SciFi Weekend: Doctor Who, World Enough and Time; Carrie Coon In Ambiguous Finales On The Leftovers & Fargo

World Enough and Time was an excellent way to move into the season finale of Doctor Who, and a near final chance for Steven Moffat to go meta. The episode began with a scene of the Doctor regenerating, which presumably will be continued next week. The actual story got underway with Missy exiting the TARDIS saying, “Hello. I’m Doctor Who.”  Moffat has often liked to play with the show’s title by setting up situations where people ask “Doctor Who?” as a question. Missy said she was “cutting to the chase,” saving time from having to go through the introduction and follow up question, but then went on to claim it is his real name.

Bill had struggled with this issue in Pilot arguing that, “The Doctor’s not a name. I can’t just call you Doctor. Doctor what?”

In recent years you could often tell that people talking about the show were not actual viewers when they made reference to the lead as Doctor Who as opposed to the Doctor. Now we have Bill questioning why Missy called herself Doctor Who. Missy claimed it was his real name and the Doctor did not deny this. DoctorWho TV says that Hartnell, Troughton, Pertwee, Baker, Eccleston, and Tennant were all credited as “Dr. Who” or “Doctor Who.”

Moffat also played with the role of the companion. Missy called them her assistants, which was more common in the classic shows. When Bill objected to being called Missy’s “plucky assistants,” she asked what he does call them, “companions, pets, snacks?” Neither the words “assistant” or “companion” are actually used very often on the show and Bill said that the Doctor called them friends. Missy claimed that only Time Lords can be friends to each other and “anything else is cradle snatching.” Missy also saw them as “disposable” with their names not mattering. Instead they had their roles, “exposition and comic relief.”

We learned via flashbacks that this was all a test for Missy. The Doctor not only wanted Missy to be good, he has unrealistically wanted her to be like him. While Bill objected that Missy is a murderer, the Doctor showed a different moral code, noting that Bill could similarly be seen as a murderer from the perspective of the pig who died for her bacon sandwich. The Doctor decided to graze for distress calls and look for a good one, like their usual Saturday. This might also refer to how the show airs on Saturdays. The Doctor explained how Missy is “the only person I’ve met who is only remotely like me.” This could refer to them not only being Time Lords, but also both being renegades in their own way. After all, the Doctor did steal the TARDIS and has often been at odds with the Timelords.

The Doctor spoke about Missy as having been his best friend from when they first met at the Academy. “She was my man-crush.” He further explained, “I think she was a man back then. I’m fairly sure I was one too. It was a long time ago, though.” He also told Bill, “We’re the most civilized civilization in the universe. We’re billions of years beyond your petty human obsession with gender and associated stereotypes.” Bill noted that despite this, they still call themselves Time Lords She hasn’t had the experience with them to also question how advanced the Time Lords really are.”

This might be Moffat’s answer to the controversy over whether there will be a woman playing the Doctor. The actual decision is no longer in his hands but if the regeneration of the Master as Missy was not enough, this scene firmly sets in cannon that it is possible to have a woman Doctor. It is not actually possible that the Doctor could have been anything but a man at the Academy unless he had another regeneration which we are aware of, and has not been counted like the War Doctor. While there were questions in the past whether William Hartnell played the first Doctor, the count was established during the Matt Smith era (with the War Doctor creating some wiggle room). While it is unlikely the Doctor was ever a woman, we have seen other woman in a near-Doctor role. This includes Moffat having River Song, Clara Oswald, and Ashildr (the guest role played by Maisie Williams) all pilot a TARDIS.

Bill did not feel safe playing Missy’s companion, and asked the Doctor to “promise you won’t get me killed.” He could not do that, with this flashback scene played right Missy was shot.

The first sixteen minutes of this episode were a great opening sequence. Unfortunately the ending of the show suffered because the realities of the modern world. It would be impossible for them to have filmed scenes with the Cybermen without this news getting out and spreading rapidly on line. Therefore they made no attempts to keep this a secret, announcing that both the original Mondasian Cybermen and the John Simm Master would be present. Stephen Moffat had also warned that one of the trailers would give away a lot.

The episode certainly would have been even greater when watching if we were not aware that the Cybermen were present. The episode set up a fascinating scenario in which a four hundred mile colony ship caught by a black hole had time pass at a far greater speed at the far end than at the other.  Again going meta, this later allowed Bill to view the Doctor in slow motion on a monitor and explain his actions. It also led to a situation in which people trapped on the ship were driven to drastic measures, giving a new explanation for the genesis of the Cybermen.

There were many clues throughout the episode that Cybermen were involved. The hole in Bill’s chest was fixed, with the surgeon saying, “full conversion wasn’t necessary.” Words such as “conversion” and people being “upgraded” provided clues, along with people partially through the process with Mummy-like facial covering like the original Mondasian Cyberman. Later Missy found that the ship was not from earth but from Mondas. It became increasingly obvious when the rod-like headgear was shown to be added to those converted so they would not care about the pain. If someone had not known going into the episode that it was about Cybermen, I wonder how long it took to figure it out.

The other surprise which was tipped off was that Razor turned out to be the Master in disguise. In the past, the Master has used names which were anagrams. In this case, presumably the destructive nature of razors has some meaning in the choosing of the name.

On a personal level this could be one of the most evil acts by the Master–facilitating the conversion of Bill while the Doctor was on his way to save her. She had listened to him and waited, like a tragic variation of The Girl Who Waited. This betrayal seems even more evil  on the part of the Master considering that, due to the effects of the black hole, Bill had spent years with the Master before the Doctor could make it down the elevator to come after her.

The John Simm version of the Master was certainly playing a long game here, but I imagine that is no different than Matt Smith defending a planet before his regeneration or Peter Capaldi agreeing to guard the tomb (even if he didn’t follow through with that). The Master has a lot at stake: “I’m very worried about my future.” Missy does not recall being on the ship previously. While difficult to understand, there have been similar memory issues on episodes involving multiple versions of the Doctor.

We have a certain symmetry here. Steven Moffat has seen Peter Capaldi, an older actor, as being like William Hartnell. Harnell played the first Doctor, while Capaldi is the first of the new regenerations granted to Matt Smith. There have been references to the first Doctor, such as with the picture of Susan on the Doctor’s desk at the university. The Mondasian Cybermen were introduced in the 1966 episode, The Tenth Planet, in which the first doctor died and regenerated.

A big question here is whether the Doctor dies next week, or if this is to occur in the Christmas episode. In some interviews Moffat has suggested he is going to handle the regeneration differently, and questioned if Christmas is the best time for a death. We already know that the first Doctor will be appearing in the Christmas episode, to be played by David Bradley who played William Hartnell in the documentary An Adventure In Space In Time.

It is just a guess, but I’m speculating that the Doctor really does die and go into a regeneration cycle next week. This could have his meeting with the first Doctor as an adventure inside  his own head, comparable to one’s life passing before their eyes. It could be like a longer version of Peter Davison’s regeneration scene in which his companions appear in his head begging him not to die, while the Master encouraged him to do so. Alternatively it could be a final trip through time for the Doctor in his final moments, just as David Tennant visited his past.

We also do not know for certain if Bill will be returning, but it is believed that Chris Chibnall will be starting with a clean slate. Pearl Mackie stated in a radio show that she has met with Chris Chibnall and gave no indication that her status was final, but she might have just been avoiding spoiling the season finale. Her conversion to a Cyberman could very well be Bill’s fate, although this still would not prevent her from helping the Doctor next week. On the other hand, Steven Moffat has avoided killing companions who are leaving, and also might not want a fate like this for her. Amy Pond went into the past and Clara Oswald went on to explore the universe with Ashildr despite being on her last heartbeat. River Song not only escaped death, but appeared multiple times afterwards (at earlier times in her timeline). Perhaps the conversion isn’t final for Bill. Even if she cannot become human again, maybe she can go off and travel through space and time with her friend from Pilot.

There have been multiple season finales to discuss recently, including American Gods, Gotham, and Better Call Saul. I’m going to begin with two this week, The Leftovers and Fargo, as they both have something in common. Both end with Carrie Coon sitting at a table and telling a story to a male lead on the show, with the episode ending in ambiguity. Both are in the tradition of The Sopranos in having an ending which people might be talking about for a long time afterwards.

The finale of any show by Damon Lindelof is going to be compared to the conclusion of Lost. Lindelof handled matters much better with The Leftovers. Neither series could ever have a finale which tied things up. While The Leftovers did not have anywhere near as many episodes and mysteries to tie up, it is based upon a novel which specifically avoided giving any answer for its central event–the rapture-like disappearance of two percent of the world’s population. The episode actually gave more of an explanation than I ever expected, even if not clear if true, leaving me more satisfied than after Lost, while still leaving plenty to wonder about.

For a while the series finale of The Leftovers  was very hard to figure out. After Kevin found Nora he acted as if most of what the two had gone through together on the series never occurred. Was this yet another reality, or perhaps she had gone over and there was another version of Kevin there. Were they in purgatory? Later it became clear that this was our earth when Nora spoke with Laurie on the phone. Ultimately this was explained as Kevin telling a story as a way for them to start over after being apart for several years.

The episode ended with Carrie Coon’s character, Nora, telling a remarkable story to Kevin, but not necessarily any stranger than what we have seen on the show. Two things make it hard to tell if the story is true. She went into a chamber which supposedly was going to send her to where the missing two percent were. At the final moment, as the chamber was filling up with a fluid, she opened her mouth. Was she gasping to hold her breath as instructed, or was she exercising the option of telling them to stop? Those controlling the device had made a point of saying they could hear her the whole time.

It is also not possible to determine if the story was true because we never saw any of the adventure described. All we know is what Nora said.

The description of the episode was “Nothing is answered. Everything is answered. And then it ends.” This is exactly what happened with an answer which felt good at the time but which actually left key matters unexplained, and which may or may not be true.

Nora told a story of going to another place which was exactly like our world, except that to the people there ninety-eight percent of the world had disappeared, instead of two percent like in our world. Naturally their world was changed far more.

If her story was true, we know nothing about how this happened, or about events such as the world Kevin seemed to go to in two episodes when he died and returned. However, we would know that there is a physical explanation for reality being divided in two, with a physicist even developing a way to travel between the two realities. Instead of a religious rapture, people were not divided into those taken and left behind. They just wound up in one of two possible places.

Damon Lindelof had even spoken in interviews of filming such a scene in the pilot showing everyone else disappearing from the perspective of one who disappeared from our earth, giving some plausibility to Nora’s story on a meta level. Within the episode, there are arguments both for believing and disbelieving Nora. She even seemed surprised that Kevin believed her. She said, “You do?” He responded,”Why wouldn’t I? You’re here.”

In various interviews Lindelof discussed how this was written to leave things open for interpretation, how those on set changed their minds about whether Nora was telling the truth, and also claims there was a clear intention as to whether she was telling the truth–which he will not reveal. From USA Today:

…Lindelof reveals the episode was designed in such a way that left the truth open to interpretation — one last mystery for fans to chew over. “We all came to the conclusion that Nora telling the story of where everybody went was going to be the best ending, as long as we didn’t show it. And then the audience would get to decide whether they believed her story. We have a clear intention as storytellers as to whether or not the story is true, and if you watch the episode or the season again, perhaps that intention becomes more clear.”

What matters at the end of the day? That Kevin is just glad to be in the same room again with a tearful Nora telling him, “I’m here.”

“Whether he actually believes her or he wants to believe her because this will allow them to be together, that’s the $64,000 question,” Lindelof says. “But what is very clear at the end of the series is that these two people are going to be together and they’ve suffered enough. I hope.”

However, Lindelof reveals the episode was designed in such a way that left the truth open to interpretation — one last mystery for fans to chew over. “We all came to the conclusion that Nora telling the story of where everybody went was going to be the best ending, as long as we didn’t show it. And then the audience would get to decide whether they believed her story. We have a clear intention as storytellers as to whether or not the story is true, and if you watch the episode or the season again, perhaps that intention becomes more clear.”

Watching the show I thought it is possible that Kevin only said he believed her because he wanted to be together and didn’t really care what had  happened. An interview with Lindelof at The Daily Beast  does confirm that Kevin does believe her:

They’re together, but Nora never actually reunited with her kids.

There’s a number of different ways of looking at that. One potential interpretation is that that didn’t happen at all. That she chickened out and got out of the voice and put herself in self-induced exile and made the story up because it was the story that she needed to tell herself and the story that Kevin needed to hear for them to be together. That’s a cynical interpretation, but it’s one that I’ve heard.

Yes, I’m sure there will be a lot of people who think she made it all up.

Another interpretation is that when she saw her children and they were happy that she suddenly realized, “Who am I to come jamming into their happiness after seven years. There’s not a place for me in this unit anymore.” Not to mention that her husband has been cheating on her and he’s with another woman and her children have learned to be without her. So she must learn, too.

But if you take her story at face value, there’s nobility in her gesture. I think Nora is an incredibly brave and stoic character, and the idea that she went all the way to the top of Everest and then just didn’t plant her flag there. She realized, “Oh. Why did I need to climb Everest again? I think it’s time for me to go back down to the mountain and reevaluate things.” I think there’s nobility in that, too.

