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: Timeless Finale; SHIELD In The Framework; The 100; Doctor Who Trailer; Sense8; The Discovery; Bill Paxton Dies

Timeless ended its first season on the bubble, and the season finale was written without knowledge of whether it will return. I am still waiting for Trump to actually do something useful, such as issue an Executive Order banning cliff hangers on shows which aren’t known to be coming back. If there must be one, it was handled well on Timeless. The season finale did wrap up the running story line of the first season, and could work as a series finale. It also had a huge reveal in the final minutes which changes how we see some of the season, and leaves a lot open for a second season, if the series is renewed.

Deadline spoke with Shawn Ryan, who co-created and executive produces Timeless with Eric Kripke:

DEADLINE: Up until the last few minutes, the series was heading to a happy ending. Why did you decide to add the major cliffhanger at the end?
SHAWN RYAN: We had thought for awhile about what the best way was to give some closure for Season 1 while also setting us up for a new dynamic in Season 2. We wanted to bring Garcia Flynn’s journey to some kind of end, though I’m sure we’ll see more of him going forward. So while many people might see our Season 1 conclusion as a cliffhanger, we see it as a wrap-up of Season 1 and a launch point for Season 2.

DEADLINE: Did you have an alternate ending that would serve as a series finale in case Timeless does not come back?
SHAWN RYAN: No. Eric and I planned for success. We’ve been working towards this ending ever since the season began.

DEADLINE: In the cliffhanger, Rittenhouse takes control over the time machine. What is the plan for Season 2? Will our heroes continue to chase the mothership, trying to prevent Rittenhouse from implementing their sinister plan?
SHAWN RYAN: We are working on our overall plan for Season 2 right now and we’ll pitch it to NBC in April, so I’m reluctant to get too much into it because we’ll want to take a deep breath and evaluate the whole season before we commit to what we want to do in Season 2. What I can say is the current plan involves our heroes traveling to the past to stop history from being perverted and changed too much…

DEADLINE: What will be Lucy’s mom role going forward, and why wasn’t she arrested along with 100+ Rittenhouse members in the government sweep?
SHAWN RYAN: Lucy’s mom will be influential in Season 2. We don’t presume that every member of Rittenhouse was identified and apprehended in the first 48 hours after our heroes returned from 1954, though the organization was definitely dealt a big blow. So we will owe an answer in Season 2 as to why Lucy’s mom was one of the Rittenhouse members not to be identified right away.

DEADLINE: Had she been onto the time machine project from the very beginning, including the arrangement of Lucy’s involvement in it?
SHAWN RYAN: Yes. Eric and I had it in our minds even from pilot stage that Carol was secretly a part of Rittenhouse and was keeping her eye on Lucy this whole time…

DEADLINE: Will Flynn resurface in Season 2 or did his story arc end with the season 1 finale?
SHAWN RYAN: Well, Goran was fantastic for us this season and I don’t think we’ve seen the end of Garcia Flynn on the show, though obviously his role would be different going forward

DEADLINE: How did Emma, seemingly a fugitive on a mission to take down Rittenhouse, turn out to be a Rittenhouse operative? Is she earmarked for a major role in the Season 2 developments?
SHAWN RYAN: We will definitely owe some answers and explanations for this in Season 2, but once again, it was always our plan that she was secretly Rittenhouse and she was hiding out in the 1880s for Rittenhouse reasons that we will need to explain. We’ll see what stories we want to tell and how available our actress is to be on the show…

DEADLINE: Will Lucy be able to get her sister back or will she succumb to her Rittenhouse fate as her parents suggested?
SHAWN RYAN: I certainly think she’s going to continue to try to get her sister back. We’ll see if her mother or father can persuade her otherwise.

I posted excerpts from an interview with both Eric Kripke and Shawn Ryan about Timeless last week.

It was only a matter of time until Agents of SHIELD found a way to bring Agent Ward back in some form. This is being done by having the show move into the Matrix. Actually it is called the Framework. The probably couldn’t call it the Matrix for copyright reasons, just as Ray Palmer said he couldn’t call his saber which used light a lightsaber for trademark reasons in the Camelot/3000 episode of Legends of Tomorrow. Jed Whedon discussed Agents of SHIELD with E! News:

How long was it in the works to bring Brett back? How long had you been planning on this?
Well, we knew that at the start of the third pod as we’re calling them, we were going to get into the Framework, so there were a lot of options of things to do there, but that was always sort of at the top of the list. We love him and the fans love him and so we didn’t want to undercut the stories we’ve told with him, but this felt like a way to bring him back in a thrilling fashion that didn’t negate what we’d done earlier with him.

Was there talk at the end of last season when he was written out that this was an option, or was this something that came about later?
His end was his end, but this is Marvel and our show is built upon the foundation of a man who was brought back from the dead. And we had actually done that with Ward. So, it’s always an option that someone can find a way to appear back on our show and I think that this next pod will prove that out.

How would you tease what this Framework version of Ward? Because he’s wholly an Aida creation, it would seem.
The Darkhold has given them this amazing ability to sort of recreate reality, but we know that some small changes were made, repairing regrets for everybody they’ve put in there, so that seems to have had some sort of ripple effect. Who Grant Ward is in this world, we’ll have to wait and see, but they set out to recreate our world in every way and recreate everyone in it and everything in it, so there will be some familiarity to the man when you get to know him right off the bat in the next episode.

