Variety reports that Bryan Fuller has stepped down as show runner of Star Trek Discovery.
The decision was made late last week to hand the day-to-day showrunning reins to “Star Trek” exec producers Gretchen Berg and Aaron Harberts as “Discovery” gears up for the start of filming next month and a May 2017 premiere date. Fuller, who will remain an executive producer, will still be involved in breaking stories, and the show will continue to follow his vision for the universe that this latest “Trek” series will inhabit. Writer-director Akiva Goldsman is also expected to join “Discovery” in a top creative role…
Sources said there had been some strain between “Star Trek” producer CBS Television Studios and Fuller over the progress of production on the show, as Fuller is also juggling the final weeks of shooting and post-production duties on Starz’s upcoming drama “American Gods” and prepping a reboot of “Amazing Stories” for NBC. Fuller has penned the first two scripts for “Discovery” and has hammered out the broader story arc and mythology for the new “Trek” realm
It was previously announced that the show will have a female lead. The Hollywood Reporter has information on the rest of the crew: “the rest of the cast also will feature an openly gay actor as one of the male leads (which Fuller confirmed), a female admiral, a male Klingon captain, a male admiral, a male adviser and a British male doctor.”
It is now official that Sherlock will return in the US and the UK on January 1. Trailer above.
Saturday marked the 50th anniversary of the first regeneration of Doctor Who when William Hartnell was replaced by Patrick Troughton. Now we anticipate such changes, but it sure must have been a surprise to viewers to see the lead in the show change in such a unique manner.
Inverse looks at what we know so far about the upcoming superhero-themed Doctor Who Christmas Special (sneak peak video above):
“The Christmas specials generally always have a kind of warmer feel … this Christmas special that we’ve done … has caught the feeling of that kind of superhero movie,” Capaldi said in new sneak-peak from BBC America. He also called this superhero “ironic” and “funny,” but made it clear that this would be a legit superhero story in that it would be “quite exciting.”
The new clip from BBC America isn’t a full trailer, so we don’t have much new information about the superhero, still only mysteriously known as “Grant.” Reiterating his previous comments from New York Comic Con, Who showrunner Steven Moffat said that he feels the best superhero story is still “Clark Kent,” which doubles-down on the idea that this story and “Grant” in particular will be more focused on a secret identity than a story about superpowers.
Humans returns on Channel 4 this week. Den of Geek has interviews with members of the the cast.
The Hollywood Reporter looks at what happened on the DC shows on Fox and The CW Network last week. This includes the revelation on Gotham that Penguin is gay, and speculation that Alex Danvers on Supergirl is also gay. We have a new version of Harrison Wells (who presumably will turn out to be evil) and the return of Killer Frost on The Flash. We are going to get yet another superhero on Arrow with District Attorney Adrian Chase becoming Vigilante. Legends of Tomorrow potentially has major changes for Ray Palmer (unless he just rebuilds his A.T.O.M. suit) and a mysterious warning from Barry Allen of 2056.
If there wasn’t already far too many genre related shows to keep up with, Greg Berlanti of CW’s DC superhero shows and Jason Rothenberg, show runner of The 100, are working together on a new show for The CW Network. Deadline reports:
Written by Rothenberg, Searchers is about a group of unlikely heroes who find themselves on the journey of a lifetime. Ten years after the death of their parents, a pragmatic brother and free spirited sister are forced to team up when they learn that their mother’s terrifying and bizarre stories may be a road map to discovering the great legends, myths, and unexplainable mysteries of the world.
Girlmore Girls returns on Friday, November 25. Perfect for an all-nighter after Thanksgiving dinner, and can be completed with plenty of time to spare before the Michigan-Ohio State game. Netflix released the official trailer above, complete with Wonder Woman and mention of Superman.
Gilmore girls makes its much-anticipated return with four memorable chapters from the lives of Lorelai, Emily, Rory and countless more Stars Hollow stalwarts. Picking up nine years after we last dropped in on the whimsical Connecticut town, Gilmore girls: A Year in the Life finds each of our leading ladies at a major crossroad: Lorelai’s relationship with Luke is at an unnerving standstill; Rory’s budding journalism career in New York has stalled before it’s even begun; and Emily’s world is turned upside down following the untimely passing of her beloved husband, Richard.
Gilmore girls: A Year in the Life is told through four 90-minute chapters — each spanning one season: Winter, Spring, Summer, Fall — and brings back to life everything from the quaint corner diner to the dreamy Dragonfly Inn to a fast-talking, quick-witted mother-daughter love story unlike any other. Gilmore girls: A Year in the Life launches Friday, November 25, everywhere that Netflix is available.
All four shows in the Berlantiverse have premiered on the CW Network for this season. (Spoilers ahead for those who are not up to date). The Flash returned with the long-anticipated Flashpoint story, and couldn’t keep up with the hype. Unfortunately it was all predictable that after saving his mother, some reason would come up which would force Barry to restore the time line. This combined both disasters for some of his friends with him developing the problem of losing his original memories. It was mostly resolved in the first episode, but the restored timeline did have some changes, such as Iris not speaking to her father. Almost everything was fixed by the end of the second episode. There is one change which does extend to Arrow–Diggle now has a son rather than a daughter (with the son seen in an episode of Legends of Tomorrow last season).
While The Flash got off to a mixed opening, Supergirl started the season strong with the introduction of Superman–now putting these two series out in front of the Berlantiverse shows. It was the perfect view of Superman for this series–the version from the latest movies certainly would not have fit in.
I bet nobody was surprised that Kara decided to become a reporter. The move of Winn from CatCo to the DEO is exactly the type of change which might be farfetched in the real world, but which fits into television reality. They hinted at changes for Cat Grant, which is probably a cover for Calista Flockart not going to appear as often due to the move of the show to Vancouver. It does make sense that Kara will not see her as much with the change from her personal assistant to reporter. She will have a new boss, with some information from Entertainment Weekly:
Kara’s working relationship with her new boss, Snapper Carr, is very different from the one she had with Cat Grant. “Cat — both with Kara and I think with others — is actually devoted to mentoring people,” EP Andrew Kreisberg says. “She challenges them hard, but she does that with the idea that she’s forging them and they’re going to come out the other side as stronger, better people. Snapper Carr doesn’t give a crap. He believes in the written word, in facts and ‘Are you good at your job or are you not? If you’re not good at your job, I don’t have time for you.’”
A clip from next week’s episode in which Kara meets Snapper Carr is above.
While The Flash was about Barry and Iris getting together regardless of the time line, Kreisberg has decided that Kara and Jimmy Olsen should just be friends. I just hope they stick with this decision. We have seen far too many Ross and Rachel situations on television.
Arrow has been on a downward trajectory since its superb second season, and it is too early to say whether it can move out of third place among the Berlantiverse shows. The first two episodes of the season have concentrated on building a new team, and have been rather unremarkable. Maybe once this is established the show will improve. At least the flash backs in Russia look more interesting than the flash backs from last season.
Legends of Tomorrow has been largely rebooted, but I’d still rank it as the weakest of the four seasons based upon the single episode available so far. It appears that the team has a new leader in place of Arthur Darvill’s character Rip Hunter, but I’m not certain that he is really gone for good. On the one hand the mission first season was more personal for Rip Hunter and it might make sense to reduce the emphasis on him. On the other hand, it is Arthur Darvill who has the direct connection to the Time Masters they are replacing (along with a certain Time Lord). So far we have only had a glimpse of the Justice Society of America, but we should be seeing a lot of them next week.
So, the Justice Society of America, or JSA, was DC comics’ first all-star super group, debuting in the 1940s. Its initial roster consisted of names who should sound very familiar to followers of recent movies and shows. There was the Atom, Green Lantern, Hawkman, and the Flash, among others. Only these weren’t the same characters which viewers are familiar with today. A key aspect of DC lore is the notion of masked personas being passed down through generations, so when the company dusted off the super group concept in the 60’s with the Justice League of America, it didn’t take long for the creators to retcon the two teams as being part of a lineage.
Judging by the trailer, it seems this JSA might be the only official super group in the “Arrowverse,” and its line-up will be cherry picked from various incarnations of the team. It’ll also apparently live up to its name more by operating as a clandestine secret society. Who are the members, though?
