SciFi Weekend: Orphan Black Season Finale; Mr. Robot; Batman v. Donald Trump; Doctor Who Emmy Nominations; CW Network Announces Fall Premiere Dates; Star Trek Actor Killed In Auto Accident

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Orphan Black concluded its fourth season and has been renewed for one final season. The finale did feel like the midst of a two season arc, with cliff hangers for multiple characters, along with the end for Evie. The simplification of the season (at least by the standards of previous seasons) did work, with this season a big improvement over the third season. While they continued with the overall mythology of the show, including showing much more about Beth, there were far fewer organizations to keep straight.

Previously we went through what could have been a never-ending sequence of having a season deal with one shadowy organization, only to find that there was another one behind it. Ending next season probably means that the Neolutionists will be the final one we have to deal with, and P.T. Westmoreland just might actually be the person behind it. For now we know he built Rachel’s eye and is “the man behind the curtain. The man who wrote the book over a century ago.” Of course, as Mrs. S explained to Sarah, “There’s always a bloody board.” There was little talk of Proletheans, Topside or Dyad this season, and we were down to just one Castor clone.

There was an increase in Leda clones. with a lot of Beth being seen in flashbacks, the introduction of MK, and an expanded role for Krystal Goderitch. In the finale, Tatiana Maslany even played Sarah impersonating Krystal, impersonating a reporter for  TMZ. Krystal both understands little and has figured out key points during her independent investigations. She is oblivious to being a clone, even denying that Sarah looks the same as her: “Even if you could drag a comb through that hair, she’s like a seven on a good day and I’ve been told I’m a 10.”

Krystal’s theory of the conspiracy is surprisingly close to the truth, if not for her confused view that it involves the cosmetics industry: “Hold on tight, cause this is very confusing. This is about human experiments and two factions fighting to control them. So we have Estee Lauder, okay, and then we have this Swedish company called Neolution.” She had the important information that Delphine is alive and that Van Lier was involved:

So, Dr. Van Lier is absolutely Neolution because he, like, showed up out nowhere with all this medical gear right after that French doctor was shot, okay, and then they, like, took her off in a van. So Van Lier, like knew my name, which was super freaky and I will never forget his face because he was so pissed at me for being there. And because he definitely had teenage acne. I could tell. No question.

Other highlights of the later episodes in the season was Helena returning in time to rescue Alison and Donnie, shooting their captor in the neck with an arrow. Rachel has once again become purely evil, plotting to take over everything, but did take a break with Ferdinand. Ira, the sole Castor clone of the season, got a good line:

Ira: Who is this?
Ferdinand: Hello.
Rachel: He’s just a toy.
Ira: He has his socks on.
Rachel: What do you want, Ira?

Plus the season ended with Cosima appearing to finally having the cure.

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TV line discussed the finale with executive producer Graeme Manson. Here is a portion:

TVLINE | This felt like one of the show’s darkest and most twisted episodes to date. Was that the intention going into the finale?
It was probably our darkest season, certainly since the first. Obviously, we had Krystal. We’re never all dark. But what Sarah was going through this year was a dark journey. We thought it really had to pay off, and we knew it wasn’t going to be a pleasant climax to the season – but is it ever?

TVLINE | What note do you hope the finale leaves viewers on heading into Season 5, then?
We love a nice note of, “WTF?” with a smattering of, “How the hell are we going to get out of that?” We’ve thrown open this door of P.T. Westmoreland, and we’ve spent some time on this island. We’re very excited to explore that world. Sarah and all the clones, including Rachel, they’ve really done a lot to climb that pyramid. Now, what are we going to find at the top?

TVLINE | Quite a few characters were left in jeopardy at the end of the finale: Cosima, Sarah, Susan Duncan, even Mrs. S and Kira. Who should we be most worried about?
We have to be worried about everyone equally. But Sarah’s got two main issues: She came to the island to rescue Cosima, and now Kira is a hostage back with Mrs. S. So Sarah’s got two huge concerns, not to mention she’s pretty beat up and bleeding.

TVLINE | That confrontation between Sarah and Rachel was so intense, almost like a horror-movie thriller with the monster getting loose.
[Co-creator/director] John [Fawcett] and myself – particularly John – really love the horror and the visceral horror. It’s part of what we do. We love mashups on the show. We love mixing tones. That horror element that you’re talking about is really one that we can pull off well with everything that Tatiana [Maslany] does. Sarah vs. Rachel, too, is bringing us back to our earlier seasons, where Rachel came out of the woodwork and was Sarah’s real nemesis. Moving forward, we have narrowed it back down to clone vs. clone. I’m very interested in exploring that nemesis relationship.

TVLINE | Rachel has never been the warmest or sanest person. But it really felt like she cracked in this episode. What sent her over the edge?
On a deep psychological level, her hatred of Sarah is because Sarah has had so many of the things that Rachel has not had. Sarah has freedom, whereas Rachel has been ordained to be who she is more than any of the other clones. Sarah has perhaps a slightly dysfunctional but certainly a nurturing family, a chosen family. And Sarah has the love of her sisters. This is the root of Rachel’s jealousy and bitterness and true hatred. It’s a self-hatred at its core.

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Mr. Robot, the surprise hit from last summer, returns on July 13. If I wasn’t behind on so many other shows, this is one series which I would really like to re-watch before going into the second season. Definitely watch it if you haven’t. It is now available for streaming on Amazon Prime and with the USA Network app.

Collider interviewed the stars. Here is the start of the interview, with major spoilers present (which will probably not sound very coherent) for those who have not seen the first season:

Collider: Christian, now that everybody is in on what’s going on . . .

CHRISTIAN SLATER: I love that you think that.

. . . at least as far as who your character is, does that chance your approach to things?

SLATER: I always looked at it as though I was as real as Elliot imagined me to be, and that was pretty real. I am there as his partner, as his protector, and as his enemy. I’m there sometimes for the right reasons and sometimes for the wrong reasons. It’s a continual struggle between the two of us. It turns into a real psychological journey for Elliot.

Rami, things must be a bit different in Season 2, now that Elliot is more aware of what’s actually going on in his life. Does it feel different for you, as an actor?

RAMI MALEK: It changes him, entirely. It gave me heart palpitations because when you do something that people respond to, and then you start altering the blueprint for what worked, it’s pretty fear-inducing. But sometimes, you have to do that, in order to push the boundaries. For this character and story to be as provocative as it was in the first season, we can’t rest on our laurels. You really have to just take some more risks and chances that I don’t think are for the sake of just taking risks and being different. They’re grounded in the story that Sam [Esmail] has created, with the trajectory and arc of all of these characters. I happened to know where he was headed this season, so I took some big changes and I think the audience will be rewarded by them. Maybe they’ll end up on the editing floor, but that remains to be seen.

As an actor who’s been in this business a long time, and had ups and downs, what’s it like to get such great scripts, every week?

SLATER: It’s great, getting the scripts and working with somebody like Sam Esmail, who is such a great leader. He’s just so prepared and there’s so much attention to detail. And then, you add Rami Malek to the mix, and Carly Chaikin and Portia Doubleday. And in Season 2, we have Joey Badass and Craig Robinson, who are amazing. To get to play a character like this, there’s so much freedom and fun with it that it’s very exciting.

You’ve known what the twists and turns were with this, from the very beginning. Were you ever bummed that you were in on it?

SLATER: No, I liked being in on it. I felt in on it, from the get-go. When I read the pilot, there was something so mysterious about the guy that it made me very suspicious. And then, when I went and met with Sam and asked him about it, he asked me if I really wanted to know. I said, “Yes,” so he told me. And then, he told me more details and revealed the relationship that I have with Elliot. I think that helped to add a deeper layer, across the board, throughout the whole season. So, it was great to know.

Gotham Enigma

The 2016 presidential election already looks like it should be an unusual one, with the Republicans likely to nominate a racist and xenophobic reality host star with shocking lack of understanding of the issues, and the Democrats breaking pattern in probably nominating a candidate who is both ultra-hawkish and quite conservative on First Amendment issues. It might get even weirder, with Cory Michael Smith who plays Edward Nigma, on Gotham, saying next season will parallel the election:

Gotham, like many superhero stories, is a parallel of today’s society, of what happens every day. And in the third season, in the fall, when the United States will stand preparing to face one of the most important presidential elections in their history, even Gotham will address in parallel the issue.

I certainly could see Donald Trump as a super-villain. Sample trailer above. If only we had Batman, or at least Jim Gordon, to save us from the real candidates.

Doctor Who now qualifies to be nominated for Emmy Award now that BBC America has joined the BBC as a co-producer. Variety reports:

BBC America’s “Doctor Who” has been submitted for Emmy consideration for the first time ever. Now that the American cabler has come aboard as a co-producer, the venerable Brit series is finally eligible for consideration. Although it was not submitted as a drama series, star Peter Capaldi is on the lead actor ballot, showrunner Steven Moffat and director Rachel Talalay are on the writing and directing ballots for the episode “Heaven Sent” and the series is a possible nominee for costumes, production design, prosthetic makeup, and visual effects.

The show has not been nominated in the best dramatic series category, where it would be up against quite strong competition in a category where genre shows do not do well.

The CW network has released the premier dates for their shows, which continues to be dominated by genre next fall:

October 4 (Tuesday)
The Flash
No Tomorrow

October 5 (Wednesday)
Arrow
Frequency

October 10 (Monday)
Supergirl

October 13 (Thursday)
DC’s Legends of Tomorrow
Supernatural

October 17 (Monday)
Jane the Virgin

October 21 (Friday)
The Vampire Diaries
Crazy Ex-Girlfriend

The 100 and iZombie will be starting in the winter.

Yelchin

Anton Yelchin, who played Chekov in the new Star Trek movies, was killed in a freak auto accident today. The New York Times reports:

Anton Yelchin, a charismatic actor best known for playing Chekov in the new “Star Trek” films, died early on Sunday in a car accident in Los Angeles. He was 27.

His death was confirmed by his publicist, Jennifer Allen.

Mr. Yelchin was struck by his own car as it rolled backward down his driveway in Studio City, the police said. The car pinned Mr. Yelchin against a brick mailbox pillar and a security fence.

He had left the car momentarily, but the police did not say why he was behind it when it started rolling.

He was on his way to meet friends for a rehearsal, the police said. When he didn’t show up, the group came to his home and found him dead.

Mr. Yelchin began his career as a child with roles in independent films and on television before breaking out in films like the crime thriller “Alpha Dog” and the teenage comedy “Charlie Bartlett.” His biggest role had been as Pavel Chekov, navigator of the Starship Enterprise, in the rebooted “Star Trek” films, the third of which, “Star Trek Beyond,” is to be released in July.

More at TMZ , which also linked to this video of the Best of Chekov:

SciFi Weekend: The Big Reveal on Game of Thrones; Orphan Back; Person of Interest; DC & Marvel News; Star Trek; The Handmaid’s Tale

Game of Thrones Jon Snow

While technically a spoiler for those who have not seen lase week’s episode of Game of Thrones, there was little doubt that Jon Snow would return in some form. While he has returned to life, so far all we have seen is his eyes open and beyond that he might not be entirely the same. Vulture looks at some of the possibilities, including that his wounds might never heal or that he might not have his memories. They also speculate that his death might have terminated his vow to to the Night’s Watch which “shall not end until my death.” If so, this would allow him to take other roles, such as leading the North and/or returning to aide the surviving  Starks.

Regardless of what happens to him, Kit Harrington is happy that he no longer has to lie to everyone.

Orphan Black Donnie

Orphan Black started out the season with a bit of a reboot and simplification of all the various conspiracies. The show is always at its best in dealing with the characters as opposed to overly complex conspiracies. While Tatiana Maslany is generally the show, supporting characters do have a lot to add, such as seeing Donny and Felix posing as a gay couple as part of the investigation of one of those conspiracies. It got even better when Donnie called Alison to help him provide a sperm specimen with phone sex in yet another classic scene in this series.

Person of Interest returned for its final season on CBS. A sneak peak from Comic-Con is above. The AV Club spoke with executive produces Jonathan Nolan and Greg Plageman. Here is a portion:

The A.V. Club:Since the beginning, this show that’s ostensibly been about artificial intelligence is really about human connection. What’s it like to thread that needle and how has it evolved over time?

Jonathan Nolan: It’s a great question. And it’s a big challenge. I remember Greg and I talking from the beginning about the collision between the more esoteric ideas in the pilot and how we were going to draw emotions and humanism and a recurring interest from the audience out of all those ideas. There are a lot of ideas in the show, and it’s something I’m very proud of. It’s funny, it’s not a normal show for CBS, but people kind of found it, which is exciting.

That link between the big ideas of the show and the characters—we’ve concentrated on it so hard from the beginning, because we wanted to explore all these crazy ideas about the surveillance state, big data, and AI—and the collision of all of that on a personal level. And from the beginning, I’ve felt like there was a great connection there between big data and the kind of “normal” violent crimes that you find in a major city like New York. I’m just kind of fascinated by the idea of the collision of all of those things. But the thing that people keep tuning in for is the characters. Week in, week out, you’re looking not for ideas, necessarily, although it’s great when your shows have ideas in them, but for the characters to become extended family. Especially in broadcast TV, that’s what happens on that level: When you’re on weekly, your characters come back and you connect with them every week. So, as you said, threading that needle becomes the challenge throughout all five seasons.

AVC:One of the great things is how you were able to connect to The Machine, even on a very personal level. The Machine was gendered female, whereas Samaritan has stayed relatively genderless. Can you expand on that?

