This season forth episode of Hannibal, Aperitivo, dealt more with aftermath of the second season finale. The biggest surprise was that Dr. Chilton is alive, and out for revenge against Hannibal. It even turned out that many of the lines initially shown to occur between Will and Abigail earlier in the season actually happened when Chilton visited Will in the hospital. Chilton also compared notes with Mason Verger on making up their face–if you show yours I’ll show you mine. Jack and Alana are also both alive. Will confessed to Jack that he had called Hannibal hoping he would flee. Alana met with Verger, warned by Margot, “If my brother offers you chocolate, politely refuse.” Hannibal was not seen in the episode, but the the set up has now been completed to have each of these characters come after him.
This week NBC announced plans to cancel Hannibal after this season and there is a scramble to find a replacement network. There has been talk about both Netflix and Amazon but it does not sound likely that Netflix is much of a possibility due to the deal with Amazon to stream previous seasons. Hopefully Amazon will be interested in picking up the show. If not, The Food Network sounds like a good match.
Even if Hannibal is renewed, Bryan Fuller will have a reduced role due to becoming show runner of American Gods.
Humans premiers in the United States on AMC tonight but the first three episodes have already been shown on Channel 4 in the U.K. After downloading episodes I highly recommend it. Unlike far too much science fiction on television, this show is not satisfied with a clever idea. It handles both characters and plot well, and as a result is likely to be enjoyed even by people who do not normally watch science fiction. This review avoids major spoilers but those who want to be entirely surprised in watching the show might not want to read this before watching the first episode as some minor events are mentioned.
Humans looks at the implications of something which could really happen in the not so distant future. The premise is that synthetic humans, known as Synths, start doing our mundane work, both in industry and the homes. This leads to issues such as a wife, played by Katherine Parkinson, whose many television roles included Jen from the IT Crowd. I see a certain irony in her having played Jen, the computer-ignorant woman placed in charge of the IT Department, to now play a woman who is skeptical about the Synths. Her daughter questions the point in studying if Synths could do anything. A man with Alzheimer’s uses his Synth to help him remember the past. The twist is that his Synth is a first generation one, slated for replacement, which has memory problems of its own.
Naturally the sexual implications are also explored, including Synths used as prostitutes. In one scene Parkinson’s husband looked at the directions which came with their beautiful Synth for those 21+ , and in another scene his son received a warning about inappropriate touching.
Besides looking at the sociological ramifications of the Synths, the show is also a thriller. Some of the Synths are secretly self-aware and communicating with each other. Also, while most of the Synths act in a characteristic way, don’t be so certain that everyone who appears human really is.
Incidentally, besides Humans, another recent show from Channel 4 has become available in the United States. Catastrophe recently became available on Amazon. Think of it as if Welcome to Sweden took place in the U.K. and was written by the people who wrote You’re The Worst. While not genre, it did include one genre reference. In one scene a character is wearing a shirt saying, “Where is Jessica Hyde,” referring to a genre show on Channel 4, Utopia. I have also watched Jonathan Strange and Mr. Norrell from the BBC beyond what has been available in the United States and recommend this miniseries based upon the book.
In other summer television news, Extant returns this week, reportedly with major changes from the first season. Under the Dome returned last week, but I have not had time to watch the two-hour season premiere. I also have not had time to watch Mr. Robot yet. Apparently Humans is about robots, but Mr. Robot only has humans and no robots. I have held off on watching True Detective following poor reviews. The first season was only worth watching, despite a weak plot, due to the excellent work by Matthew McConaughey and Woody Harrelson.
Over on Syfy, Defiance is much better in its third season. I still couldn’t call it a must-watch show for science fiction fans, but if anyone has seen the first two seasons was undecided about watching the third I would say to go ahead. It is much better having eliminated some of the characters and bringing in a new big-bad for the season. I have not watched their other Friday night show, Dark Matter, after hearing from several people that it is awful.
The “original Avenger” has died. Patrick Macnee of the 1960’s British spy series, The Avengers, has died at 93. Initially the show is well known for the role played by Diana Rigg.
Marvel Studios and Warner Brothers might not be the only ones with a superhero universe including crossovers from other characters. Marvel Studios has The Avengers (obviously different from The Avengers pictured above. Warner has separate universes of DC superheroes both on television, and in with Justice League of America. 20th Century Fox, which owns the rights to X-Men and Fantastic Four, is rumored to be doing a crossover of these two franchises.
Emma Watson and Tom Hanks will be staring in the movie adaptation of The Circle, an excellent novel about current trends in social media going too far.
Joel McHale has been interviewed by Esquire, including about Community and his upcoming appearance on The X-Files. He has been predicting a Community movie but not a seventh season. #sixseasonsandamovie
Avengers: Age of Ultron opened with the second highest box office receipts of all time, trailing only The Avengers 2012 opening. I would rank the first Avengers movie, along with the better Iron Man and Captain America movies, above Age of Ultron, but it was still a very enjoyable movie, falling in the middle of the recent Marvel releases. My discussion here is primarily as to how it fits into the rest of the Marvel universe and I avoided major spoilers of plot points, but those who want to totally avoid any information about the movie before seeing might want to jump down to the next section. Some of the linked articles have even more significant spoilers.
There is an attempt at continuity between the Marvel television universe and cinematic universe, but it is largely one way. The movie definitely takes place after the events of Captain America: The Winter Soldier with SHIELD broken up. The members of the Avengers are working out their own hierarchy, no longer taking orders from SHIELD. Agents of SHIELD did have a lead-in for the movie in last week’s episode, including the search for Loki’s scepter, but as far as the movie series goes, Coulson is dead. While Nick Fury and Maria Hill appeared in the movie, there was no sign of Coulson, even at a party where it seemed everyone who ever appeared in a Marvel movie was invited. For those who primarily watch the movies, they avoided having to explain how he is alive, and viewers of the show could just assume he was too busy hiding from HYDRA and the other SHIELD to attend. Joss Whedon discussed the conflict between the television and movie people, including a reference to the ending of St. Elsewhere:
“Yeah he’s dead. The entire television series is just a fever dream. It’s a Jacob’s Ladder moment he’s having at the point of death, but we don’t give that away until after season seven. And there’s a snow globe. Now I’ve given it away. Bollocks!
“It’s a weird little yes and no. As far as I’m concerned in the films, yes he’s dead. In terms of the narrative of these guys [The Avengers] his loss was very important. When I created the television show, it was sort of on the understanding that this can work and we can do it with integrity, but these Avengers movies are for people to see the Avengers movies and nothing else. And it would neither make sense nor be useful to say ‘Oh and by the way remember me? I died!’”
The Agents of SHIELD show runners discussed the tie in to the movie with Variety. Note that it is not necessary for understanding of the television show to have seen the movie to make sense of its references in last week’s episode. We will see how the events tie into future shows, but my bet is that the movie and television show are sufficiently self-contained so that it won’t necessary to have seen the movie.
One limitation of Avengers movies is that there are too many characters to spend much time on each individually. They did throw in a new romance, and we learned much more about Hawkeye and about The Black Widow. The most significant opportunity for characters to be seen as individuals occurred when Scarlet Witch caused them to have dream sequences. These sequences told more about the motivations and thoughts of the characters, and are discussed further at Slate.
It shouldn’t come as a spoiler to note that the Avengers win in the end. The ending shows some of the original Avengers leaving the group, although we know they will be seen again in Captain America: Civil War. The ending did suggest that newer superheroes would be replacing some of them, but I would not be surprised if more of the original Avengers also play a role in the future. It looks like the Avengers will primarily consist of Captain America, Black Widow, Falcon, War Machine, and two introduced in this movie: Scarlet Witch and Vision. More on this here , here, and here. There was not a scene at the end of the credits, but there was a brief scene during the credits which also ties the movie to Guardians of the Galaxy. Discussion of that scene can be found here. Of course there was the obligatory Stan Lee cameo.
Orphan Black got back to Mark and the Prolethean storyline, and had a big revelation about the Castor clones (I am your sister). In watching it is hard to tell to what degree the writers had a long range plan and to what degree they are making things up as they go along. This is most apparent in how they retcon Paul’s role to fit into whatever is happening each season. This season they have him working with Team Castor, and therefore retroactively came up with the explanation the he had previously infiltrated Dyad. There is an even more retcon with Mark. Ari Millen was originally intended to only play Prolethean Mark, but at the end of the season it was decided to have him play the line of male clones. I had wondered how they would reconcile Mark’s character with the other clones. Now the explanation is that he was only with the Proletheans to retrieve material from Henrik. The change in each character seems even less plausible when considering the scene last season where Mark and Paul met in a bar and gave no indication that they were both on Team Castor. While they should have recognized each other, I imagine this scene could be explained away as each engaging in meaningless banter to avoid giving themselves away to anyone who might have been around them.
The Hollywood Reporter discussed the episode with Graeme Manson and John Fawcett, who pretend this was their plan all along:
Though the male line of clones was only introduced in the second season finale, it took just three episodes of season three for a key piece of the puzzle to fall into place: The clones from Project Castor (the males, played by Ari Millen) and Project Leda (the females, played by Tatiana Maslany) are biological siblings.
“There’s no doubt that’s been a plan of ours for a long time,” Orphan Black co-creator Graeme Manson tells The Hollywood Reporter. “It does shape the season going forward. We wanted a big revelation about these male clones, and the revelations are going to keep on coming.”
Cosima (Maslany) shared the truth with Sarah (Maslany), and then Sarah informed Mark (Millen) of their connection. And while Sarah has fiercely embraced protecting her new sisterhood, the discovery will lead to her own mixed feelings on the matter.
“It certainly adds a massive layer of complexity for Sarah, especially,” says series co-creator John Fawcett. “She’s just coming to grips with the fact that it really wasn’t that long ago where she was basically running away from her own daughter. Shunning her responsibilities of her immediate, biological family. Sarah’s done a lot of growing up in the past; going from street urchin, running around, avoiding the fact that she’s a mother to changing her life, wanting [her daughter] back, wanting to be a mother, going, ‘Oh my God, I have clones running around.’ There’s been a lot of acceptance and discovery for Sarah through this journey. There’s this other brain-numbing facet that Sarah has to take on board. It’s a big part of the mystery going forward.”
“Bearing in mind, none of these ‘brothers’ are acting very much like siblings,” added Manson. “So, we are also raising questions in terms of family of, ‘What makes family?’ Does biology make family? Do you choose your family? Sarah, like John said, has grown up a lot. She’s choosing her clone family. Are they going to choose the males or not?”