Another big surprise was learning that Jemma isn’t alive in the Framework. Are we going to cut to poor Simmons waking up in a coffin when she enters the Framework? How will this work for her?
We’ll have to see, but she didn’t wake up in a warm tub, that’s for sure. We’ll have to wait and see how that plays out, but the two of them are going in and how she comes to be we’ll have to see. I have a feeling that she’s not gone from the series. That’s not how we would end Elizabeth’s run. [Laughs.] That’s a wait and see, as I have a feeling a lot of these questions will be…But that’s the fun part about the Framework. It’s a what-if world and we don’t really know what to expect.

Talk to me a little bit about the decision to have Hydra in control in the Framework. What is this Hydra going to be like and what was the thought process behind going in that direction?
Well, you know, Hydra is sort of the opposite of S.H.I.E.L.D. and the simplest version of the anti-S.H.I.E.L.D. And we’ve told a lot of Hydra stories, but this story is more about our characters and sort of dealing with questions of identity and the nature of reality and whether or not you have a true nature or whether or not you’re made up of your experiences. If you’re made up of your regrets. Is there a true you or are you just an assembly of your experiences?

More at TVLine.

Jemma’s death on Agents of SHIELD is only in the Framework, but it appeared that we were seeing a string of deaths on television. There was the death of Alice on The Magicians recently. Connie Britton’s character died on Nashville. In this case I assume it was a matter of Britton not wanting to commit to a series on CMT for more than a brief season after it was cancelled by ABC. The question now is whether the show can survive her loss. It reminds me a little of how Dallas couldn’t survive the loss of Larry Hagman after the revival of Dallas on TNT. The one difference is that Hagman’s death came as a surprise, as opposed to Herskovits and Zwick having planned on Britton’s departure from the start.

For a brief time I thought we also had a major death on The 100. I actually went into the episode expecting a death based upon headlines of articles I had put off reading. The 100 has a history of killing off major characters, including Lexa and Lincoln last season, but Octavia seemed too important to kill off. Between having a sword go through her body and falling off that cliff, she sure did look dead, but the rules for survival are different on television than in the real world. Perhaps the bigger question of how she survived this is how her horse managed to make it down the cliff to her.

At least I am glad that they did show her get on the horse at the end of the episode as opposed to leaving viewers with a false belief that she was killed if they did plan to keep her alive. Now the question is how long it will take for Bellamy to discover that the news he heard of his sister’s death was premature. Plus Clarke’s story line got quite interesting last week, reminiscent of the types of issues raised in the first season.

The above teaser has been released for Doctor Who series 10, which will premiere on April 15. It features the Doctor’s new companion, Bill, speaking about him:

The first time you meet him, he’s funny.The second time, he’s amazing. The third time, you realize he’s the most dangerous man in the universe. He says he’s a man of peace, but he walks in war. I’m having the time of my life, and I wouldn’t miss it for the world–even if it kills me.

As Pearl Mackie has only been signed for a single season, and there is talk about a clean slate when Chris Chinball takes over as showrunner, perhaps she actually will die.

In other Doctor Who news, the spin0ff Class has been cancelled after a single season due to low ratings. It aired in the UK last fall and will be shown in the United States this spring following episodes of Doctor Who on BBC America. I did download the episodes last fall and found it to be a decent show to watch while there was no Doctor Who available, but it is hardly must see for those who have not seen it yet. The eight episodes do wrap up a story for the season, so it can easily be watched as a stand-alone season.

Sense8 returns on May 5, after a teaser Christmas episode.  Here is the (rather vague) synopsis for the upcoming full season:

Picking up where season one left off, Capheus (Toby Onwumere), Kala (Tina Desai), Lito (Miguel Angel Silvestre), Nomi (Jamie Clayton), Riley (Tuppence Middleton) , Sun (Donna Bae), Will (Brian J. Smith) and Wolfgang (Max Riemelt) come together both physically and mentally, plunged into the middle of each other’s tragedies and triumphs. On the run from Whispers (Terrence Mann), and forced to question their very identity, it’s a matter of survival as the Sensates must find a way to live with, understand and protect one another against all odds.

Some pictures have been posted on line. As we already got the obligatory orgy in the Christmas episode, I don’t know if there will be another in the full season.

Netflix has released the above trailer for The Discovery, a movie in which the afterlife has been scientifically proven to exist and millions of people commit suicide to get there. My bet is that there is a catch.

The 2016 Nebulla Award nominees have been announced.

In this time of peak TV we already have one excellent series by Noah Hawley running (Legion). A second will return soon as the third season of Fargo is schedule to premiere on April 19.

Starz has announced that the long-awaited series based upon Neil Gaiman’s novel American Gods will premiere on April 30.

Looking at the winners of recent awards ceremonies can help predict the winners of the Academy Awards tonight. Based upon recent winners, I predict that La La Land will win Best Picture, and Rumor the German Shepherd will win Best in Show.