Kevin says he believes her. Does he?

Yeah!

Should we believe her?

I can’t tell you what to believe and what not to believe in a show that is based on people telling insane stories. I think that Kevin does believe her and he is the audience’s proxy. Nora is surprised. She’s like, “You do?” Because the story is so incredible, if you really sit and listen to what she says happened to her and, more importantly, how she says she got back. But hopefully it becomes, over time, less and less important whether it is literally true and more and more important that it was emotionally true. I’ve learned the hard way not to tell the audience what to believe and what to think and what to feel.

Lindelof had this explanation in Esquire:

We don’t know if Nora’s story was true.

If we showed it, you would know that it was true. By not showing it, you have to believe that it’s true, if that makes any sense. I think that what’s important is Kevin says that he believes her, and she seems surprised by that. She says, “You do?” And he says, “Why wouldn’t I? You’re here.” That’s kind of everything we have to say about how relevant the truth is, because if a belief system works for you, if it brings you together with the people that you love, it’s actual veracity is secondary to what that belief system basically gets you. That’s not like self-help guru promise bullshit, that’s the way that I think things work. I think that this finale and this season and this series is packed with people who are telling stories. Part of the territory, the very rich territory that we wanted to explore was: Are any of these stories true? Or do these stories have an added veracity because they’re told in a world where this crazy supernatural event happened? Or are they all bullshit? We want the audience to be thinking and feeling and wrestling with all of those questions.

What our intention was in writing the scene is 100 percent clear. I would never be like, “Well, that’s up to you to decide. It’s all in the eyes of the beholder.” No. The writers had a clear intention. I will bring with me to my dying day exactly what our intention was in whether or not Nora’s story is true by the metric of “did it actually happen.” That said, Carrie Coon and I never talked about that. She just read the script and then played it. Mimi Leder and I never talked about whether or not it was true. She just read the script and directed it. And so the more interesting question is: When the same scene is basically interpreted by multiple artists, what is the truth, even? I think it is sort of a fascinating Rorschach test in a sense that if you’re an agnostic or an atheist and you didn’t want an answer to where all the departed people went, you’re probably not going to believe Nora’s story. Even if you had been multiple times that you weren’t going to get the answer, but when Nora gave it to you and you felt relief, you’re probably going to want to believe her story. Again, all that matters to us is that Kevin really does believe it. There’s no ambiguity about that. And his belief in her story is going to allow them to be together, because now they’re both present, probably for the first time.

There are arguments both for and against believing Nora. She certainly had this story down and was ready to tell it when Kevin arrived. At one point during this episode Nora had even said, “I never lie.” She left Kevin at the wedding after she couldn’t handle the story Kevin was making up, appearing to be opposed to dishonesty. However we have seen her lie, such as in initially denying that she knew Kevin when she was told he was looking for her. Much of the series has been about the stories people tell themselves to explain events.

I wonder if Lindelof was giving away the answer when he said in the interview from The Daily Beast that, “the story is so incredible, if you really sit and listen to what she says happened to her and, more importantly, how she says she got back.” There were  points in the story when I did question it. It is a little hard to understand how she could arrive in the other place naked and with no money, but ultimately make it from Australia to the United States, but this felt more like the type of suspension of disbelief which is commonplace in genre stories. It was a realistic touch that, with only two percent of the world’s population left, it was not possible to support an airline industry.

I found it more surprising when Nora described returning to her old house. While it was no surprise that her husband and family had moved on and were involved with someone else, it is questionable that in such a world, with its infrastructure destroyed by the loss of so many people, her family would still be living in the same house. Most likely there would be a tendency for those remaining to join up into communities with others. It is also hard to believe that the physicist would, and could in this world, remake the machine just to send her back. If two-way travel had been developed, it is also hard to believe that there would not be others coming back here and word getting out.

Many arguments can be made for whether Nora was telling the truth, and my answer would probably be that there is no answer if Lindelof hadn’t messed with our heads by claiming there is an answer.

Fargo typically ends each season, which tell an independent story, with characters receiving punishment in some form. This was more ambiguous this season, and also ended with Carrie Coon sitting at a table saying something which may or may not be true. In this case her character believed what she was saying, but we were then given reason to question if she was right.

The beginning of the end occurred when Nikki confronted Emmit Stussy and it appeared that she was going to kill him to get revenge for Emmit having killed his brother (and Nikki’s boyfriend). Instead there was a freak shoot out between Nikki and a police officer who came along, with both killing the other. This is definitely believable in the world of Fargo. Emmitt appeared to have a happy ending, until years later when he was shot in the head

This left Varga, the real villain of the story, at large. In the jump forward, Carrie Coon had moved on to another job at the Department of Homeland Security. Varga was identified at an airport and pulled into a room by Coon’s character, Gloria Burgle. Her talk with him led up to her telling him what was going to happen next:

Let me tell you what’s going to happen next. Three agents from homeland security are going to put handcuffs on you and take you to Rikers and then we’re going to charge you with felony money laundering and six counts of conspiracy to commit murder. And then I’m going to go home to my son — it’s his birthday tomorrow. I promise I’d take him to the state fair.

It appeared that justice would prevail. Then Varga responded:

No. That’s not what’s going to happen next. What’s going to happen next is this. In five minutes that door is going to open and a man you can’t argue with will tell me I’m free to go. And I will stand from this chair and disappear into the world, so help me god. Trust me the future is certain. And when he comes you will know without question your place in the world.

The camera then looked at the door and the episode ended, like The Sopranos ending by going to black without revealing what happened. We never saw whether three agents from homeland security came through next and put him in handcuffs, or if a lone man came through and ordered him to be released. Varga was right so many times during the season, and appeared to be in control. It is impossible to ignore the possibility that he could be right.

There is no correct answer here, and perhaps it does not matter. Whether or not Varga gets away with his crimes, there will always be those who do.

Deadline had this information on Noah Hawley and the finale:

Hawley said it was always his intention to leave the ending open-ended for us to decide. Typically the tragedies in Fargo have happy endings: Marge gets in bed with her husband in the movie, Molly (Allison Tolman) gets to be police chief at the end of Season 1, and Patrick Wilson’s Lou Solverson takes his daughter (the younger Molly) fishing. But for Hawley, the cliffhanger ending tonight stems from “Our living in a complicated moment in time,” he says, referring to the President Donald Trump era.

“If I present you with a choice, you have to decide how that door is going to open and if it’s going to end well. It still has a happy ending if you’re an optimist. It just becomes a more active process. It’s an allegory to the conversation we’re having at this moment. How will we treat each other? Is it American carnage?” adds the EP.

But poor Nikki. Did she really have to die? “There was a degree of playing that by ear,” explains Hawley. “I wanted to save her, but I also didn’t want it to feel like a movie twist. At the end of the day, Fargo is a tragedy.”

In regards to Emmit, he’s a standard Fargo archetype; the guy in the middle, a la Martin Freeman’s Lester or William H. Macy’s Jerry, who always has to choose between right and wrong. The accidental murder of Emmit’s criminal-like brother Ray (also portrayed by McGregor) early on urged viewers to have an ironic respect for Emmit. We only sympathize with him further as the underdog as he remains under Varga’s thumb. But with Nikki dead, Hawley relied on Mr. Wrench, a deaf henchman from Season 1, “as the final arbiter of justice. He’s not in their story, he’s an outsider, and he can dispense the cosmic justice that Nikki tried and failed.”

“There aren’t any real heroes and villains, especially if I can make you empathize with these people,” Hawley says of his storytelling technique. “It complicates the violence that’s going to come, and I don’t want people cheering for the violence.”

The article also reports that it is undetermined whether there will be a fourth season:

“I always agreed with FX that the only reason to do another Fargo is if the creative is there,” says Hawley, who at the moment is drawing a blank in regards to what Season 4 would center around.

“It took 15 months to get Season 2 off the ground, and 18 months to get Season 3 on the air. I have to turn my attention to the second season of Legion and a film potentially the winter after next. We’re looking at three years from now,” the EP about a rough timeline for a Fargo Season 4.

It  makes sense that any decision on a fourth season be based upon whether there is a story idea good enough to justify it. Many shows have been continued far longer than they should be. It  is also a good thing that there is no pressure on FX to make a decision by next season. It is better to wait until any future seasons can be done right.

The article also reveals that, in addition to his work on Legion, Hawley will be doing a limited series adaptation of Kurt Vonnegut’s 1963  novel Cat’s Cradle.

SciFi Weekend: End of Season Twists on Sherlock & The Good Place; Amy Pond; This Is Us; Trump Plaigerizes Batman Villian; Supergirl Melissa Benoist and Arrow Star Stephen Amel on Donald Trump

The week included two shows ending their season with a twist (a tip off that this post has many spoilers). It was notable that the comedy The Good Place did a far better job with its twist than the more serious Sherlock. The Final Problem  had multiple twists. First there was the overall idea, introduced the previous week, that Sherlock has a sister. This week we found the degree to which, despite somehow forgetting her existence, Eurus influenced Sherlock’s behavior.

Mark Gattis defends the flaws in the episode by bragging about how the show is complicated, but that does not justify the cheats and inconsistencies they relied upon. The story was propelled too easily by having Eurus being able to exert mind control over others, freeing Moffat and Gattis of any need to write a more plausible plot. The flat was blown up, with everyone simply jumping out the window and remaining uninjured. It makes no sense that Eurus almost blew her brother up, but later was so upset when Sherlock surprised her by pointing the gun at himself.

The twist with Redbeard was more plausible, but it is an idea which has been used before. This was mishandled in the current story when the police pulled Watson out of the well while he had a chain on his feet. The manner in which Molly was handled only reinforced criticism of how Moffat handles women. Moriety’s suicide did not seem to make much sense in The Reichenbach Fall.  This episode raises the question of whether Eurus gave  him the suggestion to do so, or whether Moriety had a death wish and improvised on his own.

The episode began with a girl on a plane with everyone else, including the pilot, unconscious. The manner in which this was handled was the poorest twist of all. There were many strange things about the situation from Sherlock’s perspective when listening to what he heard on the phone. If this is all the audience encountered we might have have questioned its reality. However we actually saw the scene with a small girl, making it an unfair solution to later find it was Eurus on the phone pretending to be the girl.

Steven Moffat had an explanation for this which I do not agree with, along with other comments on the episode at Entertainment Weekly:

It felt like by bringing back Moriarty you to have your cake and eat it too — he’s back but in flashback so you don’t violate that he died. Can you talk about the decision to bring him back?
There was some unfinished business there, but we were always absolutely clear he was dead. People said we were making that up, but the power of that rooftop scene would have been destroyed in retrospect if he hadn’t really killed himself just to win an argument, which is what happened. It was great to get a bit of Andrew [Scott] back, it didn’t occur to us until quite late in the day that we could just do it. But we needed the flashback to fill in how this had happened. And you’ve got the perfect opportunity to bring back Moriarty and for two minutes to make it seem like he was arriving in the present day. It was fun.

Was it a bit of a cheat to have a different actress play Euros in the plane vs. in the flashbacks? 
No, because that’s a dream, she doesn’t need to look the same. A dream image of yourself you don’t dream of yourself looking as you necessarily are. So I didn’t think so at all.

Some of the elements, from Redbeard to the water motif, extend back further into the series. How long did you know about the major elements of this finale? 
We started talking about him having a sister fairly early on. What if Sherlock had a sister? What would that be like? But we didn’t take it madly seriously. During the planning of [season] 3 we came up with the plotline that we wanted to do. But there are elements from it we’ve been kicking around forever. Some of them have accidentally worked out well. If you go back to “A Scandal in Belgravia” and look at Mark Gattis when he reflects that Sherlock originally wanted to be a pirate but suddenly looks very sad and haunted, it’s very much a long game.

And since we didn’t get any closure on this: What’s now going on with Mycroft and Lady Smallwood and Sherlock and Irene Adler, that we’re not being privileged to witness?
Well, that you’re not privileged to witness it means you’re not going to know! With Lady Smallwood and Mycroft, we might never find out what happened there, and I’m quite content to leave it that way. We don’t have to know everything. And as for Sherlock and Irene Adler, I have no reason to suppose that Sherlock is not telling the truth, that he loves ignoring her texts. There was no new information there. We always known he rescued her and she wasn’t really dead. And if you paid attention you’d have known they’ve remained slightly in touch because there’s a rose — when he’s injured — there’s a single rose in the room. If you think about it, he saves her life, they must have escaped together, obviously there’s some form of contact.

If there is something fans seem upset about with this episode it’s that there’s no resolving scene with Molly after that very effective devastating call to her while she’s in the kitchen. Did you consider doing one? Is it fair to leave her that like that? 
But that’s not how we leave her. People need to learn to face their televisions, we see her later on–

We see her skipping into the room but–
She gets over it! Surely at a certain point you have to figure out that after Sherlock escapes tells her, “I’m really sorry about that, it was a code, I thought your flat was about to blow up.” And she says, “Oh well that’s okay then, you bastard.” And then they go back to normal, that’s what people do. I can’t see why you’d have to play that out. She forgives him, of course, and our newly grown-up Sherlock is more careful with her feelings in the future. In the end of that scene, she’s a bit wounded by it all, but he’s absolutely devastated. He smashes up the coffin, he’s in pieces, he’s more upset than she is, and that’s a huge step in Sherlock’s development. The question is: Did Sherlock survive that scene? She probably had a drink and went and shagged someone, I dunno. Molly was fine.

