SciFi Weekend: Star Trek Discovery Returns; The X-Files; Runaways Concludes First Season; The Handmaid’s Tale Season Two; Krypton

Star Trek: Discovery returned last week with Despite Yourself, directed by Jonathan Frakes. The episode immediately provided the answers to two points which were widely predicted: Ash Tyler is Voq and the Discovery is in the Mirror universe. Of course there were new twists to keep things interesting.

As I had been discussing late in the fall season, the only way to make sense of Ash Tyler’s actions was that if he was Voq he was a sleeper agent and did not realize it. This turned out to be true, but in addition something went wrong when L’Rell tried to restore his memories. This leaves Ash/Voq in a situation where we cannot predict what he will do in the future, and we have seen that at times either could dominate.

The procedure used for Voq was quite sophisticated, initially fooling medical exams. (The Tribble was back on Lorca’s desk so perhaps it can expose Voq–except both are off the Discovery.) Ultimately Culber did figure it out, and appears to have been killed to keep him quiet. This resulted in Discovery taking heat for providing another case of part of a same-sex couple getting killed, such as on The 100 a couple of years ago. This led to quick assurances that we will see Culber again. There are many possibilities including that he can still recover (with the help of future medicine) from having his neck snapped, Stamets using time travel or other aspects of the mycelial network to reverse what happened, or the replacement of Culber with a version from the Mirror universe or another universe. It is a bit strange that there was nobody else around either sickbay or the brig when Ash was letting L’Rell out of the brig or attacking Culber.

Finding that Ash Tyler is actually a sleeper Klingon has the potential for further ramifications now that he is one of only three from the Discovery crew on the ISS Shenzhou. This came about due to a poor decision from Burnham to keep quiet about him, but it was established early that Burnham is capable of making really bad decisions. Fortunately we saw that Burnham is very capable of defending herself.

It was also revealed very early in the episode that they were in the Mirror universe from Mirror, Mirror. The data recovered from a destroyed rebel ship quickly provided them with quite detailed information about not only the Empire but about the roles of the crew on their own ship. While somewhat unrealistic that they could have received this much information, it did allow them to quickly get into the story without wasting time searching out this information. This also provided a good way to bring viewers new to Star Trek up to date without boring long time viewers. Tying this into the events of an episode of Enterprise, In a Mirror, Darkly, was also rewarding for long time Star Trek fans, while new viewers could still follow what is going on. (A synopsis of In a Mirror, Darkly can be found here).

While Captain Lorca reviewed the information they retrieved, it also felt like this was for the benefit of others, and Lorca was already aware of what was going on, having appeared to have intentionally caused the Discovery to wind up in the Mirror universe. Having learned that the Lorca of the Mirror universe has disappeared raises suspicion that possibly the Lorca we know is actually the Mirror counterpart. This would explain much of his behavior, including sleeping with a weapon. If so, Lorca is more sophisticated than Mirror Kirk, who could not keep fit in and keep his identity secret when he crossed over to our universe in Mirror, Mirror. There is also the question of what is going on with the Mirror Discovery after it crossed over into our universe.

It was entertaining to see the USS Discovery quickly convert to the ISS Discovery. Seeing a replicator-like process for making Burnham’s uniform in a previous episode makes it more plausible that they could quickly make the needed uniforms (even if not entirely consistent with the original show). As on previous Mirror universe stories, the elevator was one of the preferred places for an assassination attempt (other than the bedroom), and we got the obligatory attempted murder scene. As was foreshadowed in Si Vis Pacem, Para Bellum with Stamets calling Tilly “Captain,” Tilly (or Killy) is the Captain of the Mirror Discovery. I do like how this is truly a continuing, serialized series, with little events in one episode providing a payoff in future episodes. Having Lorca portray the Engineer with a Scottish accent was also an amusing homage to the original show.

While the recovered data provided far more information than was realistic, the one missing piece of information was the identity of the Emperor. As they made a point of this, it is very likely that this will be revealed in a future episode, and it will also provide a payoff to viewers. If this was fan fiction, I might guess that it was a very old Empress Sato. While that would be satisfying to fans who remember In A Mirror, Darkly, it would mean little to newer fans, so I doubt that this will be the case. My bet is that it will be Philippa Georgiou, especially after there was no sign of her on the Shenzhou. Burnham already had a fight to the death with the Mirror version of someone she knew from the Shenzhou, and I bet she will also have to confront the Mirror Georgiou. (A confrontation with Tyler/Voq is also very likely.)

While previous Mirror universe stories were one or two episodes, it appears that the entire second half of the season will be a longer Mirror story. As I quoted in an interview with the producers last week, Discovery is gradually moving towards showing the vision of the Federation we are accustomed to from the original series. Taking place in the Mirror universe does now allow Discovery to portray what is good about the Federation through contrast with the Empire, even if we did not see it at its greatest in the first half of the season.

The same interview mentioned second chances. Being in the Mirror universe has provided a second chance for Lorca, who appears to have wanted to go there with his future uncertain in our universe. Bringing the Discovery from our universe might also be part of a bigger plan if he is really the Mirror Lorca. Bernham might also be tempted to remain now that she is the Captain of her own ship in the Mirror universe, and faces a possible return to prison in our universe. Ultimately both will have big decisions about what is important to them. The xenophobia of the Mirror universe also resonates in our present with the presidency of Donald Trump, years after the idea was first shown on the original show. It is sad that we have not progressed more since the 1960’s.

TV Line interviewed the Discovery show runners about the episode:

TVLINE | The mirror universe is a huge part of Trek mythology, dating back to the original series. How early on in the writing process did you know you wanted to go there?
GRETCHEN J. BERG | I think pretty much from the beginning.

AARON HARBERTS | Yeah, the biggest thing, frankly, was when we were going to do it. Initially, plans had been hatched to go over there in Episode 5, and we realized as we were talking about it: The mirror universe only works when you can care about the characters enough in the prime universe, so you can uncover the discovery of who people are in the alternate universe. So we realized that the mirror universe really needed to play in the back half of the [season], that it really needed to anchor the last several episodes…

TVLINE | So the crew needs to find a way out of this mirror universe with the Terrans. Is that the overriding mission for the next few weeks? Does it run through the season finale?
HARBERTS
 | We will be in the mirror universe for a little while. Episode 10 is simply the introduction. We felt like we could tell quite a bit of story in this mirror universe — not only about the mirror universe, but about our characters. Things come out about our characters in the mirror universe that wouldn’t come out in the prime universe. So we really felt like it was a great crucible for storytelling.

TVLINE | Is it giving away too much to ask if we’ll see a mirror Georgiou?
BERG
 | I find your question very interesting, but that’s a “no comment.” [Laughs]

TVLINE | Making Tilly the captain was such an inspired stroke of storytelling. How much did Mary Wiseman enjoy that twist?
HARBERTS | [Laughs] The thing that was fun is, we always knew we were going to do it. The gift that we’ve been given from CBS All Access was to allow this to be so serialized. So Tilly says “I’m going to be a captain someday” the first time we meet her. So we knew: “Mary, guess what? In the mirror universe, you’re going to be a captain!” Mary is super-dry and super-sassy, so whenever she would cop a little ‘tude — and I mean that in the most playful of ways, because we have fun and just go at each other — it would just be like, “Yeah, that’s really mirror-universe Tilly. Save that for the mirror universe!” I think she had a ball. When she takes charge of that bridge, it’s just a testament to how great she is as an actor. She can go from comedic to downright scary to fighting both instincts. She’s just truly gifted.

TVLINE | We did witness Dr. Culber’s death as well, when Tyler’s alternate personality came out. What’s the fallout going to be from that when the crew returns to the ship? 
BERG | There are so many things that are set off or started in Episode 10… there are ramifications for every action. It is a huge thing. And it’s heartbreaking, and horrifying.

HARBERTS | One of the early bits of feedback about Discovery is that it’s very dark, and very bleak. And I don’t necessarily believe that that’s true, because we know where the show is going. But I do think that scenes of forgiveness and atonement and redemption are really important in Star Trek, and we’re going to have to take that journey. On our show, no one is ever truly a villain, and no one is ever truly a perfect person. And what’s beautiful about Shazad [Latif]’s performance is, you see just how shocked and horrified he is by his actions…

TVLINE | What else is coming up in the rest of this season? Is Tyler’s alternate personality kind of the ticking time bomb that could derail this entire mission?
BERG
 | It’s looming pretty large, and it’s a huge complication to what is going on, not only personally with Burnham and everybody else.

HARBERTS | If your psyche is hanging by a thread, maybe the last thing you want to do is go on an away mission to the Terran Empire. [Laughs] What you don’t need is more stress.

BERG | Where is the couch and afghan you can climb under? They don’t have one! I would say, also, as shocking as the death of Culber is that you just witnessed at the hands of Tyler, Culber and Stamets have been in a relationship that… sort of represents the epic love story of our series. And, you know, love overcomes all. I think you can count on that it won’t be the last we see Culber. You’ll see him again.

HARBERTS | This relationship between Stamets and Culber… this death is but the first chapter. The trope of “Bury Your Gays,” which is running rampant through our television landscape, that is not something that Star Trek has ever been interested in doing. I think we’ve shown by now that we’re not interested in tropes, and that we love our characters, and we love our actors. When you’re given the gift of Wilson Cruz and Anthony Rapp, and you’ve got several gay writers on staff, you don’t just throw that away. You will see Dr. Culber again. This is a love story that’s going to transcend death, and there is much more story to tell for those two. And the science that [the real-life mycologist] Paul Stamets has provided as a backdrop for our fictional Paul Stamets, and for our show… if the audience is concerned about what’s going to happen to Culber, dig deeper into the science of the mycelial network. There are so many clues in there.

This (as with last week’s episode) has me optimistic that we are in store for a much better season of The X-Files than the previous. While much of the story might not hold up if looked at too critically (which can be said of the original run of the show), it was very entertaining. It provided, as a revival should, both something of the past (Richard Langly of The Lone Gunmen) along with an updated twist. The idea of consciousness being uploaded after death is an idea which Steven Moffat has used several times, although this was handled much more like Black Mirror than Doctor Who.

The episode also played on modern paranoia and conspiracy theories, from the use of the Russians to this exchange:

Skinner: “The bureau is not in good standing to the White House these days.”

Mulder: ‘The FBI finally found out what it’s like to be looked upon a little spooky.”

While the alien threat was potentially eliminated last week, there is a new threat. We were warned that, “life on this earth, all human life, most animal life, is about to be crushed. Burnt to the ground.” They also had to enter something very close to a real life NSA facility.