The first wearer of this cowl, Rex Tyler, takes his name from the Miralco Pill which grants superhuman physical prowess for an hour once ingested. As soon as time’s up, though, Hourman’s reverts back to being a normal human being. The chronal chaos seen in the trailer suggests, however, that this guy will be an amalgamation of all three heroes in the tradition, having the time-travel capability of the second Hourman, along with the black costume of the third.
She’s a more light-hearted heroine with ties to two superhero dynasties. Stargirl wields the powerful “cosmic staff,” which absorbs and re-directs energy, allowing her to fly, fire bolts, create forcefields, and also levitate objects.
Imagine a character somewhere between Daredevil and Riddick. All three Doctors have been actual medical doctors who turned to crime-fighting after accidents granted them night vision at the cost of near-blindness in normal light conditions. Hence, the goggles. For all doctors, the preferred tool is the noxious “black out” smoke bomb, and the preferred assistant is a deadly, trained owl.
The mutant son of the first Green Lantern (not Hal Jordan!), he’s born with powers that ironically invert the mighty light of his father. Obsidian can turn into a living shadow and gain all the associated qualities, like flight and intangibility. He can even sometimes build objects out of darkness, much like GL’s constructs.
A bit like the Beastmaster, this heroine can tap into a primordial force called “the Red” which allows her to possess the abilities of any animal. This power comes from the mystical Tantu Totem, which is passed down through generations. And in fact, this Vixen is not the same one who’s previously been seen on Arrow. She’s her grandmother.
A bit like Captain America, this star-spangled hero is a military man who’s granted super strength and invulnerability after a top secret experiment. (In this case, it’s meant to restore his damaged body.) Steel fights in World War II, and he makes life-long enemies with Nazi super-villains who come back to bedevil the grandsons who eventually take up his mantle.
There was even a reference to Gotham on Supergirl last week, even if not the Gotham of the Fox television show. This DC-based show also got off to a good start this season. Their election for mayor was settled far more quickly than our presidential election. Oswald Cobblepot might be as disgusting a figure in many ways as Donald Trump, and as crooked as Hillary Clinton, but if he was in a three-way race for president, I would be tempted to vote for him over our current awful choices.
Just after I finished one show dropped on Netflix (Luke Cage), they are releasing another genre series on Friday. After two seasons of Dark Mirror on Channel 4 in the U.K., Netflix will be releasing a third season. TV Guide looks at the previous episodes to watch before the third season begins. The first two seasons are also available on Netflix. The New York Times spoke with the show’s creator, Charlie Brooker, and his collaborator Annabel Jones.
While I will hold off on discussing Luke Cage until a later date, of the Netflix Marvel series, I’d rank it just a bit behind Daredevil season 1, and above Daredevil season 2. Jessica Jones remains the best of the series. While there are some overlaps, and Luke Cage did have a role in Jessica Jones, each series can be watched independently without having seen the others.
Nerdist looks at how Doctor Strange fits into the Marvel Cinematic Universe.
I was disappointed when I found that HBO was not streaming the third episode of Westworld early like they did with the first two, and I will have to wait until later tonight to watch. While I have not seen all of the new series which have premiered this season, so far it is the one I am most interested in. Assignment X has an interview with Jonathan Nolan. Here is a portion, which also compares it to Nolan’s previous series, Person of Interest:
AX: You spent five years dealing with A.I. on PERSON OF INTEREST …
NOLAN: I think I found my subject.
AX: Did you come to any conclusions about artificial intelligence while doing PERSON OF INTEREST that have been useful in WESTWORLD?
NOLAN: It’s funny, because it’s really looking at the subject from a different perspective. PERSON OF INTEREST was relentlessly non-anthropomorphic A.I. was really the godhead, it was A.I. as a pure intelligence, not tethered to the mortal coil, an A.I. that was developed in secret. With WESTWORLD, you have really the opposite. You have A.I. that, if you consider the consciousness aspect of it, it’s almost an accident that these creatures – they’ve been programmed merely to be as lifelike as necessary for their job, and their job is to satisfy, as Lisa said, our most noble or most base desires. So they’re not supposed to be smarter than us. That’s the last thing [their makers] want.
AX: What are the WESTWORLD park’s customers like?
NOLAN: Well, the guest experience is the third point of view of the show, but it’s very much unlike the original film. We really wanted to start with the hosts, start with their limited understanding of what this world is. But there is that great point of entry. You want to know, how does this place work? As Lisa said earlier, the show is really an examination of human nature, from two different directions. From the perspective of synthetic humans, or synthetic beings, who have been coded to resemble human nature as closely as possible, and who are beginning the question, in the first season, just how worthy a model that is to follow. Every perspective of human beings, and this is the delicious part of the premise, who have been invited or made their way into a space in which they’ve been told that they have free rein. They can take their id on vacation. They can indulge in any whim, no matter how noble or dark that they want, and apparently without consequence. And so that’s a fascinating premise as well. You know, who are we when the lights are off? Who are we when we don’t think anyone’s keeping score? And then in between these worlds [of the synthetic hosts and the human guests], you have the programmers, writers, technicians, the Promethean characters who are responsible for mediating those two worlds.
AX: It seems like Ed Harris’ Man in Black gunslinger/marauder character is a guest who is indulging real darkness in himself …
NOLAN: Ed’s character features as the “ne plus ultra” guest. This is an expert-level player, someone who has been coming to the park, as he says in the second episode, for thirty years. He knows everything about [the park].
When Crichton wrote the original film, the state of the videogame business was Pong. In the forty years since then, that entire industry has grown up and evolved into this monster that’s bigger than the film business, bigger than the TV business. So our narrative had to account for that more sophisticated understanding that we have of gaming. We call them “guests,” but there is also a gaming aspect to what they do in the park. It is not just a leisurely resort. They’re here to engage in the narratives, and the narratives are increasingly sophisticated.
AX: We see that the guests can shoot the android hosts, and the hosts can’t shoot each other, but theoretically, the guests can’t shoot each other and the hosts can’t shoot the guests. Are the guns built so that they can detect human physiology as opposed to android physiology, or how does that work?
NOLAN: It’s not the guns. It’s the bullets. We thought a lot about this. In the original film, the guns won’t operate guest on guest. But we felt like the guests would want to have a more visceral experience here. So when they’re shot and it has an impact, they’re called “simunitions.” The U.S. military trains with rounds like the ones we’re talking about. There’s a bit of an impact, a bit of a sting. So it’s not entirely consequence-free for the guests.
There has been a steady stream of news, such as this casting news, to keep alive interest in Outlander until it returns, probably in April. The season two gag real was also released–audio not safe for work.
I haven’t had a chance to watch Falling Water yet, but have a few links for those who are interested. The New York Times has a review. Buddy TV has videos of interviews with cast and crew, followed by summaries of key points, here and here.
Den of Geek looks at the possibility of Jenna Coleman returning to Doctor Who.
While there are no firm plans yet, Steven Moffat has stated that Benedict Cumberbatch is interested in continuing with Sherlock after the fourth season. He is obviously quite busy on other projects, including Doctor Strange. Moffat also states that Peter Capaldi will be remaining on Doctor Who after he leaves as show runner.
Donald Trump is not happy with how Saturday Night Live has portrayed him. Video of their parody of the second presidential debate above, with Alec Baldwin portraying Donald Trump. Trump says that the media is rigging the election that Baldwin’s portrayal stinks. He also tweeted that it is “Time to retire the boring and unfunny show.”
Entertainment Weekly interviewed Andrew Kreisberg about the second season of Supergirl, which returns this week on CW along with DC’S Legends of Tomorrow. He revealed that Supergirl will travel from her dimension to “our” dimension where The Flash, Arrow, and Legends live, but the universes are not combined. More excerpts from the interview:
What’s going on with Kara personally and professionally this season?