We do not know whether Sherlock will be back, and, even with its flaws, the episode works both as a season or series finale. Sherlock and Watson are left to go back to solving crimes as they have done in earlier seasons before the show concentrated more on their ongoing personal stories as opposed to mysteries.

Many other shows besides Sherlock have utilized plot twists, but none did it as well as The Good Place. The plot twists in Westworld were discussed on line long before they were revealed. Mr. Robot relied on plot twists in both the first and second season, These were predicted both years, with some questioning the wisdom of trying it a second time. In contrast, I don’t know of anyone who predicted the huge twist on The Good Place, and yet once revealed it made perfect sense after Kristen Bell’s character figured it out. Ted Danson responded with the perfect diabolical laugh, and went on to wipe the memory of everyone involved to set the stage should there be a second season.

The old broadcast networks have very few new shows worth watching (besides The Good Place, along with Speechless). This is US is probably the best new network drama. It has now been renewed for two additional seasons.

Star Trek Discovery has been delayed again due to scheduling conflicts with its lead, Sonequa Martin-Green. The good news is that James Frain has been cast to play Spock’s father Sarek.

Steven Moffat has received criticism for his treatment of women characters long before the controversy over the scene with Molly in last week’s episode of Sherlock. In a recent interview, Moffat expressed regrets over how he treated the matter of Amy and Rory grieving over the loss of their baby:

In an interview with Doctor Who Magazine, Steven Moffat discussed his feelings on how Amy Pond and Rory Williams dealt with the grief of their baby. In “A Good Man Goes to War”, Madame Kovarian kidnapped their daughter Melody. Amy gave birth to her child after being captured by Kovarian, and then Melody disappeared — only for everyone to find out that River Song is the grown-up Melody.

The entire season was a little wibbly wobbly timey wimey but the way that the Ponds dealt with their baby being kidnapped was weak, for lack of a better term. In the interview, Moffat explained why it was hard for him to write their grief.

“Usually, big dramatic things happen in Doctor Who, then the next week everyone’s absolutely fine. I never found a way to have Amy and Rory grieve over their lost baby, and I still don’t know how I would do that. I could never work out how to write that.”

In an interview with The Wrap, Karen Gillan says she would be willing to return to play Amy Pond if asked:

Gillan is also well known for her portrayal as Amelia Pond, co-star to the Eleventh Doctor in the popular BBC adventure series “Doctor Who.” But will the show’s fans see her reprise her role any time soon? Gillan said, “If they ask me, I would be back there in a shot, but I think I’m more excited about seeing Pearl take over as companion, because she was amazing.”

The big event of the week was the inauguration of Donald Trump, making the 2016 election the worst reality show ever. Trump has been accused of plagiarizing from the Batman villain Bain in his acceptance speech:

Compare Trump’s declaration that, “Today’s ceremony, however has very special meaning. Because today, we are not merely transferring power from one administration to another or from one party to another. But we are transferring power from Washington D.C. and giving it back to you… the people.For too long a small group in our nation’s capital has reaped the rewards of government while the people have born the cost.Washington flourished but the people did not share in its wealth. Politicians prospered but the jobs left and the factories closed. The establishment protected itself but not the citizens of our country. Their victories have not been your victories. Their triumphs have not been your triumphs and while they celebrated in our nation’s capital, there was little to celebrate for struggling families all across our land. That all changes starting right here and right now because this moment is your moment. It belongs to you.”

Sound familiar? Declareth the cartoon Batman villain: “We take Gotham from the corrupt! The rich! The oppressors of generations who have kept you down with myths of opportunity, and we give it back to you… the people. Gotham is yours. None shall interfere. Do as you please. Start by storming Blackgate, and freeing the oppressed! Step forward those who would serve. For and army will be raised. The powerful will be ripped from their decadent nests, and cast out into the cold world that we know and endure. Courts will be convened. Spoils will be enjoyed. Blood will be shed. The police will survive, as they learn to serve true justice. This great city… it will endure. Gotham will survive!”

💪#womensmarchonwashington

A photo posted by Melissa Benoist (@melissabenoist) on

Huge crowds are demonstrating against Donald Trump today. At one of them,  Supergirl star Melissa Benoist warned Donald Trump not to try to grab her pussy in the Instagram picture above.

Stephen Amel of Arrow also had some comments on Donald Trump on Facebook:

Bottom line: I don’t really like Donald Trump, I wouldn’t invite him to dinner, I probably wouldn’t stay in a property he owns… but I don’t yet know how he is going to govern. And I think that requires me to (tepidly) reserve judgement. Why? Because – holy shit!! – he’s the President, and citizen or no, America is my home. I pay taxes. I care about the way the government treats its citizens. So… I hope he succeeds for EVERYONE. And I can’t say I completely understand the opposite perspective – hoping for failure – even though I fully support someone’s right to have it.

People might think I live in a bubble, but I actually feel quite the opposite. At 35, I don’t really have experience on my side, but I have been across the spectrum to a pretty strong degree. I’ve lived in two countries, in varying states of financial security and I’ve participated in an industry that celebrates diversity. There’s no place for anything but inclusion, honesty and transparency in 2017. I hope that’s what we get.

Bleeding Cool shows how various comics have recognized the inauguration.

SciFi Weekend: Westworld Season Finale; Doctor Who; Sherlock; Dirk Gently

The first season finale of Westworld, The Bicameral Minds, confirmed more fan theories, had additional revelations, and leaves big questions as to where the show is going for the second season. Major spoilers ahead. We found out much more about Bernard in the final episodes, both that he is a robot and that he was made in Arnold’s image. Ford did not seem very surprised that Bernard was revived in the finale, but he always seems to be many steps ahead of everyone else, largely as he has programed the actions of the hosts to a greater degree than previously revealed. What was a surprise was that Ford was on the side of the hosts, now taking Arnold’s side.

Early questions of whether Ford was good or evil now seem irrelevant. What matters is that has taken up Arnold’s mission to prevent robots, which would ultimately achieve consciousness, from being mistreated and exploited. This does leave the question of why Ford found it necessary to kill Arnold in the ninth episode, but perhaps this does not matter as death is only temporary on Westworld. Ford’s motives appear entirely different now that we know that he was on the side of the hosts, even if some of his earlier actions might have seemed contradictory. (I have seen speculation that possibly early scenes were filmed before the producers really figures out where they were going.) Despite his motives, he did utilize violence and was responsible for many deaths. Some of the violence might be rationalized, at least on Ford’s part, by the view that suffering and trauma were the key to waking up a host’s consciousness. Other deaths can be explained, even if not justified, by how low a view Ford held of humanity. This is echoed in the view of Delores, which probably reflects the views of Ford and/or Arnold, that humans are destined to go the way of dinosaurs.

Maeve proceeded with her rebellion, but we learned that this was part of Ford’s programing. Both Delores and Maeve were given the opportunity to make a decision, but it was no surprise that Maeve decided to remain in the park and search for her daughter in one story line after seeing the mother and daughter together on the train. Therefore she did not infiltrate the outside world, which may or may not be part of the long term plans for the show.

We also finally saw William put on a black hat, and then fade into The Man In Black thirty years later. This was widely predicted on line since the second episode when William and Logan were first introduced. It was a shock to Delores–possibly the final shock she needed for her to become fully sentient. While it might make sense that she does not connect the William of thirty years ago with The Man In Black of the show’s present, this makes less sense if William has been visiting the park, and presumably Delores, over the past thirty years as he aged. I am also not entirely satisfied with the explanation of how William’s character changed over the years. While he was disappointed in the finale to find that it was true that the maze was not for him, he did get what he wanted in having consequences to actions and the ability to get hurt at the end.

Other than for Ford’s plans, the biggest surprise of the episode was that Delores was Wyatt. While it has been clear there was some connection between Delores and past events in the park, it was a surprise to see the scenes of her actually killing the original hosts as part of Arnold’s failed plan to prevent the park from opening. This did make it more plausible to see her shoot Ford, her opportunity to make a choice in the finale, which I suspect was primarily because of the meta requirement of Anthony Hopkins only signing up for one year.

The  fate of some characters is less clear if you go under the assumption that if a character is not actually seen to have been killed will very likely return. Logan was last seen naked on a horse in distant parts of the park. If he survived this, he could be expected to return as a very angry enemy of William/The Man In Black. We also do not know what happened to Elsie and Stubbs.

I have seen both the producers and some cast members refer to the first season as a prologue for the story ahead in several interviews. It was inevitable in this form of story that the robots would rise up and rebel, but in contrast to the movie, the audience is made to be sympathetic towards the robots. From various interviews we know that Jimmi Simpson (William) will not return but Ed Harris will. Presumably this means that the flashbacks to thirty years ago are over, unless they will involve different people/robots. While it is possible that Ed Harris will only be returning to be killed in the opening, with Ford gone I wonder if Jimmi Simpson will be playing the role of the main human from Delos, and the opposition to the robots taking over. This could possibly include an older version of Logan as an enemy, with Elsie and Stubbs also playing a part if they are still alive. On the host side, both Evan Rachel Wood and Jeffrey Wright have said they are returning.

We do not know whether the next season will continue to take place primarily in the same areas, if we will see the outside world, and to what degree other parks are involved. We know both that this is Park 1, implying other parks, and we have seen a sign of Samurai (or possibly Shōgun) World.

Jonathan Nolan and Lisa Joy gave some minimal hints as to where the series is going in an interview with TVLine:

TVLINE | We see Felix and Maeve run through Samurai World or Shogun World or whatever it’s actually called — the backstage area for another park. In his note to her, we see that her daughter is in Park 1… indicating that there are multiple worlds. What can you tell me about the concept of multiple Worlds? 
NOLAN | Lisa and I embarked on this with a feeling that we’d need a plan, we’d need a beginning, a middle and an end to embark on something like this. We didn’t want to do a series that was really popular and we just kept doing it and doing it and ran out of ideas. We wanted to tell the story of the origin of a new species and the new messiness and ambition that would entail.

We wanted the show to change, season on season, sometimes in terms of the characters you’re looking at, but with many familiar faces along the way. And see how their journey, the hosts’ journey, shifts and changes as they understand more of the world around them. At the same time, the title of the series and our interest in the Western aspect of it, and what that means and why that genre was so durable and so evocative for so long, for us means that there’s always a connection to that place and that key of storytelling. Hopefully the ambition of the story and the scope of the story grows season on season, but you never quite forget where it started.

More is revealed in an interview with Variety:

How dead is Ford?
Jonathan Nolan: Oh, he’s dead.

Is he “Anthony Hopkins is available for pilot season” dead?Nolan:
Working with Anthony Hopkins on this season of TV has been one of the greatest pleasures and privileges for Lisa and I in our careers. It’s been an incredible experience, and we’ll see where our story takes us…

We’ve perceived Ford to be one type of person, and at the end he reveals himself to be a different type of person in terms of how he feels about his creations and how he feels about his own life’s work.
Lisa Joy: Only a titan like Anthony Hopkins could have done all the nuance that he embedded in this series. His character in my mind is always a little bit of Prospero in “The Tempest.” You think his plan involves one thing. You kind of underestimate him. Then you see this glimmer of malice and menace that you didn’t anticipate, so he goes to being the villain. Then by the end you realize that this is in some way about atonement for him and that he’s chosen this very difficult road because he believes it’s the only road in which he can atone for the mistakes of the past.

We got confirmation in the finale that the show takes place on multiple timelines, which had been hinted at strongly in previous episodes. How did you settle on that structure?
Joy: I think the key is to let it grow organically from the concept and the characters. Even though it is a very complicated, twisty set of reveals, this is the one show in which it is totally organic to what they’re experiencing. You have a group of hosts who are basically immortal, and the fundamental thing that is holding them back is memory. Unlike humans, who have these imperfect memories — we can’t really conjure events in all the detail they occur — the hosts have a different problem. They’re able to bring back the exact replica of that memory so lifelike and engrossing in detail that it’s impossible to distinguish today from tomorrow or yesterday.

Nolan: This is not the first time I’ve written about amnesiac characters. I remember talking to my brother [Christopher Nolan] about “Memento” and how I was intending to structure that as a short story. I wanted to write it as a deck of cards and then shuffle that to make it completely, aggressively non-linear, because that was that character’s understanding of the world. Here we had the unique opportunity to try to illuminate some of the differences between how an artificial person might understand the world, and especially an artificial person who had been artificially held back in terms of their understanding of the world in order for us to facilitate us being able to do whatever the f–k we want to them.

More at The Hollywood Reporter:

Season one was about control and season two is poised to explore chaos. What brought Westworld to this chaotic and extremely violent moment in the story?