The above trailer for the television adaptation of Jonathan Strange & Mr Norrell has been released.
Looking to the week ahead, both Gotham and Person of Interest have each set up a high stakes battle for their season finales, and the end games for The Flash and Arrow appear near. I will wait until these stories have played out more to discuss them further. I have not been thrilled by the last couple of episodes of Outlander, but those who have read the book do say that big things are happening in the remaining episodes of the season.
Syfy has canceled Helix after its second season.
With twenty-eight minute episodes. Dan Harmon can get into more into an episode of Community now that it is on Yahoo! instead of NBC. This week’s episode, Intro to Recycled Cinema, mocked commercials, Chris Pratt, and movie-making. It amusingly ripped off Star Wars, including the Cantina and garbage chute scenes. Chang was briefly a star, Jeff was the Mayor of Outer Space, Abed did his thing, and Annie was a pleasure droid-turned-bounty-hunter Scorpio 9, who sometimes reached into her shirt and pulled out a laser bomb.
In an act of mercy killing, ABC is canceling Revenge. This is a perfect example of the problem with the US model for television series. It was a fine escapist show the first season, but continued long after there was any reason to drag out the story. While the BBC or cable might have ended the series at a natural point, even if only after a season or two, the American networks don’t work that way. The final straw was, after the rational for the show was seeking revenge for the false imprisonment and death of David Clarke, he suddenly turned up alive.
Scarlett Johansson was guest host on Saturday Night Live this week, and in this video showed how Marvel would make a girl superhero movie:
The Orphan Black Season 3 trailer is above. Following is the official season synopsis for the third season, which starts April 18:
No sooner has Sarah caught her breath after a stealthy escape from DYAD and the ruthless clone Rachel (Maslany), she is called upon to face the crazed, captive Castor clone, Rudy (Millen). But it is the discovery of Helena’s disappearance that spurs Sarah into action, rallying her sisters in the quest to reunite their clone family, and find peace once and for all.
Their greatest threat is a band of highly trained soldiers – identical brothers dubbed Project Castor. Unlike the sisterhood, Mark, Rudy, Seth, Miller and others (Millen) grew up together, fully aware of who and what they are. Developed by the military, this wolf pack was raised as regimented clones – singular in thought, movement and allegiance. Hell-bent on kicking up dirt, they’re dispatched to tackle their mission from all sides. But differences in approach betray cracks in their armor, and may be the very thing the sisters need to escape their clutches.
The sisters will need all the help they can get. With Cosima’s fluctuating health and no known cure for the mystery illness that ails her, she is holding onto life by a thread while nursing a broken heart left by her scientist lover Delphine (Evelyne Brochu). Can she find a cure in time to save herself and her sisters? As the turbulent world of Alison turns, she faces fresh suburban woes and new marital challenges with lovable oaf of a husband Donnie (Kristian Bruun). How far will Alison go to keep up the façade of her cookie cutter life? Sarah’s torn between her desire for a life with daughter Kira (Skyler Wexler) and Kira’s father Cal (Michiel Huisman) and the urge to protect her foster family – loyal and feisty brother Felix (Jordan Gavaris) and mother Mrs. S (Maria Doyle Kennedy). But Mrs. S’s betrayal may cause her to turn her back on the only mother she’s known.
The hits keep coming for the girls but their commitment to this new family is as important as ever. No clone can do it alone, and Sarah must align with unlikely bedfellows in order to take on what is yet to come… and hopefully, discover the truth – her truth – along the way. How far are they willing to go to save each other and protect their families?
There are a lot of superhero movies planned making some wonder if viewers will have sufficient interest. Warner CEO Kevin Tsujihara says that the DC movies will be edgier and more steeped in realism compared to Marvel’s movies:
“The key thing is that the movies and the television shows and the games, everything looks very different …you have to be able to take advantage of the diversity of these characters,” said Tsujihara.
Not everyone seems to agree. The comic book movie pile-up was the subject of numerous jokes at this year’s Oscar ceremony, and the eventual best picture winner, “Birdman,” is a satire of the craze for superhero films.
However, Warner Bros. is making a big bet that the comic book phenomenon won’t fizzle out just as the craze for disaster movies, biblical epics and other once-hot genres cooled off. The studio is using sister company DC Comics’ stable of masked vigilantes and villains to make roughly two superhero movies a year beginning in 2016 with the release of “Batman v Superman: Dawn of Justice” and “Suicide Squad.” Other films include bigscreen adaptations of “The Flash,” “Aquaman” and “Shazam.”
The idea is to create a connected cinematic universe in which characters from one film interact with those from another, partnering, warring and creating super-teams such as the Justice League, DC’s answer to Marvel’s “The Avengers.” It’s a strategy that owes a lot to Marvel, but Warner Bros. chief Tsujihara stressed that characters like Batman and Deadshot are very different from that company’s signature Iron Man, Spider-Man and Captain America brands.
“The worlds of DC are very different,” he said. “They’re steeped in realism, and they’re a little bit edgier than Marvel’s movies.”
The major DC comics programs were on hiatus last week and Marvel’s Agents of SHIELD returned. While Agent Carter was well-received, and people thought it was a good idea to use it to fill a hiatus in SHIELD if there is a hiatus, there have also been a lot of complaints that the hiatus destroyed the momentum of the show. It was also a bit confusing for those who were forgetting the events of two months ago, and haven’t been reading up on the significance of adding the Inhumans. Bleeding Cool has a good summary of six key events from the return of SHIELD, which might be especially helpful if anyone is a bit lost.
Saturday Night Live has coverage in the video above of the Avengers beating Ultron.
Chris Evans spoke with Collider about Captain America in Avengers: Age of Ultron. ComicBookMovie.com has more on the movie from Joss Whedon.
The Americans continues to have excellent episodes week after week. Many critics agree that it is the best scripted drama which continues with the same cast from season to season, but very few people are actually watching. Many reviewers have pointed out that more should watch. Uproxx presents a good argument for watching which might get more attention than favorable critical reviews abut its smart story telling:
It’s a show about sexy spies doing sexy things, with wigs and intrigue and great music and a teenage daughter who isn’t Dana Brody and violence and 69’ing. Maybe that’s the problem. The Americans is too vague a title. For the rest of Season 3, and hopefully into Season 4, FX should start promoting the series as The Show Where Keri Russell and Matthew Rhys 69.
There really was such a scene–see picture above. Plus their daughter walked in on it. Maybe that is what drove her to going to church. Paige is still a much better television daughter than Dana Brody.
I have mocked NBC for trying to copy The Americans with Allegiance. It has been canceled after only five episodes.
The Big Bang Theory ended with a tribute to Leonard Nimoy last week. I couldn’t read the text as my DVR popped up the window asking if I wanted to save or delete at the end of the show. In case anyone missed it, I have obtained and posted a screen grab above.
NBC has announced that Hannibal will return on June 4. Zachary Quinto will be guest staring on an episode. I hope someone Slaps him.
There was a reason for all those rumors that Jenna Coleman was going to leave Doctor Who after last season, along with all those hints in various episodes. Steven Moffat has confirmed that Coleman did plan to leave after last season but was persuaded to stay.
It feels like the number of quality sit-coms had dropped tremendously by last season. Then last summer we got You’re The Worst, one of the best ever. Three new sit-coms worth watching have premiered recently. I discussed The Last Man on Earth in a separate post here. Also worthwhile are Fresh Off The Boat on ABC and Netflix released the first season of Unbreakable Kimmy Schmidt on Friday. The last was developed by Tina Fey, originally to air on NBC. It would have fit well on Thursday night on NBC with shows such as Community, 30 Rock, and Parks and Recreation. Now that all of the shows of this type are gone from NBC’s lineup, it is far more likely to survive on Netflix. Netflix also plans a second season, which will be produced without concern for the standards of network television. Tina Fey has claimed it primarily consist of shower sex.
Some have criticized The Last Man on Earth for being totally unrealistic, but the same can be said about many events in other shows such as House of Cards (as I’ll discuss in the future). If all the unrealistic aspects of Last Man On Earth bother you, pretend it is just a bizarre dream. Who knows, maybe that will be the explanation in the end. Regardless, it is funny enough to get away with an unrealistic view of how things would be after most people die of a plague.
As people are watching at different rates, I’ll wait a little longer to discuss Unbreakable Kimmy Schmidt along with the third season of House of Cards. While avoiding any spoilers, I will mention that watching House of Cards did have me wondering who would make the worse Democratic president–Frank Underwood or Hillary Clinton. Saturday Night Live also tied Hillary Clinton to House of Cards in this skit, following her Nixonian email problems.
I had fears that 12 Monkeys could settle on a simple formula of searching for the Night Room and the Army of the 12 Monkeys in our present, and a battle for the facility in the future. I no longer have such concerns about the direction of the show after this week’s episode, The Night Room. Major spoilers ahead for those who might be a week behind. The location of the Night Room was found (mostly off screen last week) and this week’s episode primarily took place there. The relationships between the main characters will not be exactly the same, especially after The Pallid Man told Cassandra that Cole killed Dr. Henri Toussaint in Haiti. There are also questions raised about Jones.
The episode was really interesting when the time travel implications of the virus are considered. Is the skeleton with the virus really Cole’s? Does he eventually develop the plague, despite his current immunity, or is he just a carrier? Does the repeated time travel play a part? Did Jones send his rotting body back in time, and for what reason? Did Jones (inadvertently?) cause the plague? If the answers are in the future which Cole came from, he won’t find them immediately. Although he failed in preventing the plague, he did enough to change the future. With West 7 and not Jones now in control of the time travel facility in the altered future, and with Cassie kidnapped in the past, Cole starts out next week with no allies in either time period beyond an insane girl.
The shows’s executive producers Terry Matalas and Travis Fickett discussed the impact on the mythology with The Hollywood Reporter:
“The Night Room is a big return to our mythology and the next big step in learning more not only about the virus, but the origin of this conspiracy,” Matalas says. “We learn quite a bit about the future, too. There is a very big storyline regarding Jones (Barbara Sukowa) in the Night Room. We get to learn what it took to get this time travel project up and running and the sacrifices she made. This episode is the one where we inhibit our skin a little bit more. The show gets a little bit more unique and a little more off-beat from what you may expect. We bring the weird a little bit here in a good way. It’s what makes it 12 Monkeys.”
