SciFi Weekend: Twice Upon A Time; Black Mirror Does Star Trek (And More) With USS Callister; Jonathan Frakes on Star Trek Discovery and The Orville; Top New Genre Shows Of 2017

Twice Upon A Time was the final episode of Doctor Who for both Peter Capaldi and Steven Moffat. The episode has far more references to previous episodes than I’d attempt to list and makes it clear that it is part of a tradition starting long before either Capaldi or Moffat were involved. It goes back to the first Doctor, starting with black and white footage and the caption “709 episodes ago,” ultimately leading to the words “to be continued.”

We knew it would be continued although both the first and the twelfth Doctor threatened  not to regenerate. Of course we knew that the first had to regenerate as we have seen subsequent Doctors. It was also no surprise that Twelve ultimately decided that, “One more lifetime won’t kill anyone…except me.” Of course each Doctor will give into yet one more lifetime.

The episode differed from a typical episode in that we learned that the Testimony was not really doing anything menacing. (“I don’t know what to do when it isn’t an evil plan.”) Rather than having the universe in danger this was a smaller scale story, only giving enough plot so that we didn’t have the two Doctors, along with the Captain and Bill’s memories, do nothing but talk to each other. This also enabled Moffat to return to his earliest stories. The planet Villengard was from his first Doctor Who story, The Doctor Dances, and Rusty the good Dalek returned from Into The Dalek. The idea of memories living on after death has been seen repeatedly in Moffat’s stories in some form or another.

The year of #MeToo turned out to be the perfect year for Doctor Who to explore sexism, contrasting the first Doctor’s 1960’s attitudes with the present. When the twelfth Doctor said, “You can’t say things like that,” he was not only lecturing someone from the 1960’s, but was also pointing out what he has learned over time. It was an even bigger shock for the first Doctor when he and the Captain mentioned that they have had “some experience of the fairer sex” and Bill responded that she has too. Ultimately the glass ceiling in the TARDIS was broken (along with the entire TARDIS blowing up).

Besides the appearances by David Bradley as William Hartnell’s first Doctor (after having played Hartnell in the An Adventure in Space And Time), and the return of some form of Bill, there were brief cameos by Clara Oswald and Nardole, with the Doctor regaining his memory of Clara. The two characters out of World War I were by Mark Gatiss and Toby Whitehouse, both writers with Doctor Who experience. The Captain also turned out to have yet another role in Doctor Who history as he was ultimately identified as Hamish Lethbridge-Stewart–the grandfather of General Sir Alistair Gordon Lethbridge-Stewart,  the Brigadier. (His exact relationship was not mentioned in the episode but SciFi Wire reports that Gatiss referred to his character as the Brigadier’s grandfather in a press Q&A).

Being a time travel story, there was the obvious slip (“Spoilers”) of the Doctor referring to the “War To End All Wars” as “World War I.”  “What do you mean ‘one’?” Plus being a Christmas episode led to the perfect resolution of the Captain’s story with the Doctor returning him a few hours later so that instead of being shot he participated in the Christmas Armistice of 1914

Of course we all knew where this was going as Peter Capaldi gave his final speech on the TARDIS, with advice for his next self:

Oh there it is. Silly old universe. The more I save it, the more it needs saving. It’s a treadmill. Yes, Yes I know they’ll get it all wrong without me. Well I suppose one more lifetime won’t kill anyone. Well, except me. You wait a moment, Doctor. Let’s get it right. I’ve got a few things to say to you. Basic stuff first. Never be cruel, never be cowardly, and never ever ever eat pears. Remember, hate is always foolish and love is always wise. Always try to be nice, but never fail to be kind. Oh, and you mustn’t tell anyone your name — no-one would understand it anyway. Except children, children can hear it, sometimes if their hearts are in the right place, and the stars are, too, children can hear your name — but nobody else, nobody else, ever. Love hard, run fast, be kind. Doctor, I let you go.

Screen Rant provided an explanation as to where the various portions of this speech came from.  Den of Geek also explained:

The twelfth Doctor’s final speech, which was worked on by both Steven Moffat and Peter Capaldi, contains several elements from dialogue past. “Never be cruel, never be cowardly” is a doff of the cap both to The Day Of The Doctor and to 70s script editor Terrance Dicks, who would often cite the Doctor’s lack of these two traits as one of his greatest virtues. “Never eat pears” is a reference to Paul Cornell’s novel Human Nature, in which the seventh Doctor expressed a dislike for pears before taking on human form. A similar line was cut from the 2007 tenth Doctor adaptation with the same name. In Hell Bent the Doctor told Clara never to eat pears, as “they’re too squishy and they always make your chin wet”.