Runaways concluded its first season last week, and was an excellent origin story setting up their situation. By the end of the first season, we have learned quit a bit about the characters and their situation. Nothing really got resolved in the finale, but fortunately Hulu has renewed the series for a second season. They also renewed Future Man. I have not seen this yet, but have heard good things about the series.

Hulu has turned into a major player in streaming with The Handmaid’s Tale, including with a Golden Globe win last week. It will be interesting to see what happens when it returns on April 25 now that they are beyond the book. Reportedly the second season will go beyond the events in Gilead and show the Colonies. The above trailer was recently released.

Syfy has released the first official trailer for Krypton, which premiers March 21.

SciFi Weekend: Top Ten New Genre Shows Of 2017; Doctor Who News On The Eve Of “Twice Upon A Time”

Doing top of the year lists in television has become increasingly difficult in this age of peak television when there are around 500 scripted shows and it is impossible to watch everything new which is on. I’ve even heard some of the professional television critics admit to this problem and that their lists should realistically be called the Top X Shows Which I Have Watched. As each season adds to the number of shows which deserve to be ranked which I have not seen, I have annually limited my lists to the top new shows of the year. (The Top Twenty New Shows Of  2016 is posted here). In past years I have included all types of television, with a bias towards genre in the rankings. I found that this year I have seen most (but certainly not all) of the new genre shows which I believe are worth seeing, but when all types of shows are considered the percentage drops significantly. Therefore I decided to make the main list the Top Ten New Genre Shows Of 2017 and will mention some additional shows afterwards.

Top Ten New Genre Shows Of 2017

10. The Gifted (Fox)

One of three new X-Men or mutant related shows (with the X-Men and Inhumans possibly to be united if the Disney purchase of Fox goes through). This is definitely the more conventional of the two included on this list, and the mid-season finale opens hope that the show will be expanded from what we have seen so far. It is worth seeing with the combination of Root (Amy Acker) and Vampire Bill (Stephen Moyer), both obviously in new roles.

9. The Defenders (Netflix)

The team-up of Daredevil, Jessica Jones, Luke Cage, and Iron Fist was more worth watching to see the interactions of these four than for the battle against The Hand. I previously reviewed the series here.

8. The Tick (Amazon Prime)

This was a far better than NBC’s attempt at superhero comedy with Powerless. More on the show here.

7. The Punisher (Netflix)

Technically there are no superhero or science fiction elements in the show but I will include it as it overlaps with the Marvel universe, with Karen Page playing a significant role, and with the Punisher having been introduced in Daredevil. Like the other Marvel shows which are set up as one long story, it might have been better if cut to eight to ten episodes as opposed to thirteen, but they did do a good job of intermixing two related stories in the present along with flashbacks to set up the backstory. I did prefer the government conspiracy story line over The Hand as in the other two new Marvel series on Netflix this year.

6. Runaways (Hulu)

Yet another show based upon a Marvel comic, Runaways in tone is somewhere between the network-friendly Agents of SHIELD and the more adult shows on Netflix. So far it has done a good job of setting up a conflict between a group of teens and their villainous parents.

5. American Gods (Starz)

Bryan Fuller and Michael Green have done an excellent job of adapting the first portion of Neil Gaiman’s novel, but it is now questionable as to whether this will survive with their departure from the show. There is a look at the season finale here.

4. The Orville (Fox)

The show initially appeared questionable when billed as a parody, but over the course of the season Seth MacFarlane learned how to tell serious science fiction stories while mixing in humor. I had brief reviews of each episode, often looking at how well humor was incorporated into the episode, in each week’s post. My review of the season finale was here, with a follow-up look at the first season here. The show is strongly based upon Star Trek: The Next Generation, and many who prefer more conventional Star Trek, as well as episodic television, might prefer this over the other new Star Trek show.

3. Star Trek: Discovery (CBS All Access)

While many fans feel more comfortable with The Orville, Star Trek: Discovery is the more ambitious of the two. Discovery does a far better job than Enterprise did in making a Star Trek show with a more modern television feel, including a serialized format. This is also different from previous Star Trek series in taking place during a time of war, and having a Captain who is far more morally ambiguous. There are also questions regarding continuity which I discussed here. I had weekly reviews of each episode while the show was on, with the review of the fall finale here.

2. Legion (Fx)

Noah Hawley provided a quite original take on the X-Men universe, providing something new and unique to prevent superhero fatigue. My post on the season finale was here.

1. The Handmaid’s Tale (Hulu)

This excellent dramatization of Margaret Atwood’s novel about a dystopian future could have been a great series any year, but its treatment of women seemed so much more relevant at the start of the Trump administration–at time when its horrors seemed a bit more plausible. More on the series here.

Among the shows which I saw but did not make the cut was Iron Fist, the weakest of the Netflix Marvel series. While flawed, it is watchable and does lead directly into The Defenders. If you still have a lot of Marvel shows to watch, put this off. If you plan to watch them all, it might make sense to still watch it before The Defenders.

Two genre series which debuted in 2017 were remakes of past series. The X-Files (Fox) was generally disappointing, but with all the excellent episodes in the past I will still give the next season a try. I previously discussed the show here and here. There was also the return of Twin Peaks (Showtime), which competed with Legion as strangest series of the year. I previously looked at the series here.

There are also some genre shows which I have not seen but which might be worth checking out, such as the time travel comedy Future Man and the anthology series Dimension 404, both on Hulu. The genre show which I haven’t seen which is receiving the most favorable publicity is the German series Dark, available in the United States on Netflex.

There were also a few genre flops in 2017. I gave up on Powerless (NBC) midway through the season. I didn’t watch The Inhumans (ABC) after numerous poor reviews. If interested, Io9 summarizes what happened on The Inhumans for those who stopped watching. Time After Time (ABC) was cancelled before I had a chance to give it a try.

Moving beyond genre, there were also many excellent shows in 2017. There were two excellent dramas dominated by women, Big Little Lies (HBO) and Godless (Netflix), which I am currently in the midst of watching. The three top comedies from 2017 which I have watched also are led by women: The Marvelous Mrs. Maisel (Amazon Prime) from Amy-Sherman Palladino, GLOW (Netflix), staring Allison Brie, and SMILF (Showtime).

While not genre, the CW also premiered another comic based series in 2017, Riverdale, which presents a new take on the Archie comics.

Tomorrow we have a major television event with Peter Capaldi having his last appearance before regenerating into Jodie Whittaker on Doctor Who. Doctor Who News has an interview with Steven Moffat about the show:

What does Twice Upon A Time have in store for us?

There are some new eerie creatures of glass haunting the Doctor and his friends throughout this story – but what their purpose and what their plan is, and what their time traveling machinations are, is going to be a big surprise to the Doctor.

Were there any sets or locations that you particularly enjoyed working on?

There’s a real range of spaces that we visit across the special. We have the inside of a giant stone spaceship full of creepy glass creatures. We’re in the first Doctor’s TARDIS – recreated and brought back from the 1960s to stand proud in the Welsh studios. We’re on a First World War battlefield. And at long last we go to a location that I mentioned in my very first episode of Doctor Who back in 2005, as we visit the ruins of Villengard.

How would you describe the tone of this episode?

This episode is somewhere between a coda and drumroll. It’s a coda to the time of the Twelfth Doctor played by Peter Capaldi, and a drumroll to usher in the Thirteenth Doctor, played by Jodie Whittaker. Approaching it, one issue I had was that The Doctor Falls (this year’s series finale) was the end of Peter Capaldi’s Doctor. That episode saw the Twelfth Doctor stating what he stands for and standing on the hill on which he was prepared to die.

That was the end of his story. But – as often happens in stories and real life – it didn’t end there. He kept going, he started to regenerate, so at Christmas what we’re going to see is a man weary and tired and, having made his point and having made his stand and given his life for something that matters, he has to learn just how to carry on after that. But of course this being Doctor Who and Christmas it’s much warmer and hopeful than that, so in perfect timing walking towards him out of the snow he meets earliest incarnation. The William Hartnell version of the Doctor – played now by David Bradley in an astonishing performance – and the two of them are about to regenerate. Tonally it’s about saying “to hell with dying, let’s get on with living”. And what’s more Christmassy that that? It’s the turn of the year, a time for new beginnings, it’s the time when we start climbing back towards the light.

How does the First Doctor look at the Twelfth Doctor?

Well the Doctor never gets on with himself. Arguably he doesn’t get on with himself when it’s just him alone – we had the whole plot of Heaven Sent (in series nine) about that – so he doesn’t get on with himself even when it’s just him. But here I think we have perhaps one of the most interesting instances of the Doctors meeting, because the First Doctor as we know from the show is quite different from the Doctor we know now.

Ultimately he’s the same person – he has the same set of impulses and ideals – but he hasn’t yet become at home with what he’s becoming. If you look at the original William Hartnell series, the Doctor’s starting to fight the good fight, but he’ll arrive in a spot of trouble and generally speaking he’ll only help others out because he needs to get back to the TARDIS. So often there’d be a plot contrivance to stop William Hartnell’s Doctor getting back to his TARDIS and flying out of danger. Slowly that started changing as the Doctor developed as a character. He’d start saying “No I can’t leave yet – not because I can’t get to the TARDIS, but because these people are still in trouble and this evil is still in control. I have to help these people.”

Without noticing it, or it ever being his plan or his intent, he’s starting to engage with the universe and he’d be horrified to think that he’s starting to become its protector. Now, at the end of that lifetime when the First Doctor is facing his end, he doesn’t yet realise that’s what he already is. He’s already the man who rides to the rescue, the saviour of the oppressed, but he doesn’t own up to that. Now he meets the Twelfth doctor, and the Twelfth doctor has been doing this for so long. He’s used to the idea that he’s already Earth’s protector – an idea that completely bewilders his younger – except kind of older self. The thing to focus on this time, alongside the flourishes that distinguish the two doctors – it that they are at very different moments in their lives. The First Doctor is not quite yet the hero we are used to.

How did you feel to be writing your final episode of Doctor Who?

The truth about writing anything is that it’s always difficult. You can change the reason why it’s difficult, but the fact is it’s just always difficult! Throughout writing this I wanted to feel more about the fact it’s the last one I’ll ever write, and I wanted to feel more about it’s the last one Peter will ever play, but the truth is that the technicality and the difficulty and the demands on your creativity – all that overwhelms you to the point where you’re just trying to write a great Doctor Who story! That’s enough to contend with – you can’t have the real life drama of two old Scotsmen making their way to the door.