The two creators have a bigger plan in mind for Jones, which began with the early and rare moment of levity from the character at the beginning of “The Night Room.” “It’s definitely building up to something. Jones becomes from here on out a more prominent character with more screen time. That is something we wanted to see, her among the other characters, but also her backstory is really important to the mythology of the show and that is the first hint of it,” Fickett said. “When Ramse (Kirk Acevedo) goes into her room and opens up that chest you see the baby blanket with the name Hannah on it. Suddenly we know there is a whole lot more to this woman and maybe she has deeply personal reasons for changing time as well.”
Matalas, however, notes that messing with time has its consequences both to Cole and time itself. Throughout the Night Room, Cole starts to experience debilitating headaches. “Keep in mind, this is a new process. Cole is the pilot program for this. No one has traveled as much as him. He does have a time clock on himself,” Matalas said.
The changes brought about from the destruction of the Precursor are a major according to Matalas. It’s big enough to break time. “We are not talking about multiple universes. We are talking about one singular timeline. Jones, in [episode] six, explains the difference between loops, or what’s called a jinn, and that’s basically the Sarah Connor. … How Reese had to come back in time to pregnate Sarah Connor so that she can give birth to John Connor who will send his father back in time. It’s one of the infinite loops. That’s called a jinn,” Matalas explains. “When there are more traumatic changes to the timeline, then you can break the change and that’s what happens in episode six.”
Among the big changes was The Pallid Man’s first mention of hierarchy within the Army of the 12 Monkeys by naming dropping someone called The Witness. When questioned about the character, Matalas and Fickett remained tight-lipped, promising only that the answer will not be what viewers expect. “It’s not the answer Cole is expecting either,” Matalas said. “Or any of our characters,” Fickett added.
“There is a lot going on with the Army of the 12 Monkeys and by episode eleven you’ll learn a lot more about them. Enough to make your brain explode,” Matalas said. “Releasing the virus could be one of their intended goals, but the end result may not be what you expect it to be. With time travel you’re playing the long game and if you’re dealing with the fate of the entire planet, destruction can be creative in the long run.”
Arrow showrunner Marc Guggenheim is not one of those who subscribe to the theory (mentioned last week) that John Diggle might be John Stewart, who succeeds Hal Jordan as the Green Lantern. I do think that Diggle plays such a key role on Arrow that it makes sense to keep him as he is, although it might be a way to give him a spin-off series in the future after Arrow ends.
We do know that Arrow is on the verge of introducing another superhero. Ray Palmer will put on the Advanced Technology Operating Mechanism (A.T.O.M.) suit, which so far we have only seen as a holograph, in episode 15, Nanda Parbat. His course as a superhero sounds a lot like Laurel’s. Guggenheim said, “He’s definitely a sloppy superhero in the sense of all of our characters don’t immediately have the easiest time fighting crime. I would say episode 19 really digs underneath what does it mean for Ray to be a hero. Is he a hero because of who he is? Or is he a hero because of the suit that he’s made?” He will not be shrinking initially but will fly:
For me, the most satisfying thing about the costume is, it looks like Brandon walked off of a movie set. I’ve never seen a TV show do a costume of this level of ambition before. He’s got a lot of cool tricks up his sleeve. People who are immediately expecting him to shrink are going to be disappointed. I will say that upfront.
We always say, we’re doing the “Arrow” version of The Atom. That said, there will be some flying involved, which looks remarkably amazing. He has a lot of little gadgets and tricks and abilities built into that suit. I don’t want to spoil exactly what they are, because I think part of the fun of watching is seeing what that suit’s going to do next.
After several weeks of rumors, it has now been announced that Spider-Man will become part of the Marvel cinematic universe. It is believed that this means that The Amazing Spider-Man trilogy will not be completed and Andrew Garfield is out as Spider-Man. The deal will allow Spider-Man to appear in an upcoming Marvel Studios movie, assumed to be the upcoming Captain America movie considering that in the comics Spider-Man played a role in the civil war storyline. Afterwards, while Sony will retain ownership and handle distribution, Marvel Studies will collaborate with Sony on the creative end. Considering that Sony has failed in two different attempts at a Spider-Man trilogy, this deal should help both Sony and Marvel. There is also talk of future Marvel cross overs in future Spider-Man movies.
While most fans seem to have been rooting for Marvel Studies to get creative control of Spider-Man, I recently discussed a contrary opinion that this would reduce exposure for some of the lesser comics characters which Marvel Studies has done an excellent job with. I think that, if necessary, it would be worth reducing the number of other Marvel movies in order to have a quality Spider-Man movie series. So far it appears that the only consequence will be to move back the releases dates of four of the planned phase 3 movies. The updated release schedule can be found here.
Hugh Jackman discussed future Wolverine and X-Men movies and the possibility of an X-Men cross-over with the Marvel cinematic universe.
“I like to think there’s that possibility for all of it, and I would even like to think more that it doesn’t happen out of necessity, y’know, when someone’s run it into the ground or something. I optimistically love the idea of “What the hell, Batman versus Iron Man versus Wolverine!” Let’s just chuck ‘em in.
We’ll see what happens, but maybe as these things go on more and more they’ll want to and need to do all that stuff. I’m optimistic, I’d think it’d be great, but hey, it’s not my billions of dollars behind this promise. [laughs] It’s easy for us to speculate, “Why did they do that?!”
Agent Carter has primarily tied into the Marvel cinematic universe with connections to Captain America and SHIELD. Another connection has been the revelation that Carter’s former neighbor Dottie was trained in the Black Widow program. Bridget Regan discussed her role with Comic Book Resources.
I was a bit skeptical when I first heard that the Thor comic was to change to feature a female version of the character, but I saw it more as an attempt to bring in female readers as opposed to anything political. As I do not read it I cannot judge it myself but it does seem from the blogs that comic fans are receiving this favorably. Some conservative see it differently, both disliking the comic and turning it into a political argument. An article on the comic at Breitbart has the title, Female Thor Is What Happens When Progressive Hand-Wringing And Misandry Ruin A Cherished Art-Form.Vox Populi says it is “exactly the same thing as a communist government taking over a capitalist society.”
BBC America has released a set of teasers for the upcoming season of Orphan Black, which returns on April 18.
Many people were predicting that Constantine would never make it to a second season after the decision to limit it to the first thirteen episodes this season. Now there are rumors that NBC might keep it alive, except move it to the Syfy network and renaming it Hellblazer. This would help with the goal of increasing the number of origianl shows on Syfy, and ratings expectations would be far lower. It is expected that if it does move to Syfy, it would also be able to concentrate more on the horror elements as opposed to trying to be a network procedural.
How To Get Away With Murder is really getting wild as it approaches its season finale. Despite all the flash backs earlier in the season regarding the attempts to burn Sam’s body, they now appear to be in serious danger of getting caught due to portions of his body being found. Didn’t any of them watch the first season of Breaking Bad? Knowing that the show will be coming back for a second season has major implications for any speculation as to how the season will end. Any of the students could conceivably get arrested but Annalise will have to continue with the show. Either she gets off, the mystery is dragged into next season, or perhaps they do a variation on the second season of Broadchurch in which she is arrested and next season deals with her trial. That would also spare them from having to either come up with a new season-long mystery or settle for case of the week episodes.
The Blacklist shows how great acting can save what otherwise would probably be a weak show. Repeatedly we get hope of really learning something and it turns out to be very little. We saw Elizabeth’s memories from the night of the fire, and then were told her memories might have been tampered with and are not accurate. There was more talk about the Fulcrum and it was ultimately found in Elizabeth’s bunny, but it is really just a McGuffin. I just could not imagine watching this show without James Spader.
The Americans remains the best drama which continues a story from season to season on television. (I used this awkward description to exclude Fargo and True Detective, two shows which some critics ranked above The Americans last season.) Personally I didn’t find packing Annelise into the suitcase all that cringe-worthy, but Elizabeth’s tooth-extractions were a different matter. Executive producers Joel Fields and Joe Weisberg discussed the creation of the scene in the video above, from Slate.
Frank Langella is also an excellent addition to the cast as their former and current handler Gabriel. Among the many history lessons from the series, the episode also showed today’s kids how television stations did not stay on around the clock, signing off for the night by playing The National Anthem and then running a test signal. I haven’t bothered to watch, but I hear that the NBC rip-off, Allegiance, is doing terribly in both reviews and ratings and is not expected to last very long.
A television version of The Casual Vacancy by J.K. Rowling airs tonight on BBC One. The Guardian has a review.
The Guardian reports that the creators of The IT Crowd are working on a sitcom set in space for Channel 4. Shows from Channel 4 have sometimes been made available in the United States over Hulu.
Parenthood concluded with one of the best television finales of all time. This was an easier show to conclude than some others. It did not have the problem of shows such as The X-Files and Lost, which became so burdened by its mythology that it was impossible for the finale to be satisfying without giving up hope that it would really make sense. The Parenthood finale remained true to the stories to date, not tempted to throw in a surprise which did not fit the series, like with How I Met Your Mother or Dexter.
The final episode concluded the major story lines of the season. Most were handled well, but the solution to Adam search for the job of his dreams was the most contrived, with Kristina suddenly having an opportunity at a non-profit which left the position of headmaster at Chamber’s Academy open for Adam. It made sense for Crosby to run The Luncheonette without Adam. Accountants and attorneys could provide some of the business advice he received when Adam was there full time, even if it didn’t make any sense when Crosby said he would be Adam and Amber would be Crosby. It was rather sudden for Julia and Joel to be offered the chance to adopt Victor’s sister, but such an offer coming suddenly did not seem as unnatural as Kristina’s sudden job opportunity.
There were two other story lines which were more important during the season, and which dominated the finale. Sarah’s wedding turned out to be a perfect way to end the series. Besides being a major event for Sarah, the wedding provided a way to get all the characters together as budget limitations required the absence of characters for parts of the season. Besides being the obvious ending for Sarah’s storyline, it provided a good end point for Max, who got the job as wedding photographer and was also “in the picture.” He even got to dance with a girl. Plus the scenes of Max taking the family pictures was a good way to just get a look at the cast members.
The other major storyline of the season was Zeek’s heart problems which, no matter how much fans tried to deny it, was inevitably going to lead to his death. Any lingering doubt that this would occur were eliminated when I read that it would jump ahead to show the Bravermans in the future. It would have been dishonest to not have Zeek die at some point. His death was handled well as he died peacefully at home a few months after he walked Sarah down the aisle, as can be seen in the video above.