“Be kind” is what the Doctor begged of the Master and Missy back in The Doctor Falls, but it was also said by the tenth Doctor to the Vashta Nerada in Forest Of The Dead. “Don’t tell anyone your name” likely refers to the kerfuffle caused by the Doctor’s name in Matt Smith’s final year, when it was revealed that saying his name on Trenzalore would have reignited the Time War. However, the Doctor did seemingly tell River Song his real name on the occasion of their ‘nuptials’ in 2011’s The Wedding Of River Song – but then, as we’ve been told, ‘the Doctor lies’… The part about the stars and one’s heart being in the right place appears to be the invention of Peter Capaldi, who expressed a similar sentiment at a special screening earlier this year.

Then there was the regeneration energy, the Doctor’s ring fell off, and we had a new Doctor. Just as we first saw Peter Capaldi’s forehead and eyes, this is what we first saw of Jody Whittaker. Apparently us Americans will have to learn to understand Jody Whittaker’s Yorkshire accent. All we heard from her so far was, “Oh brilliant.” Then there was the ultimate cliff hanger as the TARDIS exploded and the thirteenth Doctor was falling towards the earth. Presumably this will enable her to have her own look for the TARDIS, or perhaps she will be without it for a while.

More on Twice Upon A Time, and the question of the Doctor’s real name, here.

Just as Doctor Who incorporated the Doctor from the 1960’s, Black Mirror began its fourth season with an homage to the other classic science fiction show of the 1960’s, Star Trek, with USS Callister. It first appeared as an over-the-top parody of a Star Trek episode, culminating with Captain Kirk kissing all the girls. It turned out to be something completely different. Major spoilers ahead.

While Star Trek type science fiction played a key role in the story, the story was more about artificial reality and about abuse of power. Jesse Plemons played the co-head of a tech firm who did not get much respect on the job, and took it out on sentient digital clones of others in the office. Most had accepted their roles and inability to fight back until a new employee played by Cristin Milioti was brought aboard. The final straw was finding that she had been robbed of her sexuality, and her vagina. She led a successful rebellion, which included blackmailing her real self into helping with revealing pictures hidden online. It all worked out well in the end with the digital clones becoming free of Jesse Plemons and free to explore the digital universe, now with a modern JJ Abrams Star Trek look (including lens flare). Perhaps if Plemons wasn’t so concerned with exercising power and abusing others he could have had far greater adventures in his digital world.

Den of Geek interviewed Charlie Brooker and Anabel Jones about the episode:

This is a brilliant ‘have your cake and eat it’ episode, in that you start with the spoof of the ship navigating the asteroid belt, then by the end I’m watching like this [mimes learning forward, tense] thinking ‘are they going to get through the asteroid belt?!’ How did the layers of that story evolve?

Charlie Brooker: We were on the set of Playtest from the previous season and we were saying ‘we haven’t done a space episode. What’s a Black Mirror space episode?’ and quite quickly we went ‘well, it couldn’t really be in space, it would have to be in a simulation’, then quite quickly again it was like ‘what if there are people who are copied in and they’re trapped in there and it’s like a prison?’

Like White Christmas?

CB: Yeah! And then the captain is the baddie, so it’s like Playtime Fontayne from Viz, who’s a grown man who makes everyone play games like a child. It’s like a nightmare, he’s a tyrant, he’s mad! So then we started calling it Toy Story or Adult Toy Story, we kept calling it…

Annabel Jones: …which then sounded wrong! [laughs]

CB: Relatively quickly those thoughts came together. Then the notion of it being a sort of vintage show that he was obsessed by kind of came in slightly later because we thought, what’s even more unexpected? A), because the world he has created is a throwback and a simplistic interpretation of shows like that. It’s his interpretation of that show, rather than what that show would have actually been, it’s his simplistic fable version of it and it’s quite reductive and out of date. We’re not saying that shows of that nature are reductive and out of date, because they were actually very progressive at the time. His warped version of it.

Partly it also came about because we wanted to have an opening where you go ‘what the fuck is this?’…

He starts as the underdog and I thought I was going to like him, he seemed like my kind of socially awkward guy. Then you see him behaving like a cruel tyrant, ignoring the irony of the speech he gives about the utopian ideals of Space Fleet. He’s like ‘actually, it’s about ethics in space exploration!’ Was that intended as a comment on online fandom and that sort of character?

