SciFi Weekend: Patrick Stewart on Star Trek Discovery?; Kid Flash Leaves Legends of Tomorrow; Gotham; Game of Thrones Prequel; Sense8

Will Patrick Stewart have a cameo on Star Trek: Discovery, or perhaps return to directing for an episode? Stewart has made a comment which has led to rumors that this might occur. TrekMovie.com reports:

A new brief video interview was posted today that will cause some speculation about Sir Patrick Stewart and Star Trek: Discovery. At a theater event in London last month, Stewart was asked he had seen Discovery yet, and the actor gave an intriguing answer, saying:

You mean the series and not the movie, because there is a new movie due out very soon. No, I haven’t, but I may have good cause to look at it very soon.

The  Star Trek: The Next Generation vet also ended that statement with a sly smile, only adding to the intrigue.

CBS All Access plans on continuing with an after show for Discovery but is considering revising the format for the show.

Keiynan Lonsdale (Wally West aka Kid Flash) suddenly announced he will not return as a regular on Legends of Tomorrow or The Flash but left open the possibility of future appearances.  It was previously announced that Matt Ryan (as Constantine) and Jes Macallan (Ava) have been promoted to series regulars on Legends. Lonsdale gave this reason according to TV Line:

“I’ve changed a lot in the past year (as you’ve probably noticed lol),” Lonsdale shared in a statement posted to Twitter, presumably alluding in part to his coming out as bisexual last May, “and for infinite reasons my perspective on life and what I want from it now is just completely different. Because of that, my heart told me it was the right time to continue my journey on an unknown path.”

Lonsdale goes on to assert that he is “damn grateful” for his Arrowverse experience to date, and echoes that which was reported on Tuesday: in addition to popping up in The Flash‘s Season 5 premiere this fall, Wally West will remain alive and well and could resurface wherever and whenever needed.

“It’s definitely not a total goodbye or ‘see ya never’ situation,” he wrote. “Wally West will still be around when you need him most.”

The family has already grown on The Flash, with the mystery girl revealed to be Nora West in the season finale. There was also a hint last week of further cross overs on other CW shows.

While Kid Flash will not be a regular, we also received some comments on what might be seen next season on Legends of Tomorrow:

I think I have one last bit left from my most recent interview with EP Phil Klemmer. Having previously discussed Constantine’s living arrangements as well as the threat of team infighting, he also said that this is on the Season 4 wish list: “We’ve never actually figured out the world of the Time Bureau, so I want to actually take another swing at that.”

The fifth and final season of Gotham might be only ten episodes, according to Camren Bicondova, who plays Selena. The final season is expected to begin in January and lead up to (spoilers?) Bruce Wayne becoming Batman.

It was inevitable that HBO would come up with a show to replace Game of Thrones after it comes to an end. The Hollywood Reporter has this information on a prequel series taking place 1000 years before Game of Thrones:

HBO is officially moving forward with a pilot order for a still-untitled Game of Thrones prequel, created by Jane Goldman (Kick-AssKingsman: The Secret Service) and George R. R. Martin — the author of the A Song of Ice and Fire novel series on which Thrones is based.

Set thousands of years before the events of Thrones, the project chronicles the world’s descent from the golden Age of Heroes into its darkest hour. A logline from the network teased the plot without divulging any specifics. “Only one thing is for sure: from the horrifying secrets of Westeros’ history to the true origin of the White Walkers, the mysteries of the East to the Starks of legend — it’s not the story we think we know.”

…Goldman and Martin’s Game of Thrones prequel is the first of several potential series set in the world of Westeros to move forward at HBO beyond the script phase. In May 2017, a multitude of writers were revealed by HBO to be working on what Martin himself has described as “successor shows.” Those writers include Goldman, Max Borenstein (Kong: Skull Island), Brian Helgeland (Legend), Carly Wray (Westworld), and Thrones veteran Bryan Cogman. Game of Thrones creators and showrunners David Benioff and Dan Weiss are uninvolved in the successor show effort, focusing instead on the forthcoming final season of Thrones after more than a decade spent wandering the world of the Seven Kingdoms.

The series finale of Sense8 is now available for streaming on Netflix. I doubt anyone who has not been watching Sense8 will be interested, but it was a good idea for Netflix to provide this two and a half-hours to conclude the series after they decided not to proceed with future seasons and provide an ending.

SciFi Weekend: Flash Season Finale; The Expanse Rescued, With The Fate Of Timeless Still Unknown; Gotham; Star Trek Discovery; Killing Eve Season Finale

The Flash finally defeated DeVoe in the season finale. This plot line hardly justified this long a story. A thirteen episode season, or dividing the season up as Agents of SHIELD often does, might have been more effective. Perhaps the most interesting aspect of the show was the revelation that the mystery girl is the daughter of Barry and Iris, who has traveled back in time. Presumably this foreshadows the next season. When she said she made a mistake, I wonder if the mistake was time travel itself as on The Flash it always has negative consequences, or if she is referring to something else.

Executive producer Todd Helbing discussed this with Entertainment Weekly:

What can you tell us about this huge mistake she’s apparently made?
Well, I mean, a lot of it is obviously all about next season. Barry certainly learned his lesson about time travel and the effects that it can have. She comes back for a specific reason, not only to see her parents and meet everybody on the team, which you saw all throughout the season — there’s four specific times that she came back, and you’re gonna learn about why she chose those four times and how they’re gonna play into not only the mistake that she made, but the consequences for somebody like her, a speedster traveling from the future to the past, and what that means for Barry and the team.

Speaking of those interactions, are there specific reasons why she’s avoided Iris and why she was so cold to Caitlin?
Yeah, she comes from 30 years in the future, so 30 years from now, a lot has happened. She’s privy to information that nobody else is, so her experience in the future is certainly different than where everybody is now. A lot of next season too, you’re gonna see this relationship between Barry and Iris and Nora, so we just wanted to give the audience a little glimmer into what her reaction is to everybody. If you go back and watch all of the ways that she interacted with everybody, you can get a nice little sense of what her relationship is with everybody in the future.

What can you tease of Caitlin’s journey next year? That flashback seemed to indicate that Caitlin’s father already knew about her Killer Frost side, which made me think she may have gone on to accidentally kill her father. Am I jumping to conclusions?
One of the themes for next season is family. When you’re dealing with a show that jumps around, obviously with Barry, Nora, and Iris, it’s gonna be family, with Joe and Cecile and the new baby, there’s family, and then Ralph is part of this new family. And then with Caitlin, she had one understanding of where her powers came, and you’ve met her mother in the past seasons, you got a little glimpse of her father. But there’s gonna be a new dynamic with Caitlin and her family in season 5.

You said there would be a hint at the new villain for season 5 in the finale.
What happens more often than not is, we shoot a lot of stuff in the finale that gets cut. So for time we had to cut it. It was gonna be the tag at the end of the episode. But we’ll get it out; the public will see it before the season starts. Maybe we’ll release it online or at Comic-Con. But yeah, it just it came down to a time thing.

Harry has left, but presumably Tom Cavanagh is sticking around. Anything you can say about the new Wells we’ll meet next season?
I don’t want to tell you yet who he is, but when I was up there in Vancouver shooting for the finale, I talked to Tom for quite a bit about it. We landed on a pretty fun and interesting new Wells to join the team.

Was it always the plan for Ralph to actually still be alive?
Oh, yeah. From the beginning of the season, we wanted DeVoe to hop into other people and then to finally get to Ralph, and really play it like he was dead. That was what we walked partly through at the beginning. So it was always the plan to kill him and then bring him back to join the team at the end, and then to be part of the next season.

If Ralph is alive, any word on the other bus metas?
No, they’re toast, they’re all toast.

I looked at the season finale of Arrow last week.

Krypton ended its first season with a huge change in the timeline. For a while there was some ambiguity as to whether it made sense to support General Zod’s attempts to stop Braniac, even if that would mean no Superman on earth. By the end of the season it was clear that General Zod’s real goals were not beneficial to Krypton, and presumably we might see an attempt to repair the timeline in future seasons. Plus there was the introduction of clones, which might also be significant in the fate of the planet, and Doomsday is breaking free.

Den of Geek discussed the finale with Krypton showrunner Cameron Welsh:

“When we started, we tried to put together an overview of the season and determined what our destination was going to be and we planted a lot of big moments along the way,” Welsh says. “I think vaguely that’s the ending we were sort of working towards. We knew we wanted it not to be a victory as such for our heroes and we knew that there’s still a lot more we can do with Brainiac and we knew that we didn’t want the real Brainiac to arrive right at the end of the season and then be vanquished by our heroes really easily because as a character he’s much more formidable than that. We just knew it couldn’t be that easy.”

And make no mistake. Nothing about this finale is easy. Let’s take this in order…

Seg-El defeats Brainiac by tricking him into stepping into range of the Phantom Zone projector, but Brainiac manages to drag Seg into the hellish prison dimension along with him. Nevertheless, the “bottling of Kandor” is prevented, and Brainiac is defeated. The problem, of course, as Adam Strange repeatedly pointed out during the season, is that Brainiac needs to be allowed to succeed in order for the removal of Krypton to destabilize the planet’s core, leading to its destruction and Superman’s eventual birth. With Krypton’s survival now apparently assured, Superman no longer exists, and the Zod crest overwrites the familiar Superman one, and suddenly, Krypton’s future is not as set in stone as it once seemed.

“We knew all along that one of the challenges of this series was this cloud of inevitability that hung over the premise that we knew how the story was going to end,” Welsh says. “We knew that Krypton would be destroyed, but that’s no longer the case, so in a way, we’ve freed ourselves from that. It feels like we’re an altogether different timeline and anything can happen from here.”

Things are so drastically different now that even the nature of the Phantom Zone itself might not be something that Superman fans are familiar with.

“I think that we would like to explore the Phantom Zone and see what power it truly possesses,” Welsh says. “It’s a technology that’s still in its infancy. It’s a very powerful and enigmatic kind of technology and I think what we’re going to do is explore what else we can do with the Phantom Zone and how else can it be used. Val, as the architect of this technology, he knew what he was doing. I don’t know that Seg will have the same kind of control.”

Seg-El’s victory over Brainiac is bittersweet, but it could be worse. He could be Adam Strange.

Adam is trapped back in Detroit, which has been bottled by Brainiac in his absence. Its residents are frozen in time, and Adam, thanks to the Zeta Beam and the fact that he wasn’t there when Brainiac took the city, is awake and aware of everything happening. But even here, there is a sign that the timeline has changed around him: a giant statue of General Zod, in Detroit, where there certainly shouldn’t be one. But make no mistake, Adam is not only screwed, he knows just how screwed he is. Welsh told us that Adam’s memories have not been overwritten by the timeline change, so he knows exactly what is wrong.

“We see when Adam is standing there in Detroit amongst all those frozen people looking at a statue of Zod, it’s clear to him that the timeline has absolutely changed, but how it changed and everything that happened in between, he’s unaware of all of those details,” Welsh says. “I think he just knows that his mission was a disaster, a complete failure and we have an opportunity now to explore in season two how he can try and undo that damage.“

But the fact that Brainiac was able to grab a present-day Detroit and bottle it means that his threat hasn’t been completely neutralized 200 years in the past. One way or another, we know that Brainiac will return.

“I think that what we’re suggesting in the finale is that in the future Brainiac is still a threat and you see that through the Adam Strange story,” Welsh says. “Zod at least achieves some of the goals that he outlined in that fiery speech at the end. So, I think it becomes clear in that finale that we’re now very much on a different path than the one that led to the Superman that we know.”

Fortunately we received word last week that Krypton has been renewed for a second season.

While Syfy did not renew The Expanse, Amazon has decided to save the show, and will be picking it up for a fourth season. If anyone gave up on it earlier, the show has become even better the last few weeks. There was also the conclusion of a major plot line and a time jump, making last week a good point to pick up the series.

The Expanse was saved partially because Jeff Bezos likes the show, and science fiction has been big on streaming channels recently. I wonder if he also likes Timeless. So far there is no word from NBC, and if they do not save it I would hope someone else will. Entertainment Weekly has this speculation:

As for Timeless, the show seemed doomed a couple weeks ago after NBC didn’t renew the time-travel drama for a third season along with its other last-minute pickups. On a conference call with reporters, NBC entertainment chairman Robert Greenblatt didn’t give the obligatory “we love the show but…” when cooly explaining its fate would be decided after the finale aired. When its ratings barely budged for that last episode, odds seemed to go even lower. But then something happened. Which is to say, nothing happened. If NBC was going to cancel the show, why wait? The delay could suggest efforts are being made on some level to keep things going. We’re hearing there should be some resolution relatively soon (if fans are unlucky, then perhaps during the Memorial Weekend bad news dump).

Fans are pushing to #renewtimeless, and there is evidence of interest in the show. A deleted scene which was posted on line is now up to 155,000 views as of the time of writing this post.

More on the Timeless finale here.

Comicbook.com has news about the next (and final) season of Gotham, which had its finale last week.