Bill Paxton has died at age 61 of complications of heart surgery. He starred in Big Love, and has had genre roles including Aliens and Agents of SHIELD. There are many comments on his death on Twitter today, including several from cast and crew of Agents of SHIELD, with TVLine having a compilation. He has also had lesser genre roles including being killed early in The Terminator. The Mary Sue points out the science fiction villains he has faced:

In the course of his career, Paxton faced three of science fiction’s most famous villains. In Aliens, he faced the xenomorphs; in Predator 2, he faced a Predator; and in The Terminator, he played one of the punks from whom Arnold Schwarzenegger’s character demanded clothes. /Film wrote that this makes him “the only actor to have been killed by a Terminator, a Predator, and a Xenomoprh,” and I personally can’t think of anyone else who can come for that title.

SciFi Weekend: Timeless; Legion And Other Wednesday Genre Shows; Doctor Who; Renewal And Returning Show News; A Sci-Fi Explanation For Donald Trump; Oscar First Thoughts

Timeless started out the season as an entertaining time travel series, even if not the most significant genre show on at present. As it approaches its season (and possibly series) finale, the show has gotten even better as the Rittenhouse backstory progressed, and the series moved on from its initial formula. Screenrant looked at Why Everyone Needs To Be Watching This Time Travel Show.

TV Line spoke with producers Eric Kripke and Shawn Ryan about Timeless:

TVLINE | How would you preview the finale?
SHAWN RYAN | I’m proud of the finale. It answers a ton of the questions that we’ve raised. We’ve had a pretty good plan from the beginning of the season. There are things that happen in the finale that we had plotted out in our first couple weeks in the writers’ room back in June. We’ve known for a while that we were going to make 16 episodes this season, so we were able to plan for that and build to this…

TVLINE | The last episode left off on quite a cliffhanger, with Rufus in very dire straits. How that will play out in the finale?
ERIC KRIPKE | It’s not so much about whether Rufus will live or die, because — spoiler alert! — he lives. He’s one of our main characters and a popular one, and we’re not going to kill him. So as long as there’s a Timeless, Malcolm [Barrett] has a reasonable amount of job security. It’s more about the storyline that it leads to. Rufus is unable to pilot the lifeboat alone because he’s wounded, and so he needs some help, which comes from some unexpected places, and it kind of turns the story into a new direction, and then turns again.

I think the show’s gotten better and better the more we’ve focused in on and doubled down on the characters. The thing I’m most proud about in the finale is that it’s really a character piece. So many finales, especially the genre shows, are just about people running around and fighting, and ours really digs down to the thematics and the character issues that our people have been facing all year. It’s a uniquely thoughtful and emotional finale, and I’m really proud of it because of that.

TVLINE | How much did not knowing whether the show was renewed or not impact the finale and how you chose to end it?
RYAN | It did not have a great impact. We had a story that we wanted to tell from the beginning. We’re moving forward optimistically. We think there will be a Season 2. I’ve been in a situation before on Last Resort, where it was clear as we were making Episodes 10 and 11 that the show wasn’t going to continue, and we chose at that point to write what was essentially a series finale for Episode 13 to give closure. I think there are a lot of reasons for optimism for a Season 2. We’ll find out in two or three months. We’ve always set out to tell this one-season story that then would provide a launching point for a Season 2, but that would answer a lot of things, and I think we did it. We didn’t have any conversations where we were pulling out ratings and trying to do the math. We’re just writers, and we told the best story we could. So we’ll let the chips fall where they may.
KRIPKE | When you write these things, you plan for success. You just sort of have to, and whatever happens happens. But you write it as if the show’s coming back, because I think doing it any other way, you’re compromising the story you set out to tell.

Legion remains one of the more intriguing shows of the last  couple of years, and is already being compared to recent greats like Mr. Robot and West World. It deals with mental illness and an unreliable narrator as in Mr. Robot. While it might not be a major feature of the show after the premise is established, it handled time jumps far better than West World. While the themes are quite different, it also raises comparisons to Noah Hawley’s recent work on Fargo, in which Hawley adapted another universe in his own way. Uproxx interviewed Noah Hawley:

When you first got the material, what was going in your head in terms of how you wanted this to look?

When I sat down to write it, there was nothing specifically contemporary about it, but I don’t think I assumed it wasn’t a contemporary story. Then, I guess we talked about, since the movies jump from decade to decade, should we be in there somewhere? Then it just seemed to me like the subjectivity of the show gave us this opportunity to create a reality and I don’t know why, I just found myself drawn to these ’60s movies, British ’60s movies; Terence Stamp movies and Quadrophenia. There was a sense of the young punks and these are a band of outsiders and there is that sense of teenage rebellion that exists in this thing. In a modern day sense I think we’re over that and yet there’s something about that period in us that makes something familiar unfamiliar.

It started with just thinking like, “Well, let’s embrace the brutalist architecture and let’s not have any cars, because cars date something, so then if you’re in a reality without cars, where are you when you’re outdoors?” We shot on this University of British Columbia campus where there were no cars allowed. Then the hair and the costumes, this idea of the track suits that they’re in and all of that was a process of figuring out what it was and then the music plays into that as well. This idea, as I said to our composer Jeff Russo, that the show should sound like Dark Side of the Moon, so he went out and he bought the patch cord synthesizer they use in the show.

It is this mixture of visuals and the sound and music of it that’s trying to create something that’s not about information but that’s about experience.