JN: I think the gender question, you know, they’re obviously connected. If you want to understand the impact that any SI, or super intelligence, will have—and it’s pat, but it’s accurate—but it’s as if there were no gods and we made them, right? God has often been gendered in the West in a masculine light, which is absurd, but it evolved sort of organically, talking about The Machine as a person. Finch always referred to The Machine as “it” or a thing, but for Root there’s always been more of a personal connection there, a belief in The Machine as a being. So her personification of it—sadly, in the West, we have to gender things to personify them—it seemed most apt that she would think of it in those terms. There’s also something else we’re doing with that: If you’ve paid close attention to the show and where we’re going, there’s a little bit of foreshadowing there as well.

AVC:It seems as though The Machine went through a rebellion phase when it really started to only speak through Root. Will this season be about The Machine becoming more mature in that sense and answering to everybody?

JN: I’m picturing a hormonal artificial super intelligence.

Greg, what are you thinking?

Greg Plageman: I think the interesting relationship for me is Harold Finch and his creation. And there’s always been a troubling conundrum for Finch, building this thing that’s so powerful yet that could overtake us. He’s never been quite comfortable with the idea of an ASI—building something that’s more intelligent than us and us expecting that we could still actually control it. So he’s always had that dilemma that he’s been grappling with, and that caused him to put a limiter on The Machine. What Root has always implored Harold Finch to do is take the gloves off the thing because we’re losing—we’re losing to a much more diabolical creation.

So I think the evolution of that relationship of Harold Finch and his machine this season, in terms of reconstituting it, and how it’s going to be different this time, it’s almost like, what’s the point? What’s the point, Harold, if you’re going to put a limiter on this thing all over again, as Root has always told him in terms of her wanting to let this thing go and to see what it can do. It becomes an exploration of Harold Finch’s character that I think the audience is going to find very fascinating.

AVC:Do you think that if we had been watching the team behind Samaritan from the beginning, rather than the team behind The Machine, that we would be pro-Samaritan?

JN: I think that’s one of the delicious things about what we’ve been doing with this storyline and where we’ve gone with it in this last season. I’m always most excited about and drawn to villains who have a point of view and have a plan. One of the most exciting things about The Joker in The Dark Knight is, he may be a villain in your eyes, but he’s the only person who hasn’t broken his own rules. Everyone else has, everyone else has corrupted themselves, but he’s in many ways one of the most ethical people in the film in terms of their own ideas. He had an idea, and it drives the story forward. We applied a similar approach here, but even more rationally. A lot of things that Samaritan espouses are believed by the people who work for Samaritan, the same way that I’m sure people who work for Facebook don’t believe that they’re working for the company that will destroy the world. But, you know, they are. And everyone gets through the day rationalizing their own existence.

GP: It’s sort of fascinating right now what’s happening in Russia with Putin’s control of the media and the way the everyday Russian views the West now or the United States. It just depends on who’s telling the story. There was a moment where Root met Greer and he sort of said these things to her: “You and I are not all that unalike.”

Supergirl

CBS has not decided yet about renewing Supergirl, with cost being an issue. Ideas being considered include moving the show to Vancouver and airing fewer episodes. It might also move to CW with the other Berlantiverse shows. (If necessary to make room for all the superhero shows, I’d suggest cancelling Legends of Tomorrow and airing Supergirl instead).

At ABC, it has not been decided whether to return Agent Carter or go ahead with Marvel’s Most Wanted. If they don’t air the second, I wonder if they would write Adrianne Palicki and Nick Blood back into Agents of SHIELD. With the way they were written out, it wouldn’t be hard for Coulson to decide he doesn’t care what the Russians think and bring them back–especially as they are operating secretly. We should have news on May 17 from ABC.

Needless to say, there has been a lot out in the past week on the Marvel Cinematic Universe with the release of Captain America: Civil War. To avoid spoilers I will postpone discussing this until a later date. Here is one link of interest–the backstory from the comics of the history of fights between Captain American and Iron-Man.

CBS All Access remains on track to begin the new Star Trek series in January, 2017. They will be releasing one episode per week.

Hulu will be showing a ten-episode miniseries based upon Margaret Atwood’s novel The Handmaid’s Tale  in 2017. It will star Elizabeth Moss (Mad Men) had will be written by Bruce Miller of The 100. Miller will c0-executive produce the series along with Daniel Wilson (who worked on the movie version of the book), Fran Sears (The Sophisticated Gents) and Warren Littlefield (Fargo). I suspect they will also be releasing an episode a week as they did with the adaptation of 11.22.63.

Speaking of Mad Men, here’s a chance to explore Don Draper’s apartment in 3-D. It would be even more fun to have an apartment like this to spend some time at in Manhattan.

SciFi Weekend: Arrow; The Americans; Sleepy Hollow; 11/23/63; Orphan Black; The 100; Sherlock; Bruce Springsteen

Arrow Cemetary

It looks like many shows think that they can duplicate the  success of Game of Thrones and The Walking Dead by killing off characters. There are more major spoilers this week. Recent posts have already dealt with character deaths, and there were more to look at this week. Some were handled better than others.

We knew for quite a while that there would be a death on Arrow this season, but none of the discussion I’ve seen predicted that it would be such a major death, even though major characters have been killed on this show since the beginning. It does make sense to kill Laurel as they never really knew what to do with her beyond the first season when the ex-girlfriend role made sense. They have varied so much from the comics that it is not necessary to keep her, especially as it appears, despite their current troubles, that Oliver is fated to wind up with Felicity and not Laurel.

Marc Guggenheim and Wendy Mericle, and Paul Blackthorne (Detective Lance) discussed the episode with Entertainment Weekly. Here are some of the questions:

But seriously, why Laurel?

“Obviously Arrow is always a show that’s evolving,” Guggenheim says. “It’s always a show where every character, arguably except for the Arrow, is fair game. We started off this year with the promise of a death and when we worked our way through our various different creative choices, we realized that the thing that will give us the most pop going into the end of the season and into next season unfortunately would be Laurel.”

Was she killed because some of the fanbase doesn’t like Laurel?

“When I say it gives us a lot of pop I don’t mean on the Internet or publicity, I mean creatively for the show,” Guggenheim says. “Every time we’ve killed off a character on the show, it’s really been for the effect it has on all the characters left behind. I don’t want to spoil the end of season 4 or what we have planned for season 5, which we’re already in the room working on, but the way we always describe it is the creative math. How divisive Laurel is as a character on Twitter is not a factor. Truth be told, Twitter is a very specific sub-segment. The number of people who don’t like Laurel is probably an infinitesimally small group, so it’s not, as they say, statistically relevant.”

But shouldn’t Oliver and Laurel be endgame?

“One of the things we knew people would think was, ‘Oh, well, in the season where Oliver and Felicity get engaged and Laurel dies, that’s clearly making a choice about who’s going to end up with who,” Guggenheim says. “Truth be told, we told the Laurel-Oliver romance story in season 1. We told that story. We never really thought about going back to it. The ‘shipping thing was not an element, it was not a factor to us. We recognize that that upsets a lot of fans, particularly the comic book fans.”

Yeah! Oliver and Laurel end up together in the comics! What gives?

“In the comics, Dinah Lance and Oliver Queen, depending on which version of the character you like, are in a romance together in various iterations,” Guggenheim says. “That, to some people, is considered canonical and iconic, and we respect that, but at the same time we’ve always made no bones about the fact that we are telling our own version of the Green Arrow mythos. The Green Arrow has had so many different interpretations, and Black Canary has had so many different interpretations over the years, that we never felt beholden to one particular interpretation. This is our interpretation, like it or not, and I recognize there are plenty of people up and down my Twitter feed who do not like it. I totally respect that. But it made the most creative sense for us going forward despite the fact that we love Katie, absolutely love Katie.”

So could Laurel come back to life?

“Not getting a chance to work with Katie day in and day out is tempered by the fact that we now live in a universe where there’s resurrection, parallel earths, time travel, flashbacks — we have all these different ways of keeping Katie in the Arrow-verse family,” Guggenheim says. “In fact, you will see her on an episode of Flash playing the Earth-2 version of Laurel Lance. Katie is reprising her role as Laurel of Earth-1 to be in Vixen season 2. Death does not mean goodbye on any of these shows, but we made a creative choice and we’re sticking to it. We’re recognizing that Black Canary and Laurel have an incredibly loyal fanbase, and Katie has an incredibly loyal fanbase, but the show has never been just about the comic book history, it’s never been just about one or two different particular fanbases. We make the creative choices we feel benefit the show as a whole and the story that we’re telling overall.”

But by bringing her back on other shows, doesn’t that cheapen Laurel’s death?

“We definitely recognize across all three shows that when we kill off a character, it means something different now,” Guggenheim says. “I’m not going to put a qualitative judgment on whether it’s more or less impactful. I’ll leave that to the audience, but certainly we acknowledge there’s a difference. Arrow, much more so than Flash or Legends, it traffics in death. We started off the series of the apparent death of Sara Lance and the actual death of Robert Queen and a hero who murdered people. For better or for worse, death is part of the show. What we’re finding is that death now, as it should by the way, when you start to get where we are pushing into season 5, the show has to evolve, it has to change. The concept of death on this show is evolving and changing as we’ve already seen with Sara Lance, and with seeing Laurel in a parallel universe. There’s a world where we do an episode where Oliver Queen meets the Laurel Lance of Earth-2. That’s now on the table. Time travel is now on the table. As the show has evolved, so has death.”

The interview also dealt with reactions from the other characters, and revealed that we will not find out what Laurel said to Oliver before she died until next season, showing that the death of Laurel will be impacting the show for some time. As noted in the interview, Katie Cassidy will appear as an Earth-2 version of Laurel on The Flash. Her sister will also get a chance to react to her death on Legends of Tomorrow. Additional interviews from cast and crew can be seen here.

In other Arrow news, Echo Kellum (Curtis) has been promoted to a series regular for season 5, and presumably will be an active part of Team Arrow. I also would not be surprised to see Felicity getting back with the team, whether or not it takes time for her to get back with Oliver.

THE AMERICANS -- "Dimebag" Episode 304 (Airs Wednesday, February 18, 10:00 PM e/p) Pictured: Annet Mahendru Nina Sergeevna. CR: Ali Goldstein/FX

The Americans had the death of a major character at a strange time. (More spoilers here). It would have made more sense to end Nina’s story at the end of last season rather than continuing it so briefly this year, but many of the plot thread from last season were left to continue this year. It also provided an interesting look at how such executions were handled, with Nina being shot only three seconds after being told her appeal was denied and her death sentence would be carried out shortly.

TV Line discussed the episode with Joe Fields:

TVLINE | When was she originally supposed to die?
JOEL FIELDS | We went back and forth a little bit. There was a point at which we thought she might go at the end of Season 3. Then we fussed around with different episodes in Season 4. So yeah, there was a little bit of elasticity to it.

TVLINE | Why, ultimately, the decision to kill off Nina now?
FIELDS | It was really all about how the story laid out and how it fit in with other stories. … You do get very attached to these characters. As writers, you get very attached to them, and as actors, you fuse with them in a certain way. So it feels like a real loss.

TVLINE | So poor Nina was always doomed?
FIELDS | Well, not from the very beginning. And frankly, you’ve got to define “doomed.” The truth is, this character transformed in a way that has great meaning, and she could have maybe found a way to continue on as somebody who would do anything to survive. But instead, she grew. And she grew into a character who was willing to take a risk to do the right thing for someone else. Although she paid the ultimate price for it, she grew into a much fuller person. Yes, she made her choices, and in all seriousness, we have a lot of respect for her choices.

TVLINE | The method of her death was so brutal and quick. How did you land on that?
WEISBERG | That’s how they actually executed traitors. We learned about it from a book written by our consultant, Sergei Kostin. His book came out after the end of the Cold War, and we tried to follow it beat by beat in our script. Our director followed it beat by beat [and] beautifully shot it. As soon as we read it, we thought, “This is the way to do it.” It was so dramatic and so powerful and, interestingly enough, so humane. Because the reason they came up with that system was to spare the person being shot any foreknowledge about what was going to happen so they wouldn’t suffer and be afraid.

TVLINE | Nina has been separated from much of the main cast for a while now. Will her death reverberate for the rest of the characters somehow?
WEISBERG | I think it’s safe to say that Oleg’s father is very highly placed in the Soviet government, so he could easily find out what happened. I don’t think we ever saw that story as separated as maybe some people did. Even though the role was not as interconnected in the way that things are interconnected today with the internet and communications, it was still an interconnected role at the heart.

TVLINE | Did Oleg’s dad try to reach out to help her?
WEISBERG | He did try, but he just wasn’t successful.

The Americans Nina Execution

Spoiler TV has an interview with Annet Mahendru who played Nina, and also appeared in The X-Files revival this year:

Could you talk a bit about Nina’s motivations for helping Anton [Baklanov], what her mindset is and how you dealt with the change in her this season?

Annet Mahendru: I think last season we see it goes on for a while, she’s figuring him out, she’s always about the other – she’s kind of a reactor to things – and she doesn’t quite know what to do with Anton and she sees a human being for the first time and it brings that out of her. And she’s exhausted, she’s been in this hamster wheel over and over buying her life out, walking this thin line and you know, every decision, every step, it’s life or death for her and she’s exhausted and she’s falling and she can’t do this anymore. And he moves something in her. For the first time it’s something very direct: he has a son, and she’s given all that up when she entered this profession and she finds joy in his world and his letters and love and for the first time I think we see her happy and she literally gives up everything for that moment of happiness and that’s her freedom from that tragic life that she has chosen and has been dealing with [since we met] her. So I think for joy and for just she lives for the first time and that’s what she needs to do to live and sometimes you need to change in order to survive and that’s what she does.

Nina seemed quite resigned when reading the statement from Baklanov. Do you think she’s at peace with her fate now?

Annet Mahendru: I think she’s content, she is, she’s very much settled and she’s ok now because she did something for the first time that allowed her to be who she is and something that she saw, you know she has done everything to secure the future of the Soviet Union, this cause, this great cause that is so far-fetched and to hear something so direct – there’s a boy that needs to know that his dad loves him and she did that and that’s the greatest thing she’s ever done.