Instead of a sad funeral we jumped ahead to see Zeek’s ashes spread at a baseball diamond, and then the Bravermans did what Zeke would have wanted them to do–play baseball, with the series theme song, Bob Dylan’s Forever Young playing. Then, in one of the greatest endings in television history, we had a combination of how Jason Katims ended his previous show, Friday Night Lights with the ending of Peter Krause’s previous show, Six Feet Under.
The show jumped ahead, also in the video above to show the broad outlines of what happens to the Bravermans. There was no ambiguity as in The Sopranos. Adam does become headmaster, eventually handing Max his high school diploma. Crosby does run The Luncheonette. Besides adopting a third child, Julia winds up becoming pregnant with a fourth, and even gets a puppy. Julia and Joel recreat the original structure of the Braverman family with a younger brother and sister and an older brother and sister. Camille makes it to to inn in France which Zeek had wanted to take her to.
Amber’s future is the most exciting. After having her child with Ryan, aka Luke Cafferty of Friday Night Lights (Matt Lauria), Amber winds up marrying Jason Street (Scott Porter). Ryan even gets his act together and is part of their lives. Scenes with their courtship were shot but got cut from the finale, with Scott Porter’s character named Peter:
“There’s a scene where they meet. Peter and his daughter are at what amounts to a Kidtown, like an indoor jungle gym playtime place. Peter has his daughter and Amber has Zeek. Zeek [named after his grandfather] gets lost in the ball pit and Peter goes bravely in to save him and brings him back to Amber.”
They clicked right away. “They have similar kinds of pasts,” Porter explains. “Both were a little bit wild at one point, and both have kids they maybe weren’t expecting but that were perfectly timed for them. They’re single parents who met and were immediately drawn together.”
While no wedding was actually shot, Porter had no problem imagining the nuptials.
“I imagine it was a very small, intimate wedding. These are two people who are very protective of their families. So pretty small, except for the Braverman side — they come in numbers that most families don’t come in anymore.”
This and other deleted scenes are bound to show up on the DVD set, and some deleted scenes can be found online here.
Matt Lauria and Scott Porter were just two of many former stars of Friday Night Lights who appeared on Parenthood over the years. Yahoo has a slide show, starting with Minka Kelly who both tutored Max and slept with Crosby.
This very well might be the end for quality dramas such as Friday Night Lights and Parenthood on network television as I discussed last week. Fortunately cable and streaming networks are doing more quality shows. This topic came up in an interview with Jason Katims at Variety:
It’s unique as a family drama on TV right now. Can you imagine trying to sell it today?
It would be a hard sell to go out and sell a family drama that doesn’t have some sort of twist. There are lot of shows about family, but they’re all couched in other things. This is a straight family drama. It’s unusual in that way. But honestly it was not easy to sell it five years ago. It’s not like anyone was saying let’s have it then. But the TV landscape is changing so rapidly. There’s so much opportunity now, so many different types of outlets — you never know. I’m hoping that there’ll still be a place for shows like this.
The finale provided a broad outline, but also leaves things open to return to their story in the future, either during the period seen or afterwards. Katims is interested, and the new outlets make this more likely in the future.
Given the wealth of platforms on the TV landscape, could you imagine ever revisiting the Bravermans down the road?
Yes, absolutely. Everyone who is doing the show — our writers, our actors, our directors, our producers — we all love doing the show. Everyone would want to do more. There is no one who is angling to get out of doing this thing. I personally would be interested in seeing what happens a few years down the road. I want to know what happens to these people, these characters. If you asked me three years ago, I would say it’s not going to happen. But now there are so many ways of doing things that it’s possible. I would very much be open to that.
He also discussed this with E! saying, “I love the idea of doing a reunion movie like Boyhood, where every year, everybody commits a week to doing this project.,” he said. “Maybe it’s not that crazy to think that we could pull something like that off.”
Of course the old episodes are all easily available, both on Netflix and Amazon. I rewatched the pilot later on Thursday night, and this provided a real feeling of going full circle in an episode which introduced the characters. The pilot both had major life events for members of Team Braverman and featured the family at baseball games.
The Bravermans are a fantasy family. It is a family nobody actually has, and it is hard to imagine how Adam and Kristina could have afforded to live in Berkeley, hire private tutors for Max, and afford to send Haddie to Cornell. This universe is still more grounded in reality than the Marvel cinematic universe, with both types of fantasy enjoyable to watch. Digital Spy has some spoilers regarding Avengers: Age of Ultron (trailer above) with more in the full post.
We won’t see the Avengers assemble again (which hopefully also means we’ll be spared a silly alternative UK title). “This movie starts off and the team is together, on a mission, they’re working in tandem, and there are new relationships between them,” explains producer Jeremy Latcham. “Time has passed, so you pick up right in the middle of an action sequence and start trying to catch up.
“I think that’s fun for an audience, to try and figure out, ‘Wait, those two are funny together now, there’s something going on with them, maybe there’s a little tension over there’. You’re showing up at a party when it’s already a little bit started.”
“Bigger” and “darker” are two of the most clichéd terms you can apply to a franchise sequel, but Age of Ultron looks set to earn both – according to Ruffalo, it “makes the first Avengers look like Waiting for Guffman“.
Latcham expands on this by reminding us that much of The Avengers was shot on a small soundstage in Albuquerque, and that its New York City was created “in an old abandoned train station where we’d hung green screen and built part of a bridge.”
Not only are the locations real this time – they’re also global. “The Avengers saved New York, but the Avengers aren’t just about America,” Latcham says. “They’re here to protect this blue rock that we all live on.”
Hence Age of Ultron‘s globe-trotting remit, which sees various strands of the gang show up in South Africa, Northern Italy (playing as Eastern Europe) and South Korea among other places. In preparation for one particularly spectacular set piece, producers asked the South Korean government for permission to shut down Seoul’s equivalent of the M1 for two weeks. They complied.
The movie adds Quicksilver and Scarlet Witch to the Avengers, but they start out on Ultron’s side.
New recruits Quicksilver (Aaron Taylor-Johnson) and Scarlet Witch (Elizabeth Olsen) initially join forces with James Spader’s Ultron against the Avengers, creating a very different balance of power than solo villain Loki. “Instead of Ultron giving a lot of speeches so everybody knows what he’s thinking, it’d be nice if he had some allies,” Latcham explains.
“The story that Joss put together with these two kids is really sweet and poignant, and you really understand why they would start on this side of the line. It’s a great journey that they go on, from being these rough and tumble kids in Eastern Europe who blame the West, and the Avengers for the plight, the power structure of the world that keeps kids like them down. Over the course of it they realize maybe the Avengers are here for good reason.”
But the brother-sister duo have legitimate beef with one Avenger in particular. “Our characters have a lot of anger, especially towards Tony Stark, and we want revenge,” says Olsen. “We meet Ultron, and he’s someone who preaches peace and… believes what we believe, which is that the Avengers create destruction and that Tony Stark’s bomb is responsible for killing our parents.”
Unsurprisingly, their alliance with Ultron ends up turning sour, and Olsen reveals that “my character ends up really having to deal with her ignorance. A lot of problems that happen towards the end of the film are her responsibility.”
Age of Ultron also leads into the next Captain America movie and the situation leading to the upcoming civil war is explained:
Much of the Avengers’ problem boils down to their lack of a clear leader post-Winter Soldier. “SHIELD has fallen apart, so this movie becomes Tony Stark and Steve Rogers trying to put the Avengers together without a parental unit like Nick Fury hovering over them,” explains Latcham. “What you realize is that these are guys who work best with rules, and probably do need some adult supervision.”And as anybody who watched the first film can guess, Tony and Cap aren’t an ideal leadership pairing. “Tony has been paying for everything, designing stuff, building new toys, he’s the benefactor of the whole thing. But Steve Rogers is very much in charge of operations and missions, he’s the moral compass,” Latcham goes on. “But how long can Tony Stark have someone else be in charge?” In other words, groundwork is being distinctly laid for the Stark vs Rogers core of Civil War.
“I would never rule anything out, because I like working here. By the same token, the biggest thing for me is that I need to do something that I create myself. It’s been way too long since I created a universe. The last thing I did before The Avengers was [directing an episode of] Glee, and in between I did Much Ado About Nothing. So I haven’t created my own universe for over five years. That feels wrong.”
The Marvel universe is not limited to the Avengers and other movie series from Marvel Studios as other studios have the rights to some of the Marvel characters. Fox has the rights to X-Men and the Fantastic Four, and there is talk that their worlds will ultimately intersect. Information on the upcoming X-Men and Fantastic Four movies here and here respectively.
Sony owns the rights to Spider-Man and we learned during the recent leaks of their email that there was talk of Marvel Studios getting partial rights to the character. Blastr argues that it might have actually been a good thing that Marvel Studios did not own the rights to all of the Marvel characters:
It’s easy to forget that back in the mid-2000s, Marvel Studios was one heck of a risky proposition. After partnering with outside studios for years, the company finally decided that, if they wanted good movies based on their comics (and the winner’s share of the box-office bucks that come with them), they’d have to make ’em themselves. There was just one problem: They’d already sold off any franchise with obvious big-screen potential, most notably Spider-Man, X-Men and the Fantastic Four.
So Marvel decided to dig deep. The comic universe has always thrived on variety and a world populated with extremely interesting and damaged heroes, so they decided to apply that model to film. Iron Man and Hulk were arguably the most bankable heroes left on the bench, so Marvel pumped every dime it had into those two projects and prayed for a hit. Luckily for all of us, Robert Downey Jr. and Jon Favreau caught lighting in a bottle with Iron Man in 2008. More than $585 million later, we were well on our way toward The Avengers.
Since Marvel didn’t have the luxury of a sure-fire star like Spider-Man — who is currently the most lucrative comic-book character in existence, with more than $1.3 billion in licensing revenue in 2013 alone — they had to work with characters who might not have ever gotten a shot otherwise. Just think: If Marvel could have made splashy Spider-Man and X-Men movies, do you think we’d have ever gotten something as creatively quirky as Guardians of the Galaxy (or Ant-Man), or the risky period-set romp that was Captain America: The First Avenger? Maybe somewhere down the line, but a lot of the limited focus (and release slots) would almost certainly be eaten up by those larger properties.