Following the earth-shattering events of Thursday’s Season Four finale, ComicBook.com had the chance to talk with Gotham executive producer John Stephens about what’s to come when the show returns, and which popular comic series would be adapted in the final season.

“You mean besides ‘No Man’s Land”‘?” Stephens joked. Given that the current season ended with the complete destruction of the city, it was pretty safe to assume that “No Man’s Land” had just begun. However, as Stephens continued, he mentioned that one of the New 52 arcs would come into play.

“There are, and I’m trying to remember which [stories] they actually are,” Stephens said. “There’s gonna be a little bit of Zero Year in there, you know as well. [You know] some of that stuff, especially with Nygma. And there’s another one but if I tell you what it is it really does spoil the story.”

For those who are familiar, Batman: Zero Year came from the minds of Scott Snyder and Greg Capullo during their popular run of New 52 Batman comics. The story, particularly the second arc “Dark City,” was all about Bruce’s initial time as Batman, and his efforts to stop The Riddler from taking over the city.

Not only does this story work for Gotham in the sense that Bruce Wayne is making his transition into Batman, but it finally brings one of the show’s most popular villains to the forefront. Of course, we’re talking about Ed Nygma, a.k.a. The Riddler…

TrekMovie.com reports on a Star Trek: Discovery panel at Vulture Fest last week:

Executive producer and co-showrunner Gretchen J. Berg didn’t want to give any spoilers for Discovery’s second season, currently in production, but hinted about the direction of the show:

I don’t want to spoil, but I think there are clues. It takes too many months to figure out how to do this. Their beautiful performances are crafted, then they are in post, so I am not going to tell you everything right now. We leave clues. Watch the final episode at the end of the [first] season as to where we are going.

I can promise you that the characters that you fall in love with, you are going to get to know them better. We get much deeper into character exploration this year and we will meet some new folks. We love our group and you are going to learn more about them.

Discovery‘s loose ends will be tied up into canon

When discussing the setting of Star Trek: Discovery,  Gretchen J. Berg reiterated how important it is for the creators to fit the show into Trek’s established canon:

I love the box that we are in, because it can be so overwhelming when you look at the entire universe of Star Trek … but we were able to focus on somewhere on the timeline and we know that this happened before and this happened after. They say boundaries and restrictions can be good and for us it was good. It also gave us an opportunity to lay in some easter eggs and we feel very, very, very strongly about making sure that we fit into canon, making sure that there are not any loose ends that may be the story that is being told right now, but we are going to fit into that timeline. A lot of consideration has been put into it.

The co-showrunner also acknowledged that the designs on the show have to work with a modern audience:

As far as shooting a show starting in 2017, we have to also realize we have caught up with The Original Series, like everyone talks about iPads and PADDS and stuff like that. We just have to make sure that it makes sense. We have our art director and prop designer and everyone who is madly in love with our show and also all the shows, and so they are paying attention to that.

The cast of Discovery is also going to appear on Carpool KaraokeTig Notaro has discussed her upcoming role in the second season.

Moving away from science fiction, another highly recommended show, Killing Eve also had its season finale. I’ll avoid any spoilers assuming for the benefit of those who have not watched the show, but the finale emphasized that this show is more about the relationship between the two leads than a traditional detective/spy series. However, like a traditional series, the first season opened up a new layer to the story which provides plenty of material for a second season without it feeling like a repetition of the first.

Upcoming this week: the series finale of The Americans, and the season finale of iZombie.

SciFi Weekend: Season Finales For Agents of SHIELD, Timeless, Arrow, The Blacklist, and Gotham; More Renewal News; The Orville & Star Trek News; Nebula Awards

Shortly after I listed Agents of SHIELD as one of the shows in which the fate was unknown when I listed renewals last week, word came out that SHIELD was renewed for a thirteen episode season, which will not air until summer. With SHIELD often dividing the season up into two arcs, a thirteen episode season should work well to concentrate on one story line. Delaying until summer also avoids conflicting with the events of Avengers: Infinity War. While I’ll avoid any significant spoilers, the movie ends with a cliff hanger which left the world changed–until it is presumably resolved in the next Avengers movie. It would be difficult to do a season of SHIELD while ignoring this. This way SHIELD can be written based upon how the matter is resolved, and could just refer to the events of the movies in passing, as was done late this season.

Agents of SHIELD ended the season with two possible character deaths, but there ways that they might not be permanent, especially with another version of Fitz out in orbit. The biggest question might be whether Jemma immediately tells Fitz they are married, or waits for him to propose as he was planning when he awoke in the future.

Syfy has an interview with the producers which was conducted before news that the series would be back for another season:

But you did seem to leave the door open for a possible Fitz return, judging by what Jemma was talking with Coulson about in the aftermath.

JW: Right. Everybody got zapped to the future, and zapped back, plus Fitz. But Fitz traveled to the future the long way. He basically slept in cryo-freeze for 80 years. So there are technically two Fitzes in this timeline, so we just killed one of them.

MT: We killed the blond one.

JW: It’s hard to follow, we know (laughs).

I blame you guys for the confusion because the tears you made us shed!

JB: That scene was written to be that way. That kind of, “I’m sorry I couldn’t be there, but when you see him, tell him I say ‘Hi.’” Coulson makes a turn in the middle of it that could make someone miss that bit.

As if that wasn’t heart-wrenching enough, Coulson sacrificed himself to allow Daisy the chance to stop Talbot and save Earth. During his farewell speech at the end of the episode, Clark Gregg looked like he was barely keeping his emotions in check. What was that like, filming that moment, seeing the team’s heart and soul, the captain, saying goodbye?

JW: That was a big day, a tough day. We agree with everything you said. We think of Clark as the foundation that the show is built on. But we also knew that we wanted Coulson’s deal with Ghost Rider to have a price, and we wanted the show to … he’s approaching a point where’s he is pushing Daisy into a leadership role. His relationship with May has grown into something new. We felt it was a way of honoring the foundation of our show by giving it real stakes and hoping that he can pass the lessons, that he’s so good at teaching, to his teammates, in a more permanent way.

JB: This entire season we’ve been looking back at where we’ve come from. If you think about it, Coulson in the Avengers movie really brought the team together and allowed them to save the world. And then there was Tahiti.

So for us to take him back to Tahiti and for him again to make the sacrifice, in the sense that he didn’t take the injection that could save his life, and instead gave it to Daisy, he again was the character who, in a sense, saved the world. And we thought there was a nice circular return there for Coulson.

gain, one can guess you left yourself just enough room to bring Coulson back, if you wanted to and Clark wanted to return. Because he was still alive in that last scene.

JW: In terms of moving forward, we’ll have to figure out how to address that. In thrilling fashion, of course. But going into this season, not knowing if we would get another year, we felt like it was the right way to wrap up the show and Coulson’s storyline.

Filming the series finale this way made sense when it was not known whether it would be a series finale. This would suggest that Coulson was going to die if the series ended, eliminating the differences between the television show and movies, but leave matters open should the show return.

Clark Gregg was interviewed by The Hollywood Reporter about his potential role in the sixth season:

The golden rule of TV is if a character dies but it isn’t shown on screen, then they’re not really dead. That said, is Coulson really dead or is there a way that he can be cured in time for the abbreviated sixth season next year?

My understanding is that Phil Coulson is no longer alive. He’s been brought back, he’s been really clear that he didn’t want supernatural measures used again. I always felt like he thought almost like he wasn’t supposed to be here. That got more complicated for him when he started to form this new family and to have this surrogate daughter that he probably always wanted and to, in the most recent weeks of this SHIELD timeline, really opened himself up to his feelings for Melinda May. But I don’t think there is a real buy back for the fact that this deal he made with the Ghost Rider is killing his body.

How much have you discussed your future on the series with producers?

I have a meeting with [executive producers] Jed Whedon and Maurissa Tancharoen and the showrunners and I know there is some interest in having me involved in this 13-episode season six. I don’t know in what form that will take, whether that will be flashbacks or hopefully some sexy dreams that Melinda May is having. [Laughs.] That would be nice. But that’s all I know so far. There is some desire that is going to be explained to me but it’s why this finale is so deep and emotional. I knew by then that this was really a farewell to that character and his life. It was also before we knew anything about whether or not we were picked up so the scene where he is saying goodbye to people was a scene that we couldn’t even rehearse or read aloud successfully. We just had to figure out where we were going to stand and start shooting it because it was just so emotional for me and everybody there.

With these plans to continue having Coulson on the series in some capacity, does that mean you’ll be returning as a series regular next season?

That’s all what’s going to be part of this discussion and working it out. I’m available for whatever they need me to do and we’ll just be figuring it out. We just got picked up a few days ago. That’s what we’ll have to figure out going forward. I hope to be involved, maybe I’ll be an LMD or maybe I’ll be in a C3P0 suit and I’ll be everybody’s starchy Brit robot.

What did you think of Coulson’s goodbye in the finale, where he finally got to go to Tahiti and share that experience with May?

I found it all so moving. I’ve been playing this guy for 10 years now. In between shooting that stuff I was back shooting Captain Marvel with Brie Larson and Sam Jackson and playing him again in the ’90s so extending his timeline even further, and the membrane between the two of us, although we’re in some ways very different, it’s very thin. And my connection with the people on Agents of SHIELD and the number of hours we’ve all put in together and what we’ve all been through together, it feels very real. All of it, saying goodbye to those people, was very heavy. And then to step out onto the sands of Tahiti, I really have to thank ABC again for giving us the Disney jet and letting us have this really magical weekend in Tahiti. I’m just kidding. [Laughs] But that would have been nice. I loved the way they did it. I really thought it was a masterful idea by the writers of SHIELD and a really beautifully executed script by Jed and Maurissa and really beautifully directed by Jed.

Timeless is one of the few remaining network shows with no news regarding renewal or cancellation. The second season did leave with a big cliff hanger. Moments before the end, when I did not know what would happen, but it was obvious they were setting things up for a cliff hanger, I was thinking it would be really interesting if a second Lifeboat appeared next to the one which had just returned, possibly with Rufus (who had been killed earlier in the episode) aboard. They did even better with a newer version of the Lifeboat appearing, with future versions of  Lucy and Wyatt asking, “You guys want to get Rufus back or what?”

This was a perfect ending to grab the curiosity of fans, but there are some risks in a time travel show such as this. A relatively minor issue is that it does show that Lucy and Wyatt will both be around in the future. More seriously, it shows that they find a way around the limitation of not being able to travel back to where they have been, and lowers the stakes in the future if they can redo adventures if anything goes wrong. Presumably Rittenhouse will be able to do the same, complicating any attempts at stopping their efforts to change history.

Executive producer Shawn Ryan spoke with TV Line about the finale:

TVLINE | Where did these other versions of Lucy and Wyatt come from?
The episode that aired this past Sunday, Flynn referenced that he got the journal from Lucy. It seemed as if a future version of Lucy had given it to him, so that was a little bit of a tease that that was possible. It’s something that we hope to address in greater detail in Season 3 [if the show is renewed], exactly where that particular Wyatt and Lucy came from and what their circumstances are…

TVLINE | Where did these other versions of Lucy and Wyatt come from?
The episode that aired this past Sunday, Flynn referenced that he got the journal from Lucy. It seemed as if a future version of Lucy had given it to him, so that was a little bit of a tease that that was possible. It’s something that we hope to address in greater detail in Season 3 [if the show is renewed], exactly where that particular Wyatt and Lucy came from and what their circumstances are…

TVLINE | You’ve been playing all season with this idea of fate versus free will when it comes to Rufus’ life. Why did you decide to go through with Rufus’ death in the end?
We really like the idea of Jiya’s visions and how powerful they are, and the idea that what she saw were things that did come true in a way. One of her first visions was that Rufus was going to kill this pilgrim, and we ultimately saw in that episode that he actually didn’t shoot the guy, but the guy ended up being run over by horses and a carriage and died anyway. So the idea that there is some sort of fate thing that was going to befall Rufus, that despite all their best efforts to avoid it, they couldn’t, was something that was powerful to us — although, obviously, in the context of the twist end, where there’s a feeling like, “Hey, there’s a way to get him back now.”

Arrow ended the season on a cliff hanger which was awfully similar to what has already occurred on The Flash with Oliver going to prison. The death of Quentin Lance was not really a surprise as it was already announced that Paul Blackthorne was leaving the show. Presumably Oliver will not spend the rest of the series in prison. Unless Oliver can convince people that his statement that he is the Arrow was part of a ruse (similar to others covering for him in the past), the world will now know his identity, changing the show forever.

Marc Guggenheim is leaving as show runner after this season. He was interviewed about the finale by The Hollywood Reporter:

Season finales always include huge game-changing moments for Arrow and this was no different with Lance’s death and the Legends crossover with Sara (Caity Lotz) coming to the hospital. Where did the decision to kill off Lance come from? Was that always the plan or did that come as a result of conversations with Paul about the future of the character?