What was your reaction like when you got the script for this episode? Did [creators] Joel [Fields] and Joe [Weisberg] give you some heads up or did you find out as you were reading?

Annet Mahendru: (Laughs) Goodness no, I got the first script and then I got a phone call and you kind of wait for that phone call from the get-go – everytime they call you, that might be the phone call. It finally came and I played it really cool because you’d think you’d be prepared for it but you absolutely are not. I was angry at them, I loved them, I felt every single thing you could possibly feel and I remember my mom was like “it’s not you dying, it’s Nina, it’s Nina” because it just felt like a part of me that I was so lucky to be able to tap into and that I had to also say goodbye to. And the weird thing is I felt like in the 2nd episode I’m getting to know Nina, she’s meeting her husband, she finally has her own mission, her transformation that she desperately needed and I felt like I had just gotten a taste of her and that’s it and then like an episode later she’s dead. So that little bit of joy, that little bit of her that I finally got, it was so fleeting and it was over before I could really embrace it and it was really sad. We’ve all been, since the beginning, treasuring her and fighting for her – it’s really been a fight – and it just made me realise that it’s just such a tragic life and that it’s real, you know, this happens out there and it made me really angry.

Could you compare working on a show like this to working on a show like The X-Files?

Annet Mahendru: You know, it was really ironic, it was like a double death for my characters this year. It was a lot of death but Sveta died for the reopening of the X-Files and Nina died for starting something very important for an individual. It was a really difficult season and also the greatest season at the same time. The X-Files was a real treat and it was another special story that I got to tell.

Sleepy Hollow

From a mass audience perspective the death on the season (and perhaps series) finale of Sleepy Hollow was the biggest, but as I was also giving up on the show it mattered the least to me. (More spoilers ahead). The she had already lost its way after the first season, when it centered around the relationship between Ichabod and Abbie. There is no news yet as to whether the series will be renewed. While this was also not a very satisfactory way to end the series, it would probably be best to end it now, unless someone can go back in time and end it after the first season.

TV Line discussed the episode with showrunner Clifton Campbell:

TVLINE | I’m going to jump in with the big question first: Is Abbie really dead? Is this the last we’ll see of her?
The character of Abbie Mills makes the supreme sacrifice to save the world, and her character dies in the season finale, yes. To answer the second part of that question, she will not return to the show as Abbie Mills. There’s certainly the possibility, given our really good relationship with Nicole and how much she’s help build us these past three seasons, that reflections of her will be around and that the idea of her will be around is certainly something we’ve all talked about, but not as the character of Abbie Mills.

TVLINE | So is Nicole Beharie no longer with the show?
Nicole Beharie as Abbie Mills is no longer with the show. The character is dead. But we’ve had a terrific run with her. She’s been an absolute delight. She helped build out the mythology of the show, and we’ve had a tremendous run with her. The character is gone and, like I said, in Sleepy Hollow it’s always surprising to see how the reflections of one character or another can influence the show moving forward.

TVLINE | Ichabod’s grief over what happens is palpable, but I was struck by how Tom Mison played it contained. Did you think about Ichabod having a big emotional moment after he realizes she’s gone? Did you shoot any takes like that?
Listen, Tom has really created this character from the bottom up. His instincts are without parallel. His fearless creation of this character in all of these moments, particularly as they pertain to his relationship with Abbie Mills, is not something any of us would second guess. You picked up on that contained emotion — I think this is such a big moment, and a huge loss in his life and his world that he needs to process. At a point where we have that opportunity in the finale, he hasn’t quite reached that point yet.

TVLINE | Having Abbie sacrifice herself twice in the same season — fans might think, “Well, you brought her back last time…” What’s the fundamental difference between her going into the tree and her willingly entering Pandora’s box?
Well, she knew she wasn’t coming out of the box in the finale. She knew, because of what they learned in the catacombs, that the box was missing its hope, which is at the center of darkness and gave it context, gave it form. She knew she was giving herself to the box… that that meant she would not be coming back.

At the midseason break this year, it was more immediate. The Shard of Anubis was going to blow; her sister and Crane and everybody in close proximity could suffer catastrophic loss. Abbie knows she’s giving her life up at the end of Season 3 to save the world. The difference is, from the audience’s perspective, is [at the midseason break] she had fallen into a realm that we didn’t know about. She didn’t die.

112263 Finale

Hulu completed 11.23.63 last week with the series clearly being about whether one person, John Kennedy, would die. While I noted some negative reviews when the show first started, with some suggesting that viewers skip ahead to the final episode, I did find it enjoyable throughout the entire season. The finale did flow well from what was shown before.  (More spoilers ahead).

The series began by including a cosmic reset switch when introducing its rules for time travel. Whenever anyone went back in time, everything they did in a previous visit was reset and they could start all over again. Knowing about this reset switch from the start, the most obvious outcome was that Jake would be successful in preventing the assassination of John F. Kennedy, but things would be worse because of him doing so and he would have to go back in time to reset this.

The show was not very clear as to why things were so awful when Jake returned to the present, leading me to quickly skim the ending of the book. In the book the issue comes down to matters of destruction because of making changes in time itself, as opposed to a result of Kennedy’s actions after remaining alive.

It was clear several episodes before the end that the real story was about what would happen between Jake and Sadie, a woman Jake fell in love with after going back in time. When he spoke about bringing her back to the present with him, my first thought was that we have seen people go back in time, but never forward in time from their timeline. Whether or not it was possible for Sadie to go forward in time, Jake had to sacrifice the relationship in order for her to live to have a  happy life. Over the course of the finale, John Kennedy and Sadie were both killed and not killed on different trips back in time.

Orphan Black returns on April 14 on BBC America. The first four minutes are above. Here is the synopsis, which does not even mention the events of the flashback with Beth Childs.

After two months of respite, Sarah’s hard-won refuge in Iceland is shattered by a Neolution attack. Once again forced to flee, she realizes no matter how far her family runs it will never be far enough.

Ricky Whittle is isn’t happy with how his character was handled on The 100 last week. This follows the controversy over the death of Lexa earlier in the season.

For those interested in still more television deaths, Geeks of Doom reviews the season finale of The Walking Dead.

Filming has begun on Season 4 of Sherlock, with Steven Moffat being vague in his comments on where the season goes.

Last week I noted how economic considerations, including pressure from Disney and other studios, led to a veto of a “religious liberties” law in Georgia. North Carolina has passed a similar discriminatory law, and now they have seen the first economic consequences of this:

Bruce Springsteen canceled Sunday’s concert at the Greensboro Coliseum because of House Bill 2, saying in a statement that he and his band would show solidarity for North Carolinians working to oppose the law.

“Some things are more important than a rock show and this fight against prejudice and bigotry — which is happening as I write — is one of them,” the singer wrote on his website. “It is the strongest means I have for raising my voice in opposition to those who continue to push us backwards instead of forwards.”

…HB 2, passed quickly by the General Assembly in a one-day special session last month, prevents cities and counties from passing anti-discrimination ordinances to protect lesbian, gay and transgender residents. Legislators passed the bill in response to an ordinance adopted in Charlotte that would have allowed transgender people to use the bathroom of the gender they identify with, a provision overturned by the new law.

Dozens of businesses, including American Airlines, Dow Chemical, BioGen and Labcorp, have spoken out against the law. PayPal canceled a planned $3.6 million expansion in Charlotte that would have created 400 jobs, and dozens of people have canceled attendance at the semiannual furniture market in High Point that starts next weekend.

Cancellation of the Springsteen concert is the first major economic blow to Greensboro as a result of the law.

John Kasich said that he would not have signed the law:

“I believe that religious institutions ought to be protected and be able to be in a position of where they can live out their deeply held religious purposes,” Kasich, who’s running for the Republican presidential nomination, told host John Dickerson in an interview for Sunday’s “Face the Nation.” “But when you get beyond that it gets to be a tricky issue. And tricky is not the right word, but it can become a contentious issue.”

SciFi Weekend: World’s Finest, Supergirl and The Flash; Another Death on The 100; Gilmore Girls; Studios vs. Religious Liberty Law; Gilmore Girls; Bernie Sanders on Colbert; Donald Trump Heroin

Superman-Flash-Supergirl-Flash-comic-book-cover-Worlds-Finest_edited-2

When I was younger and reading comics in the 1960’s, World’s Finest featured a team up between Superman and Batman in every issue, and at other times in its history it included other DC superheroes. While Superman and Batman are together in the same movie this month, television teamed up Supergirl and The Flash instead. Lacking the rights to Superman, ideas from the comics are often adapted to Supergirl (as Batman story lines have been adapted for Arrow).

I also clearly recalled the classic Superman cover with Superman racing The Flash. Supergirl used a similar poster to promote the show, and TV Addict has put the two together in the graphic above.

Melissa Benoist and Grant Gustin had terrific chemistry together in this Glee reunion. I don’t know if them having worked together in the past helped, and it certainly helped that both characters are similarly light. I doubt we would have seen the same chemistry with an Arrow/Supergirl crossover, unless Supergirl became a Felicity-substitute for Oliver.

Their awkward meeting can be seen in the video above.

The premise was actually explained further on Tuesday’s episode of The Flash in which Barry traveled back in time to seek ways to become faster to fight Zoom. Fortunately the show kept technobabble to a minimum and concentrated on the chemistry between the characters–although I do wonder how Barry would be able to get back to his original earth. I can envision this as a Barry from yet another earth who is spending years traveling from one earth to another in search of home. While there was a brief discussion of parallel earths, it was pretty much limited to Winn’s “That’s cool.”

The show had many other great lines. Supergirl was still trying to regain the support of the people of National City after the episode in which she was exposed to red kryptonite and briefly became a menace. She expressed her frustration and the drastic measures she was utilizing: “I saw that winning the people back wasn’t going so well. I have tried everything I can think of. Last night, I helped a family assemble their IKEA table!” The Flash demonstrated his super speed to Supergirl by quickly running out for ice cream. Supergirl’s response was perfect: “That’s cool.”

Cat might have been fooled by Supergirl’s secret identity (although now that she knows there is a shape shifter around, I’d would expect her to figure out how she was tricked). She had no difficulty figuring out that Barry was the new speedster in town, but she did not like the name of The Flash: “The Flash sounds like someone whose only super-power is jumping out of an alley in a trench coat.”

There was a reference to  CW, which The Flash is on: “All four of you, standing there, doing nothing. You look like the attractive yet non-threatening, racially diverse cast of a CW show.”

While I could have easily spent the hour just watching Supergirl and The Flash hanging out together, there was even a plot to the story. If there were two superheroes, there had to be too super villains working together, Siobhan (Italia Ricci) and Livewire (Brit Morgan):

Siobhan: “You want to kill Cat Grant and Supergirl, and I want to kill Cat’s assistant, who’s protected by them both. Figured we could team up.”

Livewire: “Like an evil Taylor Swift squad?”

Worlds-Finest-crop-740x431

Nerdist has information from Greg Berlanti and Andrew Kreisberg on the repercussions of the cross over episode:

“We always wanted to do it,” says Berlanti of the crossover. “From the day we cast Melissa [Benoist], the notion of her in scenes with Grant [Gustin] or someday maybe, in the best of all worlds, with Stephen [Amell] as well…it’s exciting to think of them on screen together. And there was a similar tonality to the shows. But a few things had to go right. We were introducing this notion of Earth-2 and the Multiverse on Flash, and that had to work for us. We always said very openly that Flash and Arrow exist in a universe where there’s no Superman, or you would have heard about him. They would have had at least one conversation about him, and certainly Supergirl as well. And he exists on this show.”

But the multiverse would prove the easier hurdle of the two shows converging—even though they live on different networks (CW for The Flash and CBS for Supergirl. “It was more challenging in that way because it’s not so convenient. It’s two separate cites that they shoot in. You wanted the show to work and stand on its own, and CBS has its own audience. We thought we might wait until the second season,” explained Berlanti. “But after Christmas we came back and we were planning out the final third of the year and we saw a way that we thought we could do it; and it felt like the right time for him to enter her world and help her out. So it all came together. We went to all the powers that be and said, ‘I think we had indicated maybe we’d wait a little longer. But we’d really like to do this now.’”

…But will there ever come a day where Kara returns the favor and visit Barry on The Flash”

“We would love that,” said Berlanti. “Just like we love this and are excited about this. I think we want to wait and see the audience reaction to something like this. But just as storytellers and fans of the actors, obviously. We love it when we can figure out a way to do it creatively and hopefully everybody enjoys it.”

Of course, the Multiverse does add a tiny wrinkle to this: wouldn’t that mean a Kara already exists on Barry’s Earth? And if so, what might a version of her look like there?

“I would think that any Kara that exists on Earth-1 would also have to have been an alien,” explained Kreisberg. “There can’t just be Kara Danvers from Poughkeepsie. That’s the fun of the Multiverse. We have a really exciting, fun doppelgänger coming up on the penultimate episode of The Flash that we haven’t announced yet. That’s just another one of those ‘Oh, that would be really cool…’ It’s surprisingly easy to justify any of these decisions. Usually when we’re in the writers room, and arguing the merits of doing something or not doing something, it really comes down to ‘Is it cool? Is it fun?’ The logic of how we get to it we find we can make work, especially if you don’t dwell too much on it. Because at the end of the day the audience wants to see the fun thing, they want to see the Flash and Supergirl together. So getting them across—he ran a little too fast with his tachyon drive—it wasn’t a lot of shoe leather to make it happen. Then you get forty-two minutes of the fun stuff.”

As a lifelong fan of the DCU, we posited the idea of Melissa Benoist appearing on The Flash as the Power Girl of Earth-2 to Kreisberg. His thoughts? “Sure,” he laughs. “[It’s] a different costume, but sure!”