Yes, Marvel would probably be making better movies than what’s out there now (especially on the Spider-Man front), but for me, I wouldn’t trade the epic Marvel Universe we have now for the chance at some better Spider-Man movies. Not by a long shot. The fact that Marvel didn’t have Spider-Man in its stable was the catalyst to bring characters like Iron Man and Thor to life, and gave Marvel the confidence to try something as seemingly insane as a film starring Rocket Raccoon and Groot. The only thing they could control was making the best movies possible, and since the characters were mid-tier, they had to be extremely good.
He has a good point that the way Marvel built the Avengers with characters starting with lesser characters like Iron Man worked out well. However, now that this has been established, Marvel Studios (as part of Disney) is probably big enough to hire the crew to put out an even larger number of movies. Plus it would be worth sacrificing some of the planned movies with minor characters if it meant having Spider-Man movies of the quality of other movies from Marvel Studios.
Briefly looking at other shows on last week, I was glad to see that the cast and crew of The 100 agree that the plan for Bellamy to infiltrate Mt. Weather “sucked.” I can accept writing a script with characters doing foolish things, as people do foolish things, as long as the writers are doing this intentionally. More on upcoming plans for The 100 in the linked interview.
I am also glad that it was intentional that Team Arrow was so weak without Oliver. It would be especially unrealistic if Laurel was suddenly an effective crime fighter like her sister, who had years of training. Marc Guggenheim discussed Arrow and The Flash in an interview with Assignment X. Guggenheim also tied Arrow into contemporary politics:
AX: How much do you weigh referencing ARROW as a modern-day Robin Hood?
GUGGENHEIM: There’s an interesting thing that’s happening in the country right now, where you’re talking about one percent versus ninety-nine percent, haves versus have-nots. Poverty and whatnot has become a political issue, which is interesting, because to me, it was always an issue on both sides of the aisle, how we distribute wealth in this country. It’s a little scary to me that it’s become this polarizing political thing. That’s not the country I grew up in, so it’s weird also to be writing on a show that’s clearly dealing with that issue head-on. Obviously, GREEN ARROW is inspired by Robin Hood and we’re playing around with those elements, but you go it’s more about social justice than it is about politics. At least, that’s what the show should be about.
AX: Aren’t social justice and politics sort of the same thing?
GUGGENHEIM: Well, the point I’m making actually is that social justice has become a political issue in a way that it never has been in this country. Obviously, yes, there’s always been a political divide, we’ve always had disagreements in terms of how to address these issues, but it just feels like the disagreements have become so vitriolic and the differences have become so severe that it’s taken on a different cast than it used to have.
NBC plans to air Allegiance on Thursday nights in place of Parenthood. It sure sounds like a rip off of The Americans, even if its producers deny it. I’m sure there will be differences, like on The Americans the Russians are after the daughter, but on Allegiance they want to turn the son into a spy. It seems better to place such a scenario with undercover Russian spies in the 1980’s, like The Americans, as opposed to present day.
The Americans started its season with another excellent episode, and is ranked by may critics as the top show currently on television. I doubt that Allegiance will be anywhere as good, either as a spy show or as a family drama. If you haven’t seen it, call in sick for the next two days and binge on the first two seasons on Amazon Prime to catch up.
And, finally, a nine year-old in Texas was suspended from school for threatening to make a classmate disappear. He had just watched The Hobbit: The Battle of Five Armies and claimed to have the one ring to rule them all.
Agent Carter is one of the more eagerly awaited new shows to begin this winter. ABC has released another promotional video, in which Haley Atwell discusses her character’s double life.
Entertainment Weekly has more information on the upcoming Daredevil series on Netflix. Here are just some of the points:
1. Daredevil will be a uniquely localized Marvel story. Unlike the globe-trotting Avengers or SHIELD gang, Matt will stick to his hometown. “Within the Marvel universe there are thousands of heroes of all shapes and sizes, but The Avengers are here to save the universe and Daredevil is here to save the neighborhood,” Loeb said. “It’s a very unique look at Hell’s Kitchen in New York, where Matt Murdoch grew up and continues to defend it from people who would harm the people that live there.”
2. Daredevil will feel like a crime story, not a superhero show. “We really wanted to take our cue from [films like] TheFrench Connection, Dog Day Afternoon, Taxi Driver, and make it very, very grounded, very gritty, very real,” DeKnight said. “We always say we would rather lean toward The Wire than what’s considered a classic superhero television show.” Added Loeb: “There aren’t going to be people flying through the sky. There are no magic hammers.”
The released synopsis by CW of the next episode of Arrow might also be seen as something of a spoiler:
THE TEAM DEALS WITH OLIVER’S DISAPPEARANCE — In the aftermath of Oliver’s (Stephen Amell) fight with Ra’s al Ghul (Matt Nable), Diggle (David Ramsey) and Arsenal (Colton Haynes) continue to protect the city in the Arrow’s absence. However, after three days without hearing from Oliver, they begin to fear the worst may have happened to their friend. Felicity (Emily Bett Rickards) refuses to believe that Oliver could be dead until Merlyn (John Barrowman) pays the team a surprise visit. Thea (Willa Holland) suspects there is something more behind Oliver’s disappearance and asks Merlyn for a favor. Meanwhile, Ray (Brandon Routh) tests a part of his new suit and Laurel (Katie Cassidy) takes up the mantle of the Black Canary. Glen Winter directed the episode written by Marc Guggenheim & Erik Oleson.
Speakeasy looks at the second half of the season of Gotham and interviewed series developer Bruno Heller:
Heller said we can look forward to a bigger, more complex show as stories start to pay off and others take hold. “A lot of the episodes set up for later story. So, certainly, in that way, the story will become much more engaging and much more operatic and suspenseful. It will drag you in because these are characters you have come to know and perhaps love,” he said.
Because it’s such a big show, Heller said it takes a while to get it right, particularly how to pack all that story, character and sense of place into a network show. Now that the series is grooving along, though, Heller and company plan to deliver something even bigger. “On that level, you will see more production value, more action, more drama — you know, more,” he said with a laugh.
Entertainment Weekly described some of the differences between the movie and upcoming television version of 12 Monkeys. Among the differences listed, more will be seen of the future and there will be different factions interested in the time machine which pose a threat. Unlike the movie, in which the 12 Monkeys group turned out not to have a rather trivial goal, the group is more important in the television show.
The synopsis for the pilot, which airs January 16, suggests yet another major difference:
27 years after a virus wipes out most of humanity, scientists send a man (James Cole) back to 2015 to stop the plague from ever happening. Cole’s only lead is a virologist (Dr. Cassandra Railly), who knows the dangerous source of the outbreak
In the movie, Cole was seeking information to help the people in the future find a cure for the virus but the past had happened and could not be changed. The pilot synopsis provides a different mission. I suspect that these differences will make for a stronger television show as the more limited premise of the movie would not provide as much material for an ongoing weekly show. There are more potential stories in trying to change things as opposed to getting information, events in the future present a new avenue for stories, and the title of an ongoing television series should refer to something more significant than in the movie.
Showtime has released a trailer for Penny Dreadful’s second season. The season will be ten episodes, two more than in the first season.
When I gave my list of top new shows last week, I mentioned two shows which I did not rank as I had not seen them, but have heard excellent things about–The 100 and Manhattan. Over the holiday I decided to catch up on The 100 based upon many excellent reviews from both genre bloggers and mainstream television critics. I picked this first since the show is now on hiatus but resumes on January 21, while we have more time until Manhattan returns. I very quickly got hooked on The 100, quickly knocking off the first season this weekend and starting the second season last night. I’ll discuss it more in the future, but wanted to give it a plug while there is still plenty of time for everyone to get caught up.
In order to plan out television binging and viewing for January, Vulture has a list of when television shows are returning.
Io9 has a good list of the top science fiction and fantasy books of 2014.
Edward Herrmann, who played Richard Gilmore on Gilmore Girls, died last week. Alexis Bledel had this to say:
Bledel, who played the granddaughter of Herrmann’s character in the Gilmore Girls, described him as “a wonderful actor and a kind man”.
“He was endlessly knowledgeable about theatre, TV and film, and would generously share his wisdom or tell stories from a long and rewarding career,” Bledel continued.
“I am grateful to him for that, and will miss him tremendously.
“He loved acting and was the head of our Gilmore family with his strong presence and great sense of humor. May he rest in peace.”
I anticipate hearing his voice for a long time to come as he is also the recorded voice giving announcements on Shepler’s Ferry coming into and leaving the docks going to and from Mackinac Island.
In a media world largely devoid of both African-American faces and, especially, African-American vernacular, Scott’s iconic catchphrases — “Boo-Yeah!”, “Cool as the other side of the pillow,” and “Can I get a witness?” chief among them — brought a style that had been absent from sports and media programming straight to ESPN’s most-watched program and, by virtue, to the living rooms of white and black families alike.
Scott’s popularity, and the appeal of his brand of style, made him an icon for other aspiring African-American broadcasters who hadn’t seen anything like him on TV before.
“He was a trailblazer not only because he was black — obviously black — but because of his style, his demeanor, his presentation,” ESPN anchor Stan Verrett, also black, told ABC News for Scott’s obituary. “He did not shy away from the fact that he was a black man, and that allowed the rest of us who came along to just be ourselves.”
“Yes, he brought hip-hop into the conversation,” Jay Harris, another SportsCenter anchor who followed in Scott’s footsteps, said. “But I would go further than that. He brought in the barber shop, the church, R&B, soul music. Soul period.”
He changed ESPN too. Scott’s style wasn’t immediately popular with ESPN’s audience or even its top brass. According to the ABC obituary, Scott and ESPN received regular hate mail over his “hip-hop style,” and at times, ESPN officials asked him to consider dialing it back. Scott refused, and over time that unwillingness to relent proved right.
Arrow, The Flash, and Agents of SHIELD all had major revelations in the midseason finales aired last week. Needless to say, there are major spoilers following. Besides revealing who killed the Black Canary, Arrow had the biggest cliffhanger, except the lead character actually was shown falling off the cliff after getting killed by Ra’s al Ghul. Stephen Amell even played along with comments on Facebook and Twitter such as, “It was a good run.” The most common belief among fans is that Oliver might have really been killed, but he doesn’t stay dead. The most likely explanation is the Lazarus Pit, which is sort of the Genesis Planet for DC comics. I also noted that a drug used for mind control played a major part in the episode and wonder if this could also somehow plays a part in how Oliver ultimately survives if he had managed to drug Ra’s al Ghul and influence his behavior and perception of the fight.