For this season, she’s feeling really good about herself as Supergirl. She spent a lot of time last year doubting herself, learning, training, getting stronger and getting better at it. Then, at the end of the year, Superman got taken out and she saved the world all by herself, so we come into season 2 and she feels like she’s got a handle on being Supergirl — it’s everybody else in her life that she feels like, “How can I be a girlfriend? What am I supposed to do with my career? How can I be there for my sister?” So it’s all the Kara stuff that’s really the tough stuff early on, and that’s where Clark comes in. We say it’s like becoming a parent, where when you were a kid, your parents knew everything and then you become an adult and you’re like, “I’m lost, I don’t know what to do.” You realize that neither did your parents; they were making it up as they went, they just presented themselves as knowing it all even if they were dying inside. That’s one of things that Kara says, like, “I know how to be Supergirl, but I don’t know how to do any of this other stuff. But Clark, he makes it look easy, he’s Superman, he’s a great reporter, he’s a great boyfriend. How does he do it?” And Clark says, “I’m making it up as I go, too. It’s all about balancing it and it’s all a day-to-day thing. Just because I make it look easy, doesn’t mean that it is.” So Kara is really growing up this season, that’s really her journey.
What brings Superman to National City?
The two of them actually show up to the same crisis. It wasn’t a turf war, they just both heard about the same tragedy on the news and both flew into action. But they haven’t really gotten a chance to spend time together, especially since she’s come out as Supergirl, and they both want that. Both of them have a bit of sadness about them, they both have that sense of feeling alone, they both have that sense of feeling different, and both of them remark that that loneliness, that alienation, that isolation goes away when they are together. Part of what these episodes explore is that they don’t get that because of the machinations of the plot and of the actions of Project Cadmus, the villains; they both have homes to defend and they have to defend their own turf.
What brings Mon-El (Chris Wood) to Earth?
He’s brought to Earth because he’s from Daxam, just as in the comics, which was a sister world to Krypton. The destruction of Krypton also resulted in a very bad day for Daxam. That’s how he escaped that cataclysm and came to Earth. What’s interesting about it is that Kara has always had mentors, whether it was Laura [Benanti], or it was the Danvers, or whether it was Cat, or Clark, but now she has somebody to take care of, she has somebody to mentor. He’s fresh off the boat — as far as he’s concerned. He got into a pod on Daxam and then the next day was on Earth. She says to somebody in one of the early episodes that she wasn’t sent to Earth to be Supergirl, she was sent to Earth to watch Clark, take care of him and to be a protector. In a way, Mon-El coming here, she’s finally now getting to fill that original mission..
Talk about Project Cadmus and whether it’s the big bad this season. They’re the big bad of the first part of the year — a second big bad will emerge later in the year — but they’re dedicated to eradicating alien life on Earth. They’re fanatics, they’re true believers. What’s interesting about them is it’s this collection of scientists, it’s this collection of very bright, patriotic people who truly believe what they’re saying. That makes them even more dangerous, because they believe they have a point, that ever since these aliens started coming here, the Earth has become this free for all, and human beings are about to get knocked off the food chain. They don’t care that you’re wearing a cape one day, what happens when you turn around and decide I don’t want people cheering for me anymore, I want people bowing before me? So their goal is to eliminate the J’onns and the Supermans and the Supergirls of the world along with all the other evil aliens that are out there — they don’t make that distinction, which creates an interesting problem for our good guys.
TV Guide has some more information on the second season of Supergirl.
Collider has some information on the second season of Legends of Tomorrow (extended trailer above. The original trailer posted is no longer available so the replacement might not correspond entirely with the article).
Legends seems poised in Season 2 to bring some interesting things to the table. Firstly there’s a shakeup among the core team, which has added a historian (played by Nick Zano) as well as a whole new host of heroes — who don’t just bumble their way through space and time like a wrecking ball — with the Justice Society of America. Even more promising, perhaps, is the Legion of Doom, which will take villains Damien Darhk, Eobard Thawne, and others in a super-villain team-up that could be a lot of fun. And fun is really the key word with Legends. At this summer’s TCA press tour, I spoke briefly with EP Phil Klemmer about how Season 2 might be different than what we’ve seen before, and he assured me that the emphasis is just going to be on having fun.
So far with two episodes of West World available (the second streaming ahead of its usual showing on HBO tonight) the series looks promising. Of course with Anthony Hopkins (who also played Hannibal Lecter) in charge, you have to be suspicious that something is up. SciFi Now interviewed Anthony Hopkins:
You play Dr Robert Ford, the creator of Westworld and another mysterious character. What is it that draws you to these roles?
I knew what scares people when I was a kid – that’s the art of the control freak. I’m not a control freak in my life, I’m the opposite. But they keep casting me as control freak nuts. I always make an attempt to go the opposite of what an audience would expect.
Elia Kazan once had to play a gangster, and met one of Al Capone’s buddies. This guy said – “you don’t have to holler. They know who you are. If you’re playing a killer be very quiet.”
What was it about Westworld that intrigued you?
Artificial intelligence is very interesting. I was on holiday recently up in Ohio and I was having lunch, this young guy sitting at the table opposite me. He worked at MIT in artificial intelligence. I told him about Westworld. He said it’s very unlikely we’ll ever be able to create a living cell. He didn’t think we’d ever create Westworld robots.
I saw the original years ago, and then my agent said that Jonah wanted to cast me and would I read the script. We met, and I was intrigued by it, and so I said yes.
Eternal Sunshine of the Spotless Mind is yet another genre movie to be turned into a television series, according to The Hollywood Reporter. I have no idea how it will work as an ongoing television series (as I also wonder with Westworld) but it was an excellent movie.
Things don’t look very good in 2163 in the above season 3 trailer for 12 Monkeys which was shown at New York Comic Con.
The above first look at the Doctor Who Christmas Special, episode entitled The Return of Doctor Mysterio, was shown at the New York Comic Con. As promised, it does include a superhero. Radio Times also points out that it looks like the sonic screwdriver makes a comeback. More on the Christmas Special at The Telegraph and below.
Video of the full Doctor Who panel at New York Comic Con is above. Mashable has the following key points:
Showrunner Steven Moffat says Mackie’s Bill “starts her journey with the Doctor in a surprising way,” and promises that the reveals will keep coming over the course of the new companion’s journey in Season 10, but declined to give further details about her introduction — except to say, “I can promise you it’s really quite different.”
Capaldi notes that Bill “refreshes” the show, since she “comes from the real world; she doesn’t come from the world of Doctor Who, so she has to be introduced” to the Doctor’s way of doing things. Moffat adds, “you’re getting to see the Doctor for the first time all over again through a new pair of eyes,” thanks to the new companion.
On that note, Moffat says that Season 10 will be a great starting point for new viewers, since they took the opportunity to reset things with Bill’s introduction. “If I can give you a tone word for the season, it’s ‘brand new’ … episode 1 really is episode 1, it explains the entire mythos of Doctor Who, and you can start there,” he promises.
Bill won’t appear in the Christmas special, which is titled “The Return of Doctor Mysterio,” but Lucas’ Nardole will be back for the festive installment. “Just as I was thinking it would be great if the Doctor had some kind of valet or butler who wouldn’t be very polite or obedient, Matt said he wanted to come back,” Moffat says of bringing Lucas back to the fold. “He just kept volunteering to do more. It’s working better than we could’ve expected.”
Nardole will be “a little different” from the last time we saw him — both a bit more grounded and, at times, even “sinister,” per Moffat: “There are lots of layers to him.”
The Christmas special is inspired by Moffat’s love of Superman — specifically Clark Kent, who the showrunner describes as “awesome — he goes around pretending he’s not a god; he doesn’t tell the woman he loves that he’s the person she’s in love with — it’s a love triangle with two people.” He says he’s always wanted to write Clark Kent’s journey, which is fitting, because Capaldi compares the tone of the special to the original Christopher Reeve Superman film, calling it, “a new, ironic, good-hearted superhero movie.”
Screen Rant has more on the panel.
The Doctor also appears in the above trailer for the spin off series Class. There is a crack in space and time, reminiscent of the crack in Amy Pond’s wall.
Chloe Bennet sets the stage for Daisy in the upcoming season of Agents of SHIELD, which returns this week:
In light of the Sokovia Accords, S.H.I.E.L.D. has gone legit.
When Marvel’s Agents of S.H.I.E.L.D. returns, there’s a new director (Jason O’Mara), who tasks Agent Coulson (Clark Gregg) & Co. with tracking down enhanced individuals — and that spells trouble for Daisy (Chloe Bennet), who has gone rogue after Lincoln’s death.
“Everyone she’s gotten close to has died,” Bennet tells EW. “Her way of protecting the people that she cares about — which is Coulson and the rest of the team — is to distance herself. She’s doing anything she can to help people and try to makeup for what she feels is her fault.”