As for why the two iconic heroes are first meeting on Supergirl as opposed to The Flash, Berlanti explained that it was “because it was his capacity to come this way,” adding that they “never really considered it the other way” and that “it’s maybe a little bit more fun at first to bring the veteran from that show to the chemistry of a new show.”

As for whether or not the time-traveling heroes of the Flash spinoff Legends of Tomorrow could appear on Supergirl via their ship the Waverider, Kreisberg got our hopes way up, saying that, “The Waverider can go anywhere.”

That last line also explains how Rip Hunter once said, “I’ve seen Men of Steel die and Dark Knights fall. Your entire 21st century world will suffer.” Superman and Batman apparently do not exist in the Arrow/Flash world but did exist in Rip’s past. Does this mean that the characters picked up by Rip are actually working to save a different earth?

"Worlds Finest" -- Kara gains a new ally when the lightning-fast superhero The Flash suddenly appears from an alternate universe and helps Kara battle Siobhan, aka Silver Banshee, and Livewire in exchange for her help in finding a way to return him home, on SUPERGIRL, Monday, March 28 (8:00-9:00 PM, ET/PT) on the CBS Television Network. Pictured left to right: Jeremy Jordan, Grant Gustin, Mehcad Brooks and Melissa Benoist Photo: Robert Voets/Warner Bros. Entertainment Inc. © 2016 WBEI. All rights reserved.

More at TV Line, including some comments related to what I wrote above about Supergirl’s secret identity:

In discussing this crossover’s genesis, Berlanti also hints at the idea of Supergirl and Green Arrow interacting, saying, “From the day we cast Melissa [Benoist], the notion of her in scenes with Grant [Gustin] – or someday maybe in the best of all worlds with [Arrow star] Stephen [Amell], as well – it’s exciting to think of them on screen together.”

…If Cat was so easily able to decipher that Barry is The Flash, then how can she still be in the dark about her assistant’s secret identity? “There’s a number of people that assume that she does know and just doesn’t say anything,” Berlanti notes. “Both are safe bets. We haven’t firmed up if and when we [will] clarify that point. I think it’s kind of enjoyable to appreciate the show both ways.”

The 100 Steaiing Fire

When watching most television shows and a character’s life is in danger, the assumption is that they will survive. (Spoilers ahead). The opposite is true on The 100–especially when the character is played by an actor who has a role lined up on another television show, such as with Ricky Whittle. This is the second major death in a short time. Lincoln’s death has not been met with as much controversy as Lexa’s, but there has been some protests over how he died.

gilmore-girls-reunion

Amy Sherman-Palladino never got the chance to use the four final word she planned for The Gilmore Girls as she left the show in its final season due to a contract dispute.  She kept them secret in case she ever had a chance to use them, and it has been verified they will be used in the Netflix revival. There are many possibilities from, “Luke, I love you” to “Mother, you are insane” to “Rory, you were adopted.”

I recently posted on how Marvel Studios and others protested the “religious liberties” bill in Georgia. The loss of potential income to the state appears to have been more important than appeasing the religious right as Governor Deal has vetoed the measure.

Dave Schilling gave his ideas on who different television characters would vote for at The Guardian. For example:

Mulder & Scully

Mulder’s naturally rebellious, so he’d have to be for Bernie Sanders. All the revolutionary rhetoric would appeal to his lack of trust in government. Scully, on the other hand, is highly religious and less prone to seditious behavior. Still, I don’t think she’d ever vote for any of the Republicans because of their denial of climate change science and anti-choice policies. I’m going to guess Hillary on this one.

Bernie Sanders played Wheel of News on The Late Show with Stephen Colbert on Friday. The segment ended with Sanders shooting the T-shirt cannon. Video above.

After the Michigan and Missouri primaries, Donald Trump put on an infomercial and talked about all the products with his name on them, even if not very truthfully. Now there is a new product to add to the Donald Trump line, Donald Trump Heroin. Mediaite reports:

A New Hampshire woman was arrested a few days ago for selling heroin with the name of none other than Donald Trump branded on the bags.

According to the Union Leader Correspondent, Darcie Hall was busted after a confidential informant managed to organize two heroin buys––one at a McDonald’s, another at a mini-mart. She had been under investigation by the police and the state attorney general’s drug task force.

And the detective who saw the heroin bundles wrote in his affidavit, “I also observed that each wax bag was stamped with a ‘Donald Trump’ logo.” (Make Heroin Great Again was probably too on-the-nose.)

Plus The New York Post reports on women who not only support Donald Trump, but are stripping down or him. Pictures included.

SciFi Weekend: Controversy Over Death Of Lesbian Character On The 100; Orphan Black; Daredevil; 12 Monkeys; The Americans; Put A Bird On It

The 100 Clarke Lexa Kiss

Jason Rothenberg’s decision to kill a prominent LGBT character on The 100, and the manner in which she died, has made many fans of the show upset. At the time I first watched and reviewed the show, while I expected some disappointment and protest, I had no idea how serious a matter this would be to the LGBT community. Reviewing the discussion from those who did take it very personally, along with the views of television critics such as Maureen Ryan who is quoted below, help to understand the importance of this issue. After missing the significance of this in my original review, I hope to make up for it by providing this overview today.

I will start by allowing Rothenberg to explain his viewpoint. He was interviewed by TV Insider. Here are the first few questions, with much more in the full interview:

OK, so you had to be aware of the uproar that would come from killing Lexa, right? This was something that you guys had to realize you’d be walking into.
Yes and no. First of all, I think I should start by saying that for the last two weeks, I’ve pretty much thought about nothing else except for this. It’s taken me some time to process everything, and I’ve been listening, reading everything I could. I took my voice out of it on Twitter because I didn’t want to inflame the situation, and I felt like I didn’t want to shape the conversation. I just wanted to listen and try to understand. I mean, we were a little surprised by it—obviously not that people were upset; you’re right in the sense that we kind of knew that that would happen. The story that we’re telling is a tragedy. Lexa was a meaningful character to our fans, especially LGBTQ fans, and so I knew it would be emotional, of course. What was unexpected was the level of outrage that it’s generated from some people, but I do think I have come to understand that.

We’ve seen this with shows with strong social media bases: The louder the outrage, the more disturbing it can get.
Yeah. Lexa’s death triggered real emotional trauma for some people, you know? It tapped into the real world, it tapped into their lives, and as a straight white male, I obviously didn’t anticipate how deeply it would affect certain people. I look at it now and I realize that if somebody had that kind of a reaction and then were to look back at the way I behaved on Twitter leading up to it, which was celebrating this relationship that then crushed them, I can understand why they would find that reprehensible. I hope that people understand that.

Since there is no winning on Twitter, what do you want to say to the fans now?
I would say, first of all, that it’s taken me a while to get perspective on it myself and to put myself in the position of somebody who was hurt like that. And I hope that eventually they can start to put themselves in our position and understand that we would never want to hurt anybody like that. We would never want to hurt our fans. We love them, we owe them everything, we owe them the fact that we just got a Season 4 to them. We want to take them for a ride, we don’t want to hurt them. And because we didn’t anticipate this sort of level of pain over this fictional death, we were doing what we always do on Twitter, which was celebrating work that we’re proud of. In hindsight, knowing what I know now and sort of realizing the things that I’ve realized, we should have done less of that. We should have done less buildup knowing where this was going to end up and knowing how this was going to affect people.

But it wouldn’t have changed the story you’re telling.
No, absolutely not. We would have told the same story. I stand behind the story; I just don’t think I would have gone out of my way to say ‘This is the best episode we’ve ever done!’ Nobody really anticipated that this would happen so now that we’ve seen it, the idea for me as the showrunner going forward is to learn lessons from it, you know? This is a show where characters die. That’s another reason we were so surprised..it’s a post-apocalyptic world set 100 years later in which anyone can die.

The 100 Lexa Clark

Rothenberg also posted a statement on line a few days ago. Here are some excerpts, but those interested in the controversy should read his full statement:

For many fans of The 100, the relationship between Clarke and Lexa was a positive step of inclusion. I take enormous pride in that, as I do in the fact that our show is heading into its 4th season with a bisexual lead and a very diverse cast. The honesty, integrity and vulnerability Eliza Taylor and Alycia Debnam-Carey brought to their characters served as an inspiration for many of our fans. Their relationship held greater importance than even I realized. And that very important representation was taken away by one stray bullet…

In the show-world, no one is safe, and anyone, even a beloved character, can die, at any time. My favorite shows in this genre embrace a similar sense of heightened urgency. There are several reasons why this particular episode played out the way it did: practical (an actress was leaving the show), creative (it’s a story about reincarnation) and thematic (it’s a show about survival). Despite my reasons, I still write and produce television for the real world where negative and hurtful tropes exist. And I am very sorry for not recognizing this as fully as I should have. Knowing everything I know now, Lexa’s death would have played out differently.

The 100 is a post-apocalyptic tragedy set 130 years in the future. It’s a constant life and death struggle. In our show, all relationships start with one question: ‘Can you help me survive today?’ It doesn’t matter what color you are, what gender identity you are, or whether you’re gay, bi or straight. The things that divide us as global citizens today don’t matter in this show. And that’s the beauty of science-fiction. We can make a point without preaching. We can say that race, sexuality, gender and disability should not divide us. We can elevate our thinking and take you on a helluva ride at the same time.

But I’ve been powerfully reminded that the audience takes that ride in the real world — where LGBTQ teens face repeated discrimination, often suffer from depression and commit suicide at a rate far higher than their straight peers. Where people still face discrimination because of the color of their skin. Where, in too many places, women are not given the same opportunities as men, especially LGBTQ women who face even tougher odds. And where television characters are still not fully representative of the diverse lives of our audience. Not even close.

The 100 Clarke Lexa Thirteen

Maureen Ryan wrote about What TV Can Learn From The ‘100 Mess’ at Variety and helps explain why many fans are upset. Again, these are just excerpts and the full article is worth reading.

The response of the showrunner has, outside of a few unenlightening interviews, has been disappointing. Rothenberg live-tweeted the March 10 episode of the show as if thinkpieces and damning critiques were not still being churned out. In the limited array of interviews he did in conjunction with the March 3 episode, he has given little indication that he understands the depth of the sense of betrayal or the multitude of reasonable objections to the death story line. Since March 3, it has fallen to co-executive producer Javier Grillo-Marxuach, who wrote the episode, to engage with fans in any significant and meaningful way, but his compassionate and committed response has only highlighted Rothenberg’s abdication of responsibility...

So here’s the nitty-gritty: The character who died, Lexa (Alycia Debnam-Carey), happened to be one of the few well-developed and complex lesbians on TV, and it’s an unfortunate but enduring TV cliche that lesbians rarely, if ever, live happily ever after. In the March 3 episode, “The 100,” which had touted its commitment to quality LGBTQ storytelling, invoked one of TV’s oldest gay cliches by killing her off mere seconds after she consummated her relationship with another woman, Clarke (Eliza Taylor).

Many fans, regardless of sexual orientation, were left shaking their heads in disbelief.

On a story and thematic level, Lexa’s death (despite being well-performed by the actors) had little resonance and almost no meaning. But all things considered, the blithe manipulation LGBTQ fans and the show’s willingness to deploy harmful cliches about gay characters remain the things that rankle most…

Adding to the sense of betrayal was the manner of Lexa’s death. She was felled by a stray bullet from an angry male servant, mere seconds after she and Clarke had sex for the first time. The servant, Titus, disapproved of Lexa’s relationship with Clarke, whom he tried to kill, but Lexa caught the bullet. This woman — the most fearsome warrior in the show’s history — didn’t die defending Clarke; she just happened to be in the bullet’s path. And by following her only moment of bliss with her lover, the Grounder queen’s death followed a time-worn and disturbing TV pattern.

Autostraddle came up with a list of more than 130 lesbian and bisexual women who have been killed off on TV shows, and it’s a damning roster. Whatever progress you think TV has made on the front of LGBTQ representation, the sheer number of dead women on the list is profoundly troubling, to say the least. If nothing else, it shows that the Bury Your Gays trope is alive and well on TV, and fictional lesbian and bisexual women in particular have a very small chance of leading long and productive lives.

Critic Nicola Choi wrote that when they spot a lesbian or bisexual woman on TV, many LGBTQ fans simply resign themselves to the fact that the character will die.

The 100 Thirteen Lexa

Dany Roth tried to explain the matter to a conservative-leaning readership at blastr:

If you’re not part of the queer community, an ally of said same, or if you were never a fan of The 100, why should you care? If we’re boiling this down to the most selfish of reasons, it is because next time it might be you. And maybe it already has been you. Forget social justice for a second (as I know many of you often try to, anyway) — think about this as simply acting in the interest of fairness…

The reason Lexa’s death was so upsetting isn’t just because her face was a recognizable one for so many queer people, it’s also because she made the LGBT community feel more visible, more relatable. And it made them feel like they were being listened to. Every time someone tweets about why Lexa matters, each time someone challenges the “Bury Your Gays” trope and demands that writers and showrunners do better, someone who hasn’t thought about any of this hears why representation in stories matters for the first time. Even in death, Lexa is making LGBT people more visible.

Orphan Black Train

There is often much to think about and discuss after an episode of Orphan Black. This was especially true in the early episodes, when we had very little understanding of what was going on. Entertainment Weekly has good news on both of these points. BBC America will be starting a show, After the Black, to discuss each episode. Plus it sounds like next season might recreate some of the mystery of the first season, including going back to when Sarah first saw Beth jump in front of the train.

Taking a tip from AMC, BBC America has announced After the Black, a companion show that will air weekly following Orphan Black.