Oliver’s death, even if temporary, does provide an opportunity to highlight the show’s strong supporting cast. However Oliver won’t be gone long. Episode 13 is entitled The Return, but Marc Guggenheim has said this does not refer to either Oliver or Slade Wilson (who will be returning at some point). This leaves open the question of who does return, which could be significant considering the large number of characters who have come and gone from the series. Set photos have appeared on line showing that the Arrow is back in that episode.
The revelation that Thea Queen (while drugged) killed the Black Canary was a bit of s surprise, but it did seem obvious that she was killed by someone we knew. I just wouldn’t have guessed Thea. Most likely she was about the last person most would have guessed, which is why the writers did make her the Canary’s killer.
Emily Bett Rickards engaged in bathroom therapy and answered questions about Arrow in a video filmed in her bathtub. (She is fully dressed, but really is in a bathtub in her video tweet.)
The Flash revealed the identity of Reverse Flash as Harrison Wells, as I predicted last week, but there remains much more to discover. It appears that Wells might not be described simply in terms of good or evil with his actions, presumably including killing Barry’s mother so that he becomes the Flash, and later protecting Barry, being motivated by doing what he thinks needs to be done for history to play out as it should.
Variety interviewed Andy Mientus about playing the openly gay villain Pied Piper in an episode airing January 27:
“With the gay thing, I feel like I’m representing a whole community,” Mientus, 28, told Variety at the “Into the Woods” premiere in New York on Monday night. “People are excited to see this character, so it is a lot of pressure. But I’m glad they are introducing the character to the show. It’s a huge step forward, and I’m thrilled to help make that happen. It’s awesome.”
Mientus, who is engaged to actor Michael Arden, admits he’s more nervous about pleasing the comicbook’s avid fans than addressing his character’s sexuality.
Marvel.com: So I’m sure many fans are wondering what exactly that ending means for the future of the series?
Jed Whedon: We’ve dropped her name and it’s the origin of the new version of her.
Maurissa Tancharoen: Or the origin of the true version of herself, which is Daisy Johnson.
Marvel.com: When you were breaking these characters and first developing them, was this a discussion you had at the very beginning?
Jed Whedon: It was somewhat of a moving target early on, in that we knew Skye would be an orphan and would uncover secrets about her past. We had an idea of what we wanted some of those to be that found their ways into the storyline, but exactly who she was we landed on early last season, or midway through last season. We started setting it up early in the beginning of last season.
Marvel.com: We also get the reveal of her dad as Mister Hyde, or Cal. What does bringing him into the series give you guys?
Maurissa Tancharoen: As we always do, we pulled from what exists in the Marvel Universe and put our own spin on it. We had always had our eyes on Daisy Johnson, and therefore her father and her whole history. We sort of planted that throughout the first season and a half. You knew the story of her parents and the havoc they caused, the massacre in the Hunan province in China. We lay in things like that, and over time you put the pieces together. But of course Daisy’s powers aren’t really activated until that moment you see in the Winter Finale.
Jed Whedon: There are parts of it that move away from the story in the comics, but partially that’s because we’d invented our own way [of getting there]. We also wanted it to be a surprise to the people who are familiar with the comics, but [it’s] also because we’re tying it to a larger world. [It’s] not just her origin story, it’s the origin story of a bigger, other world.
Marvel.com: And that is a somewhat “inhuman” world, you could say?
Jed Whedon: It’s safe to say that.
Marvel.com: When did you hit upon the idea of introducing that Inhuman element into the Marvel Cinematic Universe for the first time?
Maurissa Tancharoen: It’s been a property in the Marvel Universe that we’ve been interested in since the beginning. Our tagline when we began the show was “not all heroes are super,” and we wanted to focus on that and highlight that for the first season. Now as we move forward we’re diving deeper into the Marvel Universe, and it’s our way of exploring a whole new world that may be comprised of people who have special abilities. We think that’s going to open everything up for us.
Jed Whedon: Not all heroes are super, but what happens to a hero when they become super?
Maurissa Tancharoen: Essentially what we’ve built since the beginning of the show is an extended origin story, and we’ll dive into that in the back half of Season 2.
There is a long hiatus until Agents of SHIELD returns, which will be filled with Agent Carter. The first two episodes of Agent Carter will air on January 6, with a clip from the series above. Here is the series description:
It’s 1946 and peace has dealt Agent Peggy Carter a serious blow as she finds herself marginalized when the men return home from fighting abroad. Working for the covert SSR (Strategic Scientific Reserve), Peggy finds herself stuck doing administrative work when she would rather be back out in the field, putting her vast skills into play and taking down the bad guys. But she is also trying to navigate life as a single woman in America, in the wake of losing the love of her life, Steve Rogers – a.k.a. Captain America. When old acquaintance Howard Stark finds himself being framed for unleashing his deadliest weapons to anyone willing to pony up the cash, he contacts Peggy — the only person he can trust — to track down those responsible, dispose of the weapons and clear his name. He empowers his butler, Edwin Jarvis, to be at her beck and call when needed to help assist her as she investigates and tracks down those responsible for selling these weapons of mass destruction. If caught going on these secret missions for Stark, Peggy could be targeted as a traitor and spend the rest of her days in prison – or worse.
The synopsis of the first episode:
“Peggy is contacted by old acquaintance Howard Stark when he is framed for unleashing his deadliest weapons and can trust no one else. To help Peggy clear Stark’s name, he insists his butler, Edwin Jarvis, be at her beck and call–whether she likes it or not. But the risk is great: If caught, Agent Carter could be targeted as a traitor and spend the rest of her days in prison…or worse.”
And the second episode:
“Howard Stark’s deadliest weapon has fallen into enemy hands, and only Agent Carter can recover it. But can she do so before her undercover mission is discovered by SSR Chief Dooley and Agent Thompson?”
There have been reports that Sony, who owns the rights to Spider-Man, has denied requests to allow the use of Spider-Man in the next Captain America movie, which was desired because Spider-Man did have a role in the storyline taken from the comics. There was also talk of Marvel Studies doing the next Spider-Man trilogy with Sony retaining “creative control, marketing and distribution.” Despite the last movie being a flop, Sony is looking at plans at continued use of the character, most likely as yet another reboot as opposed to a conclusion of a trilogy following the last two movies. Screen Rant looks at many of the ideas floating around. While I really don’t care if they do it with Spider-Man as a teenager or adult, I do agree with the idea of just jumping into a good story and not bothering with yet another origin movie. More at IGN and The Daily Beast.
Gotham shows life before Batman. Smallville showed Clark Kent’s earlier life. Now Syfy is going back even further with a planned show aboutKrypton.
Continuum was renewed by Showcase for a shortened six-episode final season. Rachel Nichols responded, “All great stories deserve an end. I am excited and grateful to finish Continuum with the riveting conclusion it deserves … this series finale is dedicated to the devoted fans who have loyally supported us since day one.” Indiewire discussed the ending of the series with Simon Berry. Here are some of the questions and answers:
What went into the decision to make the fourth season the final season?
I’m obviously not privy to the conversations that happen inside the network, but I think from their perspective… whether it was an issue of internal profits or the money that gets recycled back into the broadcaster, to cover what they’re paying out or whether we’re simply making a creative decision, I think ultimately we were probably on the bubble in terms of how we were bringing money back in for the Canadian broadcaster. In terms of their decision-making process, we probably received the benefit of the doubt in terms of not being canceled, which a lot of shows are when they’re not performing to expectations. They wisely recognized there was an opportunity to service the fans, and also to make more of an event around this final season. It seemed like a lot of things lined up in our favor in that sense. Obviously, I’m speculating, because you never get to hear the inside information.
You seemed pretty confident, back in October, about the show getting picked up.
We definitely had indications early on. When there’s a delay and there’s no cancellation, you know people are working on finding a solution. That’s pretty clear. The delay is usually because somebody is working hard to find a solution that isn’t cancellation. The longer it went, the more I felt we had momentum, and I certainly started hearing things early on in terms of getting prepared for ideas and getting ready to present plans for Season 4, which gave me the indication that we had a final chance. But a lot of that has to do with how everything comes together, because we still have to do our jobs as producers to put together the mechanism by which the show gets made, which is the right people and the right budget, things like that that everyone has to agree on.
Every season on “Continuum,” we’ve had less money. One of the reasons we have less money is because when a show succeeds in its first season, usually the first season is the gamble season to launch it — much like opening a business. You put a lot of effort and a lot of energy and a lot of money into having a strong launch, then you kind of hope that the longer you last the more you can claw back that investment and the show can generate revenue in a positive sense.
It’s so hard to make time travel work narratively in just a two hour movie. For you, hitting Season 3 and going into Season 4, how do you handle every complication that you’ve created?It’s a good question. There was probably a time where we went into the show feeling like time travel had to be something that was touched on all the time. But we realized in the beginning, that once we’d set up the time travel event there was a ton of stuff to mine before we did time travel again. Really, for me, the challenge was how much of this story can we really exploit before I use this time travel trope, or that time travel device — I mean time travel device, literally and figuratively — to create more drama.We had an idea, at the beginning of Season 2, that we wanted to have another time travel event in the show, just as a component of our experience. The goal after Season 1 was let’s work toward a travel time moment, because we knew we hadn’t done it. We had really kind of avoided using time travel, because it does kind of get you in a ton of trouble. As you know, out of Season 2 and Season 3 that this one decision for Alec (Erik Knudsen) to go back in time reverberated in so many ways. I’m really glad we didn’t do more time travel. [laughs] Because it’s been so complicated dealing with that one end-of-Season-2 moment. Season 3 was incredibly complex as a result.
We had a great dramatic moment at the end of Season 2 with Alec going away, but I don’t think we appreciated, when we wrote that, all of the things we would have to deal with in Season 3. Season 3 became a really hard lesson — not a hard lesson in the sense that it was difficult, but a hard lesson in that we felt an obligation to pay off the results of that time travel choice. It was much more impactful than I realized, in terms of how it would affect the drama, how it would affect the characters. They were great opportunities, dramatically, but I think with the complexity of people trying to track it and follow it, we didn’t anticipate how hard it would be.
Did you always have, in your head, an idea for the series finale?