Nolan: I think most television series … and I mean no disrespect by this. I’ve worked in television for years and I love all of the different ways you can build a show. But for the most part, you get through the pilot, you build your sets, you hire your cast, and it’s working, and you just want to hang out in that moment and enjoy that moment with that iteration of the story you’re telling. For Lisa and myself, with this show, we never had any intention of staying in one place. We don’t want to shoot on the same sets for 10 years. We want to blow the sets up and move on to another piece of the story. So we said when we started working on the series that we wanted to be ambitious. We wanted each season to increase in that ambition and in the scope of the show. It also follows the story of our hosts. Their lives begin in loops, and then expand and change and grow. It’s an origin of a new species. We want to follow that story all the way to the bitter end.

Joy: The control vs. chaos reminds me of the Langston Hughes poem, about what happens to a dream deferred. We’ve set this up as Dolores living in a dream, but it’s someone else’s dream. She can’t live her own life. Then, at the end, we see. It explodes and goes out with a bang.

Ford reveals his new narrative is designed to activate the hosts’ consciousness and ignite revolution against their human oppressors. He ultimately isn’t in conflict with Arnold; he actually has come to agree with his old friend. How did you arrive at this idea? 

Nolan: We had a lot of iterations of this, especially as we were working on the pilot. As we started to write the pilot, we understood that we had a great opportunity here to explore a very ambiguous character, a great man. Two great men, really. Their argument over what they were doing would stretch on for decades and beyond death. We knew from the beginning that we wanted to take our time. All we needed was the best living actor [to play him]…

Ford is no longer the last man standing, thanks to Dolores. Why did Ford need to die in order for this revolution to begin?

Joy: It’s a little bit like when Arnold says: “The violence has to be real. The stakes have to be real.” Ford is doing this in such dramatic fashion in front of the Delos board. He’s basically taking the safety off. There’s no turning back from this. It’s not a kind of fiction anymore. I think that’s part of it.

Nolan: We talked about the Julian Jaynes book [called The Origin of Consciousness in the Breakdown of the Bicameral Mind], which we thought was a very interesting place to start in terms of understanding the hosts’ cognition. They would be coaxed into life by this voice of god, and then at a certain point, this god has to realize that his partner was right. The appetites of the audience they were catering to and the story they were telling wasn’t what they wanted it to be. These creatures had grown into sentience within that story. They realize the only way for these creatures to be truly free is for that god to die. If on a very literal level, if Ford’s voice is the last thing … we’ve established his voice as an almost telepathic control of the park. The only thing standing between the guests and the hosts is Ford, so he removes himself from that equation.

Will we see Anthony Hopkins in season two?

Nolan: I think with this show, you want to assume nothing. We had a wonderful experience. It was one of the greatest privileges of my career so far, getting to work with Anthony for the first season. It was an incredible experience.

How afraid of Dolores should we be? How much Wyatt is in there?

Joy: I think that’s something we’ll come to see, and she’ll come to find also. I think it’s impossible to imagine … if you’ve been subjected to the violence and seen the evil Dolores has seen, the pendulum wouldn’t swing the other way, as we see it starting to do in the finale. But there’s a point, too, where I think selfhood transcends the reactionary. The question will be when the dust settles and the pendulum stops swinging, who will Dolores be?

We have to wait until 2018 to find out what happens next, but similar ideas are frequently seen. Humans, while lacking the budget and attention of Westworld, is handling similar concepts very well, and is not limited to a theme park.  Agents of Shield showed in the fall finale that Artificial Intelligence will be the theme of the second half of this season.

The Return of Doctor Mysterio, this year’s Doctor Who Christmas special, has the Doctor return to New York for the first time since The Angels Take Manhattan. Perhaps this is why the TARDIS appears to be having problems in some of the preview pictures as the Doctor cannot return to New York or risk time distortions. Presumably the time distortions would have been far more serious if he had attempted to go back in time to save Amy and Rory as opposed to going in the present day. We will see if this is a part of the episode, or just another plot hole.

Another trailer (video above) has been released. Spoiler: When dealing with aliens, the expression”open your minds” appears to be as ominous as “To Serve Mankind.”

Sherlock returns on January 1. A trailer is above. Following is the synopsis of the first episode, entitled The Six Thatchers:

In episode one of this new series, written by Mark Gatiss, Sherlock waits to see where Moriarty will make his posthumous move. One mysterious case in particular baffles Scotland Yard – but Sherlock is more interested in a seemingly-trivial detail. Why is someone destroying images of the late Prime Minister Margaret Thatcher? Is there a madman on the loose? Or is there a much darker purpose at work? Something with its roots deep in Mary Watson’s past…”

Dirk Gently’s Holistic Detective Agency  completed its first season. I am a few episodes behind, and thoroughly confused as to what is going on (and as I’m behind, didn’t actually read this link supplied for those interested in a discussion of the finale). BBC America has renewed the show for a second season.

SciFi Weekend: Supergirl, Legends of Tomorrow, Westworld, 12 Monkeys, Doctor Who

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Entertainment Weekly interviewed Andrew Kreisberg about the second season of Supergirl, which returns this week on CW along with DC’S Legends of Tomorrow. He revealed that Supergirl will travel from her dimension to “our” dimension where The Flash, Arrow, and Legends live, but the universes are not combined. More excerpts from the interview:

What’s going on with Kara personally and professionally this season?
For this season, she’s feeling really good about herself as Supergirl. She spent a lot of time last year doubting herself, learning, training, getting stronger and getting better at it. Then, at the end of the year, Superman got taken out and she saved the world all by herself, so we come into season 2 and she feels like she’s got a handle on being Supergirl — it’s everybody else in her life that she feels like, “How can I be a girlfriend? What am I supposed to do with my career? How can I be there for my sister?” So it’s all the Kara stuff that’s really the tough stuff early on, and that’s where Clark comes in. We say it’s like becoming a parent, where when you were a kid, your parents knew everything and then you become an adult and you’re like, “I’m lost, I don’t know what to do.” You realize that neither did your parents; they were making it up as they went, they just presented themselves as knowing it all even if they were dying inside. That’s one of things that Kara says, like, “I know how to be Supergirl, but I don’t know how to do any of this other stuff. But Clark, he makes it look easy, he’s Superman, he’s a great reporter, he’s a great boyfriend. How does he do it?” And Clark says, “I’m making it up as I go, too. It’s all about balancing it and it’s all a day-to-day thing. Just because I make it look easy, doesn’t mean that it is.” So Kara is really growing up this season, that’s really her journey.

What brings Superman to National City?
The two of them actually show up to the same crisis. It wasn’t a turf war, they just both heard about the same tragedy on the news and both flew into action. But they haven’t really gotten a chance to spend time together, especially since she’s come out as Supergirl, and they both want that. Both of them have a bit of sadness about them, they both have that sense of feeling alone, they both have that sense of feeling different, and both of them remark that that loneliness, that alienation, that isolation goes away when they are together. Part of what these episodes explore is that they don’t get that because of the machinations of the plot and of the actions of Project Cadmus, the villains; they both have homes to defend and they have to defend their own turf.

What brings Mon-El (Chris Wood) to Earth?
He’s brought to Earth because he’s from Daxam, just as in the comics, which was a sister world to Krypton. The destruction of Krypton also resulted in a very bad day for Daxam. That’s how he escaped that cataclysm and came to Earth. What’s interesting about it is that Kara has always had mentors, whether it was Laura [Benanti], or it was the Danvers, or whether it was Cat, or Clark, but now she has somebody to take care of, she has somebody to mentor. He’s fresh off the boat — as far as he’s concerned. He got into a pod on Daxam and then the next day was on Earth. She says to somebody in one of the early episodes that she wasn’t sent to Earth to be Supergirl, she was sent to Earth to watch Clark, take care of him and to be a protector. In a way, Mon-El coming here, she’s finally now getting to fill that original mission..

Talk about Project Cadmus and whether it’s the big bad this season.
They’re the big bad of the first part of the year — a second big bad will emerge later in the year — but they’re dedicated to eradicating alien life on Earth. They’re fanatics, they’re true believers. What’s interesting about them is it’s this collection of scientists, it’s this collection of very bright, patriotic people who truly believe what they’re saying. That makes them even more dangerous, because they believe they have a point, that ever since these aliens started coming here, the Earth has become this free for all, and human beings are about to get knocked off the food chain. They don’t care that you’re wearing a cape one day, what happens when you turn around and decide I don’t want people cheering for me anymore, I want people bowing before me? So their goal is to eliminate the J’onns and the Supermans and the Supergirls of the world along with all the other evil aliens that are out there — they don’t make that distinction, which creates an interesting problem for our good guys.

TV Guide has some more information on the second season of Supergirl.

https://www.youtube.com/watch?v=h4m7qvtKtZA

Collider has some information on the second season of Legends of Tomorrow (extended trailer above. The original trailer posted is no longer available so the replacement might not correspond entirely with the article).

Legends seems poised in Season 2 to bring some interesting things to the table. Firstly there’s a shakeup among the core team, which has added a historian (played by Nick Zano) as well as a whole new host of heroes — who don’t just bumble their way through space and time like a wrecking ball — with the Justice Society of America. Even more promising, perhaps, is the Legion of Doom, which will take villains Damien Darhk, Eobard Thawne, and others in a super-villain team-up that could be a lot of fun. And fun is really the key word with Legends. At this summer’s TCA press tour, I spoke briefly with EP Phil Klemmer about how Season 2 might be different than what we’ve seen before, and he assured me that the emphasis is just going to be on having fun.

anthony_hopkins_westworld_trailer

So far with two episodes of West World available (the second streaming ahead of its usual showing on HBO tonight) the series looks promising. Of course with Anthony Hopkins (who also played Hannibal Lecter) in charge, you have to be suspicious that something is up. SciFi Now interviewed Anthony Hopkins:

You play Dr Robert Ford, the creator of Westworld and another mysterious character. What is it that draws you to these roles?
I knew what scares people when I was a kid – that’s the art of the control freak. I’m not a control freak in my life, I’m the opposite. But they keep casting me as control freak nuts. I always make an attempt to go the opposite of what an audience would expect.

Elia Kazan once had to play a gangster, and met one of Al Capone’s buddies. This guy said – “you don’t have to holler. They know who you are. If you’re playing a killer be very quiet.”

What was it about Westworld that intrigued you?
Artificial intelligence is very interesting. I was on holiday recently up in Ohio and I was having lunch, this young guy sitting at the table opposite me. He worked at MIT in artificial intelligence. I told him about Westworld. He said it’s very unlikely we’ll ever be able to create a living cell. He didn’t think we’d ever create Westworld robots.

I saw the original years ago, and then my agent said that Jonah wanted to cast me and would I read the script. We met, and I was intrigued by it, and so I said yes.

Eternal Sunshine of the Spotless Mind is yet another genre movie to be turned into a television series, according to The Hollywood Reporter. I have no idea how it will work as an ongoing television series (as I also wonder with Westworld) but it was an excellent movie.

https://www.youtube.com/watch?v=7FLbV3Kjf_E

Things don’t look very good in 2163 in the above season 3 trailer for 12 Monkeys which was shown at New York Comic Con.

The above first look at the Doctor Who Christmas Special, episode entitled The Return of Doctor Mysterio, was shown at the New York Comic Con. As promised, it does include a superhero. Radio Times also points out that it looks like the sonic screwdriver makes a comeback. More on the Christmas Special at The Telegraph and below.

Video of the full Doctor Who panel at New York Comic Con is above. Mashable has the following key points:

  • Showrunner Steven Moffat says Mackie’s Bill “starts her journey with the Doctor in a surprising way,” and promises that the reveals will keep coming over the course of the new companion’s journey in Season 10, but declined to give further details about her introduction — except to say, “I can promise you it’s really quite different.”
  • Capaldi notes that Bill “refreshes” the show, since she “comes from the real world; she doesn’t come from the world of Doctor Who, so she has to be introduced” to the Doctor’s way of doing things. Moffat adds, “you’re getting to see the Doctor for the first time all over again through a new pair of eyes,” thanks to the new companion.
  • On that note, Moffat says that Season 10 will be a great starting point for new viewers, since they took the opportunity to reset things with Bill’s introduction. “If I can give you a tone word for the season, it’s ‘brand new’ … episode 1 really is episode 1, it explains the entire mythos of Doctor Who, and you can start there,” he promises.
  • Bill won’t appear in the Christmas special, which is titled “The Return of Doctor Mysterio,” but Lucas’ Nardole will be back for the festive installment. “Just as I was thinking it would be great if the Doctor had some kind of valet or butler who wouldn’t be very polite or obedient, Matt said he wanted to come back,” Moffat says of bringing Lucas back to the fold. “He just kept volunteering to do more. It’s working better than we could’ve expected.”
  • Nardole will be “a little different” from the last time we saw him — both a bit more grounded and, at times, even “sinister,” per Moffat: “There are lots of layers to him.”
  • The Christmas special is inspired by Moffat’s love of Superman — specifically Clark Kent, who the showrunner describes as “awesome — he goes around pretending he’s not a god; he doesn’t tell the woman he loves that he’s the person she’s in love with — it’s a love triangle with two people.” He says he’s always wanted to write Clark Kent’s journey, which is fitting, because Capaldi compares the tone of the special to the original Christopher Reeve Superman film, calling it, “a new, ironic, good-hearted superhero movie.”

the-doctor-and-bill

Screen Rant has more on the panel.