Hosted by Innerspace’s Ajay Fry, Morgan Hoffman, and Teddy Wilson, After the Black is a 30-minute after show that will feature various cast, crew, and special guest stars chatting about the plot, twists, and theories on future episodes. Other segments will include behind-the-scene footage from the set and an exclusive first look at the following episode.

The format is very similar to AMC’s Talking Dead, which airs weekly following The Walking Dead and Fear the Walking Dead.

The first post-game, which will air Thursday, April 14 at 11 p.m. ET following the season 4 premiere of Orphan Black, will include stars Tatiana Maslany and Kevin Hanchard.

As for the fourth season, executive producers John Fawcett and Graeme Manson revealed at WonderCon on Saturday that they’ll be going back to basics in a lot of ways by delving into a particular mystery from the pilot. “We really wanted to look at the first season this year,” Manson said. “We wanted to go back to that moment on the tracks with Beth and Sarah and go, ‘What did Sarah miss?’ There’s more story there.”

“We wanted to get that feel back, that feel of season 1 where you don’t know who the bad guy is, you don’t know who you’re speaking to,” Fawcett added. “That was the goal of season 4.”

Above is a trailer for season 4 of Orphan Black. There will also be new characters introduced:

Also this season, viewers are introduced to brand new characters that prove to be pivotal to the clones’ saga. Season 4 introduces Joel Thomas Hynes (REPUBLIC OF DOYLE) in the role of “Dizzy”, an edgy, self-reliant hacker who doesn’t conform to group mentality; Jessalyn Wanlim (Alex Cross) as Evie Cho, a powerful, seductively articulate bioengineer who believes great discoveries require casualties; Lauren Hammersley (MR. D) as Adele, a shameless, brazen, and wickedly intelligent lawyer who outwits opponents even when heavily intoxicated; and Gord Rand (Maps To The Stars) as Detective Duko, who on the surface appears to be unassuming and slightly nebbish, but has used his underlying angst to nastily claw his way to the top.

I will hold off on saying much about season 2 of Daredevil different  people are at different points with the Netflix model. Entertainment Weekly has the above interview with Charlie Cox which helps set up the season after the arrest of Wilson Fisk at the end of the first season:

“What we’ve done this year with the show is we don’t really have so much a Big Bad, but we have characters that enter Matt’s life,” Cox tells EW in a recent interview, viewable above. “They force him to look at himself and look at his actions in a way that no one else has done in the past.”

Those characters are, naturally, The Punisher (Jon Bernthal) and Elektra (Elodie Yung). The first, as trailers have hinted, comes to Hell’s Kitchen with almost a similar purpose as Daredevil but with a much different modus operandi. And his methodology involves a lot more killing, which puts the entire city on edge shortly after coming to appreciate Daredevil’s work.

“It’s through Daredevil’s actions that someone like Frank Castle has been able to show up and do what he does,” Cox explains.

Yet putting a stop to The Punisher’s bloodlust isn’t the only obstacle thrown at Matt this season. Elektra, the “Greek girl” from college that Foggy Nelson (Elden Henson) mentioned last season returns to New York. As portrayed by Yung, Elektra complicates Matt’s life both while he’s in and out of his crime-fighting costume, particularly when it comes to his burgeoning romance with Karen Page (Deborah Ann Woll).

“… Matt is completely authentic with both characters, but that authenticity is different with each character,” Cox said, calling this love triangle “one of the most enjoyable things for me to do as an actor this season.”

12 Monkeys returns on April 18. If we didn’t have the “problem” of so much good television, including genre television, now available thanks to cable and streaming, it might be tempting to rewatch the first season to review all the twists which occurred. While some hardcore fans are doing so, many of us just do not have the time. Syfy has posted the above seven minute recap to help the rest of us to catch up. It is certainly not enough for new viewers to start watching the show, but it is helpful for those of us who watched the first season.

americans-season-4

The Americans, which very well might be the best ongoing drama now on television (separating it from shows such as Fargo which have a different story each year) is off to an excellent start for its fourth season. There is so much which can be said about the quality of the story, but I figure those who are watching understand this and those who are not will not be interested in a play by play.

Besides all the big things, the show gets the little things better than most television shows. While many shows do a terrible job of working in children and home life (such as with Brody’s daughter on previous seasons of Homeland), Paige’s teenage angst, exacerbated by learning that her parents are Russian spies, has been a huge plus in driving the plot this season. Television story lines are often driven by misunderstandings, such as Stan thinking that Philip was sleeping with his wife. While that is a standard television trope, I really appreciated it when Phillip immediately explained the situation to Elizabeth and told her about going to the EST meetings, as opposed to dragging this out and creating further misunderstandings with her–as so many television shows would have done.

Plus so many interesting characters have been developed beyond the main characters. When The Americans inevitably ends, I’m looking forward to one spinoff based upon Nina Krilova in Russia, and another (or perhaps work in into a single show) in which Stan Beeman and Oleg Burov find some reason to team up after the Cold War ends. If Napoleon Solo can team up with Russian Illya Kuryakin on The Man From UNCLE, why not Stan and Oleg?

With all the talk the last few days about the bird at the Bernie Sanders rally in Oregon, prior to his big three-state sweep yesterday, above is a clip from the episode of Portlandia which started the slogan, “Put A Bird On It.”

To conclude by tying this in with the previous story on Daredevil, above is Rosario Dawson (Daredevil, Jessica Jones) speaking in support of Bernie Sanders.

SciFi Weekend: Agent Carter; Mr. Robot; Supergirl and The Flash; TV Renewals; Malevolent

Agent Carter Hollywood Ending

Agent Carter recently concluded its second season, showing once again the advantage of telling a self-contained story over a short season. Whitney Frost made a great villain for the season, with the dark matter providing a strong science fiction aspect. Other highlights of the season include meeting Jarvis’s wife and the return of Dotty. Howard Stark was also used well, just appearing enough to spice up some episodes. Peggy’s love life also attracted a lot of buzz.

The season finale provided an excellent Hollywood Ending which tied up the plot lines of the season and, other than for a cliff hanger at the very end, would make a satisfactory series finale if it comes to this. Major spoilers ahead.

Entertainment Weekly discussed the finale, and some questions left open, with executive producers Michele Fazekas and Tara Butters:

ENTERTAINMENT WEEKLY: Why did you kill off Jack Thompson?!
MICHELE FAZEKAS:
We did not kill off Jack Thompson, we shot Jack Thompson.

In the chest!
FAZEKAS:
Yup, that was the intent. We shot him. Honestly, he might not be dead, and that’s what we as writers have said, and that’s what we told Chad. That’s the truth.

Let’s talk about the person who may or may not have killed Jack. Is it someone we know? Are they connected to the Council of Nine?
FAZEKAS:
It’s unrelated to the Council of Nine. It is not for the reasons that you’d expect. It’s unrelated to Council of Nine, Zero Matter, any of that.

Purely related to the file?
FAZEKAS:
Correct.

This file reveals Peggy’s exploits with the S.O.E. and some kind of massacre. Thompson thought it was too good to be true, ultimately, and it didn’t seem to affect Peggy when he mentioned it. What’s really going on here?
FAZEKAS:
You have to pay really close attention to what exactly we showed that was in the file. You see that there was some sort of massacre, and I would say, don’t make assumptions by what you see in that file. We were really specific about what information was given for a reason.

Later in the interview:

Turning to Whitney Frost, why did you ultimately decide to have her go crazy? And is that the last we’ve seen of her?
BUTTERS
: I hope not. I hope we get to bring her back. She was delicious.
FAZEKAS: We probably don’t exactly tell that story again, but I loved working with Wynn. We didn’t want to kill her off. The Zero Matter, all along, had this increasing affect on her, where it was driving her mad. That felt like the organic way to end that story, because we didn’t start out that way, but boy did she end up that way. That was a direct result of Zero Matter.
BUTTERS: There was a little Frances Farmer connection of Old Hollywood taking its toll. I like her being a rogue’s gallery for Agent Carter, people who can come back like Dottie (Bridget Regan).
FAZEKAS: I really like how sad I feel for Ken Marino. Oh, Manfredi still loves her!

In the closing moments of the episode, Peggy is torn between New York and Los Angeles. Are you already thinking about whether you would keep the show in L.A. or whether you’d move the setting back to New York in season 3?
FAZEKAS:
The nice thing is you can put the show anywhere, because it’s spies. We loved doing L.A. If I had a choice between doing New York and L.A. again, I’d pick L.A. But London has been dropped. It’s all going to be determined by what story we want to tell. I loved L.A. I loved how it looked, I loved how it looked on Peggy. We would be very happy to do another L.A. season, but we’re not married to it.

Haley Atwell Hollywood Ending

Haley Atwell has also discussed the finale, and the question of who Peggy Carter will ultimately marry:

ENTERTAINMENT WEEKLY: How do you feel about Peggy and Sousa finally making a go of it?
HAYLEY ATWELL:
I’m so happy! I love Sousa! I think what makes it work is that she saw something in him that’s the same quality she found attractive in Skinny Steve (Chris Evans), which was a man with great morals dealing with very real physical hardships. In the workplace, her gender is considered a disability. Sousa has a disability from the war, and therefore has to deal with that limitation. Because he deals with it with such dignity in the way that Skinny Steve did, that’s what attracts her to people. I think it’s inevitable that they end up together. He’s not intimidated by her. He respects her and admires her, and supports how brilliant she is and how good she is at her job, and is not threatened by that. I think that’s a bloody hard thing for men in the 1940s to not be intimidated by. He’s pretty special in that regard.

Do you think Sousa could be the husband that Peggy was talking about in Captain America: Winter Soldier?
I don’t know, because she says that Captain America saved her husband. It could be that what we don’t know yet is that in the war, at one point, Steve Rogers did save Sousa, and Sousa wasn’t telling me or didn’t know it at the time. Or they embark on a fabulous love affair, but then they realize they’re really bad at domestic chores and that they can’t compromise on who washes the dishes and they decide to go their separate ways. That’s a possibility, too. I like to think that this is the start to a beautiful relationship.

How do you think Peggy will handle Thompson’s potential death, especially since it’s happened because of that file?
She has an interesting relationship with Thompson. I think she deals with him with a bemused tolerance. I think she sees his façade and she understands why a lot of his bravado and his need to be liked and approved comes from, because he’s harboring a very guilty secret about his past that he confided in her in season 1. She’s not a dismissive person. She’s quite tolerant of people. She’s quite patient and wants to appeal to the good in him. Planting that seed in him is her hope that he will continue to be a good man. So to lose him, I think she would grieve, but it’s not the same. I don’t think she would regard him as a friend. He’s not someone that can be trusted. She suspects that he’s capable of making really bad decisions, but not malicious ones. I can imagine that he would get blinded by Vernon Masters, Whitney Frost and power, but she has sympathy toward that rather than sees that as something bad in him.

How much do you actually know about this file that discusses Peggy’s exploits with the S.O.E. and a massacre? Peggy seemed to dismiss it before, but do you know what’s really going on there?
James D’Arcy is so nosy, so he went sniffing around the writers’ room trying to figure it out. He finally found out what the secret was, and then on the last day he ran up to me and told me. I do know what that secret is. It’s really exciting, and it changes a lot. It basically gives us our core for season 3 if we were to go to a season 3. It’s really amazing, but I don’t want to get too excited about it in case we don’t get picked up again, so I can’t really say anything. Or it might get picked up in a couple years. I’m sworn to secrecy on it, but it’s really clever. Those clever writers!

Word as to whether there will be a third season is expected in May, but it appears Haley Atwell is interested despite working on another pilot. Even if she is busy with other projects, perhaps the series can be kept alive with fewer episodes to make it feasible.

Mr Robot s01e03

It appears that Mr. Robot will remain topical next season with encryption becoming a major subject. Deadline reports:

Mr. Robot showrunner Sam Esmail insisted at SXSW today that he’s no “fortune teller,” even though the show’s first season went into production just as a massive post-Snowden national debate about surveillance and the collusion between government and big business flared up. In any case, his luck continues, with the USA Network show’s second season heading into production with a storyline about privacy and encryption just as the FBI and Apple are having a very public fight about access to private iPhone user data.

“What’s weird is that we were really going into [Season 2] talking about encryption and privacy,” Esmail said during a SXSW show panel titled “Coding on Camera: Mr. Robot and Authenticity on TV.” “And then this whole thing with Apple and [CEO] Tim Cook happened.”

Esmail said he thinks the difficult-to-grasp real-life issue will play out over the next decade, with public discourse over the idea of a right to privacy. “Do we have that, do we not?,” he asked.

Is Mr. Robot meant to be a straight-up polemic? “I don’t know if it’s to make commentary, but it’s to bring it up and have a conversation,” Esmail explained later, offering as an example “the Apple/FBI thing. … We talked to our FBI consultants about this, and their view is that encryption should allow for this sort of third-party side-door thing.”

Esmail says he’s “totally opposed” to that. “I’m on Tim Cook’s side,” he said, a line that unsurprisingly got huge cheers from the SXSW room. Ultimately, he says, “if you keep breaking [the issue] down in a credible way and if you show both sides so that the audience can understand the debate, hopefully it gets people interested and invested in wanting to learn more about it. If our show contributes to that conversation, brings that conversation up again,” then he’s happy with the reception.

There will also be a lot more on Evil Corp. as two characters have been promoted to series regulars. From TVLine:

The acclaimed USA Network drama has promoted Stephanie Corneliussen (who recently guested on Legends of Tomorrow) and Michael Cristofer to series regular status for the sophomore run, as Joanna Wellick and Phillip Price. They join the previously announced Grace Gummer, who will be playing an FBI agent investigating the Evil Corp. hack.

Supergirl Flash

CBS has released the above promotional picture and a synopsis for the upcoming Supergirl/Flash crossover (and Glee reunion):

Kara gains a new ally when the lightning-fast superhero The Flash (Grant Gustin) suddenly appears from an alternate universe and helps Kara battle Siobhan, aka Silver Banshee, and Livewire in exchange for her help in finding a way to return him home.