But her self-imposed exile doesn’t necessarily make her a hero. “We know from the past that your power comes with a price,” EP Jed Whedon says. “It damaged her when she first used it and you have to learn to control it. Part of her nothing-to-lose attitude has allowed her to unleash her power on a level that’s much more aggressive, but also much more dangerous.”
“She’s in a place where she’s pushing herself beyond her limitations,” EP Maurissa Tancharoen adds. “Whether or not that’s being self-destructive or just trying to be her own version of her best self, we’ll explore that question.”
Spoiler TV also reports that season 4 will include a loose cross over with the upcoming Doctor Strange movie:
“Our ties are at times very direct and at times are more thematic,” EP Jed Whedon tells EW. “The tie this year will feel more of a reflection of the movie, less an interweaving plot. As that movie hits the world, it comes at the right time in our show, and you will see some of those same ideas being explored.”
“The same questions that our team is exploring leading up to the premiere of Doctor Strange, perhaps some of those concepts will be reflected in the movie and then carried through,” EP Maurissa Tancharoen says. Adds Whedon: “Hopefully some of the questions that we’re asking will be answered by it and then pose some new themes and ideas for us to explore.”
Originally January was going to be significant for both the inauguration of the next president and for the start of Star Trek: Discovery. CBS has delayed the premiere from January until May, 2017. StarTrek.com reports:
Star Trek: Discovery will now launch in May, 2017, it was announced this afternoon by CBS All Access. The new premiere date is driven by the creative team’s belief that this will give the show the appropriate time for delivery of the highest-quality, premium edition of the first new Star Trek television series in more than a decade.
“Bringing Star Trek back to television carries a responsibility and mission: to connect fans and newcomers alike to the series that has fed our imaginations since childhood,” executive producers Alex Kurtzman and Bryan Fuller said in a joint statement. “We aim to dream big and deliver, and that means making sure the demands of physical and post-production for a show that takes place entirely in space, and the need to meet an air date, don’t result in compromised quality. Before heading into production, we evaluated these realities with our partners at CBS and they agreed: Star Trek deserves the very best, and these extra few months will help us achieve a vision we can all be proud of.”
Personally I’d prefer that we get Discovery in January, and postpone the inauguration of Donald Trump or Hillary Clinton (indefinitely).
Luke Cage is the next installment of the Marvel Cinematic Universe on Netflix, teaser above. Showrunner showrunner Cheo Hodari Coker discussed the series in an interview with SciFiNow (via MCUExchange):
In an interview with science fiction website SciFiNow, Coker calls Luke Cage a show that is about “a man who moves to a new section of town, which has deteriorated over time.” He goes on to say, “Instead of a saloon, we have a club named Harlem’s Paradise. And inside this ‘saloon’ there is another strong man who is controlling vice and – to some extent – has an amount of control in law enforcement [this would be Mahershala Ali’s crime lord Cornell ‘Cottonmouth’ Stokes], so he gets away with everything.”
When asked about how Luke Cage compares to the other MCU Netflix properties, Coker had this to say:
“Luke Cage has a different feel to Jessica Jones and Daredevil,” explains the self-confessed comic-book fan. “Let’s talk about the elephant in the room right now; it’s a black show. However, at the same time, it’s a different genre to the other shows to some extent, because Daredevil is a crime drama with superhero elements, and Jessica Jones is a psychological thriller, even though it has some classic ‘Sam Spade’ noir moments.”
The promos for HBO’s adaptation of Westworld continue to make me far more interested in the series than I was when it was first announced. SciFi Now has a spoiler-free review of the first four episodes.
Sci-Fi Storm reports on three pilots at the Syfy channel. Here’s the one I find most interesting:
The Machine, based on the 2013 UK cult film, explores humanity through artificial intelligence when a sentient AI is created, but the military wants to use it for war. Caradog James, who directed the film, is an executive producer with Red & Black Films and John Giwa-Amu, the film’s producer.
You may be aware that John Barrowman has been saying, publicly, that I’ve been blocking a new series of Torchwood. To be very clear – I haven’t blocked it; I wouldn’t block it; I wouldn’t even be ABLE to block it. I didn’t even know a revival had been mooted till I read about it on the Internet. As John perfectly well knows, it’s not my show and I could no more prevent it happening that he could cancel Sherlock. I am bewildered, and a little cross, even to be included in this conversation. For the record, I really liked the show (especially the third series) and would be very happy to see more – monsters and mayhem, why not? But the fact is, it has nothing to do with me. Please pass this on to the anxious and the angry – I’ve had enough hate mail now.
Unlike the first season, we didn’t have to wait until the end of the season for the big reveal. (That should be a clue that a major spoiler is coming for those behind). Fans have speculated since the first episode that Eliot was really in prison or a psychiatric institution rather than living with his mother to provide more structure. This week, his psychiatrist asked Eliot where he believed he was. His mother’s townhouse faded away and he admitted to us that he had been suppressing the fact that he was in prison.
Where did the idea come from that you were going to disguise Elliot’s surroundings in this way?
Sam Esmail: It came from a two-prong approach. We knew exactly what the fate of Elliot was at the end of the last season, and we started breaking this season’s storyline. We’re always trying to stay as authentic to Elliot as possible, what he’s going through. Knowing Elliot, from the very first episode, he definitely has interesting coping mechanisms. Even from the pilot, he has this ability to reprogram his life: E Corp was turned into Evil Corp. When we thought about him being in prison, what would be that coping mechanism, this came to mind. The other approach was his relationship to us — to his “friend” — and how we left him at the end of the first season. He basically didn’t trust us anymore, he felt we were keeping things from him. So we wanted to develop that relationship as well. That was the one approach of, “This is what Elliot would do in this situation, to cope with being in prison,” and then the other of keeping it from us because he felt betrayed by us from the first season.
When we spoke at the end of season 1 about the Mr. Robot revelation, you said you would be hesitant in the future to do things that would leave people questioning the reality of the show. Did you have any concerns about doing another big, “This is what it really is!” reveal in that way?
Sam Esmail: I did. I remember bringing it up to the room. The one thing I also told you is I wanted to stay as authentic to Elliot as possible. And the truth of the matter is, the show is about mystery, and there will always be questions and we won’t actually see the full picture all of the time. Having said that, if we can’t invest in what is happening and what is going on, that would become very frustrating, to the point where you wouldn’t feel any stakes. That was the test we ran through with this idea: is this actually happening to him? Is what he’s experiencing still real? And can the audience still buy into this after the reveal? Those answers were obviously yes: the events that we saw were still very much real, and the consequences of them are real, and what Elliot went through is real. It’s just the coping mechanism he used was not exactly what he saw. To me, it was definitely one of those things that prompted a real conversation. Like I think I told you last year, we’re not in it for gotcha moments or shocking the audience, but we’re in it for interesting reveals and deepening and enriching Elliot’s experience. We felt that him going through his prison sentence in this way was more true to life to Elliot than actually having seen it as a prison.
But you understand how fandom works. Having done this two years in a row, you’ve now conditioned them to, whatever you do next, the fans will pick it apart frame-by-frame to explain what’s actually happening.
Sam Esmail: Yeah, well, truth be told, don’t you feel like it’s already happening this season?
True. How did you feel about people having this exact theory of prison after only the season premiere had aired?
Sam Esmail: It was weird. One thing that we always do is we never want to cheat the audience. We never want it to be some extraordinarily contrived thing where we’re basically lying to the audience and what they’re seeing isn’t actually happening, and we’re fooling them. In doing that, and being honest with what is going on, even though the surroundings aren’t actually what they are, we didn’t really hide it that well, right? I didn’t expect people to catch on from the very first episode, but I thought people would start to theorize and catch on. Look, a reveal is great when it’s surprising, but it’s terrible when it feels like a cheat. To me, the fact that some people who guessed it may not be surprised, it verifies that we didn’t cheat anybody, because it adds up and makes sense to them still.
I’m sure much of this will be explained in future episodes, in terms of why Elliot was in prison to begin with, but was Ray a guard in the prison? How much of Ray’s business involved prisoners versus the outside world?
Sam Esmail: That’s going to get revealed in a couple of episodes.