CB: Not really. It’s interesting because that is a thing that a couple of people have said. That worries me slightly because I don’t want it to be seen that we’re attacking fans of classic sci-fi, that speech is more meant to be a bit of a joke really. He delivers this speech, which presumably he has lifted from an episode of Space Fleet, about the noble ideals of this progressive UN-in-space, and then he turns around and goes “…and you arseholes are fucking it all up!” It’s meant to illustrate the gulf between his fantasy heroics—he wants to be the hero in this make-believe world—and the stupidity and tyranny of what he’s actually doing…

Speaking of influences, there are echoes of that Twilight Zone great episode with Anthony Fremont, the little kid who controls his town and turns people into Jack-in-a-box. Was that an inspiration or just somewhere in the back of your head?

CB: I think at some point I thought ‘hang on, it’s not a million miles away’ because he’s a tyrant, that kid is a dictator that everybody has to be extremely mindful of, that lives in a fantasy world so probably unconsciously there was an element of that. Certainly you could draw a parallel there.

Are you a Star Trek fan? What’s your relationship with that franchise?

CB: I was probably more of a Doctor Who fan as a kid, or Twilight Zone or Tales Of The Unexpected but Star Trek was kind of an anthology show as well in a way. I never really watched the 90s Star Trek series. Will Bridges, who co-wrote the episode, is a big, big, big Star Trek fan, so he was delighted at the chance to do all that. He knew a lot of the lingo.

The episode has a lot of fun with early Star Trek…

CB: Tropes, yes. A lot of that came from Will, he was like ‘Oh, I know! This and that can happen’, so he was having a lot of fun in that respect. I watched The Original Series when I was a kid and would find it terrifying a lot of the time. I think we wanted it to feel, generally, with classic sci-fi, we wanted it to feel more like an homage than an attack.

An affectionate ribbing?

CB: Yeah. There’s a bit of piss-taking going on but really it’s aimed at Daly.

So incurring the wrath of Star Trek fans isn’t something you’re worried about?

CB: Well it’s worrying, because you don’t want to upset people unnecessarily. We’re not saying that is a rubbish show, or it’s a throwback, because again, it was wildly ahead of its time. He says at one point that it was visionary, and that’s true!

Of course this season we have had two different interpretations of Star Trek with new the new shows, Star Trek: Discovery and The Orville. Jonathan Frakes, who has past experience on Star Trek: The Next Generation, has directed episodes of both and discussed this with IndieWire:

Mimicking a variety of styles is something that the veteran director is quite used to doing. In just the last year, Jonathan Frakes directed five episodes of television, including both “The Orville” and “Star Trek: Discovery,” perhaps serving as the ultimate bridge between the two fall TV homages to the “Star Trek” franchise. And according to Frakes, there’s room for both.

“Stylistically, your responsibility as an episodic television director [is] when you do a show like ‘The Orville,’ you want that show to look like ‘Next Generation,’” he said. “And when you go to Canada to do ‘Star Trek: Discovery,’ they want that show to have the feeling, and look, and vibe of the J.J. [Abrams]-era ‘Star Trek.’ Much more cinematic, a lot of crane work, and a lot of movement, a lot of dutch angles. On ‘Next Generation,’ the traditional framing, and the things we became accustomed to as fans of the show, we see in [‘The Orville’] because that’s the look.”

When it came to “The Orville,” Frakes said that “I was afraid that it was going to be like ‘Family Guy,’ and it’s not really, but it’s also not really as serious as ‘Next Generation.’ I think Seth [MacFarlane], and Brannon [Braga], and whoever else is involved in all this, they found a tone that clicks with this audience, either the millennial audience or the old school audience. Everyone is very pleasantly surprised at how well the show has been received. I’m happy to see the homage, and I’m happy to see success for whoever wants to steal good ideas.”

Added Frakes, “It was a very conscious, and I think quite successful, homage. ‘Orville’s’ coming back for a second season, so is ‘Discovery.’ There’s room, obviously, in the fans’ hearts for both types of ‘Star Trek.’”

Star Trek: Discovery and The Orville are just two of the great science fiction shows to premiere in the past year. See SciFi Weekend’s ranking of the Top Ten New Genre Shows Of 2017. (I’m linking to it again today as those who follow links to SciFi Weekend through Facebook groups did not get the link last week as I was back in Facebook Jail last Sunday, with Facebook increasingly interfering with posting links to groups).

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: Doctor Who, Pilot & Smile; Broadchurch Series Finale; The Magicians Season Finale; The Expanse Season Finale

It was a huge week with several shows returning or ending for the season. Scheduling forced me to break from the usual pattern of reviewing the week’s episode of Doctor Who last week, so I will look at both Pilot and Smile today.

Pilot was not only a show centered around the the introduction of a new companion, but was a partial reboot. The episode did have references to past characters and events, but it would be possible to follow the show without understanding those and watch Doctor Who for the first time. This was perhaps an unusual time to do this considering that next season there will be a new show runner, new Doctor, and probably a new companion, making an even bigger break.