I wouldn’t say it was always the plan. It was something that we slowly came to. Sometimes we know exactly what our plans for a character are and other times it’s a slow discovery. In the case of Paul, it was a combination of two things. We started thinking about Lance’s character in season seven and coming to the conclusion that we felt like we told all the story there is to tell with Lance. We ran out of story with him while at the same time we were thinking about Katie Cassidy’s character, Earth-2 Laurel, and thinking about if Diaz were to kill Lance, what does that do for her character? It opened up a lot of very exciting storytelling possibilities for us and it fit in with a lot of things we were already thinking about in terms of the trajectory for Laurel’s character in season seven.

Oftentimes, we do what we call story math: If we killed off Lance, X, Y and Z happen. What are X, Y and Z? If we get excited about X, Y and Z, the idea starts to develop its own momentum. The more we talked about it, the more it felt like the natural and right thing to do. It’s always hard but at the same time, the show has always had an element to it where no one was safe. Unlike some of the other Arrow-verse shows, we’ve killed off more characters on Arrow than all the other Arrow-verse shows combined. There is something in the DNA about the show that makes that resonant and makes that visceral. As a result, we’re less precious about holding on to characters past their expiration date. But it’s hard because I will really miss working with Paul.

With Oliver now having publicly confessed to being the Green Arrow and getting sent to prison, after so many fake-outs in the past, what does this mean for the series moving forward now that he can’t go back to leading a double life?

When we were doing the pilot, I had a bucket list of ideas for the show. The identity reveal in my original conception happened in a very different way, but the idea of him revealing his identity, that was my penultimate card to play. Going into this season, we knew that that’s how we wanted to end the season. We were cognizant going into season six that if the show was going to be a six-plus-season show, it needs to constantly evolve and change. Oliver revealing his identity at the end of the season would be a great way to fundamentally change the series going into season seven.

He’s not going to remain in prison for the remainder of the series. When he gets out of prison, the fact that he now has to deal with the consequences of the public knowing his secret identity, that is huge. It’s not just Oliver, it’s also Felicity (Rickards) and his son, William (Jack Moore). She’s now married to the Green Arrow. William’s dad is the Green Arrow. That’s going to be huge for their family. That just creates so many cool stories to tell, interesting complications, challenges, dangers. It makes the prison storyline so much more visceral. If we wanted to just stick Oliver in prison, we could have done that without revealing his secret identity, but for us what always made the prison storyline exciting was he’s not just trapped in prison, but he’s trapped in prison with all these people who know that he’s the one who put him there. That’s such rich, exciting territory for us to be able to undertake in season seven.

Another change for the Arrowverse is that Batwoman and Gotham City will be introduced in next season’s cross over event. Oliver did mention Bruce Wayne earlier this season, showing that this is part of their universe.

The Blacklist managed to change things again with the revelation of whose bones were in the bag in the season finale. While watching I was wondering whether this was something planned all along or a twist they came up with this season to keep the show going. Entertainment Weekly received an answer to this question from Jon Bokencamp:

ENTERTAINMENT WEEKLY: Did you know from the beginning that James Spader was not playing Raymond Reddington? 
JON BOKENKAMP: Yeah, this is something that we’ve talked about from the inception of the show. It is part of the underlying mythology that we’ve slowly been unraveling. I think there are a number of episodes that we can go back and sort of map and chart how we got here. Hopefully that is proof of concept to the audience that this is not something we’re just winging, and that we’re on a very specific path, and this is a well-earned reveal.

Did Spader know? Did the cast?
Yes, James has known and it’s something we’ve talked extensively about. The cast did not know, as far as I know. I’m always the last to know, so I have really no idea who else knew. But the thing I want to point out is that it doesn’t change tuning in to watch Spader be Raymond Reddington. He’s lived as Raymond Reddington long enough to be this person, right? He has told great stories, he has had great experiences, he’s become a world-class criminal and probably become a far more interesting person than the real Raymond Reddington ever dreamed of becoming.

I remember talking with James, it was probably right after we shot the pilot, and we were talking about what the show would be, how it would look and feel, and who this character was. The thing that has always stuck with me is that when James read the pilot, he had said that he felt like, at the end of the episode, it’s almost like he knew less about the character than he knew when he started reading the episode. We wanted to somehow hold on to that concept, that Reddington should be somebody who, once you think you understand who he is, you realize you know nothing about him. I think tonight is an example obviously of how we have tried to stay true to that, that he’s a very enigmatic figure that is a bit of a shape-shifter.

If he’s not Red, is there anything you can say as to who he is?
Well, I do think that is primarily the reason to come back in season 6, but you can go online and find all kinds of theories, imposter theories of who he is. There are a great number of them, by the way, many of which could make sense. But one of the things I love best about the show is that I can read some of these and I’d be like, “Well, that actually tracks.” What’s going to be the most fun about next season is watching Liz peel back this onion and get to the truth of why this man entered her life five years ago…

Liz has vowed to destroy Red. She went pretty dark in this episode. How far will she go? 
Yeah, well remember that she knows this truth about Reddington, but he does not know that she knows. I think that piece of information is really compelling. Not only has she learned a great deal from this man that she believed was her father, Raymond Reddington, she’s also learned a great deal from her now-deceased husband, who was a spy. So this is not the first-day-on-the-job FBI agent in the pilot who has just had a bombshell dropped in her lap. This is somebody who is struggling with who she is at the very core, and has not only killed people, has stewed people, has lied to people she’s worked with, so the potential darkness and the way in which she may approach handling this bombshell I think has real possibilities.

Watching Megan perform this year, I think she’s been fantastic. The character has always been fundamentally changing since the day we met her, but I think specifically in season 5, we’ve seen her take some pretty big steps. It’s some of the best stuff that character has had to do this season, because of the inner strength and the anger and everything she’s gone through to really put her in the corner. When she’s in the corner, she becomes a very interesting character.

Gotham has been renewed for a fifth and final season. One scene seemed to tease the Bat-signal. The producers had previously warned that the next season would bring many changes to the show in response to the catastrophe in the fourth season finale.

Fox also reports no current plans for another season of The X-Files but they are attempting to revive 24 once again. Of course the last season left matters quite open for another season of The X-Files if they manage to correct some of the creative problems in a way which entices Gillian Anderson to return. I am glad they have stayed away from trying to continue it with other stars.

The Last Ship will also receive a fifth and final season.

Netflix has renewed Lost in Space for a second season. Some  hints as to what will occur in the second season are in an interview posted here.

Amazon has renewed The Marvelous Mrs. Maisel for a third season even prior to the release of the second season later this year.

I previously posted news on renewals and cancellations here.

While we already knew it was renewed, Fox has announced the return date for The Orville. It will return on Sunday, December 30th following football and return to Thursday evenings following the conclusion of the football season. Jonathan Frakes will continue to do work for the show, and another Star Trek writer, Joe Menosky, has been made a co-executive producer.

Last week we also found about another show which was planned but has been indefinitely delayed. Nicholas Meyer, who directed Star Trek II: The Wrath of Khan and worked on Discovery in its early days, had previously hinted about a new Star Trek project. Trek Core now  has information regarding this:

Last night, speaking to an audience at the University of California, Irvine, at a public “Shakespeare and Star Trek” discussion, Meyer shared details about his Trek project for the first time — and thanks to exclusive coverage from this event, we can share his comments with you.

AUDIENCE QUESTION: A while back there were reports that you might be working on a ‘Star Trek’ miniseries, is there any truth to that, if you’re allowed to say anything about that?

MEYER: No, I can say something. I was hired to write a stand-alone ‘Star Trek’-related trilogy, [details of which] I can’t discuss or I’d have to kill you. [Laughs] I was writing it for CBS [All] Access… but at the moment CBS is at a war with Paramount/Viacom [about merging].

They’re in a power struggle which turned really nasty this past week when CBS decided to sue Viacom. So I don’t think my project is going anywhere in a hurry, because everything is on hold while they sort out this merger business. That’s my story and I’m stickin’ to it.

I’ve always thought that Star Trek worked better as a television series than a movie, but I do find this project interesting. First, Meyer had directed one of the best Star Trek movies. Secondly, a streaming trilogy could be like a short Star Trek season, allowing for more time for ideas and characters, as opposed to blockbuster films which concentrate on action.

The Nebula Award winners have been announced, with a listing here.

SciFi Weekend: The Magicians and Counterpart Season Finales; Star Trek Movie Scripts; CW Arrowverse Renewals

Last week featured the season finales of two excellent shows, The Magicians and Counterpart. While I rarely watch fantasy as opposed to science fiction, I found The Magicians to be an excellent show from the start, and the past third season was the strongest yet. The third season does depend upon knowledge of earlier events, and I would recommend that those who have not watched start at the beginning. The sections on both of these shows will have major spoilers beyond the introductory paragraphs recommending both shows.

The second season of The Magicians (finale reviewed here) ended with magic being turned off, leading into a season-long quest to find the keys which would allow magic to be turned on again. My (minor) disappointment in the finale comes from seeing that they technically succeed, but there is no time to enjoy the success. Instead the finale leads into what is presumably the plan for next season. Magic is back, but under the control of the Library. Brakebills is again teaching magic, but is being severely rationed. The memories of  Quentin, Julia, Eliot, Margo, Kady, Josh, and Penny 23 were wiped as part of a deal which left them alive. Julia temporarily had goddess powers, but had to give them up. Alice is a prisoner of the Library as punishment for breaking their deal.  Eliot is under the control of the Monster, has found Quentin, and wants to play.

Entertainment Weekly discussed the finale, and what comes next, with showrunners Sera Gamble and John McNamara:

ENTERTAINMENT WEEKLY: The theme of sacrifice was really big in the finale. Why did you decide to focus on that in the finale?
JOHN MCNAMARA: I think that theme is very much in all three of Lev Grossman’s books. It felt like we had reached a point in season 3 where sacrifice is, in a way, unavoidable because the situation is so dire and so enormous and involved a lot of well-meaning but flawed people, as happens in life, and that sacrifice really is one of the key ways in which you make changes to the world in the real world. We always start with, “What would happen in the real world without magic? What if this show was just a drama about college kids? What if these college kids were in an extremely high-stakes situation? Now let’s layer in fantasy as a kind of metaphor for depression, or conflict, or fascism, and then tell the story through that lens.” As Rod Sterling discovered with The Twilight Zone, you can say a lot of serious things about the world but keep it really entertaining if it’s through the lens of fantasy.

With this finale, what did you want to say about the world? 
JOHN MCNAMARA: It’s weird. [Laughs]
SERA GAMBLE: Well, we always had in mind that they would heroically succeed in their epic quest this season, but that they would also lose. Part of the point of telling the story about these particular young magicians is that they have just a little bit of power at their fingertips as they try to move through a world that is so much bigger and more powerful than they are. That’s how it feels to be stepping out in the real and adult world. Sometimes it feels like you have just enough strength to make a little bit of change or to do a little something for yourself and the people around you, and sometimes it feels completely f—ing futile. The tension between those two, I think, is actually part of what defines feeling like an adult. That’s something that tends to organically enter into their stories. When they have a victory, especially when that opens up a door into more life, there’s usually a sh—y part to it, and this was finale was no exception.

At what point did you guys come up with the idea that the season would end with their minds/personalities being wiped?
MCNAMARA: Pretty early on we had this idea of magical witness protection. Although I don’t think we were totally sure of where and when and how we’d use it, but I just know it was an idea we all liked. Once we sort of figured out it would be the coda for the season finale, it felt like it was the right plan. Structurally, you get a satisfying, successful ending to the quest, which I, as an audience, would really want, and then you just get all these ripples, tsunamis of complications that result from that. “Be careful what you wish for” is one of the most common themes of fairy tales, and here we are: Be careful what you wish for, magic is back, and you have no idea who you are.

The biggest twist of the finale was that this monster has taken over Eliot’s body. How did you land on Eliot being the one it takes over?
GAMBLE: We know that the actor who plays Eliot is amazing. When you’re fortunate enough to produce a TV show for a few seasons, hopefully you’re learning lessons along the way about things that work. One lesson we learned in season 1 is that if you have a great actor, really think about that. We learned that when we cast Mackenzie Astin to play Richard. We had it in mind that we would kill Richard when Reynard entered the story and we would have to cast Reynard, but very quickly when we started seeing the dailies of Mackenzie, we realized we were never going to be able to top him. It was hard to imagine someone doing more with the role. At the risk of patting ourselves on our backs, we were right. That was really the inspiration. We talked about that in the room, about how it just meant so much more to us when we were watching Reynard on the screen. There was just this little extra wistful feeling of unfairness that came from the fact that he was inside of the body of this character who was so good and was really being violated.

The stakes are so much higher with this monster being inside of Eliot, someone they care so much about. It really changes their whole approach. It’s not as simple of a question as, “How do we kill this f—er if this f—er is in fact killable?” There’s also the equally important question: “How do we save Eliot, if he can still be saved?”