By sending Elliot to prison, you also spend the first half of the season with him physically separate from the other characters, give or take a brief visit by Gideon or Darlene. What did you see as the advantages and disadvantages of having him apart from the rest of the ensemble, other than Mr. Robot?
Sam Esmail: I’m glad you asked that question. Obviously, knowing we were doing this, it was very important for Elliot to address this incredibly internal conflict that sprung on him at the end of the first season: that he has an alter ego that he can’t control. That was the first and foremost issue that I wanted to tackle with Elliot. So of course the isolation of him being in prison really helped that. It meant that we get to basically do this deep dive into his internal battle with his demons. There is not much else for him to do. He couldn’t escape it. So it was great on that level. I knew it was going to be a polarizing choice to go in this direction with Elliot, but for whatever reason, it felt organic and natural. But when I took a step back and looked at the whole season, I realized that, when I think about the sequels that I really love, or second acts of movies or larger stories, they tend to do this: to go into this inward battle after accomplishing this big Herculean hero’s journey. The one uncanny similarity — which I only realized in hindsight — is Empire Strikes Back. At the end of the first movie, you take down the big band, the revolutionaries kind of win, but the second movie opens, they’re still battling, they’re still struggling, the Empire is rebuilding, and literally Luke goes off to another planet for most of that movie to learn to become a Jedi, while his sister is still out there fighting the good fight. This wasn’t something planned, but I looked at it and realized we were literally following that same pattern. And it’s not just with Empire Strikes Back. It’s Godfather Part II. There’s a lot of introspection that happens. That’s often the next stage after this huge external conflict comes to an end. Then it’s, “Well, then what?” It’s a hangover moment, of reflection and going inward. So that direction made sense for our story.
News also came out during the past week that Mr. Robot has been renewed for a third season.
In other genre news, Henry Cavill has teased what will happen to Superman when he returns for the Justice League movie, in light of what happened at the end of Batman v. Superman.
Agents of SHIELDwill be edgier with its move to 10 pm. It is a safe bet it will still be much tamer than the far better Marvel television adaptations on Netflix (one of which won a Hugo Award).
The 2016 Hugo Awards winners have been announced. The award for Best Novel went to The Fifth Season by N.K. Jemisin. The Martian won for Best Dramatic Presentation, Long Form. Jessica Jones: A.K.A. Smile won for Best Dramatic Presentation, Short Form. Unfortunately the awards continued to be tainted by conservative politics.
BBC America has announced that Doctor Who and other genre shows will be represented at New York Comic Con:
Mark your calendars: BBC AMERICA is coming to New York Comic Con in a big way this year. On Friday, October 7, the network will present a block of star-studded panels at The Theater at Madison Square Garden, featuring Doctor Who, with Peter Capaldi making his NYCC debut alongside new companion Pearl Mackie at her first-ever fan appearance. Ahead of its October 22, Dirk Gently’s Holistic Detective Agency will launch a world premiere screening followed by a panel with cast, showrunner, writer and executive producer. And the Doctor Who spinoff Class will have its first-ever U.S. panel with cast, executive producer, and creator of the series.
They included more on the panels including Doctor Who:
BBC AMERICA’s Doctor Who star Peter Capaldi will make his New York Comic Con debut along with the first ever fan appearance by new co-star Pearl Mackie, who joins the series as Bill, the Doctor’s new companion. When Pearl joined the cast, Emmy-winning lead writer and executive producer Steven Moffat teased “a new voyage is about to begin” and “this is where the story really starts.” Fans will get a sneak peek of what’s ahead including the upcoming Christmas Special this December on BBC AMERICA and hints on what’s in store for Steven Moffat’s final season as showrunner. The panel includes stars Peter Capaldi (The Thick of It) and Pearl Mackie (The Curious Incident of the Dog in the Night Time), as well as Steven Moffat (Sherlock) and executive producer Brian Minchin (Class, Torchwood). Doctor Who is a BBC Cymru Wales production for BBC One and a BBC AMERICA co-production.
The Emmy nominations came out this week, and I think they did a much better job than most years. The full list of nominees can be found here. Common problems in previous years included failing to recognize new shows, snubbing genre, and keeping old favorites in the nominations even when shows were beyond their prime. Last year they finally made up for snubbing Tatiana Maslany for Lead Actress in a Drama Series and she was nominated again this year. The biggest correction this year was finally recognizing The Americans–not only for Outstanding Drama Series, but also recognizing its stars Matthew Rhys and Keri Russell.
While it took four years for the academy to give The Americans the recognition it deserves, another good surprise was that Mr. Robot received nominations, including for the series and for star Rami Malek. As with Tatiana Maslany on Orphan Black, it is hard to picture Mr. Robot working without Rami Malek. On the other hand, they did snub Christian Slater, who won a Golden Globe for Best Supporting Actor for his work on the series. Perhaps the Emmy Awards don’t recognize characters who are a figment of another character’s imagination.
It was also a pleasant surprise that Master of None received nominations including for the series and for star Aziz Ansari. Ansari might have benefited from his work on 30 Rock, while another 30 Rock alumni, Ellie Kemper (Unbreakable Kimmy Schmidt) missed out her first year but was nominated this year.
Beyond the additions of The Americans and Mr. Robot, the Outstanding Drama Series category was fairly predictable, including Homeland and Downton Abbey remaining beyond their best years. Of course the Emmy’s have also been more likely to include a show or star when they are in their final year, so I was not surprised that Downton Abbey was included. If they must include a show which Damian Lewis was at one time connected with, I would have chosen Billions over Homeland this year. The biggest snub this year of a show which deserved to be included was Jessica Jones. Similarly, Krysten Ritter and David Tennant deserved nominations for Best Actress and Supporting Actor. The series was nominated for some minor awards but it is hard for genre shows other than Game of Thrones to receive the major nominations.
The Outstanding Comedy Series category includes several worthy shows, along with continuing to nominate Modern Family out of inertia. I would have included Catastrophe and You’re The Worst before Modern Family.
Fargo deserves another nomination for Outstanding Limited Series, but this year I would give the award to The Night Manager, which also received nominations in additional categories. A miniseries was the best way to handle a John le Carré novel. While the same can also be said of other novels, whenever I have seen a movie based upon one of his novels which I have read I would feel disappointed by how much had to be left out.
Mr. Robot returned with two episodes last week. One question when watching is how much is true and how much is Eliot imagining. I noticed that when the episode showed his routine, whenever he was by a television Barack Obama was on live, throughout the day. That aspect was obviously imagined, even if he really saw Obama at one point. How much of the rest of the day, or where he is living, was imagined?
TV Guide looked at one theory that everything was imagined, noticing how much his room looked like a cell in containing only a bed and a small table, his mother seemed like a guard, his meals with the same person could have been taking place in a prison cafeteria, his meeting across the table with Gideon looked like a prison visit, and the use of a wall phone as opposed to a cell phone looked like a prisoner talking on a prison phone. These, and other examples, could mean that Elliot was in prison, or perhaps a mental hospital. The knock on his door at the end of season one could have been when he was apprehended. However, there were also suggestions that the FBI is pursuing Elliot, which might argue against him already being in prison, unless he is relating events out of order.
Dan Harmon says a Community movie will still happen, although from this report it sure doesn’t sound like we will see it anytime soon (if ever).
With Benedict Cumberbatch and Martin Freeman both becoming such big stars, Steven Moffat wonders if he will be able to continue Sherlock beyond the fourth season.
Channel 4 has renewed Catastrophe for seasons three and four. Amazon will stream them in the United States. Amazon didn’t stream previous seasons until after they were on Channel 4 so I bet I will wind up downloading them as opposed to waiting.
I would watch season three of Fargo even if it stared all unknown actors, but the addition of Carrie Coon (Leftovers) is a huge plus.
In follow up of my review last week of the season finale of Outlander, Vulture has some spoilers as to what to expect in the third season.
Digital Spy looks at the rumors of Matt Smith returning to Doctor Who and gives reasons why they do not believe they are true.
Next week we will have a miniseries of the absurd, The Republican Convention. The schedule of people you don’t really want to see speak is listed here.
With only three episodes to go, Jonathan Nolan was free to do almost anything for the 100th episode, and he did. Major spoilers ahead. Those who were behind this season might not even have been aware that Elias was still alive but in hiding. His actual death this episode was overshadowed by the far more significant death of Root. At least she lives on in some manner with the Machine choosing to make her voice her own.