Instead of traveling around time and space, the Doctor is working as a university professor, where he meets his new companion Bill Potts, a worker at the university, who sits in on the Doctor’s lectures. The Doctor was intrigued by her for doing this. Plus he noticed that while most people frown when exposed to something they do not understand, Bill would smile. Although the Doctor was not yet, at least consciously, looking for a new traveling companion, this would be a necessary characteristic of a companion who is constantly exposed to new situations. Teaching was also a position which seems to go along with the various episodes in which Peter Capaldi used a chalk board to write on.

The Doctor supposedly has been lecturing for fifty years, with the TARDIS sitting in the corner of his office with an “out of order” sign. His desk also contains pictures of Susan and of River Song. Between items in his lectures, and conversations with Bill, viewers received an overview of what the Doctor, the TARDIS, and time travel are all about. Of course don’t get too concerned about the details, including details which only Bill has asked such as why an acronym in a language from another planet would still spell out TARDIS. In the end the Doctor gave the essential meaning: “Time and Relative Dimension in Space. It means what the hell.”

The episode was primarily about establishing the relationship between Bill and the Doctor, and was entertaining by having Bill ask questions, and not necessarily react as other companions do. They dragged out Bill giving the inevitable “It’s bigger on the inside” line. As for how it works: “First you have to imagine a very big box fitting inside a very small box. Then you have to make one … it’s the second part people normally get stuck on.”

They played on the “Doctor Who?” question with a new variation when Bill asked, “The Doctor’s not a name. I can’t just call you Doctor. Doctor what?”

Of course there were two other elements to this story. There is the vault which the Doctor is protecting, which provides the reason for why he is teaching at the university for fifty  years. There is no clue as to when this happens.  Perhaps the Doctor went back in time fifty years  and began his job at the university, overlapping with his existence on earth which we have seen. More likely, we are not supposed to question this.

There was also a story, but the story of the sentient oil would not have been enough to carry an episode by itself. It did give an excuse for the Doctor to take Bill on a trip in the TARDIS, going both to other places and times under the excuse of seeing if they could be followed.

The Doctor did not intend to travel with Bill and threatened to wipe her mind. Bill is aware of science fiction tropes, and realized that was his intent. She talked him out of it by questioning how he would feel if it happened to him This brought to mind both how the Doctor wiped Donna’s mind in Journey’s End, and how his own mind was wiped of memories of Clara in Hell Bent.

The second episode, Smile, had more of a story than Pilot, but it was still fairly weak in terms of plot. Again it was the relationship between the Doctor and Bill which made the episode worthwhile. There were more questions, such as “Why have you got two hearts? Does that mean you’ve got really high blood pressure?” The continuing story line of the vault was brought up again with this rather vague explanation: “A long time ago a thing happened. As a result of the thing, I made a promise. As a result of the promise, I have to stay on Earth.”

Nardole reminded the Doctor that he had promised to remain on earth, but the Doctor pointed out to Bill that they could still leave and, due to time travel, return to just after they left. “Between here and my office before the kettle boils, is everything that ever happened or ever will. Make your choice.”It was a perfect plan–if you ignored the consequences if the Doctor didn’t make it back. Perhaps we will see those consequences later this season. Bill chose to go to the future. I believe that in the new series, the second episode for every new companion other than Donna was a trip to the future.

Having the Doctor sneak out on Nardole gave a good reason to leave him out and concentrate on developing the relationship between Bill and the Doctor. Bill continued to have her questions and observations about the TARDIS. She questioned the lack of seats at a proper height to operate the TARDIS: “Oh, that’s a mistake. You can’t reach the controls from the seats. What’s the point in that? Or do you have stretchy arms like Mr. Fantastic?”

The Doctor explained how the TARDIS works: “Well, you don’t steer the TARDIS. You negotiate with her. The still point between where you want to go and where you need to be, that’s where she takes you.” This referred to what we learned in The Doctor’s Wife, and really is what occurs in most episodes. They weren’t entirely consistent. The Doctor also told Bill that he had stolen the TARDIS. However, we learned in The Doctor’s Wife that the TARDIS sees it more as if she stole the Doctor.

The story was a fairly basic science fiction story about robots both messing up their programming and developing sentience. The “skeleton crew” were turned into skeletons due to poor logic on the part of the robots, and used for fertilizer. I could easily see Captain Kirk beaming down to the same planet and solving the problem in a similar manner. I was disappointed in how easily they threw in a solution at the end, stealing from The IT Crowd in turning it off and turning it on again.