One of the late-season twists was the Penny from our timeline being replaced by a Penny from another timeline. What went into deciding to introduce this new Penny instead of coming up with a way for our Penny to be resurrected?
GAMBLE: We didn’t want to do the same thing we always did. We assumed that the audience would expect us to save Penny. Of all the characters, I have to double-check the statistics here, but I’m pretty sure we’ve had him near death as much or more than anybody else. We’ve saved him from certain doom several times over the last few years. To be completed honest, when we entered the season we were like, “He’s got the super cancer and we’re gonna have to find a way to fix that [in a way] that feels fresh and feels different.” Because we ask these questions in the writers’ room, one of the questions we asked was, “What if we just don’t save him this time?” Of course, first there’s silence and fear and your stomach drops because you can’t kill Penny; Arjun Gupta is a series regular and we like Penny!
MCNAMRA: And Arjun!
GAMBLE: And both are important to the story. But the beautiful thing about working on a show like Magicians is that you can ask that question and very weird answers will start to present themselves, and very soon we started to realize that the best thing we could do for the character of Penny would be to kill him, and that was a way that we could end the season with something that, we like to think, nobody would ever see coming, which is that a completely different Penny is now walking around with our crew. Someone from a different timeline who has, for the past couple of years, been living an utterly different life than the Penny that we knew…

Looking ahead, what can you tease about what you have planned for season 4? 
MCNAMARA: Most of the cases of the new identities of our characters, their professions, are not what you think they are or what they look like. It looked like one thing, but in about half of the cases, it’s something completely different. We’ve only shown you a sliver of who or what they are, and that sliver is misleading.

Counterpart is part Fringe and part John le Carré  as there is now a new Cold War between two versions of the earth which split apart. There are differences in each. In one there are no iPhones and in the other Prince is still alive, with an attempt to smuggle over his most recent album to our earth. The more significant differences are between different versions of characters from each earth, with some having taken paths which are quite different from their counterpart. The series was picked up for two season, and the season finale leaves mid-story off after key events to be continued in the second season as opposed to being a finale of an arc as on The Magicians. Major spoilers to follow.

For most of the season the show was primarily about the the two Howard Silks (J.K. Simmons), with Simmons doing an excellent job of playing two different characters. The series showed added depth when it devoted an episode to secondary characters. Rather than feeling cheated that the main character wasn’t present, as often occurs when series give the main character a break in this way, the conflict between the two earths was better defined by giving Clare’s backstory and more fully developing other characters.

Over the course of the season each Howard, while having some degree of contempt for the other, wound up becoming more like their counterpart in some ways–which is hardly surprising considering that they are versions of the same person. The season became more compelling when each was in the other’s earth, and the season ended with each trapped, and having to make new alliances. The diplomatic crisis after the attack leads to a look at the control of each side, raising the question of whether the same Management is in control of both sides, or whether both evolved in a similar manner.

The Hollywood Reporter interviewed showrunner Justin Marks:

Howard Alpha kills Pope. How does that change him?

It’s a very big moment for Howard. In a lot of ways, the whole season has been about the areas of overlap between Howard Alpha and Howard Prime. Pope taught Howard Prime everything he knows about the spy trade. And he was blind to the truth about Pope early on in the season. There’s something fitting to the fact that Howard Alpha, in killing Pope — albeit in self-defense — was able to do what Howard Prime couldn’t ever bring himself to do, which is acknowledge that Pope has been manipulating him and that he’s the enemy.

Emily Prime warned Howard Prime about Pope — even giving him the news about his rendition order coming from Pope, and it still didn’t sway Howard Prime.

Yes. And you have to consider the source when it comes to Emily Prime because Howard Prime seems to have such a difficulty forgiving her for past transgressions. When it comes to the relationship between Emily Prime and Pope, there’s no love lost there. So, for her to be the siren warning him, it’s hard for Howard to believe someone like that.

The two Howards are slowly moving closer to the core characteristics of the other. Howard Alpha is becoming more hard-boiled and Howard Prime is showing more vulnerability than he ever has. Is that the whole character arc for them at this point?

Yes. It’s the question that we have always wanted to do: explore this question of which Howard is the true Howard. The answer is it’s a combination of the two and where the center is, is a question that the series wants to figure out by the end of its run. We don’t ever want to place a pin on that map firmly as we go through. At the beginning of the series, the two Howards are very different. One has more empathy, while the other has a little more of a brutal honesty with himself and with the world around him. As the season goes on and they begin to inhabit each other’s lives, they begin to cave in the direction of their other, whether it’s conscious or unconscious. And as they do that, the question is, where do they meet? Do they meet closer to Howard? Or do they meet closer to Howard Prime? So far, it’s unknown. We always saw this show as this Darwinian battle, and Pope even calls it that; it’s between two versions of the same self when it comes to the survival of the fittest. In some ways it’s two sides of the same soul that are fighting to occupy the same real estate and where they land is an anyone’s guests at the end of the first season, except to say that they’re closer together…

Would the old Howard Prime have made the deal with the assassin Baldwin (Sara Serraiocco) when he first crossed over?

No, not at all. And would Baldwin have made the deal with him?

Being in our world has profoundly changed her as well, especially since she witnessed her doppelganger being killed. She now wants this storybook life. But can she truly find that? Just who is the real Baldwin?

When it comes to Baldwin and her counterpart Nadia, she saw in Nadia someone who clearly at the beginning of that second episode, had a somewhat of a contempt for her other and we play with it a lot in these characters. There’s an extent to which they covet what the other has, or what the other has done or has endured or not endured. The reveal is that both of them suffered that same trauma and Baldwin questions why her other was able to overcome that trauma of watching their father die and essentially being complicit in the act by not trying to save him. How is it that Nadia was able to do what she did and then the reveal that Baldwin had turned her pain outward to the world as a killer. She wears her scar on the outside of her clothes, so to speak. Nadia had turned her pain inward toward herself and Baldwin realizes at that moment that you are born back against your own trauma; that there is no escape from it. And if there is no escape from it, then isn’t it likely that she can possibly fight against that and erase it and create a new identity for herself. That’s what she’s doing: She’s going to try to build a new identity and that’s what she tries to do, to mixed success, in the first season.

When Clare meets Peter in the hospital after the intentional car accident, she realizes he has cast his lot with her, that the accident was his way of setting up an alibi for them, so in a way she owns him now. As a result, putting Peter in charge of the Indigo investigation is like the fox guarding the hen house.

Yes. Clare becomes what she needs to be in order to survive. If she needs to be Baldwin’s lover. she’ll be Baldwin’s lover; if she needs to be Quayle’s wife, then that’s what she’ll be. She is at a bit of a crossroads when it comes to the birth of this child. A child born of two worlds is a very complicated thing that she probably did not see coming when it came to stretching her loyalties. Quayle is the father of her child and he is the reason she is still alive because it’s her mission to handle him, to run him, to siphon intelligence from him. So she is just as much a victim in this marriage as he is. They’re both victims of this pretentious idea of a marriage where they were both using each other for their own separate needs. For Quayle it was ambition, and for Clare, it was this man who is well connected, who she was going to steal intelligence from. Moving forward, both of them have a lot to learn when it comes to finding a truth. But they are moving toward each other in a strange way. And the power dynamic continually shifts as it does in every marriage.

Let’s talk about what is probably the most unusual conference call in the history of TV between the two worlds.The very unusual tech involved is virtually identical. Are the members of management on both worlds the same people?

That is something that is potentially being suggested. The answer is a lot more complex and it’s an answer that our second season really wraps its arms around: Who is management? What is their history? What is the history of the crossing and the history of the Office of Interchange? How did it really form in the first place and why? And how it developed over the decades. We understand why Indigo is driven toward some sense of revenge against our world. What we haven’t yet seen a lot of is how Indigo also came about and what its connection with management is. At the end of the first season, we wanted to introduce the idea of management in a way that wasn’t what we would otherwise expect because in the second season management is a kind of character of their own.

The show is a metaphor for the Cold War, and the crossing is very similar to Checkpoint Charlie in Berlin in the early 1960s, especially when the infiltrator dies in the no man’s land in between. Is the crossing your modern version of the Checkpoint Charlie scenario?

Yes. The whole season, allegorically speaking, I would call Berlin 1961, right as the wall was about to go up. That’s the story of the first season, where there’s clearly a Cold War brewing in every respect, but the wall hasn’t quite officially been drawn. The second season is the Cold War after the Berlin Wall has been formed and how people start to draw battle lines and how they escalate the spy game in light of the fact that diplomatically we are more hostile toward each other.

More in an interview with The New York Times:

This is a show which would benefit from freeze-framing, especially when it comes to the Crossing. Or even with the zany Management set-up in the finale.

I really hope people do freeze-frame. I want to invite people to watch it on that level of detail. I wanted the show to feel like a Robert Altman version of science fiction more than Fritz Lang. Altman left all these windows open where you could see Lyle Lovett wandering around in the bushes back there, and you’re like, “What is he doing and why is he doing that?” It feels like the frame is alive more than just its four borders. One of my favorite things to look at in freeze-frame are all the Interface documents, all that code. That’s the kind of stuff we really live for, because the weirder, the more out there, the more zany the concept is, the more rigid the execution has to be.

For the Crossing, everyone wanted to turn the lights up and let it be seen. I said, “No, let’s pull out all of these lights, and make it really dark, and leave people craving more detail.” If you freeze-frame it, look at the dead center of the Crossing the details on the walls speak to the origins of the Crossing. Management, we had so much fun with that. We found the two strangest, most brilliant actors to play the respective Operators on either side in the finale. What kind of governing body protects the Crossing between two parallel worlds? The second season focuses in large part on the history and origins of Management…

The reveal that Claire Prime had taken this deep cover assignment to impersonate Claire Alpha was a major shock, not least of which to her husband, Peter Quayle, which continues that theme of men underestimating women.

I don’t think there’s anyone less qualified to have the job that he has than Peter Quayle. The person whose job it is to look for people who’ve infiltrated the organization doesn’t realize the woman he’s been sleeping with [is a mole]. There is a black comedy here, in Peter Quayle’s character, because Quayle — this philandering, underqualified, good-looking young guy — is a manifestation of privilege. We get to turn that inside out. And in the satirical manner of the last episode, Peter Quayle gets everything he ever wanted at the worst possible time.

I want to fill in Mira, the woman who trained Claire at the Indigo school for sleeper agents, because their ideology is a very important story for us in Season 2.

What about Emily Alpha? She figured out all the intrigue before anyone else did, and then spent the season in a coma. But now she’s starting to wake up.

There is always a temptation when you have that wife in a coma to idealize her, which is a little misogynistic, too. The only way we could convince Olivia Williams to do this show was to pitch her the two-season plan of who both Emilys are, and that the woman in the coma is in fact much more complex than any other character. Both Emilys, those are job descriptions that are typically reserved for the George Smileys of the world, the James Bonds of the world. [During filming] Olivia was walking through one scene with another male character, whose position is actually underneath her in the hierarchy of the show, but even then, the background actors look at the male she’s walking with and sort of nod, “Yes, sir” to him, not realizing that she’s the one who’s actually in charge in that scene. The clichés that abound, they speak to a certain gender norm that we didn’t want the show to reflect.

There are also interviews with J.K. Simmons here and with Harry Lloyd (Peter Quayle) here.

It is not certain if there will be (or even should be) further movies in the current Star Trek series. There has been talk recently about a script from Quentin Tarantino, which might provide a change. Zachary Quinto revealed on Entertainment Tonight Canada that there are actually a few scripts under consideration. From Dark Horizons:

Right now the future of the films are uncertain. The current cast contracts reportedly ended with the underperforming “Star Trek Beyond” in 2016, though several have expressed a desire to return including Karl Urban and Zachary Quinto.

Speaking with Entertainment Tonight Canada this week, Quinto offered an update on what’s going on with the films at the moment and revealed there’s up to three scripts in the works for the film:

“First of all, I think there’s a couple of scripts. Because there was a script being written before Quentin Tarantino came up with his idea for a potential film. And so I think they are kind of developing more than one. So I don’t know what is going to happen. Quentin is off doing another movie.

So, I feel like we are in a state of anticipation. All of us are really excited about the idea of working with Quentin on a Trek film, but I know Simon Pegg and Doug Jung, who wrote the last film, are writing a script and there are another set of writers writing a script. So I don’t know. I don’t know what’s going to happen.”

Before the Tarantino reports, there was talk for a fourth film effectively closing out this alternate timeline “Star Trek” and would do so by bringing back Chris Hemsworth’s dead George Kirk from the 2009 film – the destruction of his ship the U.S.S. Kelvin being the incident that caused the alternate timeline.

I wouldn’t mind if the alternate timeline was dropped for future movies.

The CW Network has announced the renewal of most of their shows, including the entire Arrowverse:

ArrowThe FlashSupergirlDC’s Legends Of Tomorrow and Black Lightning have all be renewed, as well as Supernatural, which is currently the network’s longest running series with Season 14 on the horizon.

Non-genre shows that have also been given another season include Jane The VirginCrazy Ex-GirlfriendRiverdale and Dynasty.

In a statement, CW president Mark Pedowitz said: “As The CW expands to a six-night, Sunday through Friday schedule next season, we are proud to have such a deep bench of great returning series for 2018-19.