Once we got into shooting it, however, and especially when we approached filming Peter’s last moments as the Doctor which were done at the end of the shoot, we did talk more about how exactly he should meet his end. We were both very pleased with that final section of the script already, but as we went through piece by piece we thought there were ways to improve it so I’d be banging out new pages each night for us to discuss on set each day. That was so enjoyable and exciting to do – to really feel that we were getting his send off right – that in a way it took whatever emotions we were both having about leaving and put them on screen where they belong. By the time we got to that part of filming I think Peter and I were probably the least emotional on set because we’d put it all in the show!

David Bradley has some advice for Jodie Whittaker:

“Keep it light. Keep it funny,” he offered, adding poignantly: “Have a sense and wonder about the universe and everything in it.”

David Bradley previously told Digital Spy that he had high hopes for his former Broadchurchco-star Jodie’s tenure as the denizen of the TARDIS.

“I was delighted [by the casting],” Bradley told us. “I was wondering if [showrunner] Chris [Chibnall] would pick someone from the Broadchurch cast.

“As we saw in Broadchurch, she’s got this emotional reserve that… there’s no limits. She’s capable of great emotion and passion.”

The TARDIS Yule Log video has some glimpses of Twice About A Time.

Yahoo TV talked with Pearl Mackie about her year on Doctor Who. Here is a portion:

What were the characteristics about Bill that jumped out at you right away?
Well, she’s quite cheeky, which I liked. But she’s also intelligent and doesn’t feel the need to brag about it. It’s very much a part of her, and she’s not ashamed to just say things. She has this confidence that I really engaged with; she doesn’t let her life or experiences get the better of her. She also wants to learn more and is very inquisitive.

We see that in the way she challenges the Doctor from their first meeting. That’s a different dynamic from past companions.
Yeah, and that’s the energy that I felt when I first read the script. There’s an irreverence between her and the Doctor, even though there’s also a lot of respect and they grow to be very close by the end of the series. She’d never be like, “I bow to your superior knowledge.” It’s more akin to, “Well, actually I don’t agree with that. What about this?” I think he respects her for that; they both enjoyed the verbal sparring they had. It’s enjoyable to watch that dynamic.

How quickly did you establish that rhythm with Peter Capaldi?
I met him for the first time in my second audition — my callback essentially. Before that, I’d been reading the script on my laptop with the Facetime camera on, responding to a recording I’d made of myself doing a version of Peter Capaldi reading his lines! The real Peter is a much better actor than that — much more dynamic. [Laughing] When I went into the room, I was absolutely terrified because Peter is not only an incredible actor, but he’s also been playing this character for a long time. We read the first scene of Episode 1, this mammoth six-page scene, and I spent most of it standing there just hoping that what I was doing was right or at least interesting.

Then we did the scene where Bill goes into the TARDIS for the first time, and Peter said, “Do you want to stand up?” I went, “What? OK, sure.” In auditions, you’re supposed to sit still and keep your face as still as possible, but if you’re me, your face tends to move of its own accord. Steven enjoyed that and used it a little bit in the first episode when Bill is standing at the window in the Doctor’s office and says, “I see my face all the time. I never liked it; it’s all over the place — it’s always doing expressions when I’m trying to be enigmatic.” But, yeah, I mainly remember standing there aghast at being in a room acting with Peter Capaldi. Luckily, Bill was supposed to be pretty aghast when she walked in the TARDIS, otherwise we may not be having this conversation today! I think we were both responding to each other quite honestly and seemed to work in a very harmonious fashion.

BBC America posted this thank-you video for Peter Capaldi.

CinemaBlend said Capaldi had this to say about the Doctor’s real name: “I also know his real name. It’s not pronounceable to humans. It’s a frequency that can only be heard of people with good heart.” They went on to add:

To date, that’s one of the best answers someone connected with Doctor Who has given to the question. It’s far better than Matt Smith’s answer from long ago that it was “Drasicanawhocius” or some long name similar that is easily abbreviated by saying “Doctor Who.” It’s also more interesting than the some diehard fans’ explanations that the Doctor’s name is actually a rather hard-to-pronounce set of Latin letters to varying powers. Given that, Peter Capaldi’s response to Radio 2’s Access All Areas (via Digital Spy) should win as it gels with the awesomeness of the Doctor and doesn’t risk the spraining of the tongue muscle trying to pronounce.

While he has some very interesting ideas regarding the Doctor’s name, Peter Capaldi also holds an opinion that may sound like hot take to many Doctor Who fans. In fact, it may trigger some of those fans fans who have battled to keep those outside the fan community from referring to him in a certain way. Capaldi may indeed ruffle some feathers with this statement:
We can get into a fight about whether he’s called The Doctor, or Doctor Who. The reason I call him Doctor Who is because when you’re in the street, people don’t shout out, ‘There’s The Doctor!’ They go, ‘Hey, Doctor Who!’ That’s his street name. His street name is Doctor Who.

SciFi Weekend: Star Trek Discovery; The Orville; Twin Peaks; Blade Runner; Sarah Jane Adventures Tenth Anniversary; Emmys By Network; Batman Takes A Knee

CBS has not released any screeners for Star Trek: Discovery, and has placed an embargo on reviews until the show airs. They did release the full title sequence today:

Despite the episode not being available, sites such as IO9 have posted guides like Everything You Need to Know About Star Trek: Discovery Before It Premieres based upon the information which has been released so far.

The first episode will air on CBS at 8:30 pm tonight, with the second episode following on their paid streaming service CBS All Access.  Season 1 will have fifteen episodes with the first eight episodes running September 24 through November 5. The season will return for the remaining episodes in January. CBS All Access is allowing one week free to check out the service. If you are undecided, consider waiting until later tomorrow, which will allow you to watch both the second episode this week and the third episode next week. Some people are thinking about waiting until towards the end, and then binging on each half of the season or the who season while only paying for one to two months.

Discovery will be available outside of the US and Canada on Netflix. I had contemplated using a VPN to stream the UK edition of Netflix, but Netflix has become very aggressive in blocking VPN’s.

A four-part comic will provide further backstory on the Klingons prior to the events of Discovery.

In preparation for tonight’s premiere, CBS arranged to have the U.S.S. Discovery fly above New York City. Video above. (Yes, there have been posts on line about how they staged this, but why ruin the fun?)

In unrelated Star Trek news, TrekMovie.com reports that Quentin Tarantino has expressed interest in directing a Star Trek movie.

The Orville has been difficult to characterize as it is neither straight drama or consistently humorous. While Star Trek: Discovery reportedly will be serialized, The Orville is basically stand-alone episodes heavily modeled after Star Trek: The Next Generation. Like classic Star Trek, The Orville has even made an attempt at looking at contemporary issues.

About A Girl received advanced publicity for tackling gender reassignment surgery. Just as the show has its limitations as both dramatic science fiction and as a parody, the handling of the controversial issue was also somewhat simplistic. Vox looked in more detail at how the issue was handled.

Of course we must keep in mind that Star Trek: The Next Generation was also weak through most of the first two seasons, until it ended the second season with the excellent cliffhanger, Best of Both Worlds. I’m hoping that Seth MacFarlane has the clout to keep the show alive to buy time for them to better figure out what to do with this series.

Kyle MacLachlan and Judi Dench brought the red room from Twin Peaks to The Late Late Show, frustrating host James Corden in the video above.

Wired has a look at Blade Runner 2049.

Bill Clinton is writing political fiction, just like Hillary. Bill is working on a novel with James Patterson entitled The President Is Missing. Hillary wrote a fictional account of the 2016 election in which Bernie Sanders was the villain and a character with her name was a progressive. Showtime has announced a deal to do a television adaptation of Bill’s book.

It is the tenth year anniversary of the release of The Sarah Jane Adventurers. To celebrate, the BBC is rebroadcasting three episodes and has an article posted entitled 5½ Reasons Why EVERYBODY should watch The Sarah Jane Adventures. From the article:

The show’s essential premise was simple. Take one former companion of the Doctor. Add some young sidekicks; season with familiar foes like Sontarans and the Slitheen and for good measure, throw in the Doctor himself for a couple of stories. Then stir them all together in two-part adventures where the planet’s in peril but our heroes still have time for a few one-liners and a group hug at the end.

Except, of course, it’s not as easy as that. SJA worked because it hit just the right blend of alien scares and human drama. The childless Sarah Jane gets a family. Her alien son learns what it means to be human. The cocksure Clyde Langer finds there’s more to this world than he ever imagined… Just like Doctor Who, it was a show that revelled in adventure but always found time to explore and celebrate its characters without patronising its audience.

The article noted appearances by both Matt Smith and David Tennant.

The Handmaid’s Tale was among the big winners at the Emmy Awards last week. I looked at the best political jokes from the awards ceremony earlier in the week. This included a video of the skit with Stephen Colbert and Jeffry Wright based upon Westworld. 

By now I’m sure everyone interested has already seen the full lists of winners and read plenty about the awards so I will not say much more here. I did find these lists interesting, showing the expected superiority of cable and streaming. Here is a list compiled by Deadline of those winning awards at last week’s ceremony:

HBO: 10
NBC: 6
Hulu: 5
Netflix: 4
FX: 2

The second list includes all those who won three or more awards, including the Creative Arts awards which were presented earlier:

HBO: 29
Netflix: 20
NBC: 15
Hulu: 10
ABC: 7
FX Networks: 6
Fox: 5
Adult Swim: 4
CBS: 4
A&E: 3
VH1: 3

Francesco Francavilla has tweeted a picture of Batman taking a knee, showing support for the NFL players who have been protesting racial injustice and police brutality by taking a knee when the National Anthem is played before the start of an NFL game. Donald Trump has demanded that the players be fired or suspended. This statement has been protested by players and owners, but now Trump also has to deal with Batman. Besides Batman, Trump is also opposed by the next best thing, Jim Harbaugh, who said, “No, I don’t agree with the president. That’s ridiculous. Check the Constitution.”

Update: Adding to responses from Michigan football heroes, Tom Brady said, “I certainly disagree with what he said. I thought it was just divisive.”