Yeah. It’s almost a ‘60s vision of what the future would look like.

Right. Some of the elements seem futuristic and some of them seem dated, but I wanted there to be a certain whimsy to it as well, and a playfulness. I always loved about that genre and genre in general was the pure inventiveness of it and the way like a science fiction story. The example I give is Battlestar Galactica, the remake. It’s the Cylons who have God. It takes God and it takes robots and it creates something completely new. It’s not something that you would do in a drama. It’s something you would only do in a genre and so what are the genre elements that will allow us to take a show that would work as a dramatic story, two people in love, trying to define themselves rather than being defined by society and it turns it into something that I hope every week there’s something that blows your mind a little…

David alone has, in theory, an infinite number of powers. You get a bunch of these other characters with their own abilities that seem to, for the most part, be your own creations, so you can give them the powers to do whatever you want. What was that process like of figuring out, for instance, what Syd can do?

For me it was about creating characters and saying, what makes a tragic love story? A tragic love story is about people who want to be together but can’t be together for one reason. If they physically can’t touch then that creates this seemingly unleapable obstacle. Then it became about her having a power where she couldn’t be touched, and obviously I think there are characters in comic book lore who have different versions of, “If you touch me, something happens.” I took the creative license to say, “Well this is my version of that.” The danger with a character with a hundred issues of mythology is you’re always turning around and realizing you can’t do something because someone’s going to get mad or it’s going to conflict with what they know and it’s going to be confusing.

It just seemed more and more that I could take David and take this multiple personality disorder that he has in the comic and I could create a sort of metaphorical version of that, which is not to say we won’t ultimately realize that’s what he has, but it’s to say that that’s not what he’s diagnosed with in the show. Then to surround him with characters of my own invention so that I’m not hamstrung about what stories I can tell.

There has been a recent TV trend of unreliable narrators. How do you keep the audience from looking at the show as a puzzle to solve?

You have to solve the mystery. The narrator has to become reliable. It’s a lot to ask an audience to take a perpetually unsatisfying journey where it’s like you’re never going to know for sure. It’s another thing to say, “We’re going to take a character out of confusion into clarity and an audience out of mystery into clarity.” That’s the goal of it which is to say, there’s a contract and you watch that first hour and you like, “I don’t know. There’s a devil with yellow eyes and there are these other elements that I’m not sure what they mean, but I trust the filmmaker and I know that I’m going to understand it eventually.” You do. It becomes clear by the end of the first year what’s going on.

Before this era of peak TV, The 100 might have been the top genre show on of the night. Now it shares the night with Legion, The Magicians, The Expanse, and Arrow. The 100 really deserves more attention than I’ve been paying to it, but TV Line does have some comments on the revelations in Wednesday’s episode.

Spoiler TV reviewed last week’s episode of The Magicians in the aftermath of Alice’s death.

Plus information from the producers on Arrow here and here.

Vox has more on The Expanse.

Although they have no inside information, and the decision probably won’t be made for several months, the odds makers seem to like Tilda Swinton as the favorite to replace Peter Capaldi on Doctor Who. Chris Chibnall will be making the actual decision, and says it will be made in the traditional way:

We’ll cast the role in the traditional way: write the script, then go and find the best person for that part in that script. You couldn’t go out and cast an abstract idea.”

He adds: “The creative possibilities are endless, but I have a very clear sense of what we’re going to do, without even knowing who’s going to play the part.”

Steven Moffat says that Chibnall did try to convince Peter Capaldi to stay. He also says he does not plan to write further episodes of Doctor Who for a while after he leaves as show runner. He seems to have thrown all his ideas into Doctor Who the last several years, but perhaps he will come up with something new down the road.

Odds are looking good that The Big Bang Theory will be renewed for two additional seasons.

Fox has renewed Lucifer for a third season.

I gave up on Once Upon A Time a while back, and  from the ratings it looks like many others have too. The producers are talking about wrapping up the current narrative at the end of season six, and possibly rebooting the show in a different direction for a seventh season.

Fox is considering a reboot of Firefly, but only if Joss Whedon is on board. That makes perfect sense. I question if there is any point in rebooting the show, as opposed to leaving it as a brief , but excellent, old series. I really see no point in having someone else do a reboot.

Netflix has announced that Unbreakable Kimmy Schmidt returns on May 19.

Outlander returns in September. The production is moving to South Africa, which might be a stand-in for Jamaica.

Goliath has been renewed for a second season.

The Flash deals in multiple parallel universes, including the one in which Supergirl takes place. Screen Rant explains the most important Earths in the CW multiverse. This got me thinking after hearing Donald Trump’s comments on what appears to be an alternative Sweden…

It increasingly looks like the best explanation is that Donald Trump and his top aides have been replaced by their counterparts from an alternate universe in which there have been terrorist attacks in Bowling Green, Atlanta and Sweden. Also, in their universe, Barack Obama really was a Muslim born in Kenya, and scientists never did figure out the connection between human action and climate change. Presumably orange skin and that hair are also commonplace there too.