It is noted that iZombie and The 100 are missing from the list. They might be waiting until iZombie completes its current season which is now airing. The 100 has not started its season yet so the lack of an announced renewal is not surprising.

Hopefully it is not a sign that Amazon is moving away from quality shows. They have announced the cancellation of Mozart In The Jungle after four season.

Killing Eve begins tonight on BBC America. It sounds like it might fill in the gap on the television schedule for spy shows with The Americans soon coming to an end and Counterpart being done for the season.

SciFi Weekend: Star Trek Discovery; Interviews With Jason Isaacs; The Good Place Second Season Finale; American Gods Gets New Showrunner

What’s Past Is Prologue was an exciting episode of Star Trek: Discovery in which a lot happened (with major spoilers ahead). In a single episode, Lorca went from a prisoner to taking control of Georgiou’s ship. Georgiou agreed to team up with Burhnam and they not only retook control of the ship, but Georgiou went along with Burnham and her plan to destroy it. The threat to the entire multiverse from the corruption of the mycelial network was resolved, and the Discovery made it home to the prime universe. The title, like so many this season, was quite appropriate considering how the events of the start of the season were mirrored in these events.

That certainly made for an exciting episode, but considering how they had the luxury of telling the story over multiple episodes, I wish that they had given more time to these events to make them more plausible. I’ve seen quicker, less plausible, resolutions in single episode stories, but there was no need to resolve everything so quickly in a serialized format. It seemed way too easy for Lorca to take control. Why were his allies even kept alive after all this time and not beamed into space as we have seen done with other traitors? It was also too easy for Burnham to move around the ship and for her to get Georgiou’s help. Why did Georgiou so quickly give up on her own future after putting down the rebellion?

Putting aside these questions, this has us back to the prime universe with a nine month jump in which the Federation went from appearing to be winning the war with the Klingons to now appearing to have lost the war. If the Federation bases nearby were all destroyed, I do wonder where the Discovery pulled up that map from. Were the conquering Klingons now putting out the information on some sort of public channel to brag about their victory? Of course I’ll let this nitpick go as it allowed the story to progress without a diversion to figure things out--analogous to how they picked up information when first appearing in the Mirror Universe.

Seeing the Federation being defeated when we obviously know they survived the Klingon war raises questions which presumably will be answered in the final two episodes of the season. Is this a case of a war in which each side dominated at various times, leading to the outcome we know of? Or is this a different timeline, and will time travel be used to change events of the preceding nine months? I hope that this is not the case and we don’t wind up with problems of fixing problems with time travel as we have seen on The Flash. I also wonder if the tide changes in the war due to help from Mirror Georgiou.

Regardless of whether Georgiou helps them, it is a big question as to what they do with her. Star Fleet security often seems very limited, but would they allow her to roam freely on the Discovery? On the other hand, it would he difficult to confine her as a prisoner as she has committed no crimes in our universe (and any terrible acts she might have committed in the Mirror Universe were presumably legal over there). Perhaps Discovery might be more realistic than past Star Trek series in having a situation in which someone is not a prisoner, but can be restricted from any sensitive areas and have use of the computer either prohibited or restricted.

Besides having a former Mirror Universe Emperor on board, there are also one and one-half Klingons, and they are also likely to play a role in what is to come this season.

Saru is Captain for now, giving us the first example of an alien being the Captain on a Star Trek series. Previously I had difficulty taking Saru seriously as a Captain, thinking he would not be bold enough for the role. However he did give a great speech to the crew, reminiscent of both Kirk and Picard. Still I bet that next season we will again have a ship with a human captain.

Lorca appears to be dead, but perhaps being absorbed by the mycelial  network gives him a way to return. That speck of the mycelial network falling on Tilly may or may not be significant. I sure hope that it is not foreshadowing Lorca taking over her body. Besides the question of whether the Lorca we know can return, they left matters open so that the original prime Lorca could still be around. Same is true of the original Mirror Burhnam. My suspicion is that neither might be seen this season, but the writers were leaving their options open for future seasons.

Jason Isaacs will be a big loss to Discovery if he is really gone. Entertainment Weekly recently interviewed him:

ENTERTAINMENT WEEKLY: Okay, so in terms of Mirror universe Lorca — who as it turned out was the Lorca we knew all along — he’s really, truly dead, right?
JASON ISAACS: Here’s the context: I’ve lied to all of the press constantly since the very first day I got this job. So why would you believe anything I say now?

Well, because there is some seeming finality to his story, at least to this version of the character?
I would say, yeah, the prognosis is not good for him given he was dissolved into a million pieces on camera. There are not many homeopathic cures that can help that.

When did you know Lorca’s secret backstory?
I knew before I took the job. It was pitched to me that he was from the Mirror world. I said, “What’s he doing here? How did he get here? What does he want? And how’s he going to go about achieving those things?” And at first they went, “We’re not really sure, it could be one of 20 different things.” And I blinked slightly and I said, “I’m not sure I want to do the job if I don’t know exactly what he’s after, because then I won’t be able to act!” Then we had a bunch of discussions and came up with a plan which we pretty much stuck to all the way through. Then it was not just easy, but a joy, because I had that lovely thing that actors always love, and the camera likes, and that’s that I had secrets. I knew what I was after, why I was doing stuff, and I knew when I would reel Michael Burnham [Sonequa Martin-Green] in, what I wanted her for. It was deliciously ambiguous for viewers but if you watch it a second time you’ll see it was always crystal clear.

Is there anything in particular we should go back and look for in your performance?
Well, there’s the giant bold story points: Why the hell would I get some prisoner, some mutineer, re-route her ship, and promote her way beyond her capacity, in defiance of everybody else in Starfleet? If not to engender loyalty because I had a long-term plan for her. She’s great, but nobody is that great. There’s a number of little things. The fact that [Admiral Katrina Cornwell] and I, that I can’t remember instances that she’s referring to. And I sleep with a phaser in a paranoid way. And when it looks like she might take the ship from me, I consign her to a trap that I must have seen coming or set up. And then there’s forcing Stamets to do a bunch of jumps that were unnecessary, and the mapping I was doing privately. I was prepared to break Starfleet rules and directives. And even when I’m back in the Mirror world pretending to be Prime Lorca who’s pretending to be Mirror Lorca — if you can follow that twisted logic — and when Burnham comes to be and says they’re asking me to kill the people down on the planet and I say, “Just do it.” I’m not sure Kirk or Picard would have done that. This is a guy who’s had his eye on the prize for a very long time, and he gets very close.

What was his biggest mistake? 
In the end, he hadn’t read Burnham correctly. He thought of her as practical, pragmatic, having made out-of-the-box decisions earlier on, that she’d see the best option for her is to stay and help him rule this empire and maybe she might buy into the racist philosophy he adheres to — the lack of assimilation and that the world is healthier and better when those who are powerful and strong rule it and the weak are kept down. He’s blinded by that kind of bigotry, and it’s never going to fly for her.

It’s never quite made clear, I don’t think, exactly what was going on with Prime Lorca, who we assume he switched places with …
There was a Prime Locra, he was captain of the Buran in the Prime world. He swapped with him and found himself captain of the Buran. This never came out, this backstory detail we never put in the dialogue: Lorca spins this story having had to sacrifice the men on Buran and had to blow them up to save them from Klingon torture. Actually, if I remember correctly, there was some kind of DNA identification that would have exposed Lorca as not being Prime Lorca, and so he blew up the ship and killed everyone on it.

But what happened to Prime Lorca is now an open question …
It is.

Do you know the answer to that? 
If I did, you’d have to stand behind my wife, friends, and professional collaborators to find out the answer. I’ve kept this one big secret for six months — I am certainly going to keep any others.

Well, are you signed on for season 2?
I’m sorry, is that not a related question?

It’s my tricky way of asking if we’re going to meet Prime universe Lorca. 
Oh God, that totally would have worked on me if I had the IQ of a sock. If I do do another season, I know I won’t have to wear that leather coat anymore. It turns out I had to revoice every voice I made during those scenes because [the jacket] squeaked like a rusty bedpost in a brothel.

Jason Isaacs was also interviewed by Variety:

Was his interest in Burnham just to use her as a tool to get to Georgiou or was it that he was attracted to her?
It’s twofold. It was 99% “She is the tool by which I will pry open the locked doors and gain access to the Emperor.” Without Burnham, he would just be killed if he reappeared. So he needed Burnham. And not only did he need her, he needed to win her over and make her feel like he was her best friend in the world and her confessor and she could trust him and possibly have faith in him beyond any of her training. And at the same time, in the back of his head, less important, was the idea that if he could gain the throne, she might rule alongside him.

Lorca is revealed to be someone who is pretty racist …
That’s absolutely right. The Terran world, unlike the original incarnations of the Mirror Universe where they were just a kind of one-dimensional evil, this is a world that is not very far from our very own. We could all wake up and be mirror versions of ourselves any day. It’s a very Darwinian world, and a world that from Lorca’s point of view and for millions of people with his point of view, where assimilation is a bad thing and there’s a natural hierarchy of racists. To disrespect that is to sow chaos and anarchy, and lying is a perfectly reasonable technique to get what you want. Sadly, I don’t think we need to look very far to find those these reflected in our headlines every day.

Was it important to you that his thinking be rooted in something and that he not just be a mustache-twirling villain?
Yeah, I wouldn’t have taken the job. But luckily it was important to everyone. I had no interest in playing a mustache-twirling villain and they had no interest in creating one. When we got to the mirror world, it was very important to me that the dialogue feel like it was in many ways ripped from the headlines. It’s no coincidence that I’m exhorting my followers to make the Empire great again.

‘Star Trek’ has always had a socially progressive element to it. Were you surprised or pleased as the season played out to see just how much the the writers dug in on fairly complicated ideas about racism?
One of the great skills of the writers is that it’s never about those things. It’s about the plot. Incidentally you’re looking at a fully ethnically inclusive crew and gay couples and straight couples. It’s a future which is inclusive. But that’s never front and center in the story. What surprised me, given that I know the huge, incredibly welcoming reception that the show’s had from “Star Trek” fans, is the people who, online at least, pretended to be “Star Trek” fans to attack it on racist lines. People would be coming out from where they should be hiding in the shadows to say the most racist things, all sorts of white supremacists and haters, feigning the mask of “Star Trek” supporters, attacking it for the very things that “Star Trek” has always stood for — which makes them look, frankly, ridiculous.

Last week also featured the season finale of The Good Place. For the benefit of those not watching, despite being a comedy, The Good Place has had an ongoing fantasy story line, and has often dealt with philosophical issues. The first season finale totally shook up everything we thought about the show during the season. The second season finale was also a huge change, but not as big as after the first season. Instead it continues from where the season was heading, which is a good thing. The show might have lost credibility if it once again said they were deceiving us and something else was going on.

Among the highlights, there was the opportunity to have Ted Danson back behind the bar like on Cheers. It is not clear whether Eleanor and the others were really returned to Earth and their death was undone, whether this is some sort of simulation created to test them, or whether the distinction even matters. It is somewhat reminiscent of the final season of Lost, with the connection to the afterlife not being clear until the finale. Presumably all four will ultimately wind up back together, perhaps even figuring out once again what is going on. Wherever they are going with this, the twist opens a lot of possibilities for the third season.

American Gods just might have a showrunner who can keep the show going after the loss of Bryan Fuller. The Hollywood Reporter has a story on the newly hired showrunner:

After an extensive search, American Gods has enlisted a new showrunner for season two.

Jesse Alexander, who worked with Bryan Fuller on shows including Hannibal and Star Trek: Discovery, will take over showrunning duties alongside novel scribe Neil Gaiman…

“I’m thrilled that Jesse is [the] showrunner. He loves and understands the book, he loves and understands the TV series and he’s dedicated to making future seasons of American Gods as good and as beautiful and as unique as they can be,” Gaiman tells THR. “Shadow’s journey is going to take him, and Mr. Wednesday, and the New Gods and the Old, to some very strange places. I’m glad that we, and the cast and crew, will have Jesse shepherding us on the way.”

SciFi Weekend: CW’s Crisis On Earth-X; Agents of SHIELD; Doctor Who; The Orville; The Avengers Infinity War; American Gods; Stranger Things

Crisis on Earth-X was both the best of the CW cross-overs and was a lot more fun than the DC movie team-ups. They did an excellent job of using most of the characters over the entire four hours, and making a true four hour story as opposed to four related episodes of each CW series. The event ended with Legends of Tomorrow and did include more members of the team as only some had good reason to spend the entire time at the wedding of Barry Allen and Iris West, which started the story. Despite having good reason for the rest of the Legends to only appear in the fourth episode, some of the Legends were important throughout the four hours, especially with many scenes involving Stein and continuing the story line involving his separation from Firestorm.

While the crossover did continue plot lines from the individual shows, it was more notable for the combinations who do are not normally together. This included the hook up between Alex and Sara prior to the wedding, and later having Felicity and Iris team up. There were also plenty of pop culture and genre references, especially with The Man In The High Castle plot line. Comicbook.com has a list of Easter Eggs.