Best Political Jokes From The 2017 Emmy Awards

Donald Trump’s name came up so many times during last night Emmy Awards that a casual viewer might have thought that Trump was up for an award. As Stephen Colbert said in his opening monologue, many of the shows were influenced by Donald Trump:

But if we’re honest with ourselves as artists — and we have to be honest with ourselves — we know that the biggest TV star of the last year is Donald Trump. No, we may not like it, but he’s the biggest star. And you know, Alec Baldwin, obviously. You guys are neck and neck. And Alec, you’re up against a lot of neck. However you feel about the president, and you do feel about the president, you can’t deny that every show was influenced by Donald Trump in some way. All the late-night shows obviously, House of Cards, the new season of American Horror Story, and of course, next year’s Latin Grammys, hosted by Sheriff Joe Arpaio. Muy caliente. And we all know the Emmys mean a lot to Donald Trump, because he was nominated multiple times for Celebrity Apprentice, but he never won. Why didn’t you give him an Emmy? I tell you this, if he had won an Emmy, I bet he wouldn’t have run for president. So in a way, this is all your fault. I thought you people loved morally compromised antiheroes. You liked Walter White, he’s just Walter Much-Whiter. And he never forgave you, and he never will. The president has complained repeatedly that the Emmys are rigged. He even went after the host a few years back, tweeting, “That Seth Meyers is hosting the Emmy Awards is a total joke. He is very awkward with almost no talent. Marbles in his mouth!” Wow, marbles in his mouth, that’s harsh. That’s quite an accusation, do you have a response Seth? (Marbles fall out of Meyers’ mouth).

And even during the campaign, he wouldn’t let it go. This actually happened, this exchange actually happened in the debates. (Video showing Clinton mentioning Trump’s Emmy loss in debate).

But he didn’t. Because unlike the presidency, Emmys go to the winner of the popular vote. Where do I find the courage to tell that joke in this room? Of course, what really matters to Donald Trump is ratings. He’s got to have the big numbers, and I certainly hope we achieve that tonight.

Unfortunately, at this point, we have no way of knowing how big our audience is. I mean, is there anyone who could say how big the audience is? Sean, do you know? (Sean Spicer comes out on podium).

Sean Spicer: “This will be the largest audience to witness an Emmys, period. Both in person, and around the world.”

Spicer’s appearance received negative reviews, such as from The Fix and Frank Bruni. As with the inauguration, he was also wrong on the facts as ratings were down, matching an all time low with 2016.

There were many more political jokes from Colbert and others throughout the show. In a Westworld skit (video above), a malfunctioning Colbert was taken off and questioned by Jeffry Wright (Bernard):

Wright: “Have you ever questioned the nature of your reality?”

Colbert: “Every day since November 8th.”

 Lily Tomlin, Dolly Parton, and Jane Fonda, the cast of 9 To 5, reunited to present an award.

Jane Fonda: “Back in 1980, in that movie we refused to be controlled by a sexist, egotistical, lying, hypocritical bigot.”

Lily Tomlin: “And in 2017, we still refuse to be controlled by a sexist, egotistical, lying, hypocritical bigot.”

While accepting the award for Best Actress in a Comedy, Julia Louis-Dreyfus joked said regarding Veep, “We did have a whole story line about an impeachment but we abandoned that because we worried that someone else might get to it first.” After Veep won for Best Comedy, she thanked many other television shows for inspiration, including, “the Trump White House.”

Tatiana Maslany, introducing the nominees for Best Actress in a Drama Series, said Claire Underwood character from House of Cards would be a great president because “she doesn’t tweet.”

The Handmaid’s Tale won five Emmys. Although the series became much more relevant with the election of Donald Trump, they did not take the opportunity to mention him in their acceptance speeches.

Saturday Night Live won nine awards, with The Los Angeles Times collecting their political sketches here. In his acceptance speech Lorne Michaels said:

I remember the first time we won this award. It was after our first season in 1976 And I remember thinking as I was standing there alone that this was it. This was the high point. There would never be another season as crazy, as unpredictable, as frightening, as exhausting, or as exhilarating. Turns out I was wrong.

SciFi Weekend: The Return Of Kahn; Mr. Robot; Doctor Who Deals With Chauvinism; Legends of Tomorrow; The Handmaid’s Tale; Patrick Melrose; Will and Grace; Audrey Horne Returns To Twin Peaks

It looks like Star Trek: Discovery might not be the only Star Trek television coming up. Geek Exchange reports that Nicholas Meyer is working on a limited television series based upon Kahn:

According to the sources, Meyer’s new project takes him back to Khan Noonien Singh, the “genetically superior” villain played by Ricardo Montalban in the original series episode “Space Seed” and in The Wrath of Khan, and by Benedict Cumberbatch in the J.J. Abrams-helmed Star Trek Into Darkness. Meyer will reportedly be developing a prequel miniseries, or limited series that would take place on Ceti Alpha V and chronicle Khan and his followers struggling to survive in the years between when Kirk dropped him off on the planet at the end of “Space Seed” and when the crew of the U.S.S. Reliant finds them early in The Wrath of Khan.

The directors cut of Star Trek II: The Wrath of Kahn is going to have a theatrical release in September to mark the 35th anniversary of the movie:

The Director’s Cut of Star Trek II: The Wrath of Khan, widely considered the best Star Trek film, is getting a special theatrical release this September to celebrate its 35th anniversary! I had a chance to sit down with writer/director Nicholas Meyer to discuss his experiences making the movie and its long-lasting success. But first, some exclusive details regarding the big screen re-release…

The digitally remastered Director’s Cut of Wrath of Khan will show for two days on Sunday, September 10th and Wednesday, September 13th in more than 600 theaters across the U.S. at 2pm and 7pm local time. Fans can buy advance tickets starting today. Screenings will be preceded by a brand new 18-minute interview with William Shatner about the making of the film. Tickets can be purchased online by visiting FathomEvents.com or at participating theater box offices.

A very creepy trailer was released for the third season of Mr. Robot with this description: “MR. ROBOT follows Elliot Alderson (Rami Malek), a cyber-security engineer who, along with Mr. Robot (Christian Slater) and fsociety, starts a revolution to change the world. Picking up immediately following the Season 2 cliffhanger, Season 3 will explore each character’s motivations and the disintegration between Elliot and Mr. Robot.” The show returns October 11 with new cast members including Bobby Cannavale.

Considering all the noise made about Jodie Whittaker being cast as the thirteeth Doctor, it is fitting to learn that the Doctor Who Christmas special will deal with chauvinism:

David Bradley is set to appear as the First Doctor in the Doctor Who Christmas special lined up for the end of the year, and he’s recently revealed at the London Film & Comic Con that he and outgoing Doctor Peter Capaldi are set to clash over their attitudes toward women during Steven Moffat’s final episode.  

“What we did emphasise,” Bradley explained, “was the old fashioned nature and how he is from the 60s. He goes into the Twelfth Doctor’s Tardis and says ‘it’s a bit dusty around here, it’s in an awful state isn’t it? Where’s Polly? Shouldn’t she give it a spring clean?’ And then Peter’s saying ‘you can’t say that’.”  

Bradley added that his character “brings all his 60s sensibilities, what’s lovingly called casual chauvinism. He’s just talking [as if] the [companions] are there just to help out, and do the dusting and do all the domestic chores – his attitudes to a lot of things come right from the 60s, so there’s a lot of conflict between Hartnell’s Doctor and Peter’s Doctor about how things have changed in the last 50 years… we had quite a bit of fun with that.”

LGBT Nation takes matters even further in questioning if the new Doctor will be bisexual:

Michelle Gomez, who plays Missy in the hit sci-fi show Doctor Who, dropped on heckuva spoiler in an interview with the UK’s Daily Star.

While male versions of the Doctor have had female companions, Pearl Mackie’s character Bill Potts, was the first lesbian companion on the show. The character “died” last season when she left to continue her relationship with an old flame who turned into an alien during her first plotline.

Missy, however, paved the way for Whittaker’s role, as the newest incarnation of the Doctor’s longstanding nemesis, the Master. Gomez’ character proved that a Time Lord could regenerate as the opposite sex.

“Now we have a got a female Doctor so there is going to be girl on girl,” Gomez said. “It might work. Dunno. Obviously it might be awful.”

While producers have reportedly pushed for a male companion next season, Mackie for her part says she’d love to see a lesbian relationship develop between the Doctor and her companion. “It could work,” she said.

Asked if she’d be willing to return to the show to be the object of the Doctor’s affection, Mackie was quick to reply.

“Who wouldn’t? It is Doctor Who. Never say never.”

Buddy TV has this news on the third season of Legends of Tomorrow (trailer above):

Legends of Tomorrow season 3 will continue the trend started in season 2 of having a group of villains terrorize the heroes. It won’t be the Legion of Doom this time but a much larger and more diverse group. Klemmer did announce that among this group will be Damien Darhk, Arrow‘s season 4 villain and one of the original members of Legends of Tomorrow’s Legion of Doom.

Legends of Tomorrow season 2 had Darhk travel from the past to participate in adventures with Reverse Flash and Malcolm Merlyn. This will no longer be the case in season 3. Darhk will be resurrected from the dead after being killed by Oliver Queen’s hands in season 4 of Arrow. There will be a power behind Darhk, who the show has yet to reveal, but Damien will be the face of the organization.

“Damien Darhk is going to be the leader of this group in the way Thawne was sort of the boss last year for the Legion of Doom. This group is distinctly led up by Damien,” executive producer Marc Guggenheim explained.

As for the mysterious head honcho, Klemmer promised that they would be unlike anything the show has seen before. At the head of the group of villains will be a “non-human entity” as Legends of Tomorrow plans to get more into the occult and magic side of the DC universe. Klemmer confirmed that they are actively pursuing getting Matt Ryan’s Constantine on season 3.

One non-human on the evil crew however will be The Flash‘s Gorilla Grodd. Much like Damien Darhk, Legends will introduce a Grodd that has not yet been seen on The FlashLegends‘ Grodd will be older, wiser and much more dangerous. “It will be a version of him that we have not met yet on any of the shows. It will be the most evolved and powerful form of Grodd,” Klemmer said.

While the group of villains will form the spine of the season on an episode-to-episode basis, Legends of Tomorrow will be dealing with anachronisms, not aberrations. Following the season 2 finale where time “broke,” figures from history will start appearing in the wrong eras. One example that was teased was Helen of Troy showing up in the 1940s and become a movie star. The head of the villainous group of season 3 will be using these changes to exploit and further their own purpose.

Deadline reports on a new cast member:

Mistresses alumna Jes Macallan has signed on for a recurring role in the third season of the CW’s superhero drama DC’s Legends of Tomorrow.

 Macallan will play Special Agent Ava Sharpe, a hard working agent for a secret branch of the Federal Government (the Time Bureau) dedicated to the regulation of time-travel and the protection of history. She is very smart and incredibly ambitious and always believes she is the smartest person in the room. She is often quite ruthless in obtaining her goals and her drive for perfection has left many discarded friendships (and relationships) in her wake.

The Handmaid’s Tale has been the best new show so far of 2017, ending the first season in an ambiguous manner. The story now goes beyond the book, and the fact that there will be a second season indicates that Offred survives after being taken away. There were also other small signs of hope and rebellion in the first season finale.

We also know that Alexis Bledel’s character not only survives, but has been promoted to a series regular.