The Doctor also appears in the above trailer for the spin off series Class. There is a crack in space and time, reminiscent of the crack in Amy Pond’s wall.

SciFi Weekend: Star Trek Discovery; Westworld; Aftermath; Stranger Things; Supergirl; Agents of SHIELD; Doctor Who News

Star Trek Discovery

Bryan Fuller has explained the name Discovery was chosen for the upcoming Star Trek series:

“This ship is called the Discovery for a few reasons,” Fuller explained. “Not the least of which is Stanley Kubrick’s contribution to the Discovery on 2001: A Space Odyssey, NASA’s vessel the Discovery, and also the sense of discovery.” He added that the title of Star Trek: Discovery was also about “what the word ‘discovery’ means to Star Trek audiences who have been promised a future by Gene Roddenberry where we come together as a planet and seek new worlds and new alien races to explore and understand and collaborate with.” Fuller went on to say that sense of discovering would manifest as the show reintroduces new and familiar aliens, ships, and technology to the Star Trek universe.

 TV Guide reports that there will be more than just a television series:

Star Trek: Discovery is going really, really big when it debuts on CBS — before moving to CBS’ All Access portal in January of 2017: not just with a new ship, new aliens and new planets; but a novel and comic book series, too.

Kristen Beyer, who’s overseeing a line of Star Trek novels, announced the big plans for the series at the Star Trek: Mission New York convention this weekend, where she and Nicholas Meyer, writer and director of the acclaimed movie Star Trek II: The Wrath of Khan, celebrated the franchise’s 50-year milestone.

At the gathering, Beyer said that longtime Star Trek author David Mack will write the Discovery tie-in novel, while writer Mike Johnson will have a hand in developing the comic series. “We’re creating these in real time [with the show],” Beyer said, according to a report from Yahoo. “They’re going to support the story in a way we don’t normally have the chance to do.”

HBO has a new trailer for Westworld.

Westworld looks quite promising but looking at the trailer, I have my doubts about Aftermath. It looks like they tried to throw in far too much, but we won’t know until actual episodes are on, and perhaps others will find this above trailer more compelling  than I did.

Mandatory Credit: Photo by Alex Glen/REX/Shutterstock (5585090cg) Alison Brie 'How To Be Single' film premiere, London, Britain - 09 Feb 2016 WEARING DAVID KOMA

Netflix has picked up season two of Stranger Things. The second season will contain nine episodes and take place in 1984. That is not the only Netflix series to take place in the 1980’s. Netflix has also picked up G.L.O.W., a ten-episode comedy by Jenji Kohan of Orange Is The New Black. The series about a 1980s female wrestling league is primarily of interest as it will star Alison Brie of Community and Mad Men.

https://www.youtube.com/watch?v=2bDhkrYcO40

DC’s Legends of Tomorrow fortunately is being largely redone for the second season. Trailer above. The addition of the Justice Society of America gives another reason to give the series a second chance.

Superman Supergirl

Supergirl will finally show Superman on screen second season. The first set pictures of Superman (played by Tyler Hoechlin ) with Supergirl have been posted this week.

Among the changes on Agents of SHIELD include the addition of Ghost Rider. More at The Hollywood Reporter.

Grimm has been renewed for a thirteen episode final season.

Karen-Gillan-karen-gillan-13197795-450-650

Radio Times reports that Doctor Who has had a huge influence on names in England and Wales:

Amelia – the dearly departed Amelia Pond of course – is the most popular girls’ name in England and Wales for 2015. Even more significantly, Clara entered the top 100 for the very first time in 2015 – the same year as Clara Oswald’s final moments in the Tardis.

Rose (Tyler), Martha (Jones), Sarah (Jane), Victoria (Waterfield – an assistant to the second Doctor) and Grace (Holloway – pal to the eighth Doctor) all feature in the top 100 names for girls.

In fact, according to our calculations, 3 per cent of all girls born in 2015 were named after Doctor Who companions.

And the boys? Well, Rory (Williams) and Michael (‘Mickey’ Smith) both have a place in the top 100. Jack (Captain Harkness) meanwhile, is the second most popular name for boys in 2015.

I’m not so sure that we can attribute the Michaels and Jacks to Doctor Who, but is is far more likely that others such as Clara, Amelia, and Rory were influenced by the show.

Amelia Pond is also quite busy in new roles. Karen Gillan has been cast in the remake of Jumanji. This is among other upcoming roles including returning as Nebula in Guardians of the Galaxy Vol. 2 and a role in the movie version of The Circle.

In other Doctor Who related news, the spin-off Class has completed filming.

SciFi Weekend: Stranger Things–Explanation of Finale And A Look Ahead; Mr Robot; Star Trek Discovery; Doctor Who

Stranger Things D&D

Stranger Things was the surprise hit of the summer. It was as close to a perfectly structured television show as I’ve ever seen, both telling a complete story in eight episodes and leaving some things open for future seasons. It has an excellent cast, a story which was compelling from the start, and a lot to bring back fond memories of both the 1980’s and previous stories in the genre. The early 1980’s was a perfect period for this story, when kids could roam freely without being immediately available by cell phone, kids would have to ask their science teacher for information rather than looking it up on line, and Cold War paranoia made the background of the story seem a bit more plausible. I briefly discussed the show last week without spoilers. In order to discuss the finale and where the second season might go, major spoilers are unavoidable.

If I had any complaints after the conclusion, it might be that questions which we might not have had time to wonder about while binging were left unanswered. I’m thinking of where the story was at even before the final few minutes when additional teasers for the future were inserted. Fortunately the producers do have an outline which presumably contains information which might answer some of my questions in future seasons.

We know something about the research being done at Hawkins Lab, and how Eleven presumably opened a portal to another dimension. There could be far more going on at the lab, and was there a one through ten?

What happened in the other dimension, which appears to be like ours with the atmosphere destroyed and people no longer alive? Some scenes which looked up to the stars led me to believe it was due to aliens, while the 1980’s time frame also makes me suspect it was the consequence of a nuclear winter. Why did we see only one Demogorgon? Perhaps such monsters, and perhaps other types, are roaming the other dimension, and only this one made it to their version of Indiana. Did such monsters destroy Earth, or were they created by radiation from a nuclear war? The kids faced a Thessalhydra while playing D&D at the end of the episode. Is this what they will encounter next? Is there a connection between their games and what is found in the Down Under? What was the egg which Hopper discovered?

What happened to Eleven and the monster? If this was a completed story we might assume she died after saying goodby to Mike.  However, as we are dealing with parallel universes and the ability to travel between them, it wouldn’t be surprising if a sequel shows that they did go to another dimension. Deaths always must be questioned if there is no body–and in this show even a body did not prove death. If two dimensions were shown this season, are there other dimensions which might come into play in future seasons?

It is plausible that Will remained alive as long as he did by hiding out in alternate versions of places he knows in his universe, but how did he communicate with the lights? Even if messing with the wires in one dimension affected them in the other dimension, he showed remarkable accuracy in turning flashing specific lights by specific letters. Barb was not so fortunate, but to maintain some degree of horror I think it was necessary for her to have been killed. Most of the characters who were put in danger did survive. Will was alive in the end. His mother and Hopper were both captured but managed to be released. The kids survived the final attack of the monster in their school Someone had to actually die for the monster to be menacing in the end, and a character such as Barb who was only in a handful of scenes was the obvious “red shirt.”

The final few minutes of the series went further in providing loose ends to tie up in the future. What happened when Hopper went in that car. Why was he leaving Eggos Waffles in the box in the woods? Either he knew that Eleven was out there and was leaving her favorite food for her, or he perhaps he was leaving them to see if she returned to take them. I think the later is more plausible as if he was actually feeding her he would have presumably left more.

The biggest sign that we have not seen the last of the Upside Down was when Will coughed up the slug and briefly saw the other dimension. Was that just a mental flash back, or was there a breakdown between the dimensions in the bathroom? Is this the original Will, or yet another type of fake, this time created in the Upside Down? What about Will’s mother and Hopper? Both were in the Upside Down and had breathed in the air.

The Duffer brothers have verified in various interviews that they are hoping to produce a second season involving the same characters, with additional ones added. There will be a time jump of one year which makes matters much simpler when dealing with children actors, and allows for the story to have advanced.

Here are some excerpts of interviews with Matt and Ross Duffer:

Stranger Things

From Variety:

How much do we know about Eleven’s true origins at this point, and how much did you want to keep a mystery?

Ross: We get the hint that her mom was involved in the experimentations back in the day resulting in her being born with these powers, but what we wanted to do with the show — and this season specifically — was mostly seeing the mystery and these extraordinary things through the eyes of these ordinary characters. By the end of the show they don’t know or understand everything. That is purposeful.

We do cut away to the government occasionally for these pops of mystery or horror, but what we didn’t want was to have a scene of the scientist just sitting down to explain everything. We wanted to slowly peel back layers of this mystery for audiences through the eyes of these very ordinary people. It’s not all solved by the end of the season. We wanted to resolve the main mystery of Will being gone, that was the story of this season.

Do you see the government or science conspiracy angle as a long-term mystery for the show?

Ross: There’s a lot there we don’t know or understand. Even with the Upside Down, we have a 30-page document that is pretty intricate in terms of what it all means, and where this monster actually came from, and why aren’t there more monsters — we have all this stuff that we just didn’t have time for, or we didn’t feel like we needed to get into in season one, because of the main tension of Will. We have that whole other world that we haven’t fully explored in this season, and that was very purposeful.

Matt: We wanted a simple drive and a somewhat simple mystery with bizarre pops of supernatural horror and then add a larger mythology behind this rift that we only know and refer to as the Upside Down because that’s what the boys decide to call it. Everything they’ve learned about it is kind of hypothetical. They’re theorizing based on their knowledge from fantasy gaming and their science teacher, Mr. Clarke. That’s as much as we get to understand it. I think part of it is us thinking in terms of horror, it’s scarier when you don’t fully understand what’s happening. If you were to encounter something from another world or dimension, it would be beyond comprehension. We talked a lot about Clive Barker and his stories. They’re very weird, and the weirder it is, the more inexplicable it is, the scarier it is.

As you head into future seasons, have you thought about how much of that 30-page document you want to reveal and explore?

Ross: We leave these dangling threads at the end. If people respond to this show and we get to continue this story — we had those initial discussions of where we might go with it. If there was going to be a season two, we would reveal more of that 30 page document, but we’d still want to keep it from the point of view of our original characters.

Even though you tell a complete story within the season, you end on a couple of major cliffhangers — the first being Eleven’s disappearance. Did you want to hint at where she’s been with the scene of Hopper leaving Eggos in the woods?

Matt: Obviously something happened to her when she destroyed and killed that monster and we don’t know what she went. Hopper is left with this guilt because he sold her out. We wanted to leave it sort of mysterious exactly what he knows… Have there been sightings in the woods or is he hoping she’s out there or has he already made contact with her? We don’t answer any of that, but we like the idea of potentially putting her and Hopper together.

It also seems that the Upside Down has changed Will or maybe he’s brought some of it back with him. What can you say about the flash he has in the bathroom?

Ross: We love the idea that [the Upside Down] is an environment that is not a great place for a human being to be living in. Will’s been there for an entire week, and it’s had some kind of effect on him, both emotionally and perhaps physically. The idea is he’s escaped this nightmare place, but has he really? That’s a place we wanted to go and potentially explore in season two. What effect does living in there for a week have on him? And what has been done to him? It’s not good, obviously.

Stranger Things Christmas Lights

They discussed more of these plot points with IGN:

IGN: What can you say about where Eleven is? That’s a very open question, of course, since there are different worlds you’re dealing with here.

Ross: It is. We wanted to leave it purposefully ambiguous. We always, from the very beginning, liked this sort of childlike idea that this escapee from this facility with these amazing powers would be able to just move into Mike’s basement and they’d have this wonderful life together and she’d go to school. It’s not that simple. The goal is to make it as complicated as possible, and without going into too much detail, to really tear them apart at the end of that season, to make things much more difficult. But we love Eleven.

Matt: But the great thing about having a portal to another dimension is that you’re not boxed in, narratively. There’s a lot we can do.

Ross: What did James Cameron say? No one’s ever dead in sci-fi.

IGN: Will clearly has been changed by this experience, it doesn’t seem in a great way. But he’s not the only one that went over there. Should we assume he might not be the only one affected?

Ross: That’s a good question. Though I will say that Will obviously was in there much longer. He had that thing hooked up to him. He went through a much more traumatic experience. A big part of Season 2 that we’ve been discussing is what is that effect? Did it affect anyone else? But specifically, is Will okay? The short answer being no.

Matt: But you’re absolutely right, three of the other characters were in there.

Ross: And they took off their helmets. And we know it’s a toxic environment. Nancy was in there too. Yeah, that’s an interesting question…

IGN: Is that the cool thing about doing a time jump? Asking what has Will been like in the year in between?

Ross: Yeah, that’s exactly it. And how have these characters moved on with their lives and not just in the plot and supernatural [aspect] but also just in terms of their characters and what have they done to fill that time?