The episode, filming at the Cultural Complex in Valencia, Spain did look far better than most futuristic episodes of Doctor Who, which often take place in a cramped space ship or a quarry. It does fit into the future as established in previous episodes such as The Arc In Space and The Beast Below in which humans have left earth due to solar flares.

Besides such references to previous episodes of Doctor Who, the episode included other references. The earth ship was named Erehwon, which both spells “nowhere” backwards and is very similar to Erewhon, Samual Butler’s novel about an imperfect Utopia, also including sentient machines. The Vardy were named after Andrew Vardy, who has studies swarm robotics. Even the planet where the story occurs, Gliese 581d, is a real  potential destination for humans leaving earth in search of a habitable planet.

Although only Pilot was written by Steven Moffat, the two episodes did have some things in common. Moffat is famous for making a simple act such as blinking something to be terrified of. In Pilot, you could not look at your reflection, and in Smile you dare not frown. In both cases, the “monster” of the episode turned out to not really be evil. As the Doctor said, “Hardly anything is evil, but most things are hungry. Hunger looks very like evil from the wrong end of the cutlery. Or do you think your bacon sandwich loves you back?”

The episode ended going right into the next episode, as was done in the older shows. I liked this, but I imagine it might frustrate novelists and fan fiction writers who wish to place a story in between television episodes.

Neither of the two episodes had great stories, but they served the function of introducing us to both Bill and the presumably season long story involving the vault. I don’t know if this will extend into the Christmas episode, which will feature the Doctor’s regeneration, but we did learn a little about the episode. Perhaps this will tie into the picture of Susan on the Doctor’s desk in Pilot. Reportedly the Christmas episode will include the first Doctor, originally played by William Hartnell. David Bradley will reprise this role from An Adventure In Space In Time.

Broadchurch concluded on Monday night in the U.K. but has not been shown in the United States yet. Those planning to watch should skip to the next section as this contains major spoilers regarding both the second and third seasons.

The finale revealed the Trish had not one but two rapists (and there were many other suspects before this was revealed).  Leo bullied Michael into raping Trish while he filmed it. Leo was by far the bigger villain of the two, displaying a total lack of morals when he justified his actions. He saw it as “just sex” which didn’t matter as Trish (and the girls he raped in the past) had all previously had sex. He showed no understanding of the violence in raping them, or even of the violence in hitting Trish over the head. As Miller had said earlier in the season, “Rape is about power and control, not sex.”

Chris Chibnall will be moving on to do Doctor Who and has stated there will not be a fourth season of Broadchurch. While this was a satisfactory conclusion, if they were going to do a season about trials, I would prefer to see a trial of Leo and Michael as opposed to the second season, in which  Joe Miller was found not guilty. Michael certainly deserves punishment for his role in raping Trish, but a defense based upon claims of being coerced to rape her could have created some interesting scenes. Although Leo technically did not rape Trish himself, the show made it very easy to convict Leo, between how he knocked Trish unconscious and the revelations of his previous rapes. It could have made a more interesting trial if these events had not occurred, and he was being tried purely on psychologically influencing Michael to commit the act.

From the start, Broadchurch has been more than a show about solving a crime. It is about the people who live in Broadchurch. This included more on Mark and Beth Latimer, whose son’s murder was the main story line of the first season. Incidentally, a deleted scene revealed more about another event of the third season–how Alec Hardy’s Tinder date ended.

The Magicians had an excellent season finale, which provided more backstory from Ember’s perspective. The finale also totally changed things going into the third season after magic was turned off by the plumber–a consequence of killing gods and not realizing that gods have parents. After Julia started out the series being rejected by Brakebills, she is now the only human with magic. Perhaps this ties into what we learned earlier in the season about how she did in another life where she had been admitted.

TV Line interviewed executive producers John McNamara and Sera Gamble:

TVLINE | In a season where you had Reynard the Fox and The Beast, was Ember the alpha Big Bad?
JOHN MCNAMARA | I would say yes. While The Beast had a large effect on the misery of Martin Chatwin, Quentin and his friends, and Fillory, and Reynard really affected Julia and her circle of friends in a miserable, violent way, Ember — through whimsical, kind of careless, narcissistic boredom — was going to destroy an entire world. He’s going to commit genocide. So I don’t think badness gets bigger than genocide. [But] I could be wrong. There could be something else.
SERA GAMBLE | Tune in for Season 3! [Laughs] Just the fact that you’re asking this question at all highlights the fact that the structure of Season 2 is a little different than Season 1. When you meet The Beast in the pilot of The Magicians, it’s clear that there’s a classic Big Bad arc to that season that we followed and commented on in our meta, Magicians way. Coming into Season 2, it was very important to us to switch that up a little bit and not give you that same linear Big Bad structure. We didn’t want you to know who the endgame was when you came in for the first episode of the season…

TVLINE | Going back to Reynard, is he still a threat? Will we see him next season?
MCNAMARA | He’s alive. You never know.
GAMBLE | I think it’s fair to take Our Lady Underground at her word that she intends to deal with him. She’s certainly powerful enough to do so.

