End Of The World we saw that the Monks had no problem removing a plane from the sky and a submarine from the ocean, yet the Doctor had no problem taking control of the boat. From there it was way to simple to enter the pyramid and defeat them.

The Missy story did progress, with her becoming an actual part of the main story line. The best line of the show, which only makes sense in its context was her saying “awkward.” It also appears that she might be trying to keep her promise to learn to be good. Even if she does keep to this, which is questionable, it appears that her view of being good will be quite different from the Doctor’s.

There is both considerable continuity and lack of continuity in this trilogy. Besides combining three different stories into a trilogy (even if flawed), they used the Doctor’s blindness from Oxygen and the pictures the Doctor retrieved for Bill of her mother in Pilot. There is also the possibility that the Monks could still return this season. On the other hand, everyone has forgotten the Monks. (“The Monks have erased themselves. Humanity is doomed to never learn from their mistakes.”) But what of the family and friends of those who died during the occupation, and those who were in the forced labor camps? On the other hand, it would be hard to both set Doctor Who in our modern world, and have people actually remember all the alien invasions. It would no longer be like our world if we did have memories of all the events shown.

Class also had its finale this weekend. I have not discussed Class on a weekly basis as I downloaded it during the U.K run and watched it last fall. In general, I thought the show was entertaining and worked as a brief stand alone series, but it was hardly essential for those following the Doctor Who universe. Ratings were poor in the U.K. and the show was not expected to return, unless it should do remarkable well on BBC America. The chances of revival are even lower with writer Patrick Ness saying he will not return to the show even if it should be renewed.

Netflix announced the cancellation of Sense8. Sadly there will be no third season, no continuation of the story from where it left off at the end of season 2, and, worst of all, we don’t get to return to see all those people and the world the show created.

The New York Times reports:

“Sense8” was a globe-trotting sci-fi drama made by Lana and Lilly Wachowski, the filmmakers behind “The Matrix,” and J. Michael Straczynski, the creator of “Babylon 5.” It received generally positive reviews from critics.

“After 23 episodes, 16 cities and 13 countries, the story of the Sense8 cluster is coming to an end,” said Cindy Holland, the vice president for original content at Netflix.

She added, “Never has there been a more truly global show with an equally diverse and international cast and crew, which is only mirrored by the connected community of deeply passionate fans all around the world.”

There are attempts to bring it back but I fear that the cost to produce this is too high compared to the number of viewers.

In other entertainment news, this was a big week for apologies, first from Kathy Griffin, and then from Bill Maher. There was also the release of Wonder Women. I have not seen it yet, but the reviews have been excellent, and it sounds like it has corrected many of the mistakes of superhero movies, especially from DC.

SciFi Weekend: Doctor Who, Extremis; Agents of SHIELD Season Finale; Legends of Tomorrow; The Flash; Arrow; Star Trek Discovery; Seth MacFarlane’s Spoof, The Orville; Gotham; The Magicians; Twin Peaks

Extremis was the best episode of Doctor Who so far this season, and it is just the first part of a three part story. There was a lot of misdirection in the episode, which is part of what made it so interesting.

The episode appeared to have two different story lines, but the conclusion revealed there were actually three. There were the flashbacks to the execution and the scenes with the Doctor outside the vault. It wasn’t reveled until the end that all of the other events were actually taking place in the shadow world, their version of the Matrix.

Even the execution scene had misdirection, as it was unclear whether the Doctor was intended to be the victim or executioner. Once it finally became clear that it was Missy to be executed, things did not turn out as planned. This gave plenty of opportunity for Missy to be Missy: “Please, I’ll do anything. Let me live. Teach me how to be good. I’m your friend.” She also had some words for her captors: “Get off, I’ve just been executed. Show a little respect” and “Knock yourself out. Actually, do that. Knock yourself right out.”