I’m still racing to catch as many of the top Academy Award nominees as possible by next Sunday. Looking at the favorites, at this point I enjoyed La La Land and am okay with Emma Stone as Best Actress, but I would not pick it as Best Picture. Based upon what I’ve seen so far I’d go with Arrival, but not expecting a science fiction movie to win, I’d also pick Lion above La La Land. It would be a toss up with Manchester by the Sea, depending upon whether I want a more upbeat or downbeat movie. Casey Afflect is justifiably a strong contender for Best Actor.

This could change by next week. My immediate goal is to at try to get in Hidden Figures, Fences, and Moonlight before the awards.

SciFi Weekend: Stranger Things; Timeless; Rectify; The Good Place; CW Genre Shows; Doctor Strange; Doctor Who; Matt Smith Back In The Past With New Companion on The Crown

A 1980’s news cast (video above) reports on the disappearance of Barb, as seen during the first season of Stranger Things. The newscast also provides further evidence that Eleven is still around. It should come as no surprise that she is returning, despite the first season finale leaving things ambiguous.

NBC has extended Timeless from thirteen to sixteen episodes, to run in two blocks, between November 14 and December 12 and from January 16 to February 20.

Showrunner Ray McKinnon explains why you can’t multitask and keep up with Rectify, and discusses the upcoming fourth and final season

Parks and Recreation predicted the victory by the Chicago Cubs in the World Series. Since the series ended, Michael Schur has moved on to new show, The Good Place. It returns for its four final episodes of the season on January 5. Michael Schur discussed what will be happening with Entertainment Weekly. Think love quadrangle.

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Last week’s episodes of The Flash revealed the secret behind the new version of Harrison Wells, as well as dealing far more with Caitlin’s powers–which should be a major focus for the upcoming episodes. More at The Nerdist.

Besides the major crossover involving all of the Berlantiverse shows, there will be a Glee reunion with Melissa Benoist and Grant Gustin doing a musical crossover between Supergirl and The Flash. Now there is talk that Legends of Tomorrow might get involved to at least include Broadway veteran Victor Garber.

Lexa Doig has been cast as alia al Ghul, daughter of Ra’s al Ghul and half sister to Nyssa al Ghul, on Arrow.

Spoiler TV has some teasers regarding season four of The 100.

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The biggest genre event of the week was the opening of Doctor Strange. It is too early to have any spoilers about the movie here, but here are a number of links for those wanting to read more:

Hitflix wrote about Marvel’s ‘Doctor Strange,’ ‘Inhumans,’ and the connected MCU (no spoilers until the end, with spoiler warning). Also at Hitflix, ‘Doctor Strange’ writer Jon Spaihts talks about blowing the Marvel Cinematic Universe wide open

Time on Doctor Strange and What We’ve Learned From Superhero Movies in 2016. Plus How Doctor Strange Hints at Big Changes for the Marvel Universe and Demystifying Doctor Strange‘s Curious Mid-Credits Scene.

Nerdist asks How Will DOCTOR STRANGE Change the MCU?

Spoilers from AV Club with Doctor Strange’s writer on [REDACTED]’s fate and that final credits sequence

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Moving on from Doctor Strange to another Doctor, I previously posted about plans for an animated version of a lost Doctor Who story, The Power of the Daleks. Inverse calls it essential viewing, and has updated information.

When the BBC purged their archives in 1974 to make room for more film, “The Power of the Daleks,” the Second Doctor’s introduction to the show, was lost in the process. “The Power of the Daleks” is not the only serial or episode lost to time; there are dozens of episodes that have never been seen by modern audiences. But “The Power of the Daleks” is the first one to be made in what is assumed to be a shot-for-shot remake. It’s animated and, of course, in black and white, but Troughton’s Doctor and Anneke Wills’s Polly will probably be no less charming.

Matt Smith is back playing a character in the past on television, with Netflix releasing The Crown last week. Claire Foy (who previously played Anne Boleyn in Wolf Hall) makes an excellent companion for him as Queen Elizabeth. Much of Matt Smith’s character can be seen in his portrayal of Prince Phillip. I was not surprised to see him handle an elephant in Nairobi, expecting him to pull out a sonic screwdriver or explain handling the elephant by saying, “I speak elephant.” When he protested playing second fiddle after Elizabeth became Queen, I half expected him to protest that he is a Time Lord of Gallifrey.

The series starts with Elizabeth and Phillip before Elizabeth became (spoiler?) Queen and was forced to fulfill what was expected of the role. They have great chemistry together and someday I would like to see Foy and Smith together again, possibly in another period piece, in which they can remain young and carefree, without having to fit into their historical roles on this show. The actual history along with a look at the series are discussed at The Guardian.

Matt Smith was able to get some tips on playing royalty from Jenna Coleman, who is staring in ITV’s Victoria. This means that Smith is playing Coleman’s great-great-grandson-in-law. It will take a TARDIS to get them back together.

While Matt Smith and Jenna Coleman are busy playing members  the royal family, Karen Gillan is preparing to direct, as well as write and star in, and independent movie named Tupperware Party, which is being filmed in Scotland.

Also in the Doctor Who universe, I got a chance to watch the first three episodes of Class while flying home last weekend. I was impressed that each episode was better than the previous. I have not seen the fourth yet, but have heard it couldn’t continue that trend, but look forward to further episodes.