I’ve always known how the show ends, from day one. It was the first conversation I had with the writers — “Here’s how the show will end” — just so everyone knew where we were heading and that we understood that we couldn’t violate certain rules to get to that point. It wasn’t necessarily just how the show would end, it was like: “Here are the rules of time travel that I’m adhering to in the philosophy of time travel,” so that everyone kind of understood what we could hint at.
How close is what you’re planning for the finale to what you initially had planned?
Well, it’s certainly a shortcut to the original idea we had. I think we’re definitely staying true to the plan. We’ve had to adjust a little bit as to where we left off and where the story needs to go, so we’ve built a story bridge, if you will, to link the ending we wanted to where we left off. So I feel very good about how these things are connecting.
When you say shortcut, how many seasons were you expecting the show would last initially?
I always expected it to be cancelled every year! So it was less about what I expected and more about what I was hoping for. I was hoping we could get seven years to tell the full story and all the various chapters. There were certainly opportunities to tell half a dozen specific, episodic stories — we had chatted about it internally, but ultimately it’s still a linear story and I don’t think we’re compromising anything by getting to the ending in four seasons as opposed to seven. It’s maybe some other stories that won’t get told, but those, at the end of the day, didn’t make a difference as to how the show would end or not.
Given how complicated things got in Season 3, will Season 4 be scaling back or will it take all those threads and take them to the next level?
It’s hard to sort of qualify “complicated.” We’re definitely building off of Season 3 because that’s the natural evolution of storytelling. You’re always building off what you just did. But I would say that because we’re now dealing with a shorter season in six episodes, it’s also an opportunity to not deal with the reality of thirteen, which is to tend to want to have more layers of storytelling and multiple threads. Now with six, we’re actually more focused on one clear story, which means the show could be closer to more of a limited series than a traditional 13-episode series.
How different is the rhythm of a six-episode season?
Well, it’s naturally different because it’s shorter. But it also provides opportunities that the longer seasons don’t. I’m actually excited for the shorter number, in the sense that it allows for a different style of storytelling, which is more appropriate for finishing the story, rather than trying to service the balancing act of 13 hours, which tends to balance more serial and episodic.
Of course I wouldn’t expect him to say anything different about being able to finish the series in six episodes, but I can’t help but think it will result in a lesser story than planned. Individual seasons very well might have been better if shorter, but suddenly shortening the 4th season should be more difficult. They not only have to show the story planned for the season after the major changes shown in the third season finale, but also have to tie up the entire series in such a short amount of time. At least it is much better than having no conclusion at all.
Martin Freeman was guest host on Saturday Night Live last night. He appeared in the above skit as Bilbo Baggins in which an episode of The Office took place in Middle Earth.
The second season of Broadchurch starts on ITV on January 5. The US adaptation, Gracepoint, did have a different ending for the first season. The Guardian did think that the change in the ending was the one thing the US adaptation got right.
Tonight is the series finale of The Newsroom as yet another Aaron Sorkin television series ends way too early. (Yes, I know that The West Wing lasted seven seasons. For me, even that wasn’t long enough.) It looks like the death of Charlie Skinner might be just one sign that ACN will end as we know it, plus Jim and Maggie look like they are finally getting together. Sorkin has discussed the recent rape storyline.
If you gave up on watching Homeland during the weak episodes to start the season, the show has become much better the last couple of weeks. Best line from Homeland: “It can’t be my belt.” It was also interesting to see the Ambassador’s reaction when her husband did not go through with his suicide plans.
Tony Stark is literally Iron Man in the parody video above.
Last week I expressed interest in the fan movement to bring in Jonathan Frakes to direct the next Star Trek movie. Reportedly Frakes is interested and has contacted JJ Abrams regarding this.
Kirsten Dunst and Jesse Plemons were the latest announced additions to the cast of the second season of Fargo.
Bill Cosby was asked about the recent rape accusations in a phone conversation with a reporter from The New York Post. He refused to respond to specifics and said, “Let me say this. I only expect the black media to uphold the standards of excellence in journalism and when you do that you have to go in with a neutral mind.”
The networks have avoided new episodes around the holidays for a while, but they seem to be more formally dividing the seasons in recent years, including making the midseason finales a major event. Sleepy Hollow ended the fall season with major changes. This included the death of Frank Irving and Henry killing Moloch. This leads to questions as to whether we will see Irving again in some form and whether this suggests redemption for Henry, or will he now become the major big bad?
Variety interviewed executive producer Len Wiseman:
So, you just killed the show’s Big Bad halfway through the second season, which is a pretty bold move. Talk me through what went into that decision.
We were always leading up to wanting to [see how] Henry comes into his own. Henry has devoted his life to Moloch; he has served Moloch; and then to find out that he is just a servant, that another will take his place, and to see that he doesn’t have an importance to Moloch, is a big deal. We were always leading up to that fight within Henry. So where do we go from there, what happens? We also really wanted to present the idea that it’s not all about Moloch, and that’s why we decided that Moloch doesn’t die at the very end of the season, he dies at the midseason finale, because he’s not the endgame.
Obviously Ichabod (Tom Mison) and Katrina both want Henry to be redeemed, and killing Moloch seems like a step in the right direction, but is it as simple as that for Henry, or are there other motivations at play?
To your point, “is it?” That’s really the question: who is he doing that for, who is he trying to protect? Is he trying to protect his mother? Maybe. Is he trying to save himself? Maybe. What is the reason why he killed Moloch, ultimately? That’s what we’ll find out in terms of Henry in the rest of the season. And [that’s] what our characters are going to question. It’s not going to be clear to them why that move was made and how he benefits from killing Moloch.
The episode also said farewell to Frank Irving — what was the impetus behind that decision from a storytelling standpoint?
That decision, in terms of an ultimate sacrifice… He is controlled and he had sold his soul to evil, so that’s the one last power that he has — the fact that his soul is already taken — in having the power to wield the Sword of Methuselah. It gives him a strength and a power because he’s spent so much time regretting that choice that he made when he was tricked into selling his soul. He wants to be able to use that trick on Henry.
Since Henry was holding Frank’s soul, now that he’s dead, does that mean he can be raised by Henry in some way, or is he actually free?
It’s a pure sacrifice, it’s a soul for a soul, so it is a real sacrifice. He’s free, and where his soul goes may be something that we will find out and our characters will search out, but it’s definitely a sacrifice and he knows it is — it’s not a trick.
How does the second half of the season differ from the first 11 episodes, now that Moloch is gone?
What really takes a different turn is between Katrina and Crane, as well. There’s a lot of curiosity about why Katrina is struggling with her powers and her place in this war, and I’ve heard people say is her character underutilized — I would say there’s a difference between underutilized and not realized. When she discovers her full potential, things really get out of control.
Other fall finales coming up include Skye meeting her father on Agents of SHIELD and The Flash meeting Reverse Flash (will it be Harrison Wells?)
When we last saw Deathstroke on Arrow, he was locked up in Oliver’s island prison. He will be returning later this season.
Sneak peak of Better Call Saul, in which Saul meets Mike in the video above. The Breaking Bad spin-off starts February 8.
Krysten Ritter, who also appeared in Breaking Bad, has been cast to star in Jessica Jones:
The Jessica Jones drama is one of four shows centering on Marvel heroes that Netflix has picked up straight to series. The streaming service has committed to a minimum of four 13-episode series, which will begin rolling out in 2015 and are slated to culminate in a miniseries about The Defenders, comprised of a dream team of heroic characters.
Ritter will play Jessica Jones, the cynical, sardonic and tough-as-nails, but innately cool and sexy, title character. Jones is described as a superhero suffering with post-traumatic stress disorder that leads to her hanging up her costume and opening up her own detective agency, where she ends up helping people and assisting other superheroes.
Netflix has also announced that the third season of House of Cards will become available February 27.
The final season of Parks and Recreation will start on January 13 and the series will conclude on February 24.
January Jones has already landed a post-Mad Men role in The Last Man On Earth, a post-apocalyptic comedy on Fox.
Benedict Cumberbatch, already having major genre roles in Star Trek Into Darkness and Sherlock, now enters the Marvel universe as Doctor Strange. The looks like a good move. Doctor Strange does not have as large a following as many of the other Marvel characters, and with the large number of comics-based movies being planned, a big star such as Cumberbatch will help to keep this from getting lost among bigger name movies.
Robert Orci was called in to direct the upcoming Star Trek movie after J.J. Abrams left for Star Wars. It has been announced that Orci is no longer directing. Edgar Wright’s name is coming up the most often as probable replacement but some fans are pushing for Jonathan Frakes. Frakes might be a great choice as someone who (as opposed to Abrams) understands Gene Roddenberry’s vision for Star Trek.
Stephen Colbert explains why the new style lightsabers in the next Star Wars movie are a good idea in the video above. It might take you two weeks to understand.
Allison Williams said we could not hate-watch Peter Pan Live, but what about snark-watching? The play was so much more fun to watch while following on Twitter. Some reviewers have said that NBC should have used actors more accustomed to acting in plays. Both these critics and Allison Williams missed the point. Sure we made fun of her at times, but that does not mean we wanted a better stage actress in the role or like Allison Williams any less even though she wasn’t perfect in the role. The point was the fun of the evening, including watching Allison Williams live out her childhood dream of playing Peter Pan, not to see a top notch Broadway-quality play on television.
There is only one actress I would have wanted to play Peter Pan other than Allison Williams, Jane Krakowski. Here is her leaked audition tape:
The highlight of the play was when Peter began to fight the pirates and declared himself to be an Avenger. I hope that most people did not turn off the show before the credits were over and miss the scene with Peter and Tony Stark going out for schwarma. My only complaint about the play was that, in order to be more topical, the “dead maid” in the closet should have shouted out, “I can’t breathe.” I also don’t understand how Wendy grew up to be Minnie Driver and didn’t look a day older.
Anna Kendrick was among the most prolific, and amusing, celebrities tweeting during Peter Pan Live. There is symmetry here as the play began with Wendy reading Cinderella to her younger brothers and Anna Kendrick is playing Cinderella in the movie version of the Broadway play, Into The Woods. The movie doesn’t come out until December 25 but Disney has released the audio below of Anna Kendrick singing a modified version of the Broadway version of On the Steps of the Palace. Audio below:
Flatline managed to provide an episode of Doctor Who which successfully combined elements of both horror and humor. While not a totally original idea, it was something not seen on Doctor Who before, and realistically few television shows manage to come up with ideas which have not been influenced by other works. Think of it as if the residents of Flatland by Edwin Abbott Abbott were to invade earth, with a touch of The Adams Family thrown in.