TVLINE | The guiding principle of the show is magic, so what excites you about exploring a world without magic?
MCNAMARA | The same thing that excites me in a James Bond movie where he gets into so much trouble with M that they take away his license to kill and he has to go rogue. Or the same thing that excites me when you write a love story and, suddenly, in the middle of Red Square in 1917, the two lovers are separated. The essence of drama. You give the audience what they want, you make them love it, and then you take it away. … Magic was, more or less, taken for granted [in the first two seasons]. When they get magic back — because let’s not kid ourselves, it’s called The Magicians — they’re all going to have a very different relationship to magic, informed by having lived with its absence and the quest to reinstate it.

TVLINE | Julia is the only one who still has some magical ability. After everything she’s been through these last two seasons, was it important for you to give her a little bit of happiness and hope?
MCNAMARA | I don’t really care if she’s happy, myself. I do think life is a balance of light and dark, and she’s certainly had a lot of darkness. So it makes sense that she would acquire abilities that perhaps are based on how much she’s suffered. Suffering at the hands of a god may have had something to do with it. We haven’t decided yet.
GAMBLE | I felt like after a season of seeking out Reynard at great, great personal cost and great cost to those around her who were helping her, it was important to see her turn a page. But whether or not that is one and the same with this strange ability to do a little bit of magic, that remains to be seen. At the very beginning of that scene, when Julia embraces Quentin, and they’re happy to see each other, and they have a certain dry resignation about their shared hand in what has happened to magic, it’s much more, in that moment, about the fact that you’re looking at a Julia who feels a little bit more whole than she has been throughout this season. Her shade is back, she clearly has found some coping mechanism. She doesn’t look like death warmed over in that scene. Some of that might be about her secret and about the magic she can do. To me, a lot of it is about Julia and just what she’s been through that season. So long story short, I wouldn’t hinge everybody’s happiness on that little piece of magic, because if there’s one thing you should know about Magicians, it’s that having magic doesn’t make you happy.

TVLINE | Am I correct in sensing that there’s some tension between Quentin and Alice after the time jump?
GAMBLE | Yes. Alice has a lot of secrets.

Gizmodo has interviews with the stars. Entertainment Weekly has a longer interview with Stella Maeve  (Julia).

The week also included the series finale of Girls and season finale of 24 Legacy, neither of which I was very impressed with. I am still far behind and have not seen the season two finale of The Expanse, but I hear it was excellent. I have not read this yet, but have book marked an interview with executive producer Naren Shankar on the finale. I do expect to watch next season as it airs and will be able to discuss it in future posts.

SciFi Weekend: Music On Supergirl, The Flash, And Legends of Tomorrow; Legion; The Magicians; 12 Monkeys; Doctor Who; Agents of HYDRA; The Matrix Reboot; Westworld

The musical cross over of Supergirl and The Flash (and the Glee Reunion) entitled Duet will begin on Supergirl, with most of the story taking place on The Flash. The two are placed in a dream-like state by the Music Meister (Darren Criss). ScreenerTV reports that, “Kara and Barry wake up without their powers in an alternate reality where life is like a musical and the only way to escape is by following the script, complete with singing and dancing, to the end.”

Variety adds this information from Candice Patton (Iris West):

“You’ll see two versions of Iris in the episode,” she said. “The Iris that we know and love, and a person they [Barry and Kara (Melissa Benoist)] think is Iris but is actually a completely different character named Millie. She’s the sassy daughter of two gangsters — played Victor Garber and Jessie Martin — and she’s madly in love with Mon-El’s character (‘Supergirl’s’ Chris Wood), whose name is Tommy. They’re fighting for their love, because both of their families do not want them to be together.”

Writers of the music for the episode include Benj Pasek and Justin Paul, who also wrote for La La Land.

Supergirl isn’t the only show in the Berlantiverse to feature music this month. On Legends of Tomorrow, Dr. Stein (Victor Garber) along with Heat Wave (Dominic Purcell) had infiltrated NASA during the flight of Apollo 13 and had to distract those there from seeing superheroes on the moon. They do it by singing Day-O in the video above.