I am glad that they didn’t drag out the reveal as to who is in the vault any longer as pretty much everyone probably realizes by now that it is one of the versions of the Master. The Doctor is keeping his word to watch over her body, even if he mislead Missy’s captors in not going through with executing her. His decision to spare her life is consistent with the relationship which as developed between the two.

Any episode in which the events are in some way not real is vulnerable to criticism, but I was willing to accept it here. Being only the first part of a three part story helps minimize the problem the events being in the shadow world. There is also a legitimate pay off to the situation in which the Doctor outsmarted the Monks and got out a warning by email to the “real” Doctor. Or as the Doctor in the shadow world put it, “I’m doing what everybody does when the world’s in danger. I’m calling the Doctor.”

This reveal also allowed for some other genre references. This included the second Star Trek reference in two weeks, this time with Nardole saying the shadow world is like “like the Holodeck on Star Trek, or a really posh VR without a headset.” I also liked the explanation of people seeming to commit suicide when they realized the truth: “it’s like Super Mario figuring out what’s going on, deleting himself from the game, because he’s sick of dying.” There was also a reference to Harry Potter and portions of the episode felt like they were out of a Dan Brown novel.

Besides the simulation leading to the Doctor getting the warning about the invasion, it also gave the Doctor reason to encourage Bill to ask Penny out, reassuring her that she is not out of her league, knowing how it worked in the shadow world. While it only happened in the shadow world, presumably this accurately reflected the real world with Bill’s foster mother not realizing she is a lesbian, and therefore not realizing what was going on between the two girls. This included the exchange with Bill’s foster mother telling her “I have very strict rules about men” and Bill replying, “Probably not as strict as mine.”

The shadow world also gave us scenes at the Vatican, briefly at the Pentagon, at CERN, and with a dead president. This led the Doctor to wonder, “Particle physicists and priests–What could scare them both?” Plus there was the Pope in Bill’s bedroom: “Doctor, here’s a tip. When I’m on a date, when that rare and special thing happens in my real life, do not, do not under any circumstances put the Pope in my bedroom.”

There is plenty of additional grounds to nitpick, such as questioning whether a simulation so complex could not come up with a better random number generator. I am far more willing to accept potential plot holes which come up with thinking about an episode as opposed to glaring ones which cause a distraction while watching, such as with Knock Knock.

Continuity was also handled fairly well in this episode. They might have initially had the Doctor regain his vision at the end of Oxygen, but it worked out better to extend his blindness into this episode. This could also play into the upcoming regeneration, but I can’t help but wonder what would happen if he encountered the Weeping Angels while unable to see.

The episode also showed how Nardole remained with the Doctor following the events of The Husbands of River Song, with him there at River’s request to prevent the Doctor from taking extreme actions following her death. Nardole even used a passage from her diary to influence the Doctor. While not seen on camera, Steven Moffat has said that one of the stories in his mind that he will not get a chance to tell is of the Doctor having Nardole going to the library after the events of The Forest of the Dead to recover River’s diary. There are also rumors that River will be returning this season. If so, this, along with her pictures on the Doctor’s desk, provides a good set up.

Agents of SHIELD also spent a lot of time in a version of the Matrix this season before the framework was destroyed in the season finale. IGN spoke with the producers about that space cliff hanger and that new role for Coulson:

IGN: Going back to the cliffhanger, that diner scene at first very much reminded me of the shawarma scene at the end of Avengers. Was there ever version of that sequence that didn’t have the cliffhanger, in case for whatever reason you didn’t get picked up?

Bell: It’s what it is. There was not a nice quiet shawarma version of it where they go, “Oh, it’s nice to be together.” It was always supposed to be, “Oh look, we’re finally together. Oh no, something bad happens.”

IGN: Which is sort of how it always goes for these guys, right?

Bell: It is!

Whedon: Man, SHIELD is not the coziest place to work, you know? I think they have a pretty good health plan, but other than that, it’s kind of up in the air all the time.

IGN: Well I hope so. They do keep coming back from the dead or near death at all points. I am excited we’re going back to space, though! Can you say how long it’s been in the show between when the team gets taken and when we pick back up with Coulson at the end?