TV Line discussed the episode with Jonathan (Jonah) Nolan and Greg Plageman. Here is a portion:
TVLINE | For starters, why Root? Why was she the big loss entering this final salvo of episodes? GREG PLAGEMAN | Root has always implored Harold Finch to make his machine more assertive in this war, and now, faced with what they’re up against, Root ultimately is the one who makes the sacrifice to save the father of The Machine, and that’s Harold. I think it’s true to Root’s character — her first love was The Machine. She always believed people were “bad code,” and more than anything she wants Harold’s machine to win this war. Her going down in this matter seemed apropos.
TVLINE | She did go down in a blaze of glory, after making one of the sickest kills in TV history. JONAH NOLAN | Yeah, I was holding onto that one for a movie, but I decided Amy Acker was worth it…
TVLINE | In the million months since you filmed this episode, a controversy arose about TV shows killing off LGBT characters. But I think that in your defense, Root was a richly realized character, over four seasons. And as you have said, she died meaningfully. NOLAN | Thank you for that. We haven’t seen these other shows [that killed LGBT characters], so I can’t speak to that, but it’s really just about characters getting their due and not feeling disposable, and not feeling like the audience’s investment in a character is being used against them, or that they’re being set up for it. This was always the end of Root’s story, this was always where we were going. It became clear at the beginning of the season that this was the end of the ride for us… and Root’s journey has always been getting ever closer to The Machine, so the end of her story was always basically becoming The Machine. That’s another thing I thinks separates this from the pack, and this is how Root feels about it — it’s an evolutionary step. We’re not trying to sucker-punch the audience. PLAGEMAN | We’re aware of the objections now to that [“Bury Your Gays”] trope, and I think we circumvent that in many ways. This is a real relationship between [Root and Shaw]. Not only was it consummated but there are real feelings there in subsequent episodes. Not to mention, as Jonah said, we’re heading down the final stretch here. This is not the only loss that Team Machine is going to encounter.
TVLINE | On the topic of consummation, although what we saw a few weeks ago was just a simulation, did I read somewhere that you said Root and Shaw actually first got “together” in Season 3, Episode 6…? NOLAN | We definitely implied as much at various moments. Look, we’re on CBS, there’s only so much we can show, a lot of that is left to the imagination…
TVLINE | Elias similarly went out as a hero. How important was it for you to “resurrect” him and get back Enrico Colantoni, if only for a short bit? NOLAN | Enrico Colantoni is a f–king magnificent actor, and has been such a fun collaborator for us over the years. We’ve always managed to make it work, when he’s available, and he’s had some great moments here. It was always the plan to fake his death and bring him ever closer to our team. If there’s one thing about the season I regret it’s not having a little more time to play with relationships like these, and spend a season with him on our team. But again, we’ve had to get to the end a little sooner than we wanted. We wanted to spend a little more time with Elias all the way inside the team, though we’d have to be careful with that — Elias isn’t much of a joiner! [Laughs] But that relationship between him and Finch has been so much fun to develop over the years, from the sort of chess conversations to really bringing him all the way in. The idea in this episode was that it’s almost like an avalanche of grief and loss bearing down on Finch, and the cumulative impact of it for Finch is watching as this set of decisions that he’s made, this sort of plan that he has held into all of these years, comes literally to grief with the death of two of his allies and friends.
TVLINE | The Machine actually speaking at the end, springing Harold from jail…. I almost feel like that’s Rocky getting up from the mat before pummeling Apollo Creed. Is our team about to rally? PLAGEMAN | I got chills, man. One of the things that Elias really served to do…. When a character with that power says to Harold Finch, “You’re the one that people should be afraid of,” he gives that a certain weight and heft that we understand something’s coming for Harold Finch, because Elias told us so. NOLAN | And at Comic-Con three years ago, when asked, “When will The Machine get a voice?,” we did say, “Someday, but you won’t like how it happens.” I think we fulfilled that mandate.
I was suspicious of Felix’s sister Adele when she showed up on the show, suspecting she worked for Neolution or some other group. After this week’s episode, she just might be what she seems. She filled a needed role of an attorney Donny and Alision could call on. She also had one of the best lines of the episode when she met Alison and noticed how she looks so much like Sarah, “with less anger and more hygiene.” Next week Helena returns. I’d love to see Adele’s take on her.
Gillian Anderson has had some major genre rolls, including The X-Files, The Fall, and Hannibal. She will be working with Bryan Fuller once again on Amerian Gods. Variety reports:
Anderson will play Media, the mouthpiece for the New Gods, functioning as their public face and sales representative, by taking the form of various iconic celebrities. She lives off the attention and worship that people give to screens — to their laptops, their TVs, to their iPhones in their hands while they watch their TVs. Ever the perky spokesperson, and always in control, she spins stories in whatever direction best suits her.
The attack of the White Walkers on the cave was one of the most memorable scenes on Game of Thrones recently. The above video discusses the making of that scene.
Outlander has been renewed for two additional seasons. This will also make it possible to have less of a delay between seasons. Homeland has been renewed for three additional seasons by Showtime, who will also be doing a series based upon Jonathan Frazen’s novel Purity. Amazon has renewed Transparent for a fourth season.
TV Line has news on next season’s big bad on Arrow:
Arrow‘s latest evil mastermind is heading to Star City by way of Baltimore. TVLine has learned exclusively that the CW drama’s upcoming fifth season will introduce a new villain loosely inspired by Idris Elba’s Wire drug kingpin Stringer Bell.
The character, tentatively named “Anton Church,” is a ruthless crime lord who sets out to fill the sizable void left by 960Damien Darhk and H.I.V.E. The initial casting notice describes him as an “apex predator” who “cuts his way through the shadows” by taking down “the biggest threat first.” (Um, he’s looking at you, Ollie Q.). While the role is being likened to Elba’s classic Wire baddie, the breakdown also references ex-Game of Thrones actor Jason Momoa as a physical prototype.
Arrow had a great big bad last season, but sure didn’t conclude the story very well. Hopefully the quality of Arrow will get back to what we saw the first two seasons.
Here’s something for fans of both Doctor Who and Marvel. David Tennant of Jessica Jones does Ask Marvel in the video above.
In other Doctor Who news, Steven Moffat recently revelaled that the role of The Doctor was once offered to a black actor, but it didn’t work out.
There have been a lot of changes in both the Marvel and DC comics over the years. After the last two Captain America movies showed SHIELD to be infiltrated by Hydra, and now has Captain America and other Avengers on the run, there is an even more radical change in the comics. Steve Rogers is apparently an undercover Hydra agent. Of course, in the comics, this could be a trick, or just something to go on for a while until they reboot again.
Both The Flash and Arrow concluded their seasons with the hero defeating the big-bad of the season. The ending of Arrow was rather disappointing, with Damien Darhk being defeated far too easily after previously looking unbeatable. Team Arrow was broken up, but it would be an easy matter to reunite some or all of them.
It was gimmicky to have The Flash end the season with a race, but it does fit into the series. There was a little trickery involved in defeating Zoom, but it was far better than how the Arrow defeated Darhk. (Major spoilers ahead). We learned the identity of the main in the iron mask–Jay Garrick of Earth 3, played by John Wesley Shipp who played the Barry Allen Flash in the 1990’s series. I assume we will see him again, possibly playing into the plans to tie the Justice Society of America into Legends of Tomorrow. It will also be interesting for Barry to have a copy of his dead father–assuming his father remains dead.
The ending of the episode had major ramifications (and more spoilers ahead) for the future of the series as Barry went back in time to save his mother, and saw another remnant of himself disappear. Possibly this means that he never becomes the Flash. On the one hand, this would change the scene between Barry and Iris before he went back in time. On the other hand, if Barry never lived with the Wests, there would no longer be the feeling of incest (even if not biological) in their relationship.
There are reports that Tom Cavanagh will be returning to the third season of The Flash. His first season character was killed at the end of the season and his Earth 2 character returned home at the end of this season. One logical explanation for Cavanagh being present seems to be that if Barry’s mother remained alive things were changed so that the original Harrison Wells was not killed by Eobard Thawne.