Matt: We like that they’ve all had a very traumatic, nightmare experience together and after it’s over they kind of try to sweep it all under the rug. Season 2 would be very differently, structurally. It would be that everything seems great on the surface and then there are hints that things aren’t okay or that there are lingering effects from what happened last year. The initial instinct is to push that back and sweep that crap back under the rug but eventually it becomes impossible to ignore and so they have to confront the repercussions of everything they’ve experienced. I like to think about Stephen King’s It too. — that’s a big time jump. They jump like thirty years. But the idea that the evil is still there and comes back to haunt them and one of the characters finds out about it and kills themselves immediately. That image always stuck with me.

IGN: We see Hopper go for a little meeting at the end there. What can you say about everything he was involved in and how it might open up the world?

Ross: The intention in the scene when he gets in the car – and we want to get into this in the next season – is the clean up of what happened and the mess of all this and Will dying and coming back to life, whatever happened at the school, and the dead bodies… This is not a simple clean up job. It’s complicated. We have all these characters that know that these crazy things happen. We liked the idea that, sort of lead by Hopper, our characters are drawn closer to the government, in terms of having to make a bit of a deal with the devil. To us, that’s an exciting place to take our story.

Matt: But also the idea of going back to the laboratory and pull back the curtain a little bit. Maybe they brought someone new in. It’s not as evil and mysterious as it was in Season 1. We might start to get into what they’re doing a bit little more. Maybe they seem a little bit more friendly… as least at the beginning. A lot of the agents involved in that project are dead.

Ross: The monster and Eleven did a clean sweep of that whole operation, really.

Matt: So it would be new people which I think is cool. I think our initial instinct, when you talk about all of this stuff and “Oh god, this is all such a pain in the ass. We created such a mess.” But then we decided let’s just lean into the problems this created.

Ross: And even someone like Barb, where we left them, her poor parents think she’s just run away. There’s no closure there at this point, which I think is another reason why audiences are reacting like that. They’re like “You saved this boy, but…” What we were trying to do with that last scene in the hospital when Nancy leaves and Jonathan catches her right as she’s going is that there isn’t closure for Nancy. There isn’t closure for Barb’s parents. There is still, despite the relief that our boys are feeling, there still was tragedy here. We want to make sure that we don’t forget about that. We don’t want to forget about Barb.

Stranger Things

Collider asked about the benefits of working with Netflix:

Eight episodes was the perfect length for the Season 1 narrative. Was that your decision, to keep it that tight?

MATT: Yes, it was.

ROSS: When we first pitched it to Netflix, we said, “This is an eight-episode story,” and they were like, “Great!” That’s the amazing thing about Netflix. They do not dictate. They don’t tell anyone that it should be 10 episodes or 13 episodes. They just say, “What do you need to tell your story?,” and that’s an amazing freedom that most storytellers who are working in film or TV haven’t had. This is a very recent thing. On television, you’ve gotta have a certain number of breaks for commercials. You’re working on a very clear structure.

MATT: On Wayward Pines, we were writing to commercial breaks.

ROSS: And you know how many episodes it has to be because they’ve got so many slots. Or with a film, you know it can’t be too long ‘cause you can’t get enough showings in. You’re very locked in. So, I think it’s an exciting time. We can play around a bit with form and length, and all of that, and it really just boils down to what we need to tell the story.

MATT: But even though this show has been successful, there’s no pressure to make it 13 episodes. People say, “They need to make way more episodes,” but I like to think one of the reasons it works for people is because it’s paced and it feels like a movie, and that’s because it’s not too long. I think, if we pushed it to 13 episodes, we’d have to start coming up with all these bullshit adventures they’re going on, that aren’t directly tied to the main tension. Eight felt about right. But if we’re developing Season 2 and it feels like seven or nine or eleven, Netflix would support any of those lengths.

How long do you see this series running? Have you thought about future seasons?

ROSS: We don’t know, specifically. We’re very weary of making it go on past the point it should. You want to end on a high note. That’s the goal. We’ve had initial discussions, but we haven’t quite landed on it.

Stranger Things Eleven

They spoke more about the structure of the series with Huffington Post:

One reason “Stranger Things” is effective is because the monster is revealed slowly. At first, it’s only glimpses. That out-of-sight, fear-of-the-unknown quality feels very “Jaws.”

Ross: “Jaws” was a big one. It’s a classic. The shark not working while making that movie made it much better. Also, we looked a lot at Ridley Scott’s “Alien.” On YouTube, there’s a cut of all the instances where you see the alien in that first movie, and it’s a couple minutes long. And that’s a two-hour movie. I think the reason it’s so scary is that, when it does appear, it has a certain amount of impact. So we thought, OK, we’re going to see the shadow in Episode 1, because we knew we had eight episodes. We were trying to slowly reveal it, until you finally saw the full thing. We don’t really deal with it until Episode 8. It’s a dude in a suit, and I remember reading old interviews with Ridley Scott about “Alien.” The studio was upset with him for it because it’s an amazing alien suit and you’re not shooting it. But the reason is because so much of it will look like a guy in a suit, and so much of it is that what you don’t see is much scarier. We tried to go back to that old-school style of filmmaking…

I want to pose a logistical plot question: Why did Will survive the Upside Down but Barb didn’t?

Matt: Right, I guess we think of it as ― and this is continuing with the “Jaws” references ― it’s the other dimension, the Upside Down, where the shark lives, and every once in a while it comes out of that ocean into our world on the surface and then it grabs a victim and pulls them down to the Upside Down. You saw Barb at the top of Episode 3 in the Upside Down. Just imagine that’s a world, and Barb tried to escape and failed to escape, but Will was sneakier, so he was able to escape. He was able to hide. He goes, initially, to that cubby in Episode 3 inside the Byers’ house, which is why Joyce is able to communicate with him. We had this whole backstory for what Will is doing, but we don’t see it all.

Ross: It’s more like the monster bringing him back to the net, which is why Hopper and Joyce are able to distract Will into being held in this net like a spider caught in its web. He’s brought there by the monster for eating later. Is he there for other reasons? We don’t know. We have ideas.

The way the season ends, there are enough questions answered for it to almost stand as a complete series. But the many unresolved mysteries set up an obvious next chapter. How much of the backstory regarding Dr. Brenner’s experiments and Eleven’s history did you have in place from the get-go?

Matt: We had ideas that we were sort of feeling out. We have a lot more backstory built in for Brenner and Eleven. Every time that we were writing scenes in the Hawkins Lab, we wanted to stop writing them, just because it seemed like we wanted to experience as much of it as possible in the present day and through the eyes of our ordinary characters. We just wanted to leave that as mysterious as possible. I hope that, with the mystery, people are responding to it and it’s not frustrating. But to us, the sci-fi elements are so much more fun if we’re understanding it via our characters. I like that basically everything we understand about what is going on is pretty much through the boys. And they’re only able to understand it through Dungeons and Dragons terminology and by talking to their science teacher, Mr. Clark. It’s all sort of hypothetical. I never wanted any scenes in the laboratory where you have Brenner and the scientists sitting around discussing what’s going on. And Eleven even doesn’t fully understand how she wound up where she wound up and what their plans for her are, so there are very few scenes with Brenner without one of our other main characters. The scenes that are with Brenner and not our main characters have almost no dialogue in them.

Ross: Moving forward, we’re going to get more into detail about the monster and where it came from and what the Upside Down really is. But with this season, we talked a lot about “Poltergeist.” At the end of the day, what really matters in “Poltergeist” is that Carol Anne is missing and they have to go through a portal in the closet to get her back. That matters more than the backstory. People want explanations for all that, so while we have answers for all this, what we really wanted to get from this first season is that this gate opens to this other dimension. What it really boils down to is, Will is in there and we have to get him back. The hope was that, because we resolved that, the first season will be satisfying to people and work as a stand-alone. Hopefully we get to go back and explore more of this stuff.

Mr Robot Alf

While Stranger Things brought us back to the 1980’s, Mr. Robot had a surprising beginning by opening as if it was a 1990’s sit-com, including appearances from Alf. If you haven’t watched it yet, do not skip the commercials, as they play into the illusion of a 1990’s television show. Of course, like other less obvious examples on the show, we are seeing what is happening in Eliot’s head as opposed to reality. There was even a plausible explanation for this, which led to a reconciliation with the imaginary Mr. Robot portion of him, after attempts by each to destroy the other earlier in the season. While we still do not know what happened to Tyrell Wellick, he does have a symbolic appearance here also.

I’m still waiting for WikiLeaks to reveal ties between Evil Corp, The Clinton Foundation, and The Trump Organization–the true axis of evil (even if one is symbolic and only two are real). Actually, on some level, I think that this is what Sam Esmail is trying to tell us.

Democracy Hacked

Bryan Fuller is slowly teasing news on Star Trek Discovery. It will take place ten years before the original show, bridging events between Enterprise and the original Star Trek. There will be seven lead characters including a gay character, and a female lead who plays a lieutenant commander, providing a different perspective than leading with the Captain as on other series.

The bathroom at The Way Station bar in Brooklyn is bigger on the inside than on the outside. The video above has a tour of the TARDIS themed bathroom.

In other Doctor Who news, the 1996 movie staring Paul McGann is being released on Blu-ray later this year.

Jenna Coleman and Karen Gillan had a joint appearance at Boston Comic Con. Hopefully someone videotaped it and will upload it soon.

Kenny Baker, who played R2-D2 in the Star Wars movies, died at age 81 during the past week.

SciFi Weekend: Star Trek Beyond & Star Trek Discovery; Sherlock & Doctor Who News; Adrianne Palacki Cast On Seth MacFarlane SF Show; Gilmore Girls Trailer; Sense8

Star Trek Beyond

Star Trek Beyond is the third installment since J.J. Abrams took over Star Trek. Like the first two movies, it is fun to watch, and in this one there is more of an effort (only partially successful) to make this movie actually be Star Trek. There will be some spoilers here, but not to the point of giving away anything which isn’t becoming obvious in the first half of the movie.

The movie has a lot of action, but also makes an effort to get a feel for the characters early in the movie. The Enterprise is now on the third year of its mission in deep space which began at the end of Star Trek Into Darkness. This work mean that, although James Kirk took over the Enterprise at an earlier point in his life, that they have been in deep space for approximately as long as the crew on the original show. (The original series ended in its third season, but they had already been on their five year mission for some time when the show began). In this universe, we also know that they have encountered Tribbles and Khan earlier.

Whatever they have experienced, Kirk now feels that “things have started to feel episodic” and is contemplating a desk job. It should be no spoiler to say that he doesn’t go through with it. There was a reference to the original when he complained that his shirt got torn on an away mission. There was also time for Kirk and the rest of the crew to take  break when they traveled to a space station. Again, it should be no spoiler that something happened there which pulled the Enterprise into an adventure.

Before going off to fight another villain, and meet another memorable character, Spock also had to deal with both romantic problems with Uhura and learning of the death of Ambassador Spock, his future self from the origianl Star Trek universe. That is obviously an homage to the death of Leonard Nimoy. The ending of the movie also had a tribute to the death of Anton Yelchin, who plays Chekov. While a fourth movie has already been approved, a decision has been made to not replace Yelchin. Chris Hemsworth will reprise his role as Kirk’s father in the fourth movie, despite having died in the first movie. No word whether that will involve time travel, a revelation that he somehow survived, or some other means.

Spock contemplated leaving Star Fleet to continue Ambassador Spock’s work and his people following the destruction of Vulcan. This provided no more drama than Kirk contemplating taking a desk job. While at this star base we also learned that a ship even bigger and more powerful than the Enterprise was being built. Do I need to label it a spoiler to say that this guaranteed the repeat of what didn’t occur to the Enterprise in the prime universe until its third movie?

While no longer directed by J.J. Abrams, his influence was seen. I have some of the same nit picks as I did with Star Trek Into Darkness. Everything must be bigger, including getting yet a bigger and better version of the Enterprise and the incredible size of the space station out in deep space (which seemed partially modeled on Epcot). Once again, distance did not seem to matter. The Enterprise has gone where no one has gone before, but is not far from a station of this magnitude, and right around the corner from an almost unexplored nebula.

The most important thing about the Star Trek movies is that they have kept Star Trek around in some form. Star Trek has always worked better as a television show than movie series, and it will return to television early in 2017. Bryan Fuller announced at Comic Con that the next series will be named Star Trek Discovery, (referred to as DSC rather than the initials STD). The series will premiere on CBS television but subsequently be shown on CBS All Access, a paid streaming service. Episodes will also be available internationally on Netflix within twenty-hours making me wonder if it will be accessible in the US if using a VPN. With such limited availability, I bet it will also be heavily pirated.

Star Trek Discovery will tell a single story in thirteen chapters, with episodes released weekly. The series will take place in the prime timeline, but it has not been announced when. There has been speculation that the registry number of NCC-1031 for the Starship Discovery suggests it could take place before the original show, but that is far from definitive.

The above trailer for Sherlock season 4 was presented at San Diego Comic Con.

That naturally leads to recent news related to that other show run by Steven Moffat. Moffat predicts that Peter Capaldi will be remaining with the show after he leaves as show runner in 2017.