SciFi Weekend: Time Travel; Legends of Tomorrow; The Flash; Supergirl; Arrow; SHIELD; Doctor Strange; 12 Monkeys; Timeless; Class; Doctor Who

This season has become a huge season for time travel, and this is reflected in most of the items today. One time travel series,  Legends of Tomorrow has been rebooted, and the second episode was much more fun with the addition of The Justice Society of America. I had an introduction to its members last week. Marc Guggenheim discussed the meeting between the Legends and Justice Society in the video above.

Another aspect of the episode was the elevation of Sara Lance to the leader of the group, at least while Rip Hunter (Arthur Darvill) is missing. Marc Guggenheim spoke with Entertainment Weekly about how she handles her new role, along with some teasers about Rip:

“As you start to see her become more and more comfortable in being the leader of this rag-tag group, it’s so much fun to watch her,” EP Marc Guggenheim says. “The character’s embodying the role of a leader, Caity’s performance really embraces it. It turns out to be one of the most successful things we’ve done in season 2.” However, the next mission under her command won’t necessarily be to hunt down Rip Hunter. “That’s going to be something that’s always going on in the background, and in some cases the foreground, of the various episodes,” Guggenheim says. “To a certain extent, we don’t want to change the mission statement from fixing aberrations to going and saving Rip. The bat has been taken out of their hands because there’s no way to find Rip, so what would they do? You will find out [what happened to Rip] before the Legends do.”

The Flash began the season with Flashpoint based upon ramifications of Barry going back in time to save his mother. Todd Helbing, executive producer of The Flash, explained why Flashpoint was only in one episode when it was a much bigger story in the comics:

“I think anytime you do a story like Flashpoint, something as iconic as that, with the character restrictions that we had, it’s going ot be different than everybody expected,” executive producer Todd Helbing told ComicBook.com. “I think for us from a story point, when we talked about it originally it was going to be more episodes but what happens more often than not is that when you break the story you find that it would be a lot better and a lot more satisfying if you pulled up a lot of that information and put it in that first episode….It just became a much stronger episode if we just made it one as opposed to four or five, and then we could really kickstart the rest of the season after that. But Flashpoint or not, there are consequences going forward for Barry for what he did and those ripples he’s going to explore throughout the third season.”

Andrew Kreisberg has more on what is upcoming on Supergirl.

The first cross over of the season was having Oliver Queen appear on the season premiere of Legends of Tomorrow, but a much bigger cross over is coming up. Marc Guggenheim has more information. The villain will be aliens called The Dominators. As for how Supergirl gets involved in events in our universe:

“Last year, Supergirl established that Flash was able to make his way to what I call Earth-CBS, and it stands to reason that, with the proper breach technology, the reverse can happen,” executive producer Marc Guggenheim told reporters Tuesday following a screening of this week’s Arrow and Legends of Tomorrow.

In the crossover, the heroes will team up to fight against the Dominators, who in the comics were a technologically advanced alien race that wanted to invade Earth and eliminate the threat posed by unpredictable metahumans — and they have similar motivations during the crossover. “Once the heroes realize that they’re up against aliens, they decide that they need an alien on their side,” Guggenheim says. “Fortunately, Barry knows a really nice one. I don’t think it’s a big shock that between Barry and Cisco, and all their experiences with Earth-2 and the multi-verse, that they can pluck her from Earth-CBS.”

Guggenheim also revealed that the crossover will actually kick off at the end of an episode of Supergirl, where Cisco (Carlos Valdes) and Barry (Grant Gustin) basically enlist Kara’s help. “Some people call it a four-way crossover because it involves four shows; my ulcer requires me to call it a three-part crossover,” Guggenheim explains. “The story that’s being told has a beginning, middle, and end: a beginning in Flash, a middle in Arrow, and an end in Legends. But Supergirl is very much a part of the whole thing, so we are crossing over four shows — four shows in three parts.”

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Agents of SHIELD this year has combined the supernatural, the Inhumans, artificial intelligence, and the public reemergence if SHIELD. It looks like it would be helpful to be up to date on the comics to keep straight how this all fits together, especially with Doctor Strange to be released soon. Screen Rant explained how The Darkhold/Book of Sins fits into the Marvel Cinematic Universe.

Benedict Cumberbatch has also teased how Doctor Strange will fit into the MCU.

When Cumberbatch was asked how he saw Doctor Strange fitting into the largest Marvel Cinematic Universe, the actor strayed away from talking specifics to avoid any undue spoilers. However, he did say the sorcerer would be “all over the place.”

“There’s a lot going on this story [Doctor Strange] that will lead you to understand why he’ll play a key role in the next phase,” Cumberbatch explained.

The actor also talked about how he felt now playing Doctor Strange. Cumberbatch said, “Obviously, you want to bring the character to life and tell this really incredible story.”

He continued and stressed that the character’s story is only started in Doctor Strange. “It’s only be the end of the film that you go, ‘Oh my god, this is the beginning.’ It’s an origin story of a superhero that’s going to be part of all of [the MCU].”

Nerdist has some more, with potential spoilers.

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12 Monkeys was one of the top time travel shows of the past two seasons, and will add a real veteran of the time travel genre for its third season. Back to the Future star Christopher Lloyd will play the Pallid Man’s father. Showrunner Terry Matalas has more information on the upcoming season in an interview with Blastr:

What can you tell us about how Season 3 is coming along? Logistically how’s it going (as far as shooting, etc.), and creatively what are some things you’re looking to explore?