I can recall old DC covers with Superman racing the Flash but I’m not aware of whether Supergirl ever raced him. With CBS not having the television rights to Superman, several story lines and other aspects of Superman have been used in Supergirl–similar to how Arrow borrows from Batman.

The CW has renewed its lineup shows, including several genre shows. Renewed shows include:

Arrow (season five), Crazy Ex-Girlfriend (season two), Legends of Tomorrow (season two), The Flash (season three), iZombie (season three), Jane the Virgin (season three), The Originals (season four), Reign (season four), Supernatural (season 12), The Vampire Diaries (season eight) and The 100 (season four).

USA Network has announced that the eighth season of Royal Pains, which starts on May 18, will be the final season.

Netflix will release the second season of Daredevil on March 18 and Luke Cage will be released on September 30.

Malvolent

Malevolent is requesting assistance to get out this animated horror movie, which has quite an impressive cast:

  • Morena Baccarin (Deadpool, Gotham, Firefly)
  • Ray Wise (Twin Peaks, Robocop, Agent Carter)
  • Bill Moseley (The Devil’s Rejects, Texas Chainsaw Massacre II)
  • Rising star Dani Lennon (Bite Me)
  • William Shatner (Star Trek, Boston Legal)

MALEVOLENT is about a young woman named Miriam DeKalb (Dani Lennon, FearNet/Machinima’s BITE ME) who works for a non-profit which promotes global peace initiatives. When her billiionaire sociopath father Cyrus (Ray Wise) learns he is dying, Cyrus calls Miriam and her three siblings together to “discuss his will.” However, what he actually has planned is to pronounce judgment on them all. They are, in his view, traitors, and he has grisly death traps planned for each of them.

The wrinkle: a race of intergalactic gamblers, who wager on human conflicts as bloody sport, have chosen Miriam as their protagonist for this match. Thus the entire situation is being manipulated by the Gamemaster (Morena Baccarin,) who has the power to reverse time and reconfigure events as they play out. And so the playing field is constantly changing under Miriam’s feet — sometimes to her benefit, but usually, not. Through it all, The Overseer (William Shatner) calls the game.

SciFi Weekend: Major Twists On The 100, Star Trek Adds Rod Roddenberry

The 100 Thirteen

The past week included a major episode of The 100, the season finale of Agent Carter, and more news including another addition to the upcoming Star Trek series. Between traveling this week and a tremendous amount of political news, I have limited time and will leave everything beyond The 100 and Star Trek for next week.

Along with many reviewers, I had been dissatisfied with how this season of The 1oo began. With the most recent episode, Thirteen, there has finally been tremendous payoff for following the various story lines this season. Major spoilers ahead. The episode tied the two major story lines together, had flash backs which revealed major information as to how the world we know was destroyed and how the world we see on The 100 was created, and the death of a major character.

Executive producer Jason Rothenberg provided interviews with major media as well as genre blogs. Here are some excerpts from a few interviews which shed more light on the episode and where the series is going:

From E!

E! News Can you please explain why Lexa had to die like that?

Rothenberg: “When we started the season, I had these two sort of separate big stories… I really wanted there to be a point at which the two collided. In terms of grounder mythology, back in season two, Lexa and Clarke had this conversation about reincarnation and how in the grounder world, that’s how leaders were chosen. I didn’t want to just say that was not true, but I also didn’t want to say it was a real sort of spiritual reincarnation, so I then sort of struck upon this notion of a technological reincarnation. Once I struck upon that idea, then I kind of knew that in order to deal with reincarnation, you would have to die first.

“So it became this incredibly sad thing because I love Alycia Debnam-Carey. She’s incredible, but we definitely also were factoring in the idea that we have an actor that was starring in another show. As it was, I had to sort of beg borrow and steal to get her for this season as much as we were lucky enough to get her. So in weighing all those factors, it just became clear.”

By the way, I have to say, this is The 100, and nobody is safe. We say this all the time, but it’s true. Clarke killed Finn, Wells died, I mean there is nobody in this show that is safe.

E! News: How much of a reincarnation is it then? How much of Lexa’s “spirit” really will carry over to the next commander?

Rothenberg: “A lot of the storytelling going forward revolves around the flame, which is the tech that came out of Lexa’s head at the end of the episode. The idea as far as what we know in terms of what’s been in the show up until that point is that the spirit of the commanders are in the flame, and if in fact that’s true, then you could imagine that the spirit of Lexa is in the flame, but that is something we’ll reveal or not going forward.”

E! News: Will we be spending a lot of time on the conclave and choosing the next commander?

Rothenberg: “The conclave, as Titus says at the end of 7, is on, it’s beginning, and we’ll get to understand what that means and who participates and the winner of the conclave would be the next person to receive the flame, so you have to tune in next week, essentially, or later in the season, to find that out.”

E! News: What are Clarke’s next steps after what she just saw?

Rothenberg: “Her heart is broken, and yet she needs to balance and find a way as always to go forward as an important leader of her people. Right now, they’re locked in that room. But if you think about politically what the death of Lexa does is throws any sort of sense that Skaikru is going to be protected even if they get rid of Pike out the window, because who knows what the next commander’s going to want to do. Is the next commander going to follow Lexa’s nonviolence path, the blood must not have blood path, or is the next commander going to do what Titus wanted all along, which is to wipe them out? And this is something that Clarke is now going to have to navigate from Polis when the story picks back up.”

E! News: What was the significance to you to flash back and tell the end-of-the-world story now?

Rothenberg: “I love origin stories, and on some level, this is the origin story of the series. We see how the world ended, which is what led to the formation of the ark in the flashback story of this episode, which is what led to where our heroes came from, obviously. But it’s also the story of the second AI and you know, the flame, which now we know is that second AI, and Becca created it to try to right the wrong of her first creation, A.L.I.E., and it does set up the confrontation going forward between the two AIs. A.L.I.E. wants that flame, and right now anyway, we know where it is. It’s not in Clarke’s possession yet…I’m about to give away the next episode and I don’t want to do that, but A.L.I.E. wants that flame and will soon figure out where it is.”

TV Line:

TVLINE | Let’s start with Lexa’s death… The 100 has always been fearless about killing off major characters to serve its story. Was that the case with Lexa?
There’s never a unanimity of opinions in a writers’ room if it’s a good writers’ room. Everybody argues and tries to make the case for what they think is the best story. Then, as showrunner, I end up deciding what happens. In this case, though, there wasn’t a lot of debate about it. Lots of factors went into this, No. 1 being that Alycia Debnam Carey is a series regular on [Fear the Walking Dead]. I had to beg, borrow and steal to get AMC to allow us to use her for as many episodes as we did, and I knew I was going to lose the use of her after Episode 7. It’s a laborious process to use an actor that’s working on another show, so that had a big part to do with our thinking this season.

TVLINE | I have to assume her death will serve a larger purpose.
It already is. We have these two big stories — the A.I. story and the Grounder’s political story — but there was no unifying moment, nothing that connected them. When I came up with the idea of a technological reincarnation as a way to explain the Grounder mythology, that the Commander is a reincarnated position, that was something everyone got excited about. You can’t tell a story about reincarnation, technological or otherwise, without that person dying first. As hard as it was to do, because of how much I love the character and the actor, it seemed to be the best choice.

TVLINE | Can you say whether or not we’ll see Lexa again in some form?
I won’t say whether this is the last time we’ll see her or not, but there is a flame inside the Commander’s head, which contains the memories and/or minds of [the previous] Commanders. Lexa said in Episode 6 that the other Commanders speak to her in her dreams, and now she’s among those Commanders in the flame if this technology is to be believed. After seeing the way it comes out of her head in Episode 7, we should think it’s probably a technology that is to be believed. That’s my way of saying that anything is possible.

More from Nerdist:

Nerdist: Brace yourself, I’ve got a lot of questions! Who were those people that came out to see Becca when she landed on Earth in what would later become Polis? What was in that black liquid she was injecting into her arms that helped her survive the radiation on Earth? She’s the first nightblood, right? Ah!

Jason Rothenberg:[Laughs] I think that the end of this episode, the dots are there to be connected to how the world is what it is right now in terms of who were the nightbloods and how being a nightblood [was] something that became hereditary. Who were those first people that came out to meet Becca when she steps out of the pod? On the wall of the temple in Polis, Murphy points to the people around this woman figure on the wall, and Titus said it was Becca Pramheda, the First Commander. Titus may not have called her that, Becca Pramheda, in that episode, but that’s who she will become known. She’s got the Commander’s jacket on, right? She’s taken with her the blood treatment that she’d been giving herself which turned her own blood black as the first nightblood. She’s taken all of that with her, and as she’s surrounded by these people that we know to be the first nightbloods, I think the dots are there to be connected. Certainly some of our incredibly thorough fans will not miss out on the opportunities to connect it all together.

How much do the rest of the Grounders know about the “sacred symbol” and its origins? Is it a secret only kept by the Flamekeeper and Commander?

That’s a good question. I love the idea that technology in our world today becomes mythology and spirituality in the Grounder world 100 years from now. What is a corporate logo to us – the infinity sign that Murphy told Titus is a corporate logo and he’s praying to garbage – ultimately, over 100 years, this thing has been imbued with a different meaning. Yes, the Flamekeeper is keeping the secrets. He alone knows what happens in the temple during the ascension ceremony when the next Commander is given the Flame. But I don’t even think the Commanders themselves are aware that it’s an A.I. This is a story that we will tell more of going forward. We will answer those questions. But it is a bit of a secret thing, what happens inside the temple after the conclave, after one of the nightbloods has killed the others and won the right to bear the Flame. They then go into the temple with Titus for the ascension and are given the Flame. Whether or not we see it play out that way, people will have to tune in.

Becca put the “spirit of the commander” a.k.a. A.L.I.E. 2 in her own neck before she came down to Earth. We’ve seen what A.L.I.E. 1 is like, so how does A.L.I.E. 2 compare and how will it affect Becca or any one else that it goes into?

Well, we know someone pretty well on the show who’s had it since the day we met her, and that’s Lexa of course. I think it’s safe to say that – good and bad are words we stay away from on this show, and light and dark – but if A.L.I.E. is the bad guy, and we will discover that there are wrinkles to her story and her motivations and it’s not exactly as it seems, but as Becca says to the Commander in the flashbacks, where A.L.I.E. 1 didn’t understand what it meant to be human, that’s what allowed her to essentially get to what she thought was a better world, a.k.a. wiping out most of the human race. That, to her, was a good answer. Whereas in her follow up, version two, that would never be a possibility because A.L.I.E. 2 understands what it means to be human because she’ll be human herself. She’s going to join a human consciousness. She can’t exist without us. That’s the difference between the two. Therefore I would say, both better and worse, in terms of we will discover that the person who takes the Flame, the Commander, isn’t necessarily changed by it. It just deepens what’s already there. That’s a story we’re going to be telling down the road.

Thanks to Clarke and Lexa’s pillow talk, we now know that seven nightbloods died during Lexa’s ascension. She didn’t want to talk about the eighth nightblood that was there that wasn’t tattooed on her back, though. That seems like it’s going to be an important detail down the line. When will we learn more about that?

Do we ever do anything randomly? [Laughs] So probably there seems to be something planted, and whether or not the tree bears fruit this season or next season, people will have to tune in. But there’s certainly a littlddde mystery around that tattoo, that’s for sure.

rodroddenberry10

There has also been more good news for those of us concerned  over whether the upcoming Star Trek series on CBS All Access will be true to the vision of Gene Roddenberry. The Hollywood Reporter reports his son, Rod Roddenberry, will be an executive producer.

CBS’ upcoming Star Trek series has added two more members to its intergalactic crew, with Rod Roddenberry, son of Star Trek creator Gene Roddenberry, and Trevor Roth, COO of Roddenberry Entertainment, named as executive producers on the new project.

They will join Alex Kurtzman, Heather Kadin and Bryan Fuller as executive producers on the show, which will debut on CBS in early 2017 before transferring exclusively to CBS’ All Access digital VOD service. News of the addition of Roddenberry and Roth follows Star Trek II: The Wrath of Khan‘s Nicholas Meyer joining the show’s writing staff last week.

“Gene Roddenberry, the Great Bird of the Galaxy, left a finely feathered nest for all who love Star Trek to enjoy,” showrunner Fuller said Thursday in a statement. “It is only fitting that Rod Roddenberry and Roddenberry Entertainment join our new Trek adventure to ensure that his father’s legacy of hope for the future and infinite diversity in infinite combinations runs through our tales as Gene Roddenberry intended.”

Roddenberry added, “While I will always be humbled by its legacy and the legions of fans who are its guardians, it’s a genuine honor to be joining a team of imaginative and incredibly capable individuals whose endeavor it is to uphold the tenets of Star Trek’s legacy while bringing it to audiences in a new era and on a contemporary platform.”

In addition to producing the 2011 documentary Trek Nation, Roddenberry served as a consulting producer on the fan-produced Star Trek: New Voyages series released online between 2003 and 2011.

SciFi Weekend: Legends of Tomorrow; The Flash; The 100; The Gilmore Girls Diet

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We might have to wait until 2017 for another season of Doctor Who under a new show runner, but there is plenty of other time travel science fiction on television. A new time travel show, 11/22/63, begins on Hulu in about two weeks. One new time travel show, DC’s Legends of Tomorrow just recently started, and other genre shows also deal with time travel.

After seeing the completion of the second part of the season premiere of Legends of Tomorrow, I plan to stick with it but have concerns. The show had three elements. There were the superheros fighting regular people, but this was no contest. There was the fight against Vandal Savage, but he is both immortal and we know he nothing can happen to  him until the end of the series as it is all about stopping him. Then there were the time travel elements, including whether Martin Stein will meet the woman who is to become his wife, or if their travel to 1975 messed this up. Unfortunately it was far too simplistic for anyone who has seen time travel stories. At least the interactions between the cast members kept the show interesting, leaving hope for the series if they can improve upon the writing now that the setup has been established.