Whedon: [silence] We can’t say.

Bell: We acknowledge there’s a time jump…

IGN: Going back a little bit, how long have you been planning for Coulson to be the Ghost Rider — and what was Clark Gregg’s reaction to finding out that news?

Bell: To say he was happy, it would be an understatement.

Whedon: I think what he said when we told him was, “I didn’t think I could geek out more,” but he was like, “It seems I can.”

Bell: Yeah, that was what he said.

IGN: Can you clarify: did Coulson make a deal with the devil to take on the Ghost Rider identity, or will we find out a bit more of the logistics of that deal that’s alluded to soon?

Whedon: We’ll find out more about it, but I think it’s safe to say he made a deal with the Ghost Rider, or the powers behind him. We’ll see what it all means, but it didn’t come for free. It wasn’t like, “Hey bro, can I borrow that? Can I just borrow that Ghost Rider thing for a second?”

Bell: Right, like borrowing a T-shirt.

IGN: Are you leaving the door open for more Ghost Rider?

Whedon: Well, first of all, he’s not dead — not that that means anything in our world. He also has shown that he has the ability to move in and out of realms and dimensions or planets or wherever he’s going. He’s a threat to pop up at any moment. Whether or not he will, I can’t say, but he’s out there…

IGN: I want to talk a bit about Fitz and Simmons. You’ve put them through the wringer over the past couple seasons, and my working theory is it’s because Iain De Caestecker and Elizabeth Henstridge always deliver such fantastic performances of those traumatizing events. Considering what they’ve gone through this year, are you considering them as a couple who will remain rocks for each other, or are you still planning to throw a bunch more terrible things at them?

Whedon: First of all, it’s the nature of the world. I think even this year with the flashbacks of May and Coulson and the rules we’ve stated through many seasons, that there are rules about agents not getting together for this very reason. Your love will be tested. That’s sort of the nature of the business. I think it’s safe to say from these past two episodes that they love each other and won’t love anyone else, but that doesn’t mean that they’ll be able to repair their relationship and all that pain in between. One would hope that they could because everybody roots for FitzSimmons and the fans do and we do. We love the two actors, and so I think that seeing them together is a reward that the audience deserves, but how that happens, we’ll have to wait and see if it does.

Bell: I think the thing is people can have the forever love, but that doesn’t necessarily mean they get to end up together. They might, but you don’t know.

Whedon: But theirs is a forever love.

The CW Network has released a synopsis for the third season of Legends of Tomorrow, including the return of Rip Hunter and establishment of the Time Bureau, after they fractured time in the season finale:

After the defeat of Eobard Thawne and his equally nefarious Legion of Doom, the Legends face a new threat created by their actions at the end of last season. In revisiting a moment in time that they had already participated in, they have essentially fractured the timeline and created anachronisms – a scattering of people, animals, and objects all across time! Our team must find a way to return all the anachronisms to their original timelines before the time stream falls apart. But before our Legends can jump back into action, Rip Hunter (Arthur Darvill) and his newly established Time Bureau call their methods into question. With the Time Bureau effectively the new sheriffs in town, the Legends disband – until Mick Rory (Dominic Purcell) discovers one of them in the middle of his well-deserved vacation in Aruba. Seeing this as an opportunity to continue their time traveling heroics, Sara (Caity Lotz) wastes no time in getting the Legends back together.  We reunite with billionaire inventor Ray Palmer (Brandon Routh), the unconventional historian-turned-superhero [Nate] Heywood (Nick Zano), and Professor Martin Stein (Victor Garber) and Jefferson “Jax” Jackson (Franz Drameh), who together form the meta-human Firestorm. Once reunited, the Legends will challenge the Time Bureau’s authority over the timeline and insist that however messy their methods may be, some problems are beyond the Bureau’s capabilities. Some problems can only be fixed by Legends.