Beyond this we know very little, and Elizabeth Moss warns against trying to guess how the second season begins. She told TV Guide:

“Don’t try to guess what happens in that first scene of Episode 1 in Season 2,” she said. “You will never get it, and I mean that objectively as a viewer. You just won’t guess, and I love that so much.”

 

TV Line reports that Allison Williams has been added to Benedict Cumberbatch’s upcoming Showtime series, Patrick Melrose:

The former Marnie Michaels will guest-star on Patrick Melrose, Benedict Cumberbatch’s upcoming Showtime limited series, TVLine has learned.

The five-part project, formerly called Melrose, is based on Edward St. Aubyn’s novels and stars Cumberbatch as the title character, “an aristocratic and outrageously funny playboy” who turns to substance abuse to erase bad childhood memories of his abusive father.

Williams will play Marianne, someone Patrick runs into during his time in New York City.

The drama’s cast also includes Hugo Weaving, Jennifer Jason Leigh and Anna Madeley.

Will and Grace has not only been extended for sixteen episodes next season, but was also renewed for a tenth season before the revival even began. The revival plans to retcon the original series finale and have the cast back as we remember them (such as without the children shown in the original finale). Things have also been brought up to date, with Karen having voted for Donald Trump. Eric McCormack discussed this:

“One of the hardest things we’ve all had to deal with is realizing that some of the people around us didn’t vote for who we voted for and they might’ve been friends or they might still be friends, and how do we maintain that friendship?” McCormack told reporters at the Television Critics’ Association on Thursday. “We know that’s the case here as a result of that video we did in September. We know that Karen, of course, voted for her friend Donald. So that is going to lead the conversation. That is not inherently about the politics of today or even yesterday; it’s about the politics of friendship and how you navigate that. And it can be quite hysterical, how you navigate that.”

I wouldn’t dream of attempting to do recaps of Twin Peaks, or in any way try to explain what is going on, but I will note that last week’s episode had the return of  Audrey Horne (Sherilyn Fenn). Picture from last week’s episode above. Or as we remember her:

SciFi Weekend: Doctor Who; The Americans; American Gods

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

Why make this your final series?

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

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

What’s the hardest part of being the Doctor?

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

How would you describe your Doctor?

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

What can you say about your regeneration?

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

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

How would you describe your Doctors?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SciFi Weekend: Doctor Who, Oxygen; Timeless; Sense8; The Handmaid’s Tale; More Renewals and Cancellations; The Last Man On Earth Season Finale; Artistic Opposition To Donald Trump

Doctor Who began Oxygen with an apparent homage to Star Trek, speaking of the final frontier. Except it led into this week’s episode by saying, “Final because it wants to kill us.” Final frontier might also tie into the return of the Master by referring to the 1973 episode Frontier In Space which was final appearance of Roger Delgado as the Master.

The episode took advantage of the Doctor’s role as professor, and allowed him to use the blackboard again, even if he got off topic in discussing the dangers in space: “What’s this got to do with crop rotation?” This was a combination hard science fiction/space zombie episode, with less of the simple talk between Bill and the Doctor. That does not mean Bill didn’t get a chance to ask pertinent questions such as, “What happens if I throw up in my helmet?”

The best answer of the episode came from the Doctor in response to the question“Who the hell put you in charge?” The response: “I’m here to save lives. Anyone who doesn’t want me to, raise your hand now.”

The episode finally involved Nardole in the story, and got him off earth.

This was one of the more political episodes of the show. It was bad enough to find that the miners were charged for oxygen. They would also pump any excess oxygen out of the station to force the workers to have to purchase the oxygen from them. Making matters even worse, once the algorithms calculated that it was not cost effective to keep the workers alive, they were turned off and the suits took over. They continued to move, looking like space zombies.

A line from the Doctor when he figured out that the next set of people coming were not to rescue the workers, as that would not be cost effective, made this all work: “They’re not your rescuers. They’re your replacements. The end point of capitalism. The bottom line where human life has no value at all. We’re fighting an algorithm, a spreadsheet … like every worker everywhere, we’re fighting the suits!”

Giving the two meanings to “fighting the suits” fit in so well with this episode.

The Doctor went on to explain that soon after humanity resorted things like selling oxygen capitalism came to an end. However, after this, “the human race makes a whole new mistake.”

The solution to the problem was simple but fit into the story. The Doctor began to bluff in saying, “The nice thing about life is however bad it gets, there’s always one option left – dying well.” He had no intention of actually dying, but he made it look like he would make it more expensive for the corporation, causing the suits to all stop.

Unfortunately this did not come without some costs. The sonic screwdriver was destroyed (once again). The Doctor gave Bill his helmet to keep her alive, and as a result became blind. As the Doctor put it,  “I’ve got no TARDIS, no sonic, about 10 minutes of oxygen left and now I’m blind. Can you imagine how unbearable I’m going to be when I pull this off?”

Many episodes this season turn something common into something deadly,  reminiscent of Blink. This week the warning was “don’t panic” as this will lead to breathing faster, using up more oxygen, and death. Next week in Extremis yet another common event, reading a book, might get you killed. The Doctor’s blindness might be what saves him. Is this just a temporary measure for next week’s episode, or is it part of a slow death leading to his regeneration later this season? From the preview, we also see the return of Missy.

There was a lot of news this week regarding final decisions on renewals, largely with shows which were thought to be on the bubble. The announced cancellations included Sleepy Hollow, Timeless, Blacklist: Redemption (with Blacklist renewed), Scandal, PowerlessFrequency, and No Tomorrow. Renewals included New Girl (for one final season), Gotham, Agents of SHIELD, iZombie, American Gods, Thirteen Reasons Why, and A Handmaid’s Tale.

Of the cancelled shows, the only two which I might miss are Sleepy Hollow and Timeless. Sleepy Hollow did recover this season, with its season finale working as either the series finale or as a stepping stone to a new season. Timeless got better as the season went on, and ended with a cliff hanger which did leave me wanting more. Fortunately NBC listened to protests from other fans who felt the same and reversed its decision, giving it ten episodes next spring or summer.

Considering the nature of the show, there is also speculation that time travel was utilized to bring back the show. However, we learned from The Flash that going back in time to change things does have consequences. Reversing the decision at NBC might lead to terrible consequences. Perhaps ER will return for another decade, or worse, Whitney or Sean Saves The World will return to the NBC lineup.

I have no idea how the two new CW shows, Frequency and No Tomorrow, were. I never gave them a chance as there were already more shows on than I had time for, but I know both shows did have their fans. The CW Network has at least released epilogues for both of these shows.

Both Thirteen Reasons Why and The Handmaid’s Tale have been renewed for a second season, adding to the series based upon books which are going on beyond where the book they were based upon ended. The third season of The Leftovers is showing how a series can be better in such a situation. The Handmaid’s Tale has been excellent through the fifth episode, leaving me quite trusting of the producers to continue the story. While based upon the book this season, the show so far is often made stronger when it goes beyond the book. The story feels more realistic and a possible extension of current trends by showing the flashbacks. Mentions of events in Canada and the European Union since I last mentioned the book have further added to this sense of reality.

Now that we have also had additional episodes beyond the first three which were released at once, I further appreciate how good a job they are doing at not only converting a book but presenting episodic television. While it is not necessarily bad, many streaming shows and shows based upon books are more like a multi-hour movie with arbitrary breaks every hour or so. In contrast, each episode of The Handmaid’s Tale, while part of the novel, do tell a separate story.

Sense8, which I have completed since last discussing this, is also stronger in its second season in better handling episodic television while also having a season-long arc. Highlights include a wedding, a shoot out, and a car chase, along with other things I won’t mention to avoid any spoilers.

The Last Man on Earth ended with a change in scenery necessitated by a nearby nuclear power plant being on the verge of a melt down. We also found out that Kristen Wiig’s character, who had appeared in a single episode, has survived. Den of Geek spoke with the writers:

DEN OF GEEK: I sort of like the idea that this finale is all about safety. Did you know that you’d be ending up at this nuclear fallout angle when the season began? There are light references to it throughout the year.

KIRA KALUSH: We were always pretty set on doing a nuclear fallout this season. For a while we thought it could be our mid-season finale. We even toyed around with it being the reason the group leaves Malibu, but ultimately, here it landed, and I think it was the right move.

ANDY BOBROW: When we went in to discuss the season with the network, we pitched this ending, kind of as a “this is something we’re thinking about, not married to it yet.” It certainly scared them financially, since we basically guaranteed we will have to build all new sets next year. So we were mindful of that, what it would cost. And we kept thinking, well, maybe some better idea will come along. As the year progressed, we really couldn’t think of anything stronger. We realize we’re writing ourselves into a corner, but it just seemed so Last Man, I think we had to go for it.

Is that perhaps the direction that the show is moving in?  Where the gang is just trying to avoid nuclear fallout. It’s nice that this material also brings everything back full circle in terms of Pat.

KIRA KALUSH: You can never really say where the show is going until we’re there, but I don’t think the group will be on the run for too long. It’s likely that this is just a way for them to move locations and get out of their element. But who knows? R.I.P. Pat Brown. He was a fantastic misunderstood conspiracy theorist with anger problems, but it was his time to go.

ANDY BOBROW: The thought of doing a whole season on the run is very enticing, but might be cost prohibitive. Just in terms of the production of the show, our model is we build a set and shoot three days on set and two days on location per episode. Location shooting is more expensive, but if there’s a way to do more of it and stay on budget, I’m all for it…

The season seems to end with the only things that are clear being that the gang is on a boat and that Kristen Wiig’s Pamela is along for the ride. Did you ever think of her appearance almost just functioning as like a short film about the end of the world, or was the plan always to circle back to her?

KIRA KALUSH: I actually have a good answer to this one. There was a pitch that always made me laugh, but it’s a giant “fuck you” to the audience. The Wiig episode is so good and so exciting and we knew our fans would be psyched, waiting to see when and how she joins the group. So the pitch was this: In the time jump at Melissa and Todd’s wedding, Tandy is rambling on about everything they’ve been through together as a group. He points to memorials of Phil, Gordon, Lewis, and finally, Pamela — revealing that Pamela met up with the group, lived with them and died, all within those six months. I don’t think we ever would have done it, but it still cracks me up.

ANDY BOBROW: Right right. I mentioned this in the time jump questions, because at one point, rather than Pamela it was going to be Steve Buscemi. Either Steve Buscemi as himself, or just a character Tandy mentions, who is represented by a driver’s license or passport on a tombstone, and you can see it’s Steve Buscemi.