Besides the idea of two dimensional beings invading, there was the added component of the TARDIS shrinking when the “structural integrity is compromised.” This did contradict The Name of the Doctor which showed such leaking to cause the TARDIS to swell in size, not shrink. The shrinking of the TARDIS, with the Doctor trapped inside, did enable Clara to take a leading role in this episode. This whole situation was quite difficult for the Doctor: “I mean this is just embarrassing. I’m from the race that built the TARDIS. Dimensions are kind of our thing.”
The Doctor did win out in the end. Ultimately the aliens from the two dimensional world were defeated by their inability to distinguish a two dimensional picture of a door from a real three dimensional door.
With the Doctor separated from the action for most of the episode, Clara took on the role of the Doctor, including taking on a companion, Rigsy, and calling herself the Doctor:
Rigsy: “What are you the doctor of?”
The Doctor: “Of lies.”
Clara: “Well, I’m usually quite vague about that. I think I just picked the title because it makes me sound important.”
The Doctor: “Why, ‘Doctor Oswald,’ you are hilarious.”
Clara did show Rigsy the inside of the shrunken TARDIS leading to the classic comment, “It’s bigger on the inside.” This set up the Doctor’s response: “I don’t think that statement has ever been more true.”
Clara also showed that she can act like the Doctor, from using the Sonic Screwdriver to using his tactics:
Clara: “I just hope I can keep them all alive.”
The Doctor: “Ha. Welcome to my world. So, what’s next, ‘Doctor Clara’?”
Clara: “Lie to them.”
The Doctor: “What?”
Clara: “‘Lie to them.’ Give them hope. Tell them they’re all going to be fine. Isn’t that what you would do?”
The Doctor: “In a manner of speaking. It is true that people with hope tend to run faster, whereas people who think they’re doomed …”
Clara: “Dawdle. End up dead.”
The Doctor: “So, that’s what I sound like?”
Ultimately, when Clara asked if she did a good job, the Doctor did respond, “You were an exceptional Doctor, Clara. Goodness had nothing to do with it.” We still have the question from the start of the season as to whether the Doctor is a good man, and whether they are doing good.
The most amusing gag of all in the episode was seeing the Doctor’s full sized hand emerge from the tiny TARDIS to walk it away from an oncoming train. The episode was very light on Danny Pink, but we did have another amusing scene with Clara talking on the phone with Danny, hiding the fact that she was in danger. The previews do show him taking an active part next week, but it still remains unclear whether we will ultimately see a return to two teachers from Coal Hill School being companions aboard the TARDIS as was teased last summer.
The ending scene with Missy took a different turn from her previous scenes, with Missy saying, “Clara, my Clara. I chose well.” It has already been suggested that it was Missy who gave Clara the Doctor’s phone number back in The Bells of Saint John, but we still have no idea as to what Missy’s overall plan is. Also uncertain is whether this has any connection to Clara’s role in The Name of the Doctor to become fragmented in time and have a role in each of the Doctor’s regenerations.
The writers this season do seem to be writing as if some of the past events have not taken place, almost starting fresh with Clara and the Peter Capaldi Doctor. Even going back to the season premiere in Deep Breath, the Clara who saw each regeneration in The Name of the Doctor should not have been as surprised by seeing the changes in the Doctor after his regeneration. Perhaps the events of The Time of the Doctor, with the Doctor gaining additional regenerations and not dying on Trenzalore, also mean there was never a giant TARDIS tomb for the Doctor and Clara never was fragmented in time. The Missy story line might wind up providing a completely different version of Clara’s life.
The Doctor Who Extra for Flatline is above.
While both the Doctor and now Clara having claimed to be a doctor without formal qualifications, there are some actual doctors who have done considerable harm despite having true medical degrees. One example, Dr. Henry Cotton, has appeared on cable television shows in the past week both on The Knick (at the start of his career and Boardwalk Empire (near the end). He was a real person. Henry Cotton believed that psychiatric problems were based upon infections and his treatment often began with pulling the teeth of psychiatric patients. If this did not provide a cure, then he would proceed to remove other organs which he believed were the cause of the infection. Needless to say, in an age before antibiotics, such unnecessary surgery could have catastrophic results. At one point during his career Cotton even had a nervous breakdown. He responded by pulling his own teeth, then proclaimed himself to be cured and returned to work.
Knowing the factual basis behind Dr. Cotton’s life leaves me concerned about Gillian Darmody’s fate after she told Dr. Cotton that she felt she was cured. We already saw another woman at the asylum undergo surgery, and Cotton would not be likely to accept Gillian’s assessment that she is cured without surgically removing what he believes to be the site of her infection. Being the final season, Boardwalk Empire does have the ability to show tragic endings for its characters. This included the deaths of two long time characters last week. While Boardwalk Empire is ending, The Knick just ended its first season and has done an excellent job of showing what medical care was like back in 1900 and the development of new ideas such as transfusions.
News came in last week that a cable series which debut last summer, Manhattan, was renewed. While I have not seen the series, I feel comfortable in recommending this show about the development of the atomic bomb based upon several favorable reviews. (Although I have not seen Manhattan yet, do I get any points for reading Joseph Kanon’s novel, Los Alamos, several years ago?)
Still no news on whether Continuum will be renewed.
I would also recommend another new cable series which I did see the premiere of last weekend, The Affair. The main story involves an affair from the viewpoint of both parties, each telling their version for half the episode. We have narrators who are unreliable at least due to the faults in human memory. There might be additional reason for intentional deceit as we found that the stories are being told as part of a possible criminal investigation years afterwards, similar to in the first season of True Detective. It also reminds me of William Landay’s novel, Saving Jacob, in which there are glimpses of future questioning but we don’t know who the accused is or the crime until the end of the novel.
The creator of The Affair, Sarah Treem, discussed the dual narratives in an interview at The Hollywood Reporter:
With Noah and Alison remembering different accounts of the same stories, the series explores the notion of objective truth. Do you think there’s such a thing?
I think there is such a thing as objective truth. There are events that actually happen. As individuals our understanding of what happens is often quite limited. Sometimes the only way to get at objective truth is to have multiple people tell their own version of the same event. It is the job then of the interrogator, the therapist, the audience member, whomever, to basically try to find the commonality between the accounts in order to figure out what actually happened. That’s basically what we’re trying to do with this show. We’re not saying there’s no such thing as truth — there absolutely is — but we don’t think that one person is usually the arbiter of the truth. We think that it comes forward in conversation. There’s this quote, I think it’s from Hegel, but it’s the idea that all understanding is dialectic, meaning that nothing gets understood unless it’s as a result of a conversation. That’s how I think of the two sides of this show, that it’s a conversation from which the audience gains an understanding.
Will we see the perspectives of other characters besides Alison and Noah?
Not this season but maybe in subsequent seasons, if we get them.
We see a lot of overlapping stories that vary slightly depending on who’s telling them. What’s it like to have to regularly write two versions of the same event?
It’s a really fun exercise for a writer. It’s just about putting yourself in another character’s perspective, seeing the scene through the other character’s eyes. For the scene at the end of the pilot [where Alison and Cole have sex on their car], I was interested in writing a scene that looked like an attack on one side, and then coming back into it knowing more about what was actually happening to where all of the sudden the scene plays as a very different negotiation. Writers are trained at this because you’re always approaching the story through somebody’s eyes so it’s just a great, enjoyable exercise to go back and think, “Well, I wrote it this way the first time and now let me jump into a different character’s body and a different character’s mind and let me try it again and just see what happens.”
Both Warner (DC) and the various studies which own the rights to Marvel characters have recently released news on their upcoming movie plans. Comics Alliance has more information and has put together the above infographic.
“Batman v Superman: Dawn of Justice,” directed by Zack Snyder (2016)
“Suicide Squad,” directed by David Ayer (2016)
“Wonder Woman,” starring Gal Gadot (2017)
“Justice League Part One,” directed by Zack Snyder, with Ben Affleck, Henry Cavill and Amy Adams reprising their roles (2017)
“The Flash,” starring Ezra Miller (2018)
“Aquaman,” starring Jason Momoa (2018)
“Justice League Part Two,” directed by Zack Snyder (2019)
“Cyborg,” starring Ray Fisher (2020)
“Green Lantern” (2020)
Batman v Superman: Dawn of Justice producer Charles Roven recently gave an interview with more information on the movie, including the origin story for Wonder Woman which is being used.
Unlike Marvel, DC is keeping their movie and television universes separate. While Gotham will probably need to be kept in a separate world of its own, Green Arrow, The Flash, and next Supergirl are forming their own television universe. Many fans are angry that Stephen Amell and Grant Guston won’t be appearing as Green Arrow and The Flash in the Justice League movie. While fans would probably prefer such continuity, it does make it easier to wrote both the television shows and the movies if there is not a need for consistency. We saw how Agents of SHIELD was harmed by a need to postpone mention of HYDRA taking over SHIELD until after Captain America: The Winter Soldier was released.
Marvel fans are getting more excited by what appears to be planned. While Robert Downey, Jr. has not agreed to do another stand alone Iron Man movie, he may be appearing in Captain America 3, which reportedly involves the two being on opposing sides over the Superhero Registration Act. This could also be the end of Chris Evans as Steve Roberts. of There have also been rumors of Marvel making a deal with Sony, which owns the cinematic rights to Spider-Man, to allow him to appear, which sounds plausible as Spider-Man had a role in this storyline in the comics. Several other Marvel characters are also rumored to be appearing.
Meanwhile Emma Stone, when not playing the role of Gwen Stacy in Spider-Man, will be playing Sally Bowles on Broadway in Caberet.
With Twin Peaks coming back we have twenty-five years to catch up on. Mark Frost is writing a book to fill in this gap. I am looking forward to see what they do with the series and which characters return. I do hope that Audrey Horne returns and has a daughter who can tie a knot in a cherry stem with her tongue.
NBC has commissioned Bill Lawrence (Scrubs) to do a remake of the fantastic British sit-com, The IT Crowd. I have mixed feelings about such attempts to remake UK shows here. NBC’s first attempt at a remake, with cast including Joel McHale, was reportedly a total flop and never aired. NBC also failed in adapting Coupling, another excellent British sit-com written by Steven Moffat.
Fox has had their own problems in attempting to remake British shows, both with Gracepoint (a remake of Broadchurch) and Us and Them (a remake of Gavin and Stacey).