Last week’s episode of The Flash appeared to show that Iris did die in the scene we’ve been seeing all season. It might have been premature for The CW Network to release this synopsis of season four, which appears to have a major spoiler as to  how the season ends (not that I’m all that surprised considering how this show has involved changing timelines, not to mention the imaging tool used):

Barry Allen (Grant Gustin) lived a normal life as a perpetually tardy C.S.I. in the Central City Police Department.  Barry’s life changed forever when the S.T.A.R. Labs Particle Accelerator exploded, creating a dark-matter lightning storm that struck Barry, bestowing him with super-speed and making him the fastest man alive — The Flash.  But when Barry used his extraordinary abilities to travel back in time and save his mother’s life, he inadvertently created an alternate timeline known as Flashpoint; a phenomenon that gave birth to the villainous speed god known as Savitar, and changed the lives of Caitlin Snow (Danielle Panabaker) and Wally West (Keiyan Lonsdale) forever.  With the help of his adoptive father, Joe West (Jesse L. Martin), his lifelong best friend and love interest Iris West (Candice Patton), and his friends at S.T.A.R. Labs — Cisco Ramon (Carlos Valdes), C.S.I Julian Albert (Tom Felton), and an Earth-19 novelist named H.R. Wells (Tom Cavanaugh) — Barry continues to protect the people of Central City from the meta-humans that threaten it.  Based on the characters from DC, THE FLASH is from Bonanza Productions Inc. in association with Berlanti Productions and Warner Bros. Television, with executive producers Greg Berlanti (“Arrow,” “Supergirl”), Andrew Kreisberg (“Arrow,” “The Flash”), Sarah Schechter (“Arrow,” “DC’s Legends of Tomorrow”) and Todd Helbing (“Black Sails”).

They have also released the synopsis of Arrow season six:

After a violent shipwreck, billionaire playboy Oliver Queen (Stephen Amell) was missing and presumed dead for five years before being discovered alive on a remote island in the North China Sea.  He returned home to Star City, bent on righting the wrongs done by his family and fighting injustice.  As the Green Arrow, he protects his city with the help of former soldier John Diggle (David Ramsey), computer-science expert Felicity Smoak (Emily Bett Rickards), his vigilante-trained sister Thea Queen (Willa Holland), Deputy Mayor Quentin Lance (Paul Blackthorne), brilliant inventor Curtis Holt (Echo Kellum), and his new recruits, street-savvy Rene Ramirez (Rick Gonzalez) and meta-human Dinah Drake (Juliana Harkavy).  Oliver has finally solidified and strengthened his crime-fighting team only to have it threatened when unexpected enemies from his past return to Star City, forcing Oliver to rethink his relationship with each member of his “family”.  Based on the characters from DC, ARROW is from Bonanza Productions Inc. in association with Berlanti Productions and Warner Bros. Television, with executive producers Greg Berlanti (“The Flash,” “Supergirl”), Marc Guggenheim (“DC’s Legends of Tomorrow,” “Eli Stone”), Wendy Mericle (“Desperate Housewives,” “Eli Stone”), Andrew Kreisberg (“The Flash,” “Eli Stone,” “Warehouse 13”) and Sarah Schechter (“The Flash,” “DC’s Legends of Tomorrow”).

CBS has released the above trailer for Star Trek Discovery, which is to premiere this fall. Breakdown at TrekMovie. com and at Cult Movie News. Producer Ted Sullivan has reassured fans that it is definitely a prequel to TOS, and not a reboot or re-imagining.

The trailer for Seth MacFarlane’s spoof of Star Trek for Fox The Orville, is far more amusing.

Bruce Wayne’s transition to become Batman finally starts in season four of Gotham.

Trevor Einhorn (Josh) and Brittany Curran (Fen) have been promoted to regulars for the third season of The Magicians.

Twin Peaks returns tonight. The New York Times has a guide to where everyone was left after the original series. There’s another guide at Vulture.

Netflix has confirmed a fifth season of Arrested Development.

A revival of How I Met Your Mother in some form also continues to look possible.