Matalas: We’ve just started production – right now, I’m surrounded by a small army of incredible cast and crew – but creatively, conceptually, thematically the season’s all there. Last season we really wanted to explore the biology — the psychology – of Time. We wanted to tell a big, ambitious, sprawling time-travel story that ended with a very intimate, heart-wrenching reveal. This season, it’s about going inward.

The stakes are deeply, deeply personal for Cassie and Cole. It’s really the a real time travel dilemma, the fundamental question: “If you knew that your child would one day grow to be the Devil, would you – could you – kill him?” Or is there another way? And what that struggle does to our characters as a team – to Cole and Cassie as a couple – how it divides and unites them – is going to make for some remarkable drama. In some ways it’s a more linear season, and in others, it’s more complex than ever.

What can you tell us about the opportunity to land Lloyd for this new role? Why is he the man for the job?

Matalas: The fantastic thing about this character is that it’s not even remotely stunt casting.  Certainly, when you make a time-travel show, you carry an obvious list of influences – Back to the Future, Doc Brown, Marty McFly – but when you cast that show, you never want the actor to distract from the moment. It’s difficult to tell a story or create an emotion if you’re constantly winking at the audience. We aim for levity, sure, but we never put the bullseye on “meta.”

So when we came to this particular character – with this particular set of traits – with this particular heritage – Christopher Lloyd was not only an inspired choice, he was the right choice. Put a photo of Lloyd against a picture of Tom Noonan and there’s zero difficulty imagining them as father and son.

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I finally had a chance to check out one of the new time travel series, Timeless, over the weekend. It is certainly not hard science fiction, but it was fun. After watching the first, I did want to immediately watch the other two episodes available. The explanation of how they travel through time was probably under a minute, mainly showing them folding over a sheet of paper as an illustration  of how they move from one point to another. They showed by the end of the first episode that events in the past can be changed, and that this can and will impact events in the present. A small ship, which is no bigger on the inside than it is on the outside, holds a three person crew. They quickly dispensed with the idea of going back a few minutes earlier if their first attempt at fixing events in the past didn’t work with ominous warnings of severe consequences if they run into themselves. No mention if a different set of time travelers could go back if they don’t get it right the first time. So far the people in charge haven’t minded the minor changes (from their perspective) from the trips back in time.

Producers Eric Kripke (Supernatural, Revolution) and Shawn Ryan (The Shield),discussed the rules of time travel and other aspects of the show with (including a spoiler for those who have not seen the pilot) with Film:

Is there a butterfly effect every time they go back? Maybe not as drastic as in the pilot, but just being there changes things.

Ryan: Hopefully a lot of times our heroes will be successful and there won’t be any discernible effect. Sometimes there will be. One of our rules is whenever we can, if there’s a change, can it be specific and personal? The best example of that is the pilot when Lucy’s sister vanishes from the timeline. But we also can use it for comedic effect. I won’t give away too much but I think there’s a change in history after the German WWII episode that tickles my funny bone a lot.

We talk a lot about what the changes are going to be. The thing you have to remember is the only people that are truly aware of these changes are the three people that have this institutional knowledge that go away and then come back and find things are different. For everyone living in that world, that’s just the way the world is. For all we know, we know the world the way we know it but somebody could come right now and say, “This isn’t the way it’s supposed to be, guys.” For the audience, our heroes’ job is to preserve a recognizable reality. Things aren’t going to get too crazy and too weird if our heroes do their job. That said, there are going to be times where they can’t control everything and Flynn’s going to do some damage. They’ll come back and something will be different. But the goal is for our heroes to make sure the world stays recognizable.

You don’t have to go that far back to find time periods that aren’t good for black people or women. Is it different in every time they go back to? 100 years and it’s before women’s suffrage, further and it’s still during slavery.

Kripke: Yeah, we are not going to shy away from the reality of what it was like to be African-American or a woman in those time periods. It’s the truth of who these characters are and we don’t want to stylize it or sugarcoat it. One of the goals of the show is to present history as accurately as we can. That said, an incredible amount of history is from the perspective of rich white dudes. There were entire communities of African-Americans throughout all of history. There’s going to be certain doors that our two white characters cannot go through and Rufus can. We’re interested in illuminating some corners and stories in history that haven’t been told, some peoples’ history. Same for women before the suffragette movement and they had incredible challenges but they also had an incredibly sophisticated world of interpersonal relations that in a lot of ways wasn’t recorded by mainstream history. There’s aspects and corners of that world that we can explore too. So I don’t think it’s going to be a one-trick pony of every episode, Rufus confronts racism and Lucy confronts male chauvinism. I think the tapestry is a lot more complicated than that and we have every intention of depicting that.

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The Doctor Who spin-off Class premiered on BBC 3 yesterday and will be on BBC America this spring. Peter Capaldi appeared in the first episode. Screen Rant has a spoiler free review of the premiere. They have more on the show, with mild spoilers, here. Plus here are seven reasons to watch Class.

We still have a long wait for the main show. Cultbox summarizes everything we know so far about the upcoming season of Doctor Who with quite an extensive list of links.