Time travel shows typically have rules as to what can be done, and then frequently break the rules. Legends of Tomorrow has been fairly lax with their rules, but they will break the little that has been established for the season finale. Here is the official synopsis:

Aruba” — (8:00-9:00 p.m. ET) (Content Rating TBD) (HDTV) SEASON FINALE — As the Legends are about to take off for their next destination, a massive timequake rocks the ship. In order to try and fix what has happened, they are forced to break the one cardinal rule of time travel. But if they are able to destroy the spear, they will face the ultimate consequence. Victor Garber, Brandon Routh, Arthur Darvill, Caity Lotz, Dominic Purcell, Franz Drameh, Nick Zano and Maisie Richardson-Sellers. Rob Seidenglanz directed the episode written by Phil Klemmer & Marc Guggenheim (#217). Original airdate 4/4/2017.

Next season The Flash will break with its usual tradition of having the Flash’s life be dominated by others with super speed. The big bad next season will not be a speedster.

Legion, which has now been renewed for a second season, has been very strange recently, with Aubrey Plaza doing a fantastic job as “Dr. Lenny” last week. It makes a little more sense to those who know about the X-Men comic universe. I0-9 discusses the identity of the bad bad which has been inhabiting David’s mind:

A new promo for the show’s next episode, “Chapter 7,” sees the brainy half of the Loudermilk duo, Cary, confirm that Amahl Farouk—better known as the Shadow King—is the villain that’s been plaguing David as the yellow-eyed demon throughout the show.

It’s not exactly a huge surprise that Yellow-Eyed Demon, or Y.E.D., is actually the Shadow King. This has been hinted at for weeks. Over the course of the first season, Y.E.D. has been lurking in David’s mind, changing David’s memories and making him forget about every encounter they’ve had to keep his identity secret. Lately, Y.E.D. has taken on the form of Lenny (Aubrey Plaza), David’s friend from the mental hospital who was killed in the first episode—but when David was a child he pretended to be his dog, not-so-subtly named King. The Shadow King has actually been inside David for decades. David’s father (Professor X?) sent him away when he was a baby to protect him, but Farouk couldn’t be stopped.

 So, who is Farouk in the comics? First introduced in Uncanny X-Men #117 by Chris Claremont and John Byrne, Farouk is the latest human host of the pure psychic energy being known as the Shadow King. The Shadow King has existed for centuries, feeding on the enslaved bodies of telepathic hosts from the dawn of humanity. Farouk has spent his life working in the shadows, first as a Nazi ally and later a crime boss in Egypt, before encountering Charles Xavier in ‘70s Cairo…

There is a large but finite number of ideas in science fiction and fantasy, and on Wednesdays we are seeing that with two excellent genre shows having a similar situation. While David on Legion appears to have a second consciousness in him since childhood, Quenton has Niffin Alice in him at present on The Magicians. While there is a similarity in the idea of two consciousnesses in one person, this is a more recent development on The Magicians, and perhaps Penny discovering this last week is a step towards resolving this problem. If not, who knows how much damage Alice can do with control of Quenton’s body for even a brief period every day.

Syfy plans to air all ten episodes of season three of 12 Monkeys over three days in May, between May 19 and 21. This sounds like the sort of thing a network might to do to quickly get rid of the episodes of a series it plans to cancel, but they have also renewed the series for a final fourth season. Perhaps this is their response to the trend towards binging shows, such as on Netflix.

While Syfy has renewed 12 Monkeys and The Expanse, there is no word yet on The Magicians. The Magicians is also impacted by streaming in a different manner. The episodes seem to be prepared for streaming, with an uncensored version of season one with limited commercial cuts made available after the first season aired. Besides all the f-bombs, the show is made without fading to commercials like a typical show, and instead have the commercials appear abruptly, making the episodes work better when repeated with reduced commercial breaks (or none when on Netflix). I would love to see The Magicians return for a third season on Netflix instead of Syfy so that we can see it this way from the start.

There is also news on the third time travel series to be discussed this week. Digital Spy reports that Doctor Who will have a three part episode involving The Monks, with Missy also appearing:

It’s been a while, but Doctor Who is resurrecting the three-parter for Peter Capaldi’s final series aboard the TARDIS.

New monsters The Monks were previously confirmed to be appearing in several episodes across series 10 – now Digital Spy can confirm that a trio of adventures (episodes 6-8) in the new series are linked.

Toby Whithouse, who’s written the concluding chapter, revealed: “Mine is the third part of a three-parter – Steven [Moffat]’s done the first one, Peter Harness did the second and I’ve done the third.

“It’s set modern-day… and I think anything more than that and Steven will come round and kick me in the shin!”