But getting back to Pamela, Will’s initial discussion with Kristen was we’ll take you for as few or as many episodes as you want. So our thought was if we could only have her for one episode, it would be a thing where she interacts with them more, i.e. she shows up at the beginning and leaves them at the end. Since she was game for more than one, we decided this was the way to go. Do a standalone with her, and then have her show up at the end. There were pitches that would have used more of her in the finale, but her availability was limited. She only had a day. As for season four, well once again, we’ll take as much Kristen as we can get.

The first episode of The Last Man on Earth with Kristen Wiig showed the death of the Pence administration, presumably after Trump was gone. While the novel was written in the Reagan era, The Handmaid’s Tale as a television show has been seen as a cautionary tale about Donald Trump.

In another commentary on politics, during the past week we learned that hail-hydra.com redirected to the official White House web site. Bleeding Cool tracked down and interviewed the person responsible for this:

Bleeding Cool: What made you decide to do this? Did you own the domain before you decided to do the redirect or did you buy a while ago? What made you decide to buy it?

Hail-Hydra Owner: I bought the domain in April of 2014. I’d remembered the Senator played by Garry Shandling whispering “Hail Hydra!” in Iron Man 2, then is arrested at the end of Captain America: Winter’s Soldier for being a member of Hydra. His character reminded me of many GOP senators (probably a personal bias there) so I looked to see if I could come up with a good domain to redirect at Republicans. hail-hydra.com was the second I tried. Originally I pointed it at Ted Cruz‘s presidential campaign, then Trump’s campaign and finally (and depressingly) at his White House web page…

Bleeding Cool: What about the current redirect? Was it something you changed recently or was it when he was inaugurated in January? Or was this a reaction to something specific that President Trump did?

Hail-Hydra Owner: I changed it the day of the inauguration. It was the first time I knew I was going to change it and when. All the other times I’d just remembered I owned it and would pick a target based on news at the time, and then tweet a few people to try and get it to go viral. I’m not even sure what set it off this time around.

Bleeding Cool: Finally, how do you want people to react to what you’ve done here? Did you get the type of reaction that you wanted or did you want something more? Less?

Hail-Hydra Owner: Since this seems to be getting some news I’ve kept an eye on twitter reactions, most people are reacting the way I would hope. It’s funny, it’s political satire. Do I think Republicans are literal Nazis? No. Do I think they’re over-authoritarian with a complete disregard for the majority of people in the country that can’t donate a million dollars to them? Yes. Several articles say they contacted the White House for comment, I hope I don’t end up on a terror list in retaliation.

For those who prefer their artistic opposition to Donald Trump to come from music, The Hill reports:

Todd Rundgren, a singer and songwriter, warned fans not to attend his concerts if they are Donald Trump supporters, saying “buyer beware.”

“If I had the power, I’d say: If you’re a Trump supporter, don’t come to my show, because you won’t have a good time,” Rundgren said in a Variety interview released Sunday.

Rundgren collaborated with an array of artists for his new album “White Night,” including Donald Fagen. Together, Fagen and Rundgren produced an anti-Trump song called “Man in the Tin Foil Hat.”

Lyrics include: “He’s coming down the escalator with a girl from east of here, because the man in the tin foil hat is leading like a teenage girl. He put’s the ‘pluto’ in plutocrat, he hasn’t got time for losers, unless they do what he demands.”

Rundgren said his shows will contain many insulting jokes about the Republican president, warning that it could be a turnoff for the president’s supporters

“I guarantee that in this show, if you’re a Trump supporter, you will likely be offended. Let the buyer beware! I mean, if you can’t take a joke, or you can’t admit that you’ve made a mistake, you don’t belong with the rest of us,” he said with a laugh, according to the interview.

Rundgren also said he also questions the values of Trump supporters.

“And also, I don’t understand your frickin’ values. Because I’m not singing about that. If you don’t understand that basic thing, you’re just fooling yourself,” he added.

SciFi Weekend: Doctor Who, Knock Knock; American Gods; Sense8; The Flash; Ranking The Rolling Stones Songs

Knock Knock had some good moments but did not really work. Possibly the problem was timing. It attempted to be a plot-driven episode of Doctor Who and depended less on the interplay between the Doctor and Bill, but in doing so partially lost the strongest aspect of the season so far, while still having a plot which was rushed to the point of making little sense.

The story jumped too quickly from students looking for an affordable place to live to the first death. While the general premise of housing being too expensive was realistic, why did Bill suddenly need to find somewhere new to live, and why with these six people she barely knew? I’m sure students don’t read their housing contracts that closely, but I wonder if even a cursory reading might have tipped them off to what they were agreeing to. It is less plausible that not a single student would have looked into cell or internet access before quickly moving in. While I did like how they went from one student joking around to really being killed, it all felt too rushed. The student who hit on Bill this quickly was also acting in too much of a rushed manner.

There were some good scenes, but overall the threat from the bugs and the wood made little sense. Why did they keep Eliza alive, eat some students, and incorporate others into the woodwork? Things just happened without any real answers, or anyone figuring out much. While they did figure out that the Landlord must Eliza’s son and not father, this was not all that tremendous, and had little bearing on the outcome. Suddenly Eliza intervened to help, was able to control the bugs, and opened the shutters in time for the fire works. I was waiting to hear When You Wish Upon A Star as if it was the Magic Kingdom. Everyone turned out to be alive, but why did the insects release them? Presumably those eaten in previous years were too far gone, but it might have been an amusing scene to have groups of students from the past suddenly appear if they were going to show any victims come back to life.

Perhaps more time on the plot could have solved some of these problems, but that would have taken away even more time from Bill and the Doctor. The Doctor did mention regeneration, foreshadowing what we know will come later this season. He also mentioned the Time Lords. It was amusing to see the Doctor use the TARDIS to help Bill move in, but I don’t understand why Bill seemed to be embarrassed to let the others know about her relationship with the Doctor. She did claim he was her Grandfather. Is this somehow related to the pictures of Susan on the Doctor’s desk?

I’m surprised that they did not bring up the inability of the sonic screwdriver to work on wood, or make more use of its sonic abilities considering the importance of sound in controlling the bugs. Of course I don’t blame the Doctor for not being clear as to how that worked as I’m not too clear on it either after watching the episode.

At least the show sort of gets the history right, including Harriet Jones among the Prime Ministers of Great Britain.

This season we have seen a reflection and failing to smile become things to fear, and I wonder if the intent was to do the same with knocking, considering the title. If so, it didn’t work. Of course the classic example of Doctor Who creating fear is Blink, and this episode was filmed on the same property, but in a different house, as where Blink was filmed.

The episode concluded with the Doctor going inside to visit the person in the vault. The interaction we did hear has strengthened suspicion that it is The Master (very likely as Missy) inside. For that matter, is the vault the Master’s TARDIS and how big will it be on the inside?

In other Doctor Who universe news, there is a new design for K-9. There will also be a series five of Torchwood, taking place after Miracle Day, but it will be released as an audio series.

American Gods premiered last week. I wonder if this is the right format. The show is apparently very faithful to the book, while expanding on situations and characters. One review said that the entire first season covers only the first one hundred pages of the book. The show is basically set up for at least the first four episodes, making me wonder if television viewers who aren’t familiar with the book will understand what is going on and stick it out. This could be a situation in which it might not be best to be so faithful to the book. Otherwise it might be better to release this Netflix style and have it available all at once, so people can go through it more like reading a book, as opposed to watching the first episode, being confused, and possibly not returning. At very least it might have been better to release the first few episodes at once, as Hulu did with The Handmaid’s Tale.

Whether or not they understand what is going on, fans of  Bryan Fuller’s work will feel right at home with the visual. The lynching scene at the end felt like something right out of Hannibal. Fuller discussed the scene with TV Guide.

Neil Gaiman explained what the book and series is all about in an interview with Recode:

Many of you who are listening to this know what “American Gods” is because it’s a very popular book. Some of you have not read the book, so Neil, tell us what the book and the show are about.

The book — which was written in 1999, 2000 and 2001, and published in June 2001 — and the show, which is coming up, are both about America. They’re both about a man named Shadow, who is in prison for a crime that he didn’t commit and has been looking forward to getting out and getting back together with his wife, Laura, who he loves very, very much. In a one-two sucker punch, he learns that he’s being let out a few days early, and he is being let out a few days early because his wife was killed in a car crash. He’s on his way back to his wife’s funeral when he meets a peculiar old grifter on a plane, who offers him a job.

The job, which he winds up taking, throws Shadow into the middle of a battle, an oncoming battle, between all of the old gods, all of the things that people who have come to America over the years have brought with them and abandoned, whether it’s leprechauns, or the Golem, or things that people have believed in, come to America, as all of the people who are in America are the descendants of people who came here, or are people who came here, and also the new gods. The new gods are the things that demand our attention, that we give our time and our love and our attention to, whether it be the gods of podcast, or of those small glass and metal and plastic objects that we all stare at in rapt devotion…

This is a book you started writing in the late ’90s. You started making the TV show a couple of years ago, it comes out now, and it is about immigration, in large part?

Yeah.

Race is forefront. There is a lynching scene at the end of the first episode. The beginning of the second episode, it starts off on a slave ship, so obviously there is some timely stuff going on here. Do you figure that would’ve been timely no matter what?

The weird thing for me is that when I wrote the book, I did not see any of this stuff as controversial. When I wrote the book, I thought, okay, this is an immigrant country. Some of the people came here, their ancestors came here 20,000 years ago from Siberia, crossing the Bering Straights and stuff. Some people came here 400 years ago, and some people wanted to come here, and some people were sent as prisoners, sent as slaves …

Right, there’s no question mark at the end of it, it’s a full stop.

That one’s a full stop. This is an immigrant country, and furthermore, I don’t think it’s contentious or controversial to be pro Statue of Liberty, and the poem thereon. You’re going, “I think that is part of the American psyche, the American dream,” nor did it think it was, in any way, controversial or laudable to go, “I am writing a novel about immigration in America, therefore I am going to have a lot of people in my book of different races because there are a lot of different races in America. I will make a mixed-race hero, A) for plot reasons and B) because he embodies America.” That all seemed to me to be very …

Table stakes.

Yeah. It’s not controversial, and I don’t think we thought it was controversial when we were writing the scripts, and I don’t think anybody thought it was really controversial when we were shooting it.

Cut to 2017.

Suddenly, I’m describing the show … There was a point where I was describing the show to … I was on the Empire Film Awards red carpet and somebody put a microphone in my face, and I told them a little bit about the show, and I said, “You know, things have changed. We did not think this stuff was controversial, but now we seem to be occupying political territory. We’re willing to take that, but we didn’t choose it to be.” The headline, when it was published was, “Neil Gaiman, author of ‘American Gods,’ slams Donald Trump.”