Karen Gillan has been cast as the female lead in All Creatures Here Below, an indie drama written by and starring David Dastmalchian. (I just thought of Amy Pond earlier today when I was walking by a house with a small angel on its lawn. I did not blink).

Jenna Coleman will be playing Queen Victoria for ITV. She has not ruled out returning to Doctor Who some day, but told Collider she will probably not return “for a good while”  if she ever does.

Adrianne-Palicki

Adrianne Palacki has been cast in Seth MacFarlane’s upcoming show for Fox:

Set 300 years in the future, the untitled show — MacFarlane’s first live-action TV series — follows the adventures of the Orville, a not-so-top-of-the-line exploratory ship in Earth’s interstellar fleet. Facing cosmic challenges from without and within, this motley crew of space explorers will boldly go where no comedic drama has gone before.

MacFarlane plays Ed, captain of Orville. Palicki plays Kelly Grayson, Ed’s ex-wife and the newly appointed First Officer of the Orville. Grimes plays Gordon, Ed’s best friend whom he hires to pilot the Orville.

This should answer the question as to whether Palacki will return to Agents of SHIELD after ABC decided against picking up the proposed spin-0ff which she was to star in. While she was written out of SHIELD, the manner in which it was done did not make it too difficult to have her return.

The Last Ship has been renewed by TNT for a fourth season. It has taken a different approach for the third season, reminding me of previous post-apocalyptic shows such as Jericho and Revolution. It is like rebuilding society in Revolution, with a recent plague being far more plausible than the loss of electricity on Revolution.

https://www.youtube.com/watch?v=fTnU5MG5Edw

There is no question I will be binging on Gilmore Girls Thanksgiving weekend until I hear the four final words which Amy Sherman-Palladino has always planned to end the series with. She had hoped to have the show released in individual episodes to avoid spoiling the ending, but Netflix insisted on releasing all four episodes on November 25. I can’t think of any better place than Stars Hollow to spend Thanksgiving weekend. Trailer above. John Oliver did respond to Lorelei’s question while appearing on Stephen Colbert’s show:

Then on Christmas we can get more of Sense8 as opposed to watching it for the eighth time. ONTD has these items from the J. Michael Straczynsk’s panel at Comic Con:

– He confirms they’re filming in more cities because the Sense8 will be meeting more Sensates and some of them might be evil.
– There’s a lot more action than in Season 1.
– They’re gonna dig a lot deeper into the company searching for Sensates.
– Kala/Wolfgang storyline evolves a lot from S1.
– He confirms Sun gets out of jail ‘but not in the way you’d expect’.
– They’re working more like a group and having more scenes together.
– Netflix revealed that most Netflix shows are re-watched once at most. Sense8’s rewatchability index is off the charts. People rewatch Sense8 up to 7 times in average (end to end).
– Season2 is more ‘hopeful’ about LGTB people, privacy and relationships
– Riley’s gonna be the one leading the agenda to meet more sensates and she uses her DJ concerts to do so.
– Christmas movie airs on Christmas Day and the rest of the season shortly after in 2017.

SciFi Weekend: Steven Moffat Leaving Doctor Who; Jessica Jones; Legends of Tomorrow; Charlotte Rampling On The Academy Awards

Moffat TARDIS

Steven Moffat is stepping down as show runner of Doctor Who after the upcoming tenth season (since the show’s revival) and Chris Chinball, best known for Broadchurch, will be taking over. Chinball is a long time fan of Doctor Who and also wrote these episodes: 42, The Hungry Earth/Cold Blood, Dinosaurs on a Spaceship and The Power of Three. He was also a producer and writer on Torchwood.

The tenth season of Doctor Who will not air until the spring of 2017, and the only episode to air in 2016 will be the annual Christmas special. I wonder if Moffat will introduce the next companion in the special or wait until the show returns on a regular schedule in 2017.

After Broadchurch, I also cannot help but wonder if, should David Tennant return for an episode of the show, if Chinball will have him talk in an often incomprehensible accent.

Following is the BBC press release:

BBC announces Steven Moffat’s next series of Doctor Who will be his last and confirms Chris Chibnall as new Head Writer and Executive Producer.

After six incredible series at the helm, the multi-award winning Steven Moffat has decided to step down as the lead writer and executive producer of Doctor Who.

Steven took over the reins on Series 5 in 2010 and during his tenure the show has become a truly global success. He has been responsible for introducing the Eleventh and the Twelfth Doctors in Matt Smith and Peter Capaldi; as well as two companions Amy Pond (Karen Gillan) and Clara Oswald (Jenna Coleman) and iconic characters and monsters including River Song (Alex Kingston), Missy (Michelle Gomez), Rory (Arthur Darvill) and the terrifying Weeping Angels. Plus, the smash hit 50th Anniversary special in 2013 which saw fans around the world celebrate the world’s longest running sci-fi series with the Doctors, Matt Smith, David Tennant and John Hurt battling the deadly Daleks in a feature length episode. Steven’s final series will air on BBC One in Spring 2017 and there will be a Christmas Special in 2016.

Steven Moffat says: “Feels odd to be talking about leaving when I’m just starting work on the scripts for season 10, but the fact is my timey-wimey is running out. While Chris is doing his last run of Broadchurch, I’ll be finishing up on the best job in the universe and keeping the TARDIS warm for him. It took a lot of gin and tonic to talk him into this, but I am beyond delighted that one of the true stars of British Television drama will be taking the Time Lord even further into the future. At the start of season 11, Chris Chibnall will become the new showrunner of Doctor Who. And I will be thrown in a skip.”

Like Steven, Chris Chibnall is also a lifelong Doctor Who fan and a multi-award winning writer and executive producer. He has most recently achieved huge success with the triple BAFTA winning hit ITV series Broadchurch. His other credits include BAFTA nominated The Great Train Robbery, United, Law & Order: UK, Life on Mars and Torchwood. Chris Chibnall’s debut series will launch in 2018.

Chris Chibnall, new Head Writer and Executive Producer : “Doctor Who is the ultimate BBC programme: bold, unique, vastly entertaining, and adored all around the world. So it’s a privilege and a joy to be the next curator of this funny, scary and emotional family drama. I’ve loved Doctor Who since I was four years old, and I’m relishing the thought of working with the exceptional team at BBC Wales to create new characters, creatures and worlds for the Doctor to explore. Steven’s achieved the impossible by continually expanding Doctor Who’s creative ambition, while growing its global popularity. He’s been a dazzling and daring showrunner, and hearing his plans and stories for 2017, it’s clear he’ll be going out with a bang. Just to make my life difficult.”

Charlotte Moore, Controller, BBC One says : “I want to thank Steven Moffat for everything he has given Doctor Who – I’ve loved working with him, he is an absolute genius and has brought fans all over the world such joy. I will be very sad to see him leave the show but I can’t wait to see what he will deliver in his last ever series next year with a brand new companion. I have decided to schedule Steven’s big finale series in Spring 2017 to bring the nation together for what will be a huge event on the channel. 2016 is spoilt with national moments including the Euros and Olympics and I want to hold something big back for 2017 – I promise it will be worth the wait! I would also like to take this opportunity to welcome Chris Chibnall, a wonderfully talented writer who I know will bring something very special to the hit series.”

Polly Hill, Controller, BBC Drama Commissioning says : “Like Charlotte I would like to thank Steven for his brilliance, which has made Doctor Who a global hit under his tenure. Chris Chibnall is the perfect successor to take over the reins of this incredible show, so I am delighted that his love for Doctor Who has made it impossible for him to resist! Chris is an incredible writer and his vision and passion for Doctor Who gives it an exciting future and promises to be a real treat for Doctor Who fans across the world.”

AKA Jessica Jones

Variety discussed plans for season two of Jessica Jones with show runner Melissa Rosenberg and star Krysten Ritter:

Rosenberg shared that she doesn’t know when work on the new season will start, or whether she’ll be collaborating with writers from any of the other Marvel-Netflix series (“Daredevil,” “Luke Cage” and “Iron Fist”) leading up to “The Defenders” crossover, but said that she intends to continue utilizing story ideas from Brian Michael Bendis’ series of “Alias” comics, where Jessica Jones debuted.

“I will always use as much as I possibly can from the comic book,” Rosenberg said, noting that they’ll have to allow for deviations given the differences in the mythology between the Marvel comics and ongoing Marvel Cinematic Universe. “The MCU is very different in terms of its mythology. In the books, everyone knows superheroes are walking around, there’s a lot of things building toward Secret Wars. We’re probably not going to be able to do a totally parallel storylines. But I take every little piece I can because it’s so good.”

While Rosenberg admitted that it was both intimidating and exciting to think of having to come up with a villain to follow Kilgrave, she didn’t consider keeping him around past season one, since “the show is about Jessica Jones; the story is about Jessica’s arc,” and thus everything had to be in service to her journey.

When asked about Jessica’s mental state at the end of the season, given her final defeat of Kilgrave, star Krysten Ritter said, “For Jessica, that final moment, that victorious triumphant moment, I found that very conflicting in terms of her headspace. He’s the reason why she got up every day. He’s the reason why she went out in the world… it really gave her a purpose, and the past trauma doesn’t go away with his death.”

Arthur Darvill Legends of Tomorrow

Legends of Tomorrow premiered this week and we found that there was some misdirection in both what the characters were told when recruited and in the trailers for the show. This might be for the better. If they really were already known to become legends, it would imply that they were successful and this was future history. The outcome of their mission would already be known. Of course with time travel a lot of questions can come up. For example, why not go after Vandal Savage when he was reduced to dust at the end of the Arrow/Flash episode and prevent him from being revived?

I suspect that this will turn out to be the sort of show which can be a lot of fun to watch as long as you don’t think too much about the time travel implications. It even has Rory (Arthur Darvill) as sort of a renegade Time Lord. Screen Rant has a list of additional Easter eggs.

KUDOS FILM AND TELEVISION PRESENTS BROADCHURCH SERIES 2 Images are under strict Embargo not to be used before the 18th December. PICTURED : CHARLOTTE RAMPLING as Jocelyn Knight. Copyright ITV/Kudos.

Charlote Rampling, who appeared with David Tennant and Arthur Darvill in Broadchurch, has addressed the controversy over lack of diversity in the Academy Award nominees. Rampling had initially spoken about boycotting the awards, but has backed away from this:

In an interview with Europe 1 Radio earlier this week, Rampling said calls for a boycott of the Academy Awards because all of the nominees were white “was racist to white people.”

Today Rampling told CBS News’ “Sunday Morning”:

“I regret that my comments could have been misinterpreted this week in my interview with Europe 1 Radio. I simply meant to say that in an ideal world every performance will be given equal opportunities for consideration. I am very honored to be included in this year’s wonderful group of nominated actors and actresses.”

Rampling also said:

“Diversity in our industry is an important issue that needs to be addressed. I am highly encouraged by the changes announced today by the Academy to diversify its membership.”

SciFi Weekend: Doctor Who, Hell Bent; Batman v. Superman; The Expanse; Transparent; Outlander; Supergirl; Fargo; You’re The Worst

Doctor Who Hell Bent

The season finale of Doctor Who, Hell Bent, concluded the three part story which began with the death of Clara Oswald in Face the Raven. It turned out that the ending of last week’s episode, Heaven Sent, contained some misdirection about where the finale was going. While the Doctor did return to Gallifrey, this was not at all what the episode was really about.

The Doctor returned to Gallifrey as a war hero, and used this return to save Clara. While the leaders on Gallifrey were concerned with the identity of the Hybrid, it turned out that the Doctor did not really know the answer. His priority was in saving Clara.

Face the Raven appeared to end with the Doctor allowing Clara to die as there was way to prevent her death. Now he was willing to break all the rules and risk the fracturing of time to save her. Clara was pulled out of time just before the moment of her death,  in between heartbeats and lacking  a pulse, not really living. She was informed of her condition by a general on Gallifrey: “Although you are conscious and aware, in fact you died billions of years ago. We have extracted you at the end of your time stream. Once you have finished here, you will be returned to your final moments. Your death is an established, historical event.”

The Doctor was willing to break the rules of time, as he had done on occasions before, and to defy the leadership on Gallifrey. He killed a general to demonstrate how far he would go to save Clara.  They escaped through the Matrix, one of several references for things established in old episodes, and escaped in an old school TARDIS. As he had started out, the Doctor escaped Gallifrey in a stolen TARDIS, this time with a functioning Chameleon Circuit. They escaped the Time Lords by going to the last hours of the universe, where they met up with Ashildr, who the Doctor had made immortal earlier this season in The Girl Who Died.

While the identity of the Hybrid was never definitively revealed, Ashildr had what came closest to an answer. She theorized, “‘What if the hybrid was to people.‘A passionate and powerful Time Lord and a young woman so very similar to him – companions willing to push each other to extremes?” The Hybrid might have been the Doctor and Clara working together.  Whether this is the actual answer, it was still a meaningful description of who the Doctor is.