Plus the show could benefit by bringing in other members of the DC Universe, including some from other Berlanti television shows. Stephen Amell  will appear as the Arrow on a future episode, except it will take place in 2046:

“Every once and a while, we do an episode where the 10-year-old me has to pinch himself,” executive producer Marc Guggenheim says. “We’re not only introducing our version of Connor Hawke to our universe, we’re going to meet the 2046 version of Oliver Queen, and Stephen Amell is going to be reprising his role from Arrow. As an added bonus to comic-book fans, Oliver is missing his left arm and will be sporting a goatee, in a nod to the character’s appearance in the seminal Dark Knight Returns. We think this episode features some of the coolest things we’ve ever done.”

…Amell isn’t the only familiar face from the Berlanti-verse set to appear on Legends. Among the others: Arrow’s Damien Darhk (Neal McDonough) and Ra’s al Ghul (Matthew Nable), and The Flash’s Cisco Ramon (Carlos Valdes), while there’s a very strong chance we’ll see a younger and/or older version of Barry Allen (Grant Gustin) as well.

The Flash -- "The Reverse Flash Returns" -- Image FLA211b_0152b -- Pictured (L-R): Matthew Letscher as Eobard Thawne/Reverse Flash, Grant Gustin as The Flash, and Amanda Pays as Christina McGee -- Photo: Bettina Strauss/The CW -- © 2016 The CW Network, LLC. All rights reserved.

The Flash is getting into some really timey wimey stuff, including having the Reverse Flash reappear after we saw him eliminated last season. The catch is that we are seeing a version of him earlier in his time line. Andrew Kreisberg discussed the show with Entertainment Weekly. Here is part of the interview.

ENTERTAINMENT WEEKLY: How different is the dynamic between Barry and this Reverse-Flash (Matt Letscher) since he’s from an earlier timeline?
ANDREW KREISBERG:
What’s interesting about it is this Thawne hasn’t experienced last season yet, and Barry has. On Barry’s side, there’s a lot stronger feelings — a lot more anger, a lot more betrayal, and in some cases, that’s blinding Barry to what he needs to do. It’s really an episode about Barry coming to terms with what he wants to do and what he should do regarding this version of Thawne. There are some great surprises and some character interactions between this Thawne and all of our characters. Again, they all have the benefit of having enjoyed last season and he hasn’t.

Without making my head hurt, are you going to explain how the Reverse-Flash is back given Eddie’s (Rick Cosnett) death?
Yup. [Laughs]

When Barry ran through the time stream last year, he saw himself in jail. Will that be addressed this season?
Not this season. There’s a very famous comic book, “The Trial of The Flash,” where Barry was arrested for murder. We wanted all of those little future things to have a little nod to the comics, which is why we saw The Flash museum and why we did that little bit. It wasn’t something that was consciously have planned, per se, but it was a fun way to honor the comic book. While it always goes through our filter, we do tend to take a lot of stories and ideas from the comics, and that was a way to honor the comics.

How is Barry handling losing Patty (Shantel VanSanten), and could this open up his eyes back up to Iris (Candice Patton) again?
That could definitely happen. Right now, he’s reeling a little bit. Zoom is the splinter in his foot; it’s the thing that’s out there and ruining everything for him. What’s really going to happen after Patty’s last episode, which is this week, is it’s really this need to get Zoom. Barry is still haunted by that video message that Wells [Tom Cavanagh] left, which said he’s never going to be happy. Now that he’s lost Patty, he’s decided that stopping Zoom is the only way he’s ever really going to be happy and disprove Wells/Thawne’s hypothesis.

What can you tease about the identity of Zoom and when we might learn more about him?
We’ve never played this card down on a villain before, which is neat and interesting to us. As the season progresses, more will be revealed. We obviously don’t want to give too much away, because we’ve made his identity a mystery that’s part of the ongoing storyline. We’re really jazzed about the storytelling choices that we’ve made this season. So far, the audience has gone with them, and we hope they’ll continue to do so.

NBC is going to have their own time travel show:

Shawn Ryan and Eric Kripke are making Time for NBC. Literally.

The Peacock network has ordered a sci-fi drama pilot from the respective creators of The Shield and Supernatural titled Time that follows an unlikely trio who travel through (wait for it… ) time to battle a brilliant criminal intent on altering the fabric of human history with potentially catastrophic results.

The 100 Season 3

The 100 returned for its third season. So far I haven’t liked it as much as the previous two seasons, but there has been a lot of setup and I’m hoping for improvement as we get into the new story lines. The final scene of last week’s episode when Clarke met an old friend or enemy was certainly interesting. Entertainment Weekly asked creator Jason Rothenberg and actors Marie Avgeropoulos, Bob Morley, Christopher Larkin, Eliza Taylor, Devon Bostick, and Richard Harmon about the season. Here is some of what they said:

…about the time-jump

“There’s relative peace when we start, so the people are able to take a breath, explore, and map the region. They’re building a real, functioning civilization, which they haven’t had a chance to do since they landed because they’ve been getting killed every second of every day. Now they can do that. And then the s— hits the fan.” —Rothenberg

…about Ice Nation

“[They] are a bit of an unknown. They’re quite renowned for being very fierce and aggressive. [Skaikru] are really not expecting that kind of welcome that they give them.” —Morley

…about the Big Bad

“This season you have to decide who the bad guy is and what side you want to be on, because one of the things Jason [Rothenberg] is doing a great job of is putting the leads all over the map and on all different sides — fighting each other and not even knowing they’re fighting each other.” —Harmon

…about Clarke

“I think fans will be very surprised with how Clarke has changed and been hardened by and broken by what she’s had to do.” —Rothenberg

“I think everyone is just going on with their lives [without her]. There’s not a lot you can do about somebody who wants to just leave and be on their own. You can sit there and wallow in it or you can just carry on. There are bigger fish to fry really… like this thing called living.” [Laughs] —Morley

Gilmore Girls Diet

Netflix has announced that the revival of Gilmore Girls is now officially going ahead. (As set pictures have already been released, I’m not certain how this announcement really changes anything.) With Gilmore Girls coming back,Lauren Valenti of Marie Claire decided to try eating like Lorelei and Rory. That means a lot of pizza, junk food, and coffee:

A week into 2016, I had a Gilmore Girls-induced epiphany. Lorelai and Rory were scarfing down pepperoni pizza on the couch and making fun of Dean for ordering a salad because, dude, seriously? Heroes, I thought for the millionth time.

And then it occurred to me. Their complete and utter lack of hang-up about calories was the most refreshing thing I’d seen in a while—especially in the midst of all this talk about New Year’s resolutions and diets and “getting in shape.” Women inhaling junk food, take-out Chinese, and copious amounts of coffee—what a profound F U to those judgy, clean-eating freaks.

The result was that she lost two pounds.

As a physician, I cannot recommend that you try this diet at home.

SciFi Weekend: The Top 20 New Shows of 2015

Once again, as I did last year, I’m concentrating, I’m concentrating on the top new shows of the past year (but will include some comments on returning shows below). This is for a few reasons:

  • Not having the time to devote professional time to television as professional television critics do, there are many shows I have not watched purely due to lack of time. Limiting to a single year reduces the impact of this.
  • Limiting to new shows eliminates the problem in many “best of” lists of including the same shows every year.
  • Talking about new shows could be of greater value. It is more likely that readers know about the top shows which have been on for the last several years, but might not be aware of some of the shows which started more recently.
  • If readers are inspired to catch up on a show from a list such as this, it is far more practical to catch up after one season than several. I know this from personal experience. This is why I cannot say much about the series finale of Justified, which has received great reviews, as I’m years behind. It was much easier to catch up on Manhattan and The 100 after missing the first season, allowing me to say more about them below.

Besides being limited to shows I have watched, this is also biased towards genre shows. Therefore, what might be the year’s biggest hit among new shows, Empire, is excluded from consideration on both counts. Rankings are also quite arbitrary, and some shows could easily be a few spots higher or lower if I were to redo this fifteen minutes later. Still, this gives a general idea of which I consider among the best as compared to those ranked lower. It is a sign of the increased number of good shows coming out, partially due to the increased influence of steaming video along with cable, that I have expanded from a top fifteen list last year to a top 20 list this year.

Top 20 New Shows Of 2015

Last Man On EarthCa

20. Last Man on Earth (ABC)

This would have ranked far higher if it could have maintained the quality of its original premiere, but adding new characters just led to it devolving into a number of more standard sitcom tropes. Still, while many gave up on the show, I continued to have interest in the first season finale and into the second season.

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19. Childhood’s End (Syfy)

Adapting a novel from Arthur C. Clarke seemed like a sure winner, but there were problems I didn’t expect from doing this until I viewed the miniseries. It seemed far more dated in 2015 compared to when I read the novel in the 1960’s now that we have seen so many shows with alien visitation to earth. This story worked out much better as a novel as they could not capture important aspects of the story, including the magnitude of the ending, on television as compared to in prose. The show also failed to make the new world created in the miniseries seem believable, compared to the far better adaptations in a couple of other shows listed below. We heard about all the changes on earth, but rarely saw them, and what we did seem, such as mankind giving up science, didn’t seem believable.

Togetherness

18. Togetherness (HBO)

An excellent sitcom showing how cable and streaming have replaced the “must watch TV” from NBC and the other broadcast networks.

The Expanse

17.The Expanse (Syfy)

Syfy returns to space, with a mystery and quite a bit of world building in the series based upon the novels by James S. A. Corey. I have only seen the first two episodes so far, so my opinion of the show could change once I see more. It was just recently renewed for a second season.

Fresh off the Boat

16. Fresh Off The Boat (ABC)

Both Blackish last year and Fresh Off The Boat this year offer new variations on Modern Family. Constance Wu makes the show.

Casual

15. Casual (Hulu)

Yet another twist on a family sitcom, done far better by Hulu than the networks.

12Monkeys

14. 12 Monkeys (Syfy)

A time travel show which took aspects from the movie, but improved upon them for a weekly series. The series did an excellent job of building on its mythology, providing surprises, and moving in a new direction in the season finale.

Programme Name: Jonathan Strange & Mr Norrell - TX: n/a - Episode: Ep2 (No. 2) - Picture Shows: Mr Norrell (EDDIE MARSAN) - (C) JSMN Ltd - Photographer: Matt Squire

13. Jonathan Strange and Mr. Norell (BBC One/BBC America)

An excellent adaptation of Susanna Clarke’s novel, making a world in which magic exists seem real.

Supergirl-TV-Show-Actress-Melissa-Benoist

12. Supergirl (CBS)

Another show from the produces of Arrow and The Flash, with his being much closer to The Flash in style. The show had an excellent pilot, but for a while seemed like a weaker version of The Flash. It started getting more interesting toward the end of the fall season as the show had an opportunity to develop. Spoilers ahead: Major events before the hiatus included the revelation that Hank Henshaw is the Martian Manhunter. Calista Flockhart is excellent as Cat Grant, but considering her profession can she be trusted now that she figured out Supergirl’s secret identity? So far Supergirl doesn’t know about Hank, but it is inevitable that she learns who he is. A shape shifter could be useful to show both Supergirl and Kara in the same place to fool Cat.

Sense8 Will and Riley

11. Sense 8 (Netflix)

A very ambitious show, which took time to develop its story, but well worth the wait. Enjoy the scenery from around the world while trying to figure it out in the early episodes.

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10. Agent Carter (ABC)

This shows how much better a network show can be when limited to a single eight-episode story.  Maybe that is why it is the only network show which cracked the top ten. Of course a network still could not compete with streaming when entering the Marvel universe.

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9. The Unbreakable Kimmy Schmidt (Netflix)

This shows how the networks have surrendered quality sitcoms to streaming and cable. The show was originally produced by Tina Fey for NBC, but they passed on it and it was picked up by Netflix. It will be interesting to see if the show is even better when the second season is produced, knowing it will appear on Netflix rather than NBC.

Daredevil Matt and Karen

8. Daredevil (Netflix)

The first of a series of shows from the Marvel universe. Dardevil was darker, grittier, and more violent than any of the superhero shows before this. The series also took advantage of the streaming medium, often telling a continuous story, but sometimes including a more conventional single episode on a specific topic (which was still part of the greater story for the season).

Master of None

7. Master of None (Netflix)

Aziz Ansari shows how good a comedy could be on what I bet is a low budget if there is excellent writing. Besides comparisons to his character on Parks and Recreation, the show is often compared to Louie. I also see a lot of early Seinfeld in it.

Catastrophe

6. Catastrophe (Channel 4/Amazon)

The British show, also made available in the United States from Amazon Prime, was the best new sitcom of the year. It was this year’s, You’re The Worst, with Sharon Horgan playing what felt like could be an older version of Aya Cash’s chacter, and the nationalities of Jimmy and Gretchen’s nationalities reversed.

Man In The High Castle Poster

5. Man In The High Castle (Amazon)

While changes were made for the new version, Man In The High Castle was an excellent adaptation of the Philip K. Dick novel, providing a realistic look at what could have happened if Germany and Japan had won World War II and occupied the United States. Changes were made in some characters, and there were plot differences to turn this into an ongoing series. Hitler remaining alive in the 1960’s provides for a difference in the politics. Instead of a book with an alternate history in which the Allies won, using film reels worked better on television. While the main storyline was tied up, the finale raised new questions, making me very happy that it was renewed. Spoilers ahead: As happened earlier in the book, the finale did show a character crossing over into an alternate universe looking like ours, partially explaining the meaning of those news reels. I still have a lot of questions about them, and if the book gave any further hints, I read it too long ago to remember. The finale did wrap up the major storyline and led to an unexpected character living in a “high castle” who was interested in the news reels. Is he really the title character, and how is he connected to the films?