I thought, “I didn’t slam Donald Trump.” If I wanted to slam Donald Trump and talk about what a peculiar, narcissistic, ineffectual joke he is, I could’ve done, but I didn’t. I don’t even think I mentioned the poor man’s name.

Empire On Line discussed the making of the show with Bryan Fuller and Michael Green:

So, what’s the story here? Do you guys go out of your way to just get weird with this stuff? Bryan, you did Hannibal, obviously, and that had its own surreal quality to it. It almost seems like you sit there saying, “How can we fuck with the audience’s mind?”

Fuller: No, not really [laughs]. I think our imaginations are fairly vivid and when we’re reading something that is as inspiring as Neil’s novel, it’s hard not to grab the baton and run. If anything, we’ve checked each other a couple of times where it’s, like, “Uh, that may be too big and too weird,” and for us to say that to each other, you know it’s big and weird.

Is this just the way your minds work?

Green: It’s more where we live and we have the opportunity to do it, but it’s also why we were drawn to Neil’s writing and specifically this book is that it allowed us to bring imagination to life, even if it was going to be lavish, difficult, expensive.

Michael, is that something that you’re naturally drawn to, that type of storytelling?

Green: Bryan and I share a lot of taste and style, but I will say as a fan of Hannibal and of Bryan’s in the intervening years when we weren’t working together, I would often get together with him and just ask him, “How do you accomplish these things?” Bryan as a producer has an incredible and enviable track record of taking the ideas in his mind and being able to share them with other people by actualizing them. That is as good a definition of producing as I can muster, where it’s one thing as a writer to take an idea in your head and get it on the page clearly so other people can experience that idea. It’s another thing to be able to do that with visual images.

There were images on the show, sequences on the show, that Bryan described to me when we were in the writing phases and I could imagine very vividly, but the process of being able to actually put that on the screen takes an incredible amount of work, dedication, clarity of purpose. Every idea can continue to get better as more time goes on. I’ve been very much enjoying working with Bryan and learning how he manages to extract from his own mind the best idea and extract from the talented artists we work with the visual representation of those ideas.

Fuller: One of the things that we’ve learned on the show is we needed a long runway, because a lot of these ideas that we’re working on required a certain amount of experimentation to get right, and there were alleys that we went down regarding some visual effects. When we got to the end, we’re, like, “This doesn’t work. We need to back up and try something else, because it’s not holding up to the standards that we have.” Or it was an ambitious idea that we thought we could pull off, but we couldn’t quite, so we had to do something that we could achieve. A lot of our conversations with the visual effects team are about, “What can we pull off? What’s too big for us to achieve in our time and budget?”

The interview went on to discuss several of the characters.

Netflix released season two of Sense8. (Technically the Christmas episode was the first episode of the season). I have a few episodes to go, which might affect my opinion, and I don’t want to say very much to avoid spoilers as this has only been available for a couple of days. Now that the first season established the back story, the plot so far does seem more coherent than in the first season, but that doesn’t matter all that much. I’d enjoy the show even if there was no real plot and we were just seeing that world for several hours. My suspicion is that the Wachowskis come up with great scenes and then J. Michael Straczynski figures out how they can be fit together into a fairly coherent plot. (Maybe the Wachowskis should have brought someone like JMS in to give a better storyline for the Matrix sequels). Like with American Gods and Hannibal, the imagery is important–with a totally different type of imagery here.

Again, avoiding spoilers, the conspiracy element reminds me a bit of Orphan Black. There is the return of Mr. Whispers, and the BPO (Biologic Preservation Organization), with more layers than in the first season, similar to how the conspiracy expanded on Orphan Black. There is more of a biological background given, and there are other clusters. While new characters are introduced, the story does continue to concentrate on the cluster seen in the first season, with their individual stories, both alone and when connected with others, continuing to be the strength of the show.

In other entertainment news, it was announced that both The Handmaid’s Tale and 13 Reasons Why have both been renewed for a second season.

Comicbook.com explains how the reveal of Savatar’s identity on last week’s episode of The Flash plays into the 2056 warning from the Flash previously played on Legends of Tomorrow. They are going to have to do a lot more to convince me that it is plausible to have a future Barry come back in time and kill Iris.

In a really ambitious project, Vulture ranked all 373 songs by the Rolling Stones. Number one is You Can’t Always Get What You Want. Lawyers, Guns & Money wants to argue over it. Vulture did point out some areas of potential controversy beyond the ranking of the songs:

The Rolling Stones have multiple songs that are lyrically reprehensible to women and people of color — often both at the same time. If I were questioned about this topic at the Pearly Gates, I’d suggest that the Stones’ offensive attitudes had more to do with a craven desire to be provocative than any fundamental malignant worldview, but maybe I’m a fool. Whatever the true motivation behind them, a handful of the band’s songs have been tarred by Jagger and Richards’s sex and race insensitivity. There’s no getting around it. Then there’s the matter of appropriation. Excepting perhaps Elvis, there is no rock act that benefited more from drawing on black music than the Rolling Stones, who have repeatedly talked with respect and deference about how much they’ve taken from their musical idols. I do think that once the band took flight, its music represents a synthesis of their influences, rather than mere mimicry or theft. That said, I don’t know what you do with all these issues other than acknowledge that they’re a problem.

SciFi Weekend: Doctor Who, Thin Ice; The Handmaid’s Tale; Catastrophe; American Gods

Thin Ice had the most complete story so far this season, but the highlight of the episode remained the relationship between Bill and The Doctor. The episode dealt serious matters including racism and class, but it was the meta discussion of time travel and the Doctor which was most interesting.

The Doctor and Bill continued in their rules of tutor and pupil with Bill asking questions throughout the episode, also providing an opportunity to give some comments on the show in Moffat’s final season. This was Bill’s first real trip into the past and, being well-aware of science fiction tropes, Bill asked what the “rules” are. “You travel into the past. There’s got to be rules. If I step on a butterfly it could send ripples through time that mean I’m not even born in the first place and I could just disappear.” Her concern was that, “Every choice I make in this moment here and now could change the whole future.” The Doctor replied with justification for the often careless manner in which he interacts with the past in pointing out that this is, “Exactly like every other day of your life. The only thing to do is to stop worrying about it.”

Except for poor Pete, written out of history, and even deleted from the memories of viewers and from recordings of the last two episodes. We haven’t seen anything like this since Cold Blood in which Rory was sucked into a crack in the universe and erased from history. Perhaps Pete will return, possibly as another Auton duplicate, as Rory later did.

There was also repetition of the Doctor being a bit of a thief, along with his his limited control over the TARDIS: “I told you, you don’t steer the TARDIS. You reason with it… and successfully most of the time… She’s a bad girl this one. Always looking for trouble.”

Bill had more serious questions and observations. She noted that “Regency England, a bit more black than they show in the movies.” The Doctor replied, “So was Jesus. History’s a whitewash.”

She realized that there was a lot more to the Doctor than a university professor after seeing his lack of a response to the death of a child. She asked him how many people he has seen die, and then how many he has killed. He had no specific answers. He did say, “I’m 2,000-years-old and I’ve never had the time for the luxury of outrage.” I wondered how long it would be until Bill saw through that lie, and it occurred later in the same episode.

The Doctor had fun with Bill beyond his reference to Pete. He allowed her to watch the lights because she was having fun, and then mentioned seeing lights as a side effect of time travel. Later he told her to let him do the talking because she has a temper. Moments later he slugged  Lord Sutcliffe (also showing his capacity for outrage).

Of course the Doctor wasn’t entirely cold about the death of the boy. He just has seen enough to know when he can and cannot do something. His overall view was more humane: “Human progress isn’t measured by industry. It’s measured by the value you place on a life. An unimportant life, a life without privilege. The boy who died on the river, that boy’s value is your value. That’s what defines an age. That’s what defines a species.”

The episode took place in the Frost Fair of 1814, the last in a series of actual events when the the River Thames froze over. Being 2000 years old (or actually older if the events of past seasons are taken into consideration), and prone to hanging out on earth, it is no surprise that the Doctor was there before. A Good Man Goes to War reveals that he was there with River Song, with Stevie Wonder performing:

River: It’s my birthday. The Doctor took me ice skating on the River Thames in 1814, the last of the great Frost Fairs. He got Stevie Wonder to sing for me under London Bridge.
Rory: Stevie Wonder sang in 1814?
River: Yes, he did, but you must never tell him.

(As a totally irrelevant aside, Stevie Wonder was once dining at the same restaurant I was at while traveling to Washington, D.C.)

There was an old Companion Chronicle audio story in which the first Doctor, Vicki and Steven visited the Frost Fair of 1814. The Doctor also promised to take Clara to the Frost Fair in The Caretaker (and actually did in a novel) The Doctor’s lack of interest in rules of time travel in his discussion with Bill is consistent with his lack of concern for returning to the same place–which would be forbidden in other time travel stories. This includes the breaking of time in the Legends of Tomorrow season two finale.

Bill did verify that her trip did not brake time, and Doctor Who has already established that humans have an incredible tendency to forget the extraordinary events depicted on the show. Bill used Search-wise.net for her research–a site which actually exists for television purposes.

The Doctor and Bill returned to the Doctor’s office in time for tea, but Nardole figured out that they had been traveling in time when he saw their change of clothing. He did not appear to figure out out that he had no chance to win the coin toss. For the sake of continuity, he did make reference to how he was reassembled between The Husbands Of River Song when he was decapitated and The Return Of Doctor Mysterio. He returned to the vault where we learned that someone or something inside was knocking, perhaps the Master, except that he knocks four times. Knocking also foreshadowed a past regeneration.

The Handmaid’s Tale premiered on Hulu, with the first three episodes being released. The show displayed a very bleak future in which Christian fundamentalists have established a dictatorship. This would be more plausible in a Muslim country, especially considering recent events in Turkey. It seems more plausible here, and  especially timely, after the election of Donald Trump, with the lack of respect for reproductive right’s and a woman’s right to control her own body taken to even more horrifying extremes. (To be objective and nonpartisan, Democrats cannot totally place the blame on Donald Trump and Republicans for rightward movement in this country considering their lack of concern in nominating a candidate such as Hillary Clinton who has a terrible history on First Amendment issues, including separation of church and state. While obviously Clinton would never support the mistreatment of women in this manner, her work with The Fellowship while in the Senate did help facilitate the goals of the religious right in increasing the role of religion in public policy.)