There is further speculation that the third season will start with a version of the Flashpoint storyline from the comics. Screenrant has further discussion of the finale. There is more at Den of Geek, including this summary of the Flashpoint story:
All signs point to Flashpoint, a Geoff Johns-penned comic book arc from 2011 that saw Barry waking up in a present day that he didn’t recognise. His mother was still alive, Captain Cold was the big shot hero of Central City and The Flash did not exist (neither does Superman or The Justice League, and Thomas Wayne is Batman instead of Bruce).
Barry does not have his powers. America is at war with Aquaman and Wonder Woman. Cyborg is the world’s biggest superhero, and is failing to unite a strong enough defence. Essentially, the whole world has gone to hell.
This timeline was spawned – you guessed it! – by Barry going back in time to save his mum. It’s the ultimate worst-case scenario, when Barry thought he’d been doing a good thing. For season 3 of The Flash, it seems logical to expect a similar chain of events.
Obviously there would need to be a scaled-down version for television, but it is easy to see Barry returning home to an entirely different world. They could possibly also use this to bring about the collapse of other Earths into Earth 1, bringing Supergirl into the same earth to facilitate the planned cross over after the show moves to the CW Network next season.
The second season finale of Gotham left the city an even stranger place than it has been. Comic Book Resources interviewed executive producer John Stevens. While the interview took place before the finale, it still provides information leading into season three:
CBR News: Throughout the season, Hugo Strange has been playing Dr. Frankenstein. What exactly is his endgame?
John Stephens: We’re going to understand his endgame in the finale. We’re going to understand that he received a directive from his employers, who gave him a very specific directive, specifically about reanimation. That is something which his employers, who we know are the Court of Owls, is going to be paid off in Season 3 when we understand why they wanted him to do this thing. We will understand in this season what exactly he was supposed to achieve, although part of that we will pay off next year, too. It plays into our overarcing Court of Owls’ mythology.
Strange refers to his employers as “masters.” Who are the Court of Owls, and how much are we going to learn about them in the finale?
The Court of Owls is like an Illuminati. They are a shadowy group of powerful people who have controlled Gotham for centuries. They might, or might not, be behind the Wayne murders. They have financed and directed Indian Hill and Hugo Strange’s research. We will not learn all that much about them in the finale, save for the fact they are the people behind Hugo Strange and are most likely the culprits behind Martha and Thomas Wayne’s murders. Bruce will learn of their existence, but not necessarily their name. That will obviously push him forward.
As part of Strange’s experiments, he brought Fish Mooney back to life. What makes the resurrected Fish deadlier than before?
Hugo Strange had to modify Fish’s DNA in order to being her back to life, and it had the side effect of giving her certain abilities. Those abilities are going to manifest in the finale. She goes from the real of reality to grounded sci-fi, becoming a quasi-supernatural character in the finale.
The Americans has been one of the best written shows on television in recent years. The writers have taken a long view, with situations often not playing out for many episodes, or sometimes seasons later. Joe Weisberg and Joel Fields, the co-showrunners, have indicated in various interview that they have about two more years of story left. Now that is official. FX has renewed The Americans for two additional seasons beyond the current season. While I hate to see it end, it is quite satisfying to know that the show will be ending based upon the ideas of the writers, and the story will be allowed to continue until it is completed.
Limitless has been officially canceled by CBS. While not at the level of The Americans (few shows are), it is entertaining and there is certainly more story to tell. There is still the possibility of it being picked up elsewhere.
Steven Moffat responded to a question about the lady in the barn in the season 9 finale of Doctor Who, Hell Bent:
Responding to a fan question in issue 496 of Doctor Who Magazine as to whether the old barn lady was the Doctor’s mother, Moffat answered:
“We’ve no idea who she is, nor should we. But a quick glance at the evidence, would remind you that the Doctor is a ‘high born Gallifreyan’ so that would seem unlikely. So what was he doing in that barn, and who were those people? The Doctor won’t tell me. It’s almost like that nameless wanderer in time and space likes a bit of mystery…”
The showrunner added:
“Oh, it’s funny, writing stuff about the Doctor’s past. You always have to leave options – you can’t be definitive. Or at least that’s how I feel about it. I like the audience to have a choice. If, in ‘Listen,’ you’re happy that the little boy in the bed is the Doctor, then great. But if you’re not, that’s fine too. I keep saying, Head Canon is important, because that’s where the show really happens: in the hearts and minds of all the people watching.”
When I saw her on Hell Bent, and previously on The End of Time, I saw this more as a Gallifreyan version of a boarding school, as opposed to showing his home and mother.
In other Doctor Who news, John Barrowman has shot down rumors that he will be returning to play Captain Jack Harkness in the Christmas special.
The next companion has been introduced in the video above to replace Jenna Coleman on Doctor Who. Pearl Mackie will play a character named Bill, who clearly has not encountered the Daleks in the past. The Guardian has a little more information on her:
Capaldi said it was “a genuine delight” to welcome Mackie to Doctor Who. “A fine, fine actress with a wonderful zest and charm, she’s a refreshing addition to the Tardis and will bring a universe of exciting new possibilities to the Doctor’s adventures.”
Steven Moffat, outgoing lead writer and executive producer, said: “A new face in the Tardis, a new voyage about to begin: welcome aboard, the amazing Pearl Mackie! This is where the story really starts.”
Mackie trained as an actor at Bristol Old Vic Theatre School, graduating in 2010. Since drama school, she has worked across theatre, film, radio and television. Her acting credits include Svengali, a British film released in 2013, and she is currently appearing in the stage production of The Curious Incident of the Dog in the Night-Time at the Gielgud Theatre in London.
Among other actors who had been thought to be in the running for the role were Coronation Street’s Michelle Keegan, Rakhee Thakrar, who impressed many with her performance as Shabnam Masood in EastEnders, and Maisie Williams, who plays Arya Stark in Game of Thrones and guest-starred in the last season of the sci-fi show.
Supergirl ended the season well. While the two part season finale had its plot holes, they did end many of the plot thread of the season, while leaving one major one for next season (the search for Jeremiah Danvers) and ended the episode with a cliff hanger. Prior to the last second cliff hanger, there was a feel-good moment for the cast. Plus there is the question (as of now undecided by the writers) as to exactly Kara’s new job will be.
Entertainment Weekly interviewed Andrew Kreisberg about the finale. Here are a couple of excerpts:
ENTERTAINMENT WEEKLY: Let’s start off with the reveal that someone else has landed on Earth. What can you tease of who this is? Are they friend or foe?
ANDREW KREISBERG: Obviously it’s our big cliffhanger of the season, so I’m not fully inclined to let everyone know who shot J.R. It’s an important character, and they’ll play an important role in season 2.
Is this a character we may have seen in the comics before?
Again, I don’t want to give too much away, but it’ll be cool. The fans are going to be excited. It’s going to definitely shake things up for season 2.
Especially with something like Project Cadmus in the ether, the first person I think of is Superboy.
Moving on, Kara was willing to risk her life for the world. How does that change her in season 2?
This whole season has been about her embracing being Supergirl. In a way, this was her graduation episode. She hadn’t fully figured out how to integrate being Supergirl into her life. This whole season has been a learning experience for her. At the end of this episode, she’s fully Supergirl. Next season, you’re going to see a Supergirl who is more mature, and a bit more of a cohesive character. She’s taken the identity of Kara and the identity of Supergirl and merged them in a better way. You’re just going to see a more confident, stronger Supergirl than we’ve ever seen before.
Is it safe to say the world is now on her side?
Oh yeah. You don’t save the world without dispelling all doubters…
Even though Fort Rozz is gone, are the prisoners who were once inside it still an ever-present threat?
I think so.
What can you say of the fates of Non and Brainiac?
If you’re a fan of the comic books, you know that Kara’s heat vision took away Non’s — lobotomized Non. How and when we see him again, he’ll probably be very different. I think Indigo is probably the hardest person in the world to kill given that she’s a living computer, so I wouldn’t be surprised if she pops up again.
What would you say was your point of pride for the first season?