Nerdophiles has news from the New York Comic Con on the second season of The Man In The High Castle.

SciFi Weekend: Network Renewals and Cancellations; New Shows; John Barrowman on Doctor Who Christmas Special?; Nebula Award Winners

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Announcements came out last week regarding the fates of network shows. With most of the shows worth watching now being on cable and streaming, this news is not as major as it once was, but there is still some news which impact genre shows. A list of renewals and cancellations from all the networks can be seen here.

As discussed last week, CBS did go ahead and cancel Supergirl, but it will be continuing on the CW Network (which CBS partially owns). This does seem where it belongs anyways. CW will most likely wind up paying less for the show than what studios charge CBS. It will also save money in moving production to Vancouver. Besides the lower costs involved in filming there, they can probably save additional money by sharing costs with the other Berlantiverse shows.

The move to Vancouver might also affect the cast if not everyone agrees to go. Most likely they did make it worthwhile for Calista Flockhart to come to Vancouver periodically. With the vast majority of her scenes occurring in her office, it might be possible to have her come out to film for a few episodes at a time, and then return home. This would also make it easier to have more cross over episodes with the other Berlantiverse series, with the casts of all four shows working in Vancouver. Supergirl takes place on a different earth, but we have already seen The Flash make it to her earth, Supergirl should be able to replicate what Barry Allen did to cross over, and the Waverider on Legends of Tomorrow can travel between the multiple earths.

In other genre series on CBS, we’ve already knew that Person of Interest has been canceled, and Limitless remains on the bubble.

Yet another series in the DC universe has made it to network television. NBC has picked up Powerless. From Entertainment Weekly:

The network has given a series order to Powerless, which stars Vanessa Hudgens (Grease Live) as a “spunky young insurance adjuster specializing in regular-people coverage against damage caused by the crime-fighting superheroes.” (Think The Office meets Agents of S.H.I.E.L.D. minus Marvel).

More details about the pilot storyline: “It’s when [Hudgens’ character] stands up to one of these larger-than-life figures (after an epic battle messes with her commute) that she accidentally becomes a cult ‘hero’ in her own right … even if it’s just to her group of lovably quirky co-workers. Now, while she navigates her normal, everyday life against an explosive backdrop, Emily might just discover that being a hero doesn’t always require superpowers.”

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Marvel series have not done as well as DC on network television. While Agents of SHIELD returns on ABC, ABC has both canceled Agent Carter and decided not to pick up Marvel’s Most Wanted. The good news is that, along with cancellations of Nashville and Castle, Adrianne Palicki, Connie Britton, and Nathan Fillion are all available for new shows.

ABC did pick up Conviction staring Haley Atwell. Maybe Netflix, which has been the strongest television outlet for Marvel, will also bring back Agent Carter when Atwell’s schedule permits. Before Agent Carter was canceled, there was talk of still continuing the show and work around Atwell’s schedule. A grittier version should do well on Netflix.

Fox, where many other genre shows have died too early, didn’t have the sense that ABC did in ending Castle when with the loss of a star. For reasons nobody understands, they have renewed Sleepy Hollow. In good news from the network, Fox is also renewing Gotham.

The new genre shows appear to be primarily based upon time travel next season. The trailer for Timeless from NBC is above. The TV Addict has this description of the series

Lucy is one of the most history popular professors at her university when TIMELESS begins, but her modern teaching styles don’t really appeal to the school’s tenure committee. And while she seems very unappreciated in the world of academia, Lucy is about to get a big opportunity that perfectly fits her skills.

One night, a mysterious criminal and his henchmen steal a secret state-of-the-art time machine and they’re looking to destroy the country as people know it by changing the past. Lucy is soon recruited by Homeland Security — along with soldier Wyatt and scientist Rufus — to help retrieve the machine and stop the criminal from changing the past. To do that, they’re going to use the machine’s original prototype. Their first stop is to 1937 and the site of the Hindenburg disaster.

But in addition to preventing the past from being destroyed by this criminal, they also have to make every effort not to affect the past themselves.

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Other new shows on NBC include Blacklist: Redemption. TV Line described the series:

In the new venture, undercover operative Tom Keen teams up with Susan “Scottie” Hargrave (played by Famke Janssen), “the brilliant and cunning chief of Grey Matters, a covert mercenary organization that solves problems governments don’t dare touch,” per the series’ official description.

This suggests that if Lizzie returns from the dead on The Blacklist after Megan Boone’s maternity leave is completed, she will probably not be with Tom.

Other networks are joining NBC in premiering time travel series next season, including ABC with Time After Time. This is based upon the 1979 movie about H.G. Wells chasing Jack the Ripper through time. Teaser above. Fox will have a time travel comedy, Making History. A list of the new network shows can be seen here.

John Barrowman made a statement on Facebook which has attracted a lot of attention: “I will be back in Cardiff in about a week and a half. But I’m not telling you what for…sssh!” This has led to speculation that he is returning to Doctor Who, possibly for the Christmas episode. The spin-off Class also films in Cardiff.

Nebula Awards

The Nebula Awards have been announced.  Uprooted by  Naomi Novik has won as best novel. The winner of the Ray Bradbury Award for Outstanding Dramatic Presentation Winner was Mad Max: Fury Road.