Elisabeth Moss does an excellent job as Offred (presumably given this name as she belongs to Fred), who is forced to conform outwardly. The totalitarian society shows how those without power being under constant surveillance, appearing to have no chance to rebel, or even safely be themselves with others. Inwardly it is a different story: “My name is Offred, and I intend to survive.” Her internal thoughts provide necessary relief from the overall story. There are also breaks from the main narrative to see how America went in that direction. Martial law was initiated, supposedly on a temporary nature in response to a terrorist attack, and later women were prohibited from having money or holding jobs.

The supporting cast also does an excellent job, especially Alexis Bledel (renamed Ofglen, following the same pattern), who managed to portray with her eyes alone the horrors of what she was exposed to in the third episode. Yvonne Strahovski is also excellent. 

Showrunner Bruce Miller discussed changes in the television show from the novel, including what happened to Ofglen (with spoilers for the third episode):

You take the character of Ofglen (Alexis Bledel) in a different direction very early on in the series. Can you talk about the decision to have Ofglen forcibly undergo genital mutilation surgery and how that changes things for her character moving forward?
Miller:
In the book, Ofglen just disappears and we hear that she killed herself. There’s no real way to confirm that. This was just one of those cases where you just follow your curiosity and you say, well, what happened to her? And I was fascinated by the idea, personally, of seeing how some of the institutions were being reproduced in Gilead. And the institution of the criminal justice system seemed fascinating in a world with institutionalized sexism and misogyny and biblical laws that were being taken literally. So that kind of lead us down a path of, OK, if I want to see how all of those things go, it would be very interesting to follow those things to the end. And making the decision about the female genital mutilation was really just kind of a practical discussion. A world that happened by accident is different than a world people created on purpose and here, Gilead is a world they created on purpose. There’s motive behind it, human motive. So what we’re trying to do is say, OK, what would they do to someone like Ofglen? They don’t want to kill her or send her away. They want to maintain her fertility as part of their reproductive system and their focus on that. So how would they try to control her?

And also taking into account, Margaret Atwood has said many times and we’ve certainly took on this adage, that nothing should happen in the show that doesn’t happen in the world. We don’t want to make up cruelties just for the sake of doing it. Then it turns into pornography. It turns into violence. It’s commentary and it helps you understand the world if you take things that happened in the world. Female genital mutilation is certainly something that happens all over the world. The difference here is that it doesn’t usually happen to white girls, but it does happen all over the world. We spoke to the U.N. and we spoke to the councils they sent us to about how it happens and why it happens and what it’s used for and how it’s done. We took it really seriously. We didn’t want to do it for shock value, even though it’s very shocking. You want to do it because it seems like the thing that Gilead would do. It’s a difference in the book, but it’s also something that takes place out of Offred’s point of view, at least in the show and also in the book. So we felt like we weren’t straying so far because it was something that could have happened in the world of the book and could have happened to somebody else. But anything we did that was not in the book or anything we changed, we were incredibly serious in those discussions about why to change things.

He also discussed how timely the series is:

A lot has been said about how timely the series is. Do you feel any concern that, given the current state of our society, The Handmaid’s Tale might hit a little too close to home for many viewers who would rather avoid facing these ideas head-on?
Miller:
I’m not worried. I hope it hits a little too close to home for viewers who are feeling anxious, because I think there are some great lessons to be learned, which is that the world can change in big ways and we should be very mindful of keeping an eye on our freedoms. As in the show, we see in the flashbacks, how in big and small ways the world can change and the things that we say and the things people say, they’re going to end up mattering in people’s personal lives and that we live in a country where we enjoy lots of freedoms and that those freedoms are not to be taken for granted.

The other thing is that if it does hit close to home, it also offers some really good examples of what to do. Offred is in an incredibly difficult circumstance, and yet she finds ways to express herself, she keeps her sanity, she keeps her heart alive. She also pulls levers of power. She manipulates the people around her to both increase her chances of survival, but also to build some sort of life. She makes connections with people even when they’re scary. I think in a way that’s inspiring. If Offred can do that in that situation, maybe we can do something in this situation. I think Margaret said it in the book, which is, “just do something.” And hopefully you walk away with that. And the other part is that there is a part of doe-eyed optimism on my part, when you look in the flashbacks, the world is so jarringly different. Our messy, noisy world where people are kissing in public and on their iPhones and stuff, you learn to appreciate it, or at least I did. Spending so much time in the fictional world of Gilead, you learn to appreciate how nice it is to have a messy, noisy world and what a pleasure that is. So if you walk out of there going boy, we actually have a good thing going even though it annoys us sometimes, that’s the nerve you want to hit, which is people saying, “Oh, actually there are some good things. Let’s fight to preserve them.” As opposed to, “Things are sh–ty, let’s just throw up our hands and abandon them.

While there were changes from the book, he also discussed how he consulted Margaret Atwood in an interview with Time:

The show definitely expands on what’s happened in the book. You get more backstory. You get to see what happens from the perspective of other characters. How did you decide what to expand and why, and did you discuss those decisions with Margaret Atwood at all?

Everything’s been a conversation with Margaret. It’s very unusual with something this iconic that you would have the author still living. Margaret is an expert in her own way of seeing this particular piece of work adapted: It’s been a play, opera, movie. So she had a lot of experience with what things need to change for different forms for this story. Where I might have had trepidation changing things because of my affection for the book, she certainly did not.

If we changed something, we did it thoughtfully and for a reason. We discussed the repercussions of each change with Margaret. It’s been a very active conversation back and forth. And I’ve been through the story a lot. We’ve picked it apart in the writers’ room. Elisabeth, in particular, has been through the book and educated herself to the nth degree. She’s memorized whole sections of it. So we took great care, and most of the changes we’ve made were actually extrapolations: Taking a thing that was a sentence in the book and turning it into a whole episode.

While Handmaid’s Tale is a must-see show this season, it is disturbing and bleak. My wife and I found that comic relief was necessary after watching three episodes. Fortunately Amazon has released the third season of Catastrophe. If  you haven’t seen this, I recommend going back to the start. Each season takes under three hours to watch. It is sort of like doing You’re The Worst with older, but still highly flawed people, and setting it in the U.K.

For the benefit of those who watched the second season, the events at the end of the final episode have considerable impact as the third season began. A similar formula was used, with an event at the tend of the final episode of the third season likely to have further ramifications in the fourth. Fortunately the series was renewed for both a third and fourth season at the same time, so we will see where this goes.

Sadly, the series has become of significance for science fiction. Carrie Fisher reprised her role as Rob’s mother in an episode which ironically dealt with death and loss. This was the role she was filming before flying from London to Los Angeles the day she had her fatal heart attack. A tribute to Carrie Fisher was attacked to the episode.

The highly anticipated premiere of American Gods is on tonight. (Gillian Anderson in the above picture.) Bryan Fuller and Michael Green discussed the show with Uproxx:

The novel tackles just about every Big Theme there is: politics, religion, modernity, sexuality. Do you two think about America in these grand terms as well?

Fuller: It’s hard not to think of America in grand terms in the current political climate because the country has shit the bad. We’re facing a violent time of great crisis, and that calls into question what we believe in, where we’ve placed our faith, how we navigate the secular and the search for something more meaningful. Then there are those who are not searching, because they’ve made up their minds that they’ve experienced the extent of the world that they need to, and have no cause to look further. That’s so limited and narrow of an approach to living, so you’ve got to challenge people on what they believe. Challenge the conservative Christians who don’t understand the concept of Christianity, or else they’d never pair those two words together.

Green: The book is sexual, and that’s nothing we’d ever shy away from, but we wanted to make sure our depiction of sexuality would be relevant to the show. Where nudity becomes dicy for me, as a viewer, is when it’s cuttable. That’s the definition of ‘gratuitous,’ when it doesn’t need to be there to enhance enjoyment of the show. And that’s not the show we set out to make. We wanted all the sexuality to be grounded in character, so you can’t tell Bilquis’ story without the scene. We wanted to do the scene between Salim and the djinn with fidelity to the book, but also give a graphic depiction of gay sex that no one could say wasn’t beautiful. We wanted to show the majesty of this religious experience mediated by sex, and put it beyond judgement from those viewers who usually feel uncomfortable with same-sex depiction.

American Gods is a finite work, but the nature of TV is that when something’s going well, people want more of it. What do you think about the future of this project? American Gods has an end; does the show have one as well?

Fuller: I think the show should have an end, but that does not mean the show cannot spawn other shows that live on beyond the scope of American Gods. If we were to secure the rights to Anansi Boys, that would be our first choice for a spinoff. We love Orlando Jones and what he brings to the mythology of this series, and we love the story of that book. We’d love to get our hooks into that and branch that off if this show ends up being successful.

Den of Geek also has an interview with Bryan Fuller which tied it into contemporary politics:

Thinking about Mr Wednesday, the figure of the con man has scarcely felt more relevant to US politics.

[Laughs. Loudly]

And to the US Media.

Well, you have a con man who is saying ‘let’s make the gods great again’.  There is a certain angle of that story that is much more resonant and relevant now than it was prior to the election in November. Being in post and watching those episodes as we’re cutting and putting them together was an interesting experience – to be watching the show before the election and then watching the show after the election and realising just how resonant it has the potential to be in that climate. Particularly as an immigration story, since both the Trump election and Brexit were platforms of anti-immigration and fear of the other and exploiting that fear in citizens, it feels like we are inadvertently tapping into a conversation that we need to have and continue to have as we figure out a way to celebrate differences and not condemn them.

This story is a ripe opportunity for social comment.

Absolutely.

In particular the idea of people being whipped up into a war whose only purpose is to further the power of a couple of individuals…

It’s tragic on one level and then on another level it’s an opportunity to take a look at where we are. Sometimes you have to take a step backwards to move forwards. It feels like with both Brexit and the Trump election, we’re two nations taking a step backwards. As disappointing as it was to see hatred and fear rule the day for both of us, it was a great disappointment to say the least, it makes it even more vital and important for us to encourage conversations and also to encourage the fundamentals of listening to somebody. That’s the biggest issue, certainly what’s happening in America, is the unwillingness to listen to somebody else’s point of view.

That’s something that I love to do, even if I violently disagree with somebody, I’m fascinated with how they’ve come to their decisions. Talking to people in the States who voted for Trump, and not wanting to shut them down, like, oh my gosh, you are supporting somebody who has bragged about sexual assaults and has a clear disdain for many groups of people, but instead wanting to find a common ground because what I think all of us found in both of our situations was that everybody made up their mind and there was nothing that was going to change them regardless.

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

Game of Thrones Jon Snow

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

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

Orphan Black Donnie

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

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

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

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

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

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

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

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

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

Greg, what are you thinking?

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

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

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

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

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

Supergirl

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

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

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

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

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

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