I was surprised that Crisis on Earth-X advanced some major plot threads in the various series, rather than leaving them for the individual shows. (Major spoilers ahead.) While we knew that the marriage of Iris an Barry would eventually occur, Felicity and Oliver turned it into a double wedding. The Stein’s story line not only progressed, but his previously-announced departure from the show (baring further appearances thanks to time travel) also occurred. Bleeding Cool has Victor Garber talking about his time on Legends of Tomorrow.

The event also may have started new story lines. There was the introduction of one new character,  The Ray, and the return of Leonard Snart , except as his good doppelganger, Citizen Cold. Presumably the mystery girl at the wedding was there for a reason–with some speculation as to her identity here.

Of course there were many plot holes and questionable elements. Rather than an infinite number of parallel earths, there are exactly fifty-three, which all have agreed-upon numbers. While people from other earths seem to have far more contact with each other than people from our earth, we are still designated Earth One. A major plot device involved preventing the destruction of the installation used to transport the heroes to Earth-X, but at other times it seems relatively easy to go from one earth to another (or send wedding invitations).

The major villains included doppelgangers of Oliver and Kara, but instead of a Barry’s doppelganger there was a version of Eobard Thawne. It is already quite convoluted to explain how he is around, thanks to time remnants, despite having been removed from existence at the end of season one when his ancestor killed himself. It is even harder to explain why the version seen was from when he appeared like Harrison Wells, other than to give more air time to Tom Cavanagh. Plus when did he learn how to do heart transplants?

Overall it was an enjoyable four hours which was never intended to be thought about very deeply, with the time passing much more quickly than most of the DC movies, which often feel like they are far more than four hours long. Plus, with my daughter’s wedding now less than six months away, it provided me with important warnings of things to be careful about–guests who fail to RSVP and, of course, the danger of a wedding being interrupted by Nazis from a parallel earth. I will be certain to take the proper precautions.

There is behind the scenes information available here.

Jed Whedon’s goal for Agents of SHIELD this year was to “throw them on the craziest roller coaster adventure we could think of.” While we knew since the last season that the season would take place in space, we did not learn the real twist until the season premiere on Friday (spoiler’s head). Not only are they in space, but they have been pulled into the future, and are on a space station with the last remnants of humanity, under Kree rule. Most of human history has been wiped out to help keep humans subservient, except a version of the Framework is still around.

The specifics are vague but the earth has been destroyed, supposedly by Daisy (who does not fall for future pick-up lines). The members of SHIELD were brought due to a legend that they will help save the remaining humans. As we don’t really know the rules of time travel in effect here, I wonder if the ultimate victory will be helping them get out from under Kree rule, or if the end-game will be to prevent this future from happening.

The cast discussed being in space here. Elizabeth Henstridgeand Iain De Caestecke discussed having Simmons and Fitz being separated yet once again here. Screen Rant has a list of Easter eggs.

The BBC has released a teaser poster for Twice Upon A Time, this year’s Christmas episode of Doctor Who, with a motion version here. The official synopsis:

The magical final chapter of the Twelfth Doctor’s (Peter Capaldi) journey sees the Time Lord team up with his former self, the first ever Doctor (David Bradley – Harry Potter, Game of Thrones) and a returning Bill Potts (Pearl Mackie), for one last adventure. Two Doctors stranded in an Arctic snowscape, refusing to face regeneration. Enchanted glass people, stealing their victims from frozen time. And a World War One captain destined to die on the battlefield, but taken from the trenches to play his part in the Doctor’s story. An uplifting new tale about the power of hope in humanity’s darkest hours, Twice Upon A Time marks the end of an era. But as the Doctor must face his past to decide his future, his journey is only just beginning…

Doctor Who will have both new cast and crew next season. The show will also have a different look. Radio Times reports:

If it’s not exciting enough to get the first female Time Lord on screen, then Doctor Who bosses have further surprises in store: a brand new cinematic look for Jodie Whittaker’s adventures.

The production is being supplied with brand new cameras and lenses which will add a touch of big screen dazzle to the look of the new series according to trade magazine Broadcast

Production house Films at 59, which supplies the BBC’s Doctor Who studios in Roath Lock in Cardiff, is using Cooke anamorphic Prime lenses and Angenieux Optimo anamorphic zooms that will be used with Arri Alexa XT and Alex Mini cameras for series 11.

The intention is to bring an increased cinematic look to the show which started production at the end of October.

According to Bristol-based Films at 59’s Dave Wride this means a whole new visual feel to the show.

“The BBC have made a monumental leap here to enhance the look of Doctor Who and I’m sure the fans will not be disappointed with the distinctly cinematic results that this lens and camera combo will afford them,” he said.

New Dimensions was another solid episode of The Orville. It also helped remedy one of the problems which was seen in a previous episode, Majority Rule. John LeMarr played a key role in that episode, which also served to make it apparent that we really did not know very much about him. We learned that there is much more to him in this episode.

There were the usual references to current and recent literature and pop culture, including Flatland, Doctor Who, Oscar the Grouch’s can, Snoopy’s doghouse, and Dumbo.

The episode also did a good job of mixing humor in the episode. This included yet more practical jokes, leading to Yaphit having to explore Bortus’ GI tract for a portion of himself: “Ah, dude, it stinks down here, what the hell have you been eating?  Is that a boot?”

While we have one more episode to go, I09 has already accumulated a list of the funniest and most surprising moments from The Orville so far. TV Guide has information on this Thursday’s season finale.

The official trailer for Avengers: Infinity Wars is now available, with the movie to be released May 4. Discussion here, here, and here.

The talks between Disney and Fox are back on. While I am concerned about yet further media consolidation, this does have interesting ramifications for the Marvel Cinematic Universe.

Bad news for American Gods with show runners Bryan Fuller and Michael Green leaving. While there have been no specifics, most of the reports center around disputes with Starz regarding the budget for the show.

Surprising nobody, Netflix has officially renewed Stranger Things. (Last night I was out for a walk and saw holiday light effects outside of a neighbor’s house which made it look like it was in the Upside Down. Just to be safe, I didn’t get too close.)

SciFi Weekend: Doctor Who (Twice Upon A Time, Jodie Whittaker, Matt Smith, and Shada); Star Trek Discovery (Captain Lorca, Ash Tyler, and Continuity); The Orville; The Arrowverse Crossover; Agents of SHIELD; The Magicians

The upcoming regeneration in the Christmas Episode of Doctor Who, Twice Upon A Time,  might be the most anticipated episode ever due to Jodie Whittaker becoming the first female lead. Typically regeneration scenes only involve the outgoing Doctor with little, if any, of the new Doctor seen until the subsequent episodes are aired. With the degree of interest in this regeneration it would be a mistake to not show at least a little of Jodie Whittaker in the Christmas episode. It does appear that she probably does have at least one significant scene as Radio Times reports that Chris Chibnall will be present for her appearance in the episode. From Radio Times:

“There is a little bit of like ‘I want to see Jodie now!’” episode director Rachel Talalay admitted on the Radio Free Skaro podcast.

“What I do hope is, for Christmas you don’t have your Christmas pudding and your brandy, and say ‘OK, let’s just get to the regeneration!’ I hope you can actually enjoy the story too.”

Still, Talalay wasn’t shy about discussing some aspects of the pivotal final scene, which she shot both Capaldi and Whittaker’s parts for on different days under the direction of current showrunner Steven Moffat and new boss Chris Chibnall.

“I knew I was going to shoot both parts of the regeneration, but I did say to Chris Chibnall if you want a different director to introduce Jodie, you should have a different director,” she recalled. “Because he’s creating a whole new world.

“[But] he too was absolutely lovely and said no, we’re absolutely delighted it’s going to be you, and no-one else. And so we sat down and talked about the Jodie portion of the regeneration, and it was wonderful.

She added: “The thing I would love to talk about, and look forward to talking about in the future is how I planned Peter’s portion of the regeneration versus how I planned and shot Jodie’s.

“Because as a director, that was a really satisfying, interesting, fun challenge, and I’m really pleased with both sides of it.”

Of course, the side Talalay COULD talk about was Capaldi’s, with the director revealing that the Scottish actor had played a big part in the planning of his final scene.

“When it came to the regeneration in the Christmas episode, Peter has a big scene about it, as one would expect,” she said.

“And he and I spent some time alone on the Tardis, which is his place to sit when he wants to be quiet. We just sat there, in that space, alone, talking through that whole scene. Talking through in his happy space.

“He had a hundred notes on his script. Again, I view myself as a guide. But he was deeply into it.”

And apparently the collaboration paid off handsomely, with Talalay full of praise for the Twelfth Doctor’s last stand.

“It’s absolutely a Peter Tour-de-force as you can imagine,” she said. “I was so lucky to get to do it.”

In other words, then, it seems like we’re in for a simultaneously sad, exciting, nostalgic and forward-thinking episode of Doctor Who that contrasts with itself just as much as it does with anything else on the telly.

Radio Times has some speculation about the episode here. I posted a video from the episode last week in which the first Doctor commented on changes to the TARDIS.

The first pictures of  Jody Whittaker and Bradley Walsh filming next season have been released. More pictures are here.

Last week I mentioned rumors that Matt Smith might appear in the Christmas special (although it is also possible he just visited the set to see Doctor Who history and/or the final episode by Stephen Moffat). Smith has also discussed the possiblity of returning to Doctor Who, and has had some advice for Jodie Whittaker. From Digital Spy:

The Eleventh Doctor revealed that he wanted to come back to the franchise a few years down the line, once the new Time Lord Jodie Whittaker had settled in, that is

“Why not?” Matt told MTV. “I’d come back. Yeah, if the timing was right.

“I think we’ve gotta give a few years to Miss Whittaker to get the TARDIS under her belt, as it were, and then yeah – one day.”

However, he then dashed our hopes just a little by teasing that it probably won’t be until he’s “old and grey”, but joked that that “isn’t far off”.

When pressed on any advice he had for the Thirteenth Doctor when she heads into the TARDIS, Matt added: “Yeah, I will tell Jodie what I told Peter [Capaldi] – listen to no-one.”

The Crown star has also spoken about the next series of Doctor Who, arguing that the show should be “bold and inventive”.

“I think Doctor Who is a bit like Shakespeare,” he told press, including Digital Spy. “It needs expression and it needs courage and bold ideas – and I think Chris [Chibnall, new showrunner] and his team will bring all that to theshow, so I just sit back as a fan and watch what happens.

He added: “I absolutely don’t see why [the Doctor] can’t be a girl.”

It would make sense to have a two Doctor or multi-Doctor episode bringing him back but I wonder about this being “a few years down the line” considering that most actors playing the Doctor only stick around a few years at most. He better not wait too long.

Shada is now becoming available in various formats and a trailer (video above) has been released. Radio Times spoke with Tom Baker about returning to Doctor Who:

“I think it was, you see, that probably it never left me,” Baker said in a new interview to commemorate the BBC Worldwide release of the newly-completed Shada (which combines original footage with new animation).

“I think it was, you see, that probably it never left me,” Baker said in a new interview to commemorate the BBC Worldwide release of the newly-completed Shada (which combines original footage with new animation).

“And that’s why I can never stay away from it, you know – it was a lovely time of my life.

“I loved doing Doctor Who because it was life to me,” he went on. “It’s an amazing thing to be in something that was more important – my real life was really rather drab compared to the life of Doctor Who when we were making it.”

“Sometimes, when it would get near 5 o’ clock, I used to dread the end of rehearsal. Because then, real life would impinge on me.

“Doctor Who for me was an asylum. When I was in Doctor Who in full flight, making silly suggestions and pulling funny faces to make the other actors laugh, then I was happy.

“But then of course came five o’clock – and like everyone at five o’ clock, they’re leaving work – another reality impinges. Life – I wasn’t very good at that.”

In other words, then, Baker was more than happy to return to the world of Who – and he even has a theory as to why his particular Doctor has stood the test of time (and space) to remain popular to this day.

“Well I suppose actually because I was the silliest!” he suggested. “I was the most alien, I think.

“When I got it, I felt this benevolent alien personality, which was part of me. I embraced it and it took me over.”

Den of Geek spoke with “Star Trek‘s Ash Tyler and Captain Gabriel Lorca, aka Shazad Latif and Jason Isaacs, about their Discovery characters, shared trauma, fan theories and more.” Here are some excerpts:

There are a lot of purist fans out there, how have you reacted to some of the negative feedback?

SL: When we make it I’m enjoying what we’re doing and the rest we don’t have any power over. It’s like a painting, if people don’t like it then they don’t like it. We can’t really do much about that.

JI: I thought it was just a sign of how unbelievably passionate and protective they were of this legacy, and before we were on the air they were reacting to a trailer or something. Micro-analysing every frame of it. Now that we’re on, I’m a bit disappointed that the dissent has died down. I liked when people were outraged by things, and mostly everyone’s loving it all over the world now. I seek out those people who are upset because they’re always more passionate, first in line to watch it and first to hit the internet afterwards. They’re probably more die hard fans that anybody else.