The problem now is Clara was only alive in a form with some very timey-whimey stuff which threatens the space-time continuum. Plus at any moment she could be returned to the moment of her death. The Doctor believed that Clara had to have her memory wiped to return to earth and lead a normal life, where she could not be found from her memories of being with the Doctor. (I’m not sure what would have happened the first time she had any type of medical exam and was found to be lacking a pulse). It would be a sort of repeat of how things ended with Donna Noble, although the need to wipe Donna’s memory was more straight forward on Journey’s End.

Clara was watching in on the Doctor’s conversation with Ashildr and was not willing to give up the best years of her life, or her memory of them. Ultimately matters were left to chance, and it turned out that it was the Doctor, not Clara, whose memories of the other were wiped. This might make Clara safer as nobody could use the Doctor to get to her. Perhaps it also made sense for the Doctor’s memories to be erased if they were not going to remain together. As we saw on The Snowmen, it took him on hundred years to get over the loss of Amy and Rory, and after over four billion years he has not gotten over what appeared to be the death of Clara.

On the other hand, this is not the first time that the Doctor has lost a companion. Is  Clara that much more important to the Doctor than Rose Taylor, Donna Noble, or Amy Pond? Plus it is never clear why the Doctor and Clara could not continue to travel together.

Doctor Who Hell Bent 2

Throughout the episode, scenes were interspersed with the Doctor at an diner speaking to a waitress played by Jenna Coleman. By the end, we finally realized the meaning of these scenes, with Clara knowing who the Doctor was, but the Doctor not remembering her. The Doctor told Clara what he recalled of this story, even believing that he would remember Clara if he saw her, but he did not. He did see an image of her when he got his TARDIS back due to Rigsy’s memorial graffiti, plus The Doctor got a new sonic screwdriver.

Despite the matters left unanswered on this episode, it was all worthwhile for the ending in which Clara, who had already become like a Time Lord, ended up in her own TARDIS with her own companion, Ashildr. Again, it is not clear why Clara can travel with Ashildr, but not with the Doctor. While we will probably not see Clara again on the show, I bet this will launch a lot of fan fiction.

Doctor Who Extra videos for Hell Bent can be seen here.

Doctor Who returns on Christmas Day with The Husbands of Rive Song. The synopsis has been released:

It’s Christmas Day on a remote human colony and the Doctor is hiding from Christmas carols and comedy antlers. But when a crashed spaceship calls upon the Doctor for help, he finds himself recruited into River Song’s squad and hurled into a fast and frantic chase across the galaxy. King Hydroflax (Greg Davies) is furious, and his giant robot bodyguard is out of control and coming for them all! Will Nardole (Matt Lucas) survive? And when will River Song work out who the Doctor is?

The Batman v. Superman trailer was shown on Gotham last week. As I know some superhero fans are not watching Gotham due to the lack of superheroes, I’m posting it above for those who might have missed it.

The Expanse officially states on December 14, but the first episode can be seen online here.

Amazon will be releasing season two of Transparent on December 11, but the first episode was made available early.

The second season of Mozart in the Jungle will be released by Amazon on December 30.

https://www.youtube.com/watch?v=VVw1QI178Wk

Outlander returns for a second season this spring. Teaser above.

Supergirl has been picked up CBS for a full season. The show still seems to be trying to figure out where it is going without being too much a clone of The Flash, and sometimes struggles to be in Superman’s shadow while contractually being unable to show him as an adult (with a younger version of him to be seen this season). Now that it has a several episodes under its belt, it is starting to show more promise.

Meanwhile on CBS’s sister network, The CW Network, the annual cross over episodes of The Flash and Arrow has aired. It served largely to set up Legend’s of Tomorrow, but was a fun two hours with the casts of both current shows getting together again. During the week there was also another round of rumors of a cross over episode between Supergirl and The Flash, with this once again denied (but not ruled out for the future).

Fargo season three will take place a couple of years after the first season, and could include some of the same characters.

FXX has renewed You’re The Worst for a second season. While an argument could be made that the show had stronger dramatic material from Aya Cash this season, I do hope that she gets over her depression and the third season returns to the dynamic between Gretchen and Jimmy of the first season.

SciFi Weekend: Doctor Who; New Star Trek Series; Supergirl; Jessica Jones; Donald Trump & Larry David (as Bernie Sanders) on Saturday Night Live

Doctor Who Zygon Inversion Clara

The Zygon Inversion had a different feel from last week’s episode of Doctor Who, The Zygon Invasion. Both are anti-war stories, but the first built up what appeared to be grave danger for the Doctor and the earth on a worldwide scale. The conclusion was a far more personal story, and eliminated the threats from the previous week rather easily.

The Doctor used the Osgood Box as a means to get both sides to talk, and ultimately think about what they were doing. War was simplified to pushing one of two buttons: “This is a scale model of war. Every war ever fought, right there in front of you.” It was ultimately a trick, with the boxes being empty, but they served their purpose. Apparently this was quite necessary as this was the fifteenth time the Doctor had to use this argument to keep the Zygon peace treaty intact, even if the other occurrences were off screen.

The episode had other moments. The Doctor provided a different answer as to what TARDIS stands for: Totally And Radically Driving In Space. Another top line was “I’m over 2,000 years old. I’m old enough to be your messiah!”

The show also foreshadowed the plans for Jenna Coleman to leave the series. The Doctor refered to the time spent thinking that Clara was dead as the “longest month of my life.”  When Clara contradicted him, saying it was only five minutes, the Doctor responded by saying,“I’ll be the judge of time.”

In recent interviews Steven Moffat said “Clara is gone and will never return,” and “I can only say that what will happen will shock, surprise and terrify. Strictly in that order.” We already saw that when Amy Pond left, Moffat left matters so that she also could not return. I wonder if the manner in which Clara leaves will account for her origin. Clara was splintered in time and looked after each regeneration of the Doctor, and presumably should also be present, even if unseen, in each future Doctor.

River Song is reportedly returning for the Christmas episode this year. I wonder if that is to fill a gap with Clara already gone.

From various interviews and articles posted recently, it also appears that Doctor Who is coming back next year at least for twelve plus the Christmas episode, with Moffat hoping to increase this back to thirteen full episodes. There are also no current plans to skip a year or split the season as some reports have stated.

Star Trek TOS

The big news of the past week has been that CBS is planning on another Star Trek television series to start in January 2017. The catch is that the plans are to show the first episode on CBS and then have the remaining episodes on CBS All Access, a streaming service from CBS which currently costs $5.99 a month. Currently I have the highest cable tier (which obviously includes CBS along with all the premium channels and their streaming services) and have subscribed to Netflix and Amazon Prime for a while. I have added the commercial free version of Hulu, which contains shows from most of the networks. While not very expensive, with the cost not really being an issue, I cannot help but questioning  paying for a streaming service from CBS alone.

CBS is obviously counting on the large number of Star Trek fans to pay for the service. My bet is that most Star Trek fans are tech savvy enough to download the show without paying and will balk at a streaming service which is limited to a single network, which has its other shows available on cable. Realistically I could easily stop my subscriptions to all the premium cable channels I subscribe to, along with the streaming services, and easily download everything I watch. I pay for multiple sources because I believe it is the right thing to do, and sometimes it is even more convenient. While I may or may not subscribe to CBS All Access, my bet is that most people will see this as a rip-off, questioning why CBS doesn’t just use Hulu more like the other networks, and just download the show.

There are many other questions which have not yet been answered. Will the show take place in the Roddenberry universe or the J.J. Abrams universe? When will it take place? We saw that a prequel did not work very well with Enterprise, although it finally figured out how to handle Star Trek in its final season when it was too late. My suggestion would be 20-50 years after Star Trek: The Next Generation. Then, taking into consideration a longer lifespan if necessary, there could be cameos from the old cast.

I also wonder if they will release an entire season at once Netflix style, or have this be a weekly show. A weekly release could result in much more on-line buzz as it is possible to discuss each episode every week. It is harder with a show in which an entire season is released at once as viewers are at all different point. How many episodes will there be a season? The longer seasons of past episodes allowed for a closer look at even the minor characters, along with discussion of ideas, which made the television series much better than the movies.

Supergirl Episode 2

The second episode of Supergirl seemed almost like a new television event considering how long the pilot has been available on line. Overall it was a good episode (one of only three new network shows I’m still watching), but the story was weakened by having to go through the almost obligatory stories of the superhero learning how to use his/her powers. I’m hoping for stronger individual stories when they are not burdened by such matters. Watching this with Arrow and Flash back on also highlights the degree to which they are using a similar format for all three. All have the hero/heroine who is backed up by a team, with various degrees in which the team coordinates or attempts to control their activities. So far Supergirl faces the most severe issue of attempted control from others. Personally I find the government agency the weakest part of the series so far, and would prefer to see Supergirl standing on her own, with her coworkers (along with boss played by Calista Flockhart) being the major part of the story beyond Supergirl.

Meanwhile, on the other DC shows, we are gradually seeing the team being set up for Legends of Tomorrow with evidence that Ray Palmer is still alive and the resurrection of Sara Lance, with the help of Constantine. Arrow has also done an excellent job with the new big-bad, as has The Flash with Earth 2 and the threat from Z00m. The Marvel-based show is also off to a good start this season with Agents of SHIELD having a few interesting subplots started for the season, including the revelation of Lash’s identity. It looks like the rescue of Will from the alien planet might be stretched out for a while longer.

In case anyone is interested, the other two networks shows I’m watching this season are Blindspot and Limitless. Plus there are several shows which have either started or are coming up on streaming video which I plan to watch. I have only caught the first episode of Aziz Ansari’s new show on Netflix, Master of None, and plan to continue. I have heard that the second episode is even better, and that the show continues to improve.

Jessica Jones3

Netflix has released several pictures from Jessica Jones, including the one above. Originally the show was to be called AKA Jessica Jones, and the have kept the AKA in the episode titles. Following is a listing with brief synopsis of the episodes, which might give a better idea of what the series is about.

AKA Ladies Night: Jessica Jones is hired to find a pretty NYU student who’s vanished, but it turns out to be more than a simple missing persons case.

AKA Crush Syndrome: Jessica vows to prove Hope’s innocence, even though it means tracking down a terrifying figure from her own past.

AKA It’s Called Whiskey: It won’t be easy to acquire or deploy. but Jessica thinks she’s found a weapon to use against Kilgrave. Luke and Jessica bond over their similarities.

AKA: 99 Friends: A new case demands attention as Jessica tries to find out who’s spying on her for Kilgrave. Trish’s radio show yields unexpected consequences.

AKA The Sandwich Saved Me: Despite Jessica’s objections, Trish’s new friend Simpson gets involved in the hunt for Kilgrave. Jessica recalls a pivotal moment in her life.

AKA You’re a Winner: Luke hires Jessica to help him find someone who may have skipped town, but she fears he’ll learn too much about her history in the process.

AKA Top Shelf Perverts: Malcom, Simpson and Trish go rogue to prevent Jessica from carrying out an extreme plan to outwit Kilgrave.

AKA WWJD: Jessica experiences a strange homecoming courtesy of Kilgrave. Hograth’s conflict with her estranged wife reaches a tipping point.

AKA Sin Bin: Just when Jessica has Kilgrave right where she want’s him. Hogarth’s involvement complicates the situation. Details of Kilgrave’s past emerge.

AKA 1,000 Cuts: A discovery has the potential to change the entire game — if Jessica can refuse Kilgrave’s offer.

AKA I’ve Got The Blues: Jessica searches morgues for clues. Trish goes all out to keep Simpson from getting in Jessica’s way. Malcom has an epiphany.

AKA Take a Bloody Number: The hunt for Kilgrave reunites Jessica with Luke. Trish receives some unexpected information about Simpson and Jessica.

AKA Smile: Jessica and Luke get help from someone else in the neighborhood. Kilgrave gears up for a major test of powers against Jessica.

I was rather disappointed by Donald Trump’s appearance as guest host on Saturday Night Live, despite the high ratings which Trump brought in, and the reviewers have agreed. I think that the problem is that Donald Trump is already such an absurd a character that it is difficult to make a parody which is any more amusing.

The best exchange with Trump took place with Larry David, based upon the offer from Deport Racism:

You’re a racist!” he yelled, interrupting Trump.

“Who the hell is – oh, I knew this was going to happen,” Trump responded. “Who is that?”

“Trump’s a racist!” David responded.

“I heard if I did that, they’d give me $5,000,” he added.

“As a businessman, I can fully respect that,” Trump said.

Larry David also had the funniest overall moments of the episode, reprising his impersonation of Bernie Sanders at Friday’s Democratic Forum in the cold open–video above. Variety summarized a couple of portions, but watch the full video.

On raising taxes: “We need to rebuild our nation’s infrastructure. It’s crumbling. That’s why I no longer drive on bridges or through tunnels. It’s too risky. Instead, I keep a kayak strapped to the top of my car.”

On campaign finance: “The other candidates, they’re taking millions of dollars from the Koch brothers and Exxon Mobil. But not me. I only accept coins. And not fancy coins. I only just want nickels and pennies, the coins of the middle class. So America, if you believe in Bernie, I need you to go home, open your vacuum, turn it upside down, and send me all the pennies that fall out of it. I’m Bernie Sanders, and I want your vacuum pennies.”

Larry David’s previous impersonation of Bernie Sanders, along with other humorous clips related to Bernie, can be seen here.