I’m so proud of the show. As much expectation there was for the show, there was also a lot of like, “Yeah, prove it!” [Laughs.] I think the show really works. Melissa is a star. Like any first season show, there were missteps and not every episode was as strong as the others, but I can point to a whole bunch of episodes, like “Red Faced,” like “Human for a Day,” like the crossover, like “Falling” as being some of my favorite episodes that I’ve gotten to do over the course of all the series that Greg [Berlanti] and I work on together. I’m just super proud of the show. We’ve proven that there’s an audience for a female superhero. Hopefully there will be many more years to come.
Syfy has ordered a pilot for a Superman prequel Krypton, set on the planet two generations before its destruction. The idea reminds me of Gotham, and even more of Caprica. Hopefully it is more successful than the later.
The trailer is out for The Girl On The Train. The mystery novel, often compared to Gone Girl, should make a good movie, and does have a strong cast.
The cast and crew of Person of Interest haven’t given up on saving the show, which CBS is ending after the upcoming season which will air this spring. From TV Guide:
A potential reboot doesn’t mean, however, that the June 21 series finale will lack closure. “We had to hurry up and end it. They had 13 episodes to turn a very large, slow-moving boat,” Emerson says. “But I think the idea that we had to do it in 13 was actually a plus rather than a minus. I think it allowed the writers’ room to set aside their need to create palatable side stories or a murder-of-the-week or whatever, and really just get focused on wrapping up the loose ends of this thing.”
Adds executive producer Jonathan Nolan: “I would have loved to have kept making this thing for a long, long time, but you don’t want the show to become creatively moribund. We saw the writing on the wall before this season started, but we had the incredible luxury of having 13 episodes to really finish our story. And so, as much as I would have loved to have kept working on the show … I’m very proud of what we’ve made here for the final season, and I’m very glad that we had a chance to finish telling our story, an opportunity that’s denied to so many great network TV shows. So I’m very satisfied with the way we’ve told our story, and I certainly hope our fans are.”
After evolving from a CBS procedural to a true genre show, I certainly can see reason to keep it going if any other networks are interested.
Mr. Robot will be returning on July 13. Presumably we will be seeing the aftermath of the first season finale, unless Elliot just imagined it all.
Some additional brief thoughts on the past week which will be kept brief due to limited time this week:
Better Call Saul had a great second season, but certainly left a lot hanging in its season finale.
Cape May was an unusual episode of The Blacklist. I’m still not certain if Lizzie is really dead, but it is looking less likely that Reddington faked her death. If she is alive, Reddington does not appear to be aware of it.
The Night Manager’s premier was excellent. As soon as time permits I will probably be downloading the remainder of the season rather than waiting for it to finish its run here.
Speaking of shows from the UK, Amazon recently released the second season of Catastrophe, which is well worth watching. The show is much like You’re The Worst in tone with a somewhat older couple. Like You’re The Worst, Catastrophe got a little more serious in its second season, but it did so without any drop in quality or humor.
We knew from the preview I posted last week that Orphan Black would begin with a flash back, but it was a surprise that almost the entire episode dealt with Beth Childers and other clones prior to when the series began. Seeing Beth gave a better feel for why she jumped in front of a train in the first episode. Beside seeing her drug problem, we saw far more than we previously knew about her troubles with Mark and how close she was to Art. It was also interesting to see some of the other clones in their younger, more innocent days. Beth, whose primary role appears to be to handle the money for the clones and supply Beth with pills, has not yet shot a gun, and Cosima’s biggest concern is finding a place to live while going to school.
The most important aspect of the episode was probably the introduction of another clone, M.K., who was both more knowledgeable than the other clones about the situation, and (probably justifiably) more paranoid. She says she is only alive because they think she is dead. We don’t get until the present until the end of the episode when M.K calls Sarah, now hiding in Iceland, with the warning: “Neolution knows where you are. They’re coming for Kendall Malone….You need to run. Right now.”
Felix even had a cameo, presumably never looking up to see a clone of Sarah in the police station. Buddy TV has an interview with Jordan Gavaris which reveals that Felix’s relationship with Sarah is strained, and he has more time with the other clones.
Game of Thrones enters new territory this season, going beyond the books, and might be wrapping up sooner than many have predicted. Variety reports:
In an exclusive interview with Variety, showrunners David Benioff and D.B. Weiss said they are weighing wrapping up the Emmy-winning saga of Westeros and the battle for the Iron Throne with just 13 more episodes once this sixth season is over: seven episodes for season 7; six for the eighth and potential final season.
“I think we’re down to our final 13 episodes after this season. We’re heading into the final lap,” said Benioff. “That’s the guess, though nothing is yet set in stone, but that’s what we’re looking at.”
Sources later clarified those exact numbers were premature, given that the showrunners are now just beginning to outline their plans, but said that any upcoming seasons may be shorter than the full 10 episodes of seasons past.
Trailer for the upcoming season is also above.
I’ve looked at a lot of deaths on genre shows the last few weeks, but the most unbelievable was on The Blacklist. (Major spoiler ahead). Even more so than on Sleepy Hollow, the female lead is too important a character to have die without a major change in the series. Possibly they do plan on a major reboot of the series, which is always possible as long as they have James Spader, but I am quite suspicious that in this case they are faking Lizzy’s death as part of a plan to keep her safe. Perhaps they will use a need for Lizzy to appear dead as a means to prevent her from being with Tom and her baby, which might have limited her actions.
Blastr has an interview with the cast and crew of 12 Monkeys and their planned 17-season arc. Here is the start of the interview:
You managed to build a layered, compelling story in the first season, which also featured quite a lot of world-building. Now that you’ve laid that creative groundwork, can you talk about what’s it like to really get to play in this sandbox you’ve built for Season 2?
Terry Matalas: It’s a lot more fun. In a lot of ways, it’s almost like Season 1 is the prequel to Season 2. Things really starts to get going, and we’re moving through time in ways we weren’t able to in Season 1. We’re able to mix and match characters and really try new things. The stakes are higher, and it’s a lot more fun. The show really finds itself in Season 2.
In the early parts of Season 2, Cassie really seems to start taking point in regards to the mission that drives the narrative of the show. In a way, she feels more like the Season 1-era Cole than the character of Cole does now. Can you talk about that change in Cassie, and how her time stranded in the future has affected her?
Amanda Schull: I think it was a slow burn to build this person, but you’re right. Her time in 2044 is what solidifies that very dramatic shift. She had only ever heard of this life that Cole was grappling with, then when she’s forced to live in it, herself, she realizes that intelligence doesn’t necessarily accomplish goals in every scenario, and it won’t help you survive every scenario. She really becomes a product of that world.
There has been a lot of speculation that Luke or possibly Leia and Han are Rey’s parents in Star Wars The Force Awakens. I would not entirely trust anything J.J. Abrams says about character identities after he denied that Benedict Cumberbatch would be playing Kahn in Star Trek Into Darkness, but he gave the impression that these theories about Rey might not be true when he said this about Rey: “Rey’s parents are not in Episode VII. So I can’t possibly in this moment tell you who they are. This is all I will say: It’s something that Rey thinks about too.”
Abrams has since clarified the issue saying: “What I meant was that she doesn’t discover them in Episode VII. Not that they may not already be in her world.” In other words, Luke could still be her father, but she doesn’t learn that in the next movie. Or perhaps she does, and he doesn’t want to give it away.
“[‘The Force Awakens’] was a bridge and a kind of reminder; the audience needed to be reminded what ‘Star Wars’ is, but it needed to be established with something familiar, with a sense of where we are going to new lands, which is very much what 8 and 9 do. The weird thing about that movie is that it had been so long since the last one. Obviously the prequels had existed in between and we wanted to, sort of, reclaim the story. So we very consciously — and I know it is derided for this — we very consciously tried to borrow familiar beats so the rest of the movie could hang on something that we knew was ‘Star Wars.’”
The BBC has announced the cast of the Doctor Who spinoff, Class, which takes place at Coal Hill School. Stephen Moffat had this to say about the series:
There’s nothing more exciting than meeting stars that nobody’s heard of yet. We had the read through of the first few episodes last week, and there was a whole row of them. Coal Hill School has been part of Doctor Who since the very first shoot in 1963, but this new show is anything but history. Class is dark and sexy and right now. I’ve always wondered if there could be a British Buffy – it’s taken the brilliant Patrick Ness to figure out how to make it happen.
I wonder what he means by a British Buffy. Is it just a matter of having a cast in this age range, or will there be other similarities?