Humans

4. Humans (Channel 4/AMC)

Yet another British import on this list which was also shown in the United States presented a look at how robots (Synths) could change our society, along with a thriller storyline involving a small group of  Synths which were more than they seemed. I’m not sure if the second season could be as strong as the first now that all the secrets have been revealed, but they definitely left matters open to continue the story.

MR. ROBOT -- "Pilot" Episode 101 -- Pictured: (l-r) Rami Malek as Elliot, Christian Slater as Mr. Robot -- (Photo by: David Giesbrecht/USA Network)

3. Mr. Robot (USA)

A cyber-thriller which is totally different from what anyone would expect from a show on USA. The show gave a lot of hints about one element which was not confirmed until later in the season, but still came up with surprises along the way. The season finale also left room for a lot more.

Better Call Saul

2. Better Call Saul (AMC)

Better Call Saul greatly exceeded expectations, standing on its own in addition to being a prequel series to one of the greatest television series of all time, Breaking Bad.

Jessica Jones

1. Jessica Jones (Netflix)

Netflix exceeded what was accomplished on Daredevil with Jessica Jones, staring Kristin Ritter in the title role. The series, even more than Daredevil, was like a single long movie, with only brief breaks in the narrative to fill in viewers on the back stories of the major characters. This works as a stand alone story, but also has references to The Avengers, a character from Daredevil, and sets up future shows, especially Luke Cage.

Spoilers ahead. The show did so many things well.  While many super hero stories suffer from trying to create yet a bigger danger to the entire world to fight, Jessica Jones was a personal story between Jessica and the villain, with David Tennant doing a fantastic job playing Kilgrave. Without their powers, this is essentially the story of an abused woman who once again confronts the man who abused her. Add on the super powers, and it becomes a story of a man who can have whatever he wants and does not understand why Jessica does not love him when he is nice to her.

Most of the supporting cast was also excellent, including Mike Colter as Luke Cage and Rachel Taylor as Trish Walker. One neighbor initially seemed to be a stereotypical drug addict, but turned into a significant figure. The brother and sister also living in the same building were the weakest characters, but the sister was useful to allow Kilgrave to escape. The length of the story did require a series of  near-captures, captures, and escapes. Plus it was necessary to change the situation so that the ending could take place, when earlier Jessica had reason to not only capture Kilgrave alive, but provide proof of his powers.

Honorable Mention

Grace and Frankie Season 1 netflix handout .... Jane Fonda and Lily Tomlin in the Netflix Original Series "Grace and Frankie". Photo by Melissa Moseley for Netflix.Ê

Grace and Frankie (Netflix) Any show staring Lily Tomlin, Jane Fonda, Martin Sheen, and Sam Waterston has to be good, even if some of other new sitcoms were more consistent.

Blindspot (NBC) A fascinating premise made the early shows feel like something unique from network drama, but far too often it is just a gimmick to introduce the case of the week. Whether the show becomes a great will depend on whether the underlying mystery of the show remains compelling. Also on NBC, Blacklist almost felt like a new show with Lizzie now on the run, reminiscent of how Person of Interest evolved into more of a genre show last year on CBS.

Limitless (CBS) A lighter genre show which shows potential to be entertaining, but I doubt will rise to greatness.

Wet Hot American Summer: First Day of Camp (Netflix) A prequel to the movie.

The Late Show with Stephen Colbert (CBS) and The Nightly Show with Larry Wilmore (Comedy Central) were two excellent additions to light night television, a genre which I arbitrarily left out of the rankings. They help make up for the loss of David Letterman and Jon Stewart. I haven’t actually watched much of Larry Wilmore but he has been hilarious when I’ve seen clips. I’m looking forward to seeing him host the White House Correspondents’ dinner.

The Republican Debates have become an amusing reality show, featuring reality television star Donald Trump. His previous reality show had a similar format in gradually eliminating candidates vying for a job.

Besides the above changes on late night television,  this year marked the end of many excellent shows including Mad Men, Parks and Recreation, Hannibal, Parenthood, Continuum, and Justified. Downton Abbey concluded in the UK with the Christmas special, but the final season is just now beginning in the United States. (No spoilers, but the series ended well).

Last year I left out some shows only because I had not had a chance to see them yet. These included The 100 (CW) and Manhattan (WGN). These turned out to both be extremely high quality shows. and both would have made the top five if I had seen them when compiling last year’s list.

Among shows I’ve heard excellent things about, and very well might deserve to be ranked among the top shows but I have not had a chance to see so far are Narcos (Netflix), Wolf Hall (BBC Two/PBS), and The Jinx (HBO). While not as critically acclaimed, I have received a plug for another genre show, Wayward Pines (Fox).

SciFi Weekend: Arrow; The Flash; The Americans; Community; Two SHIELDs; Victorian Sherlock; X-Files Closer To Returning; Sleepy Hollow Renewed; True Detective Hires Porn Stars

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Arrow and The Flash returned on CW (now the leading genre network), along with the premiere of iZombie. We don’t know all that much more about where they are heading with Ra’s al Ghul‘s offer to Oliver other than it will be difficult to refuse. The big surprise of the episode was of the apparent appearance of Shado in the flashback. If this is really her, maybe she dies again because of Oliver, giving Slade a better reason for blaming Oliver for her death than what we saw before.

The Flash did more to advance their storyline this week than Arrow in showing that, as has already been hinted, Barry can travel in time. We also learned the actual identity of Harrison Wells–a time traveler named Eobard Thawne. Major events of the episode included  Wells/Thawne killing Cisco plus Barry kissing Iris and revealing his secret identity to her. However, as we also saw that Barry went back in time to events earlier in the episode, either or both events could wind up being changed–especially likely as Cisco does appear in trailers for future episodes.

Screen Rant looked at events of the episode and how they related to the Flash’s powers in the comics.

The-Flash-Barry-Time-Travel-Discussion

The Hollywood Reporter  reported on a press screening in which  executive producer Andrew Kreisberg, Tom Cavanagh(Wells/Thawne)  and Candice Patton (Iris) answered questions:

How much will Barry fix?

Kreisberg teased that “the fun” of next week is seeing the ramifications of Barry’s actions and how they will change what viewers have already seen. Not everything will be undone by the time travel (though it’s safe to assume Cisco will be saved, as he’s been shown in previews for future episodes).

“This episode allowed us to sort of give people a tease and a taste and make some big reveals,” said Kreisberg.

Who is Eobard Thawne?

Wells confessed to Cisco that his real name was Eobard Thawne, and that he’d been stuck in the past for fifteen years. He called Iris’ boyfriend Eddie Thawne (Rick Cosnett) a “distant” relative, which Kreisberg confirms was not a lie.

“There’s some great scenes coming up between Tom and Rick, that starts to become a storyline,” said Kreisberg.

The revelation puts to rest a fan theory that Eddie might actually be Eobard Thawne (AKA Reverse-Flash and Professor Zoom), who in comic book lore is a man from the 25th century who gets stuck in our era.

What does Wells want?

Wells killed Barry’s mother, but as he told Cisco, he actually wanted to kill Barry that night 15 years ago. Viewers do not know why Wells wanted to kill Barry, but at this point, all he cares about his getting home, though if he can kill Barry in the process that’s a bonus.

“Imagine if one of us was transported back into the past with no antibiotics and no internet and no indoor plumbing,’ said Kreisberg. “Every day in this time is an assault on him.”

Is Wells evil?

Kreisberg said Wells is not an “evil man” and that he even has reason to see “himself as a hero.”

“There’s nothing he says in that scene with Cisco that isn’t the truth,” said Kreisberg. “He’s sorry he found out. He’s sorry it has to happen, but it does have to happen and there’s a scene in episode 16 which kind of mirrors this scene, that I think really speaks to that.”

Cavanagh sees Wells as a man is just “trying to get home.” He has genuine affection for the STAR Labs team and their mission — at least while it serves his own purposes.

“As we see in this episode, it makes it a little more heartbreaking when the next phase of the plan starts to happen,” said Cavanaugh.

Will Iris uncover Wells’ secret?

Iris’ journalism mentor Mason (Roger Howarth) is poised to publish an expose on Wells, connecting him to a number of murders around town.

“For Barry, the wheels are turning for him, as far as what’s going on with Dr. Wells. Iris is going to continue to go after that story because Mason has piqued her interest,” said Patton. “For Barry, he wants to keep her out of harm’s way and this is directly putting her back into harm’s way by going into a situation with Dr. Wells that he’s not even quite clear about.”

What’s next?

Wells had future knowledge about these characters, and will start to share some of that knowledge. Episode 17 will also flashback to the beginning of the series, and show it from different perspectives, including Wells’.

“Toward the ends of the season, a whole bunch of new questions will pop up and that will drive the series forward. Most of the questions that we proffered at the beginning of the season will be paid off,” said Kreisberg.

If Thawne was really trying to kill Barry, was it young Barry or the Barry in our present?

The-Flash-Eobard-Thawne-Speed-Mirage

More at TV Line:

BREAKING THE TIME-SPACE CONTINUUM | Now that Barry has gone back in time, next week’s episode will deal with “how much of [what took place in Episode 15] still happens and how much of it might possibly change,” Kreisberg previews. As Dr. Wells pointed out previously, “there’s different versions of time travel. There’s the fixed loop and then there’s the version where time is more plastic and mutable. One of the fun things is discovering, like on Doctor Who, what’s a fixed point in time and what can’t be changed, what things always have to happen, and then what things are changeable and mutable. It’s a mixture of both.” That could spell bad news for Cisco — or good, if you look at it from the point of view of “Yay! He gets to live!” — because the episode explores “how certain events occur that prevent Cisco from following along the same trajectory” in his suspicions about Dr. Wells. Then there’s this question: Is there now a parallel universe with no Flash? “Is there?” Kreisberg replies coyly.

The Americans Divestment

While CW has become the leading broadcast network in terms of quantity of genre shows, FX leads as best non-premium cable channel with regards to quality shows. The Americans once again balanced several distinct plot lines going. While I would be perfectly happy watching any episode with Nina, there has been come complaints that her storyline back in the Soviet Union is no longer connected to any of the show’s other characters (other than for the indirect involvement with Arkady due to his family’s connections.) Fans of The Americans should realize by now that plot threads from past episodes can be picked up at anytime, with Nina suddenly involved with two characters from past episodes. Not only is she assigned to spy on Anton Baklanov, a scientist who was sent back to the Soviet Union in a previous episode, but she is working under Vasili, her former superior who she once framed. Best lines of the episode: “He’s the Minister of Railways.” “So next time I’m home I won’t be able to ride the train?”

The storyline involving apartheid in South Africa led to the third unforgettable scene of the series (after packing up Annelise’s body in a suitcase and home dental work on Elizabeth). However, while The 100, which also doesn’t hesitate to show death, would have killed off every character they could have plausibly kill off, outcomes on The Americans are less predictable, with Todd being spared. The possible recruitment of Paige moved ahead slowly, with Elizabeth explaining that activism is not as simple as being a criminal or not after Paige questioned Gregory’s history. The same complexity could apply to her profession.

Philip’s use of Martha has been a long-running storyline, but it has suddenly become much more interesting. In recent episodes there has finally been payoff on an event from the first season. Phillip, pretending to be Clark, tricked Martha into planting a bug in Gaad’s office. Now the bug has been found and Martha learns sees Walter Taffet, the actual person from the Office of Professional Responsibility who Clark is pretending to be. She has started asking questions, but Philip was prepared, such as with an apartment to take her to when Martha asked to see it. In this week’s episode, Divestment, Phillip was ready with a line about their relationship being real. At the moment this might be all Martha has to cling to, as opposed to prison or a death sentence for treason if it is discovered she placed the bug. If she is not careful she could wind up like Annelise, but she does present a real risk to Phillip. There probably was a reason for those scenes of her learning to use a gun earlier in the season.

Community Yahoo Premiere

Community returned with the first two episodes released on Yahoo Screen. As they were used to introduce two new characters, the stories were not among the best in the show’s history, but there were enough elements of the shows genius coming through. Abed went meta and assumed that Shirley was gone because of moving to a spin-off show. As NBC no longer does comedy, it is a crime show, and in a way he was right as we saw a glimpse of The Butcher and the Baker at the end of the episode. While it is a shame to lose another member of the original cast, the loss of Shirley, and earlier Pierce, is far less of a loss than the previous loss of Troy. Other highlights of the episode include the speakeasy and a rip off trailer of Gremlins, Knee-High Mischief from “Martelo Estrada Filme..”

In other major genre events of the week, things got even more complicated for Cole and Ramse on 12 Monkeys now that Ramse wants to preserve the timeline after finding he has a son. Tom Keene returned to The Blacklist. It was revealed that there are two SHIELDs. Is this for real, or a HYDRA trick? The other SHIELD is led by Edward James Olmos. Are Tony Stark and/or Maria Hill also involved? Perhaps they are real SHIELD agents, but Colson was chosen by Nick Fury himself.

Sherlock Victorian England

Teaser pictures of Benedict Cumberbatch and Martin Freeman in 19th century clothes have been floating around for a while. Steven Moffat has confirmed that a stand-alone Christmas special of Sherlock will take place in Victorian England.

Fox is getting closer to going ahead with a limited run of The X-Files to tie up the threads left open. Making sense of that series by the end will be a huge challenge.

Sleepy Hollow was renewed for a third season, with a new show runner, Clifton Campbell. No word as to how many episodes.

True Detective has brought in a couple of porn stars, Amia Miley and Peta Jensen, for a major orgy scene. HBO already learned the benefits of using porn stars on Game of Thrones.