Every new series that came along was hated instinctually by everybody and slowly they were won over. I think we’ve won them over. Quickly, which is a bit of a shame…

Shazad, you’ve probably been asked this by everyone today, but are you a Klingon?

JI: I can’t believe you’re not asking me – there’s a fan theory that I’m a Romulan!

SL: That’s not the same thing. There are crazy fan theories which is, like you were saying, the power of Star Trek fandom, they’re great detectives and some things they get right and some they get wrong.

JI: I love it. The madder they are the better – superb!

How do you feel about that way of watching TV now, where it’s kind of a detective game?

SL: I don’t know why you’d want to know so much before, I get that it’s because they love it.

JI: Well it’s a mystery that they’re trying to guess. The big thing for me, not the theories because one of the great things about this Star Trekparticularly in our dark and troubled times, our credits run and the debate starts. The worst thing you can be is something where the credits run and people say “What shall we eat?”. It actually affects people and they’re thinking about it. Although it’s on Netflix it’s not bingeable so there’s a week to talk about things like there is with Game Of Thrones. The thing that bothers me – networks have asked me to live tweet shows I’ve been in before, and I want people to watch the telly not look down at their phones or iPads. Watch it and talk about it afterwards.

Is one of the reasons you signed on because of how prevalent those issues that Star Trek has always been about are right now?

SL: It wasn’t really that I was interested, I didn’t really get to choose. I had to take the job (laughs). I’m not in that position yet. But yeah that’s the whole point of Star Trek.

JI: Yeah you take good acting jobs that are interesting and challenging, and something you haven’t done before. But I’ve got two teenage girls and if they’re looking at the news and reading newspapers, they’re being told – unlike when we were growing up – that people in charge are childish or racist or homophobic or sexual predators. The world seems a very unsafe place and more and more divisive. There’s the rise of the right and so to get to do the job that we love but also be part of telling a story that sends a message of optimism. It says that maybe in the future, if we get it right, we won’t be judged by gender or the colour of our skin or our sexuality. Even species on our show. There’s an extra bonus for us that you’re putting something good out in the world when we’re getting pumped some very toxic stuff from powerful people.

Many of the complaints from purists center around how Star Trek: Discovery fits into canon. Syfy Wire looked at some of the issues.

I’ll just comment on a couple of other aspects, and I’ve also raised some of these points in more detail in my weekly reviews of the episodes.

Many of the differences come down to the look, and to a considerable degree I’d give them some leeway to take advantage of modern special effects even if this gives a more modern look than the original series which takes ten years later. Questions regarding uniforms and details of the ships could be handled with explanations such as type of ships or perhaps different services within Star Fleet. Realistically if you look at the changes from the original show to the movies, which were produced years later with a higher budget, there were also considerable differences.

The Klingons have been a problem since Star Trek: The Next Generation. While I’m not going to allow this to reduce my enjoyment of Discovery, I think that it might have been better to have them look like the Klingons of STTNG. This allows viewers to go with one of two explanations–either the genetic manipulation theory that the Klingons actually did change temporarily, or the obvious meta explanation that they have used more expensive makeup since TNG.

The bigger issue is the technology, primarily with the spore drive. I’ve mentioned a variety of possible explanations in the past including reasons that it could no longer be feasible to be used by Star Fleet, no longer allowed, or perhaps that the technology is lost. I’m not particularly concerned about finding that Spock never mentioned his half-sister since Star Trek V also showed him to have a brother we never knew about. Spock was never the most talkative character.

Executive producer Aaron Harberts had these comments regarding continuity quoted by Metro:

‘We have ten years until the original series comes into play. It is a challenge creatively because we have lots of choices, in terms of how do we reconcile this [Spore] drive? This surrogate daughter of Sarek? How do we reconcile these things the closer we get to the original series? ‘That’s going to be a big discussion that we have in season two. What’s so fun about the character of Michael, just because she hasn’t been spoken about, doesn’t mean she didn’t exist. A lot of the writers on our show are deeply involved in Star Trek, their knowledge is some of the finest around, they really do help us find areas where we can steer around things.

‘But the Spore drive? Who knows. It could be classified. There are many options. Some of the best ideas come from all over the place, not just in our writers room so I love hearing about the fan ideas and theories. We’ll have to see.’ After initially creating the show’s concept, Bryan Fuller departed the series, and the question surrounding his decision to make it a prequel is still a mystery to Aaron, who was too busy catching up on Star Trek canon to question it. ‘I’m glad that it is because it set up parameters for us. Let’s say we set it 100 years after Voyager, the canvas is so broad. To try to contemplate, you’re creating a whole new mythology really,’ Aaron says.

‘I think Bryan [Fuller] was interested in the original series and I think he was interested in the lead up to where the original series is. I think he was very interested in the Klingon federation conflict, but I don’t know definitively why he picked that.’

While I agree that it should be possible to reconcile the continuity questions Aaron discussed, I find it interesting that, instead of already having a specific plan in mind, they are leaving the explanation for the writers to come up with next season. This also means that it is probably pointless to spend too much time analyzing episodes for hints as to the ultimate explanation as the show’s writers have not yet decided how things will turn out. Fortunately they do have writers with a good knowledge of Star Trek canon, leaving me confident that, even if the explanations are not one hundred percent airtight, they will be no worse than what we have already experience in following Star Trek continuity.

The Orville was off last week for Thanksgiving and will soon be completing its first season. The final episode of the shortened season will air December 7. Here is the official synopsis of the episode, entitled  Mad Idolatry:

Ed and Kelly seriously reconsider getting back together. However, while Kelley is on a mission with Isaac and Gordon to investigate the origins of an uncharted star, they suddenly crash-land on a planet from another universe. Kelly then makes a decision with unforeseen long-term consequences for the planet, putting Ed in a difficult position in the all-new “Mad Idolatry” season finale episode of THE ORVILLE airing Thursday, Dec. 7 (9:01-10:00 PM ET) on FOX. (ORV-113) (TV-14 L, S, V).

The relationship between Ed and Kelly has dominated many of the episodes. While I think it has often been overdone, it will be interesting to see how things have changed now that they have both been working together, and Ed realizes that Kelly might have slept with Darulio due to pheromones she could not resist per Cupid’s Dagger.

TV Guide has eleven teases for next week’s Arrowverse crossover. Here are the first few:

1. Earth-X is full of baddies

As if being controlled by nazis wasn’t enough of a clue about how evil Earth-X is, this world is also home to some very sinister versions of the heroes we know and love. So far, we know the Reverse Flash (Tom Cavanagh), the Green Arrow (Stephen Amell) and Supergirl (Melissa Benoist) all have counterparts on Earth-X that are aligned with the regime.

2. Citizen Cold

Wentworth Miller has returned to the Arrow-verse, this time as the Earth-X version of himself: Citizen Cold. We can only assume he’s part of the Earth-X resistance movement, and it’s about time we got to see Miller kick some nazi butt.

3. Kara busts out those pipes again

You didn’t think the CW would just let Melissa Benoist’s amazing singing voice go to waste did you? Thanks to their little journey into musical theater last year, Barry decides to have Kara sing at his wedding, and we guarantee you’re not prepared for how awesome it is.

Stephen Amel discussed the Arrowverse crossover in an interview here.

Melissa Benoist discussed her role in an interview here.

Agents of SHIELD returns with a two-hour premier on December 1 but if you cannot wait that long, the first seventeen minutes have been released–video above. A trailer for season five can be seen here. We know from last season’s finale that the season involves going into space. Comicbook.com has some information on the aliens which will appear.

The Magicians returns on January 10. Trailer above showing them starting their quest to restore magic, after it was turned off in last season’s finale.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Radio Times looked at fan reaction to the clip.

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

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

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

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

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

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

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

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

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

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

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

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

SciFi Weekend: Star Trek Discovery Does Groundhog Day; Holodeck Technology On Discovery; The Orville; The Flash; Stranger Things; Doctor Who News

Magic to Make the Sanest Man Go Mad  was the Groundhog Day episode of Star Trek: Discovery, along with featuring the return of Harry Mudd. This has become a common theme in science fiction, including the Next Generation episode Cause and Effect, the fourth episode of season three of Dark Matter, and the movie Edge of Tomorrow.

For these stories to work there will be someone who realizes what is going on, generally to learn from it. This version had two such people. Harry Mudd intentionally used the time loop to learn how to take over Discovery and what was special about it. Having Stamets be the only crew member to realize what was happening worked well in light of his connection to the spore drive.

Having become a common science fiction trope made it easy to progress the story rapidly with viewers understanding with only brief views of each repetition. Stamets first got Burnham’s attention by speaking along with her, knowing what she would say. That led to her telling him a secret which nobody else would know so that she would believe him the next time.

If I had any complaints about the episode is that once they established that they could make plans for the next time they had to progress rapidly off screen. By the final time they had multiple people involved and doing quite a lot for only thirty minutes. They did have a plausible explanation for beating Mudd, who took over essential systems but was defeated by the use of non-essential systems such as the Captain’s chair.

The episode ended with Harry Mudd closer to the situation we saw him in on the original show, stuck with his wife Stella. As much as he hates Stella, he did get off pretty lightly considering how many times he murdered Lorca and others. Of course in the final time loop he did not commit the murders and probably could not be convicted of those, he was still trying to steal a starship. Fitting into Star Trek continuity won out here.

We saw more daily life on Discovery, including a party which was much livelier than the typical party seen on The Next Generation. We Trying To Stay Alive fit in especially well. The episode progressed the relationship between Michael Burnham and Ash Tyler, except that they will not remember most of it. There were no clear clues regarding the theory that Tyler is actually a Klingon spy, but if he was I wonder whether he might have taken advantage of the situation to take control of Discovery and turn it over to the Klingons. Perhaps he has a longer game, influenced by the rivalries between different Klingon Houses. Another idea I had is that maybe when he had to give up everything, this included his memories. He might be a sleeper agent without realizing it, and will not regain his memories until a later date, allowing him to more easily fit into Discovery’s crew.

There was little development for Lorca. He did not do anything absolutely evil, but it was amusing to see how he differed from the typical Star Fleet captain in expressing how he did not care what was done regarding the space whale.

There have been some complaints about Discovery appearing to have more advanced technology than they should, including the holographic gallery on last week’s episode. One of the writers of the episode, Ted Sullivan, was interviewed by TrekMovie.com:

The holographic shooting gallery has spurred a lot of fan discussion, can you explain how the Discovery holographic gallery differs from a TNG era holodeck?

Look, they never physically interact with the Klingons. Yes, Tyler “hits a virtual button,” but you do the same thing playing Star Trek: Bridge Crew on the PS4. What you’re seeing here is a step toward the development of holodecks. It’s not a fully realized holodeck.

We talked about this a lot in the room. It’s honestly not that far removed from today’s VR experience. Are we supposed to pretend that technology just disappeared or stopped evolving? This is basically a high tech laser tag. And honestly – it was in The Animated Series. So I don’t get what the big controversy is.

Technology doesn’t just suddenly materialize overnight. You evolve slowly from punchcard machines to desktop computers to laptops to smartphones. What you’re seeing here is a step in the journey of the development of holodecks. That’s all.

That still leaves open the question as to why we never saw anything comparable on the original show. Presumably they had them but we never saw them.

The Monkey Cage column at The Washington Post discussed how The new ‘Star Trek’ has gotten darker and more pessimistic — just like our politics.

Last week we learned that CBS All Access has renewed Star Trek: Discovery for a second season and this week we learned that The Orville has also been renewed. I am glad that for a second year we will have two versions of Star Trek. One dark and one light. One closer to the original show, and one based more on The Next Generation.

Into The Fold could largely be one of those episodes of STTNG which concentrated on a limited number of crew members beyond the Captain. Being written by Brannon Braga and Andre Bormanis certainly accounted for this feeling so much like such an episode. Humor also works best in episodes involving Isaac (as was the case on a previous episode). These scenes work best with Isaac as they seem less forced, with Isaac struggling to understand humans in a manner comparable to Data.

My favorite scene had Isaac, seeing Dr. Finn having difficulties with her two young children, advise her that on his planet “when a program is not working properly it is deleted.” He then offered to vaporize the children. By the end of the episode he was helping to save the children and even said he had grown fond of them.

Like on Discovery this week, we also saw the crew listening to music. Discovery won on this comparison, with the crew of the Orville listening to Barry Manilow. To be fair, this was actually Seth MacFarlane’s way to mock Manilow.

Just as this episode looks into specific characters. Screen Rant looked into the characters with a set of interviews.

Elsewhere on genre television this week, the Elongated Man was an excellent addition to The Flash. Screen Rant has background information on the character.

Legends of Tomorrow also had a fun episode, between seeing Zari join the crew and the time travel adventure to save Ray Palmer from being killed as a child.

The third season of Stranger Things is already in the works but probably will not be seen until late in 2018. The ending of the second season certainly left open many possibilities. There are many questions about events of the first two seasons (some of which are discussed here), but they also had enough of an ending to move on to different stories if they like.

One thing which made the second season so bingeable was how most episodes ended with a major event which led directly into the next episode. The one difference was in the controversial seventh episode, which had Eleven go off elsewhere. The Duffer Brothers have defended the episode against some of the criticism. Personally I liked the episode as it addressed the question of whether people with powers like Eleven would abuse their powers, providing Eleven with a means to confront the issue.

Stranger Things has multiple pop culture references. IndieWire has a guide.

In Doctor Who news, Jenny, the Doctor’s Daughter, is back, in a set of audio dramas from Big Finish.

I would love to see River Song meet Jodie Whittaker’s Doctor. I don’t know if that will happen, but Alex Kingston will reprise the role and meet two additional Doctors in radio dramas.

Bernard Cribbin, who played Wilfred Mott, Donna Noble’s grandfather, has expressed interest in returning to travel with the Doctor when Jodie Whittaker takes over.

Dalek operator Nicholas Pegg has been fired for putting a crude message in a column he also wrote. The Mirror reports:

Under pen-name The Watcher, he launched an extraordinary attack on BBC Worldwide , which distributes the sci-fi show, and Panini, who publish the magazine.

For reasons that are not entirely clear, Pegg has included a coded message in the current edition of Doctor Who Magazine.

The first letter of each sentence in his column spells out, “Panini and BBC Worldwide are c***s.”

The digital version of the page has been altered and Pegg will not be returning to either job.

SciFi Weekend: Star Trek Discovery; The Orville Does Black Mirror; Doctor Who New Cast; Veronica Mars; Mr Robot & Donald Trump; Girls Night Out On The Flash; Stranger Things

Lethe, last week’s episode of Star Trek: Discovery was well plotted, with some reviewers calling it a more typical stand alone episode with both an A story line (saving Sarek) and a B story line (the visit from Admiril Cornwell). I would go further in saying that it both works as a stand alone episode and as part of the serialized story, plus as well plotted episodes generally do, the two stories wound up becoming interrelated. The A story provided more background on Vulcans and on Burnham. Both took place with the backdrop of the Klingon war. It remains to be seen how significant the capture of Admiral Cornwell is in terms of that story in the future.

The episode also had items of interest for two fan theories. Ash Tyler’s dialog takes on a different meaning if he is actually Voq. It is also notable that we have not seen Voq as Voq since he was told by  L’Rell, whose mother came from a house of spies, that he must sacrifice “everything.”

While far from conclusive, this episode has me taking the theory that Lorca is from the Mirror universe much more seriously. When I first heard this theory I hoped it was not true, thinking that a story of a star ship captain who might have gone bad is far more compelling than one of someone replaced by their evil doppelganger. There have already been clues of a connection to the Mirror universe, most notable with the reflection of Stamets in the mirror after he first used himself to navigate the spore drive. I became far more suspicious when Admiral Cornwell said how he had changed. It could be a matter of Lorca going crazy or otherwise changing, or it could mean he has been replaced. His paranoia leading him to both attack her during the night and seeing him wearing a phaser to bed both fit into what we have seen of the Mirror universe.

Another less likely possibility is that it is Lorca as opposed to Ash Tyler who was replaced after being a prisoner of the Klingons. All the evidence points towards Ash being the spy, but there could be intentional misdirection.

Whether it is because of being from the Mirror universe or flaws in Lorca’s character, we again saw signs of his ethics. I thought it was crazy for Cornwall to say that she was going to strip Lorca of his command before leaving. While I wouldn’t put it past him to shoot down her ship, that would be rather hard to convince his crew to accept. There is little doubt he did’t smell the trap and, regardless of whether he realized she would be captured, it was out of character for him to wait for Star Fleet’s orders to consider a rescue unless he had ulterior motives.

After all, we had seen Lorca ignore orders to save Sarek in the same episode, and Saru mentioned what he expected Lorca to do. While I have my doubts about the mind connection between Sarek and Burnham, it is at least consistent with what has happened so far. I thought that Sarek might have been a bit more emotional than portrayed on other series, but having him be a schmuck and seeing xenophobic Vulcans is consistent with canon, especially from Enterprise. This episode serves as a reminder that it is not that Vulcans lack emotions, but that they suppress them because of the consequences when they are emotional–now including Logic Extremists. (The contradiction in the term also reflects the contradictions in Vulcans.) Vulcan attempts at suppressing their emotions are variably successful. It is possible that Spock, with the extra pressure of acting Vulcan despite his human half, might actually be more successful in hiding his emotions than the average Vulcan.

One of the things I like about Star Trek on television as opposed to movies is that there is time to see moments of everyday life and to see more of a variety of characters. In this episode we learned that breakfast burritos will still exist, but I’m not sure what that was that they were drinking with it. Promotions are easy to obtain on Discovery if Lorca likes you, with both Burnham and Tyler moving into key positions. We also saw that Discovery has not only its own cool t-shirts (which not surprisingly are now being offered for sale), but its own holographic simulators. This was appropriately far simpler than the holodecks of STTNG, but raises the question as to why they were never seen on the larger Enterprise on the original show (along with the uniform synthesizers).

TV Line interviewed James Frain. From the interview:

TVLINE | Sarek and Burnham’s relationship is a tricky one: He’s protective of her, but also very standoffish. It’s kind of a push-pull.
I think that’s how she experiences him, for sure, and I think that’s probably how he’s experiencing himself. He has a very dynamic range, and he’s very, very bold with the way he’s chosen to live his life. He’s married a human being. That has made him a target. There are people who want to kill him for that. He adopted a human child, and there were people who wanted to kill her. So he’s put a lot of stuff on the line, and at the same time, he’s a Vulcan. He recognizes in this episode how different Vulcan and human cultures are, and how difficult a situation she was in. He never really understood that, I don’t think. And I think it’s kind of beautiful that he acknowledges that now. But there is a huge internal conflict that, in the original series, we saw in Spock, and now here we are, seeing it in Sarek. It’s kind of like Spock is his father’s son, you know?

TVLINE | Yeah, Discovery‘s Sarek is actually pretty rebellious for a Vulcan. He’s pushing back on a lot of the Vulcan ways.
Absolutely. It’s very clear, I think, in the flashback scene, when they tell him, “You’ve gone too far, and we need to rein you in,” and give him a punitive choice to make — which, obviously, is devastating for him. But he can’t not choose Spock. That’s his son. He’s half-Vulcan, and they’re basically saying, “We’d rather have the more Vulcan one of the two.” They don’t want [Michael] in, and they dump it on Sarek to bear the burden of that.

TVLINE | Sarek chooses Spock over Burnham, but then Spock rejects that and joins Starfleet instead. Does Sarek resent Starfleet, in a way, for that?
No, I don’t think resentment is quite it. He has a high regard for Starfleet, and Captain Georgiou. He handpicked her as the captain to educate Michael. It’s Michael who feels that this is some kind of demotion. But really, as he confesses in this episode, he failed her. He put her in an impossible situation, and then he places her in a much better situation where she can be with her own kind and learn who she is as a human being. He can’t do that for her.

He’s also admonished for making an emotional choice, and he has to kind of toughen up and be very clinical in how he delivers this information to her, because he’s just been told he has to be. The Vulcans, I often think of like the samurai: a very, very coded and strict, but noble and honorable society. You wouldn’t expect a samurai father to suddenly become a hippie just because he wants to make peace. He can’t step completely outside of himself. But he does give her a piece of his soul, and that’s no small thing. So it’s very, very rich and complex: his relationship to Michael, and his relationship to Starfleet.

In other recent interviews, Rainn Wilson told TV Guide that Harry Mudd will be returning soon: “He’s pretty ticked off and he’s ready to exact his revenge on Lorca,” Wilson tells TV Guide. “Sh–‘s gonna hit the fan.”

Alex Kurtzman spoke with Comicbook.com about the uncertain future for Star Trek movies.

CBS All Access has officially renewed Star Trek: Discovery for a second season. While the show is driving subscribers to the streaming service, last Sunday the service appeared to be unable to handle the traffic as many of us watching had to constantly restart the stream. Maybe having more growth than anticipated is a good thing, but they will have to provide better service if they expect people to continue to pay to subscribe.

The Orville generally feels like a copy of Star Trek: The Next Generation but Majority Rule took a story idea which was frequently used on the original show in which they find a planet developing like earth, with some major differences. While it might be questionable whether this could occur, it was no worse than what Star Trek has done. Once on this parallel to earth, the show begins with a feeling comparable to an episode of Black Mirror, which is only fair as Black Mirror will have an upcoming episode based upon Star Trek.

Unfortunately the episode does a weak job in execution as it tries to tell a light cautionary tale about social media. Of course one would think that John would realize the importance of keeping a  low profile as opposed to making a scene dry humping a stature, even if they had no knowledge of the consequences. Having the initial people from the Union arrested for failing to give a pregnant woman a seat on a bus was fairly unimaginative. It would have been more interesting if they had offered her a seat, and it turned out that the natives believed it was important for pregnant women to stand, causing this to be the violation of their social norms.

As on previous episodes, the crew got into the situation by flying down in a shuttle. With all the copying of Star Trek, I’ve been surprised that they do not use transporters. Of course that would also necessitate creating reasons why they cannot be beamed out when they get into trouble. They also apparently lack a version of the Prime Directive, as they had no problem bringing up a native to view their ship and reveal the existence of aliens.

Additional cast members have been named for Doctor Who after Jodie Whittaker takes over the TARDIS. From the BBC:

When Jodie Whittaker takes over as the Thirteenth Doctor on the global hit show next year, she will be joined by an all new regular cast.

BBC announces today (October 10, 2017) that Bradley Walsh, Tosin Cole and Mandip Gill will line-up as the new regular cast on Doctor Who.

Bradley will star as Graham, Tosin will play Ryan and Mandip will play Yasmin.

Also joining the series in a returning role is Sharon D Clarke.

New head writer and executive producer Chris Chibnall, who made the decision to cast the first ever woman in the iconic role, is also shaking up who will travel with the Doctor in the TARDIS, with a team of new characters.

In more exclusive news, it is confirmed that the new series will be a ten week run of fifty minute episodes in Autumn 2018, kicking off with a feature length hour for the opening launch.

Chris Chibnall says : “The new Doctor is going to need new friends. We’re thrilled to welcome Mandip, Tosin and Bradley to the Doctor Who family. They’re three of Britain’s brightest talents and we can’t wait to see them dive into brand new adventures with Jodie’s Doctor. Alongside them, we’re delighted that Sharon D Clarke is also joining the show.”

Jodie Whittaker says : “I am so excited to share this huge adventure with Mandip, Tosin and Bradley. It’s a dream team!”

Bradley Walsh has a previous connection to the Doctor Who universe, having played a villain on an episode of The Sarah Jane Adventures in 2008.

Digital Spy looked at the history of multiple companions on the TARDIS.

There has been a strong connection between Broadchurch and Doctor Who with Chris Chibnall coming in as show runner. A second executive producer has been added from Broadchurch. There will also be a Broadchurch connection with The Crown as Olivia Coleman will be replacing Claire Foy as Queen Elizabeth as she is older in the third and fourth seasons. There is also a Doctor Who connection as the Matt Smith plays Prince Phillip on the first two seasons.

Kristen Bell says that there will eventually be another Veronica Mars revival in the form of a miniseries.

Mr. Robot finally revealed where Tyrell Wellick has been in a flash back episode last week. Besides filling in details primarily involving Tyrell, the episode drew Donald Trump into the show’s conspiracies. Whiterose saw film of Donald Trump and expressed interest in endorsing him. She was asked,  “Look, the country’s desperate right now, but you can’t be serious. I mean, the guy’s a buffoon. He’s completely divorced from reality. How would you even control him?” Whiterose responded, “If you pull the right strings, a puppet will dance any way you desire.”

As we approach the wedding of Iris West and Barry Allen, there will be a Girl’s Night Out for the bachelorette party, to air on November 7. Bleeding Cool has several more pictures. Guests include Felicity Smoak (Emily Bett Rickards ) from Arrow, Katee Sackhoff (Battlestar Galactica) playing AmunetBlack, and Caitlin returns as Killer Frost. Following is the episode synopsis:

Having received an ominous threat from her old boss, Amunet (guest star Katee Sackhoff), Caitlin (Danielle Panabaker) fears that her past time as Killer Frost may be back to haunt her. Felicity (guest star Emily Bett Rickards) comes to Central City to help the girls celebrate Iris’s (Candice Patton) bachelorette party, while Cisco (Carlos Valdes), Joe (Jesse L. Martin) and the guys take Barry out for a night on the town.

The big genre event of the week has been the release of season two of Stranger Things. As I still have a few episodes to watch, and I’m sure others have not completed it yet, I’ll wait until next week for any specifics. The season so far, like the first season, has been highly entertaining. It is also an excellent show to binge, and hard to stop watching as every episode has ended with something happening which had me wanting to continue watching. It was hard to take a break to get this written.