Sacha Dhawan, who played Jimmy Dillon on Mr. Selfridge, and has also appeared in Sherlock, Iron Fist, and An Adventure in Space and Time is among the names being discusses as a possible replacement for Peter Capaldi. Radio Times reports he is very interested in the role:

“Oh my God, I’d absolutely love to,” Dhawan told RadioTimes.com when asked if he was interested in the part. “I SO would love to.

“I’ve worked with [frequent Doctor Who writer Mark Gatiss] quite a lot, and I think I’d bring something really exciting to it. It’d be incredibly nerve-wracking to do to be honest. It’s quite a lot of pressure.

“When the list came out, I was so honoured really that I was even considered,” he went on. “And that alone was kind of good enough. But who wouldn’t want to do it? It’s Doctor Who.”

The posters advertising the return of Agents of SHIELD reminds us that they are now in The Framework with a different reality. For those not watching, it is sort of like being in The Matrix.

There is also talk about rebooting The Matrix. The remake will apparently tell other stories in the same universe. If they go ahead, I hope they do a better job than they did in the two attempts to make a sequel to the original movie.

Den of Geek summarizes what is known so far about season 2 of Westworld.

SciFi Weekend: Doctor Who, Hugo and Emmy Awards; Tony Soprano’s Fate; Next Season on Arrow and Fargo; Finales of Falling Skies, True Blood, Defiance, and The Last Ship; Karen Gillan’s Hair; Rebooting Fox Genre Shows; Libby Masters vs. Betty Draper; American Gods; Jennifer Lawrence, and much more

Doctor-Who--Into-the-Dalek

Peter Capaldi’s second episode of Doctor Who was much better than the first. Into the Dalek was literally about going into a Dalek, Fantastic Voyage style. Once the reference was made, and we saw antibodies within the Dalek (for an unclear reason), I was surprised that Steven Moffat didn’t take the opportunity to recreate the attack of antibodies on Rachel Welch’s body with Jenna Coleman. Despite the Doctor’s strange criticism of Clara’s body at one  point in the episode, Clara did serve an important role as the Doctor’s moral compass, which was disrupted by the shock of seeing a good Dalek. The episode also served as the introduction of the next companion, and romantic interest for Clara, Danny Pink. There is no doubt that Clara and Danny will overcome the Doctor’s newfound objection to having a soldier join him, which certainly contradicts all the time he spent with UNIT.

While I knew the phrase was coming from advanced review, I was surprised by the context in which Resistance is Futile was used by the Dalek. There are certainly many comparisons to be made to the Borg, and I think Doctor Who did a better job than Star Trek The Next Generation with an episode about a good Dalek or Borg. Into the Dalek was a strong stand-alone episode, and now there is no doubt that Missy and “Heaven” will be a recurring storyline for the season. This time, instead of the person who the Doctor was fighting (and possibly pushed to his death), it was someone fighting with the Doctor who was seen in “Heaven.” My suspicion is that this will turn out to be something such as Missy saving people just before imminent death who are in the vicinity of the Doctor as opposed to actual “Heaven,” but even if I am right on this a lot of questions remain.

Doctor Who Extra (video above) gives behind the scenes information on the filming of Into The Dalek.

There have been two major sets of awards in the past couple of weeks, the Hugo Awards and the Emmy Awards. Doctor Who had five nominees for Best Dramatic Presentation (Short Form) but an episode of Game of Thrones won the award:

Best Dramatic Presentation, Short Form

  • Game of Thrones: “The Rains of Castamere”, written by David Benioff & D.B. Weiss, directed by David Nutter (HBO Entertainment in association with Bighead, Littlehead; Television 360; Startling Television and Generator Productions)
  • Doctor Who: “The Day of the Doctor”, written by Steven Moffat, directed by Nick Hurran (BBC Television)
  • Orphan Black: “Variations under Domestication” written by Will Pascoe, directed by John Fawcett (Temple Street Productions; Space/BBC America)
  • An Adventure in Space and Time, written by Mark Gatiss, directed by Terry McDonough (BBC Television)
  • The Five(ish) Doctors Reboot, written & directed by Peter Davison (BBC Television)
  • Doctor Who: “The Name of the Doctor”, written by Steven Moffat, directed by Saul Metzstein (BBC Televison)

Gravity won for long form among these nominees:

Best Dramatic Presentation, Long Form

  • Gravity, written by Alfonso Cuarón & Jonás Cuarón, directed by Alfonso Cuarón (Esperanto Filmoj; Heyday Films; Warner Bros.)
  • Frozen,screenplay by Jennifer Lee, directed by Chris Buck & Jennifer Lee (Walt Disney Studios)
  • Pacific Rim, screenplay by Travis Beacham & Guillermo del Toro, directed by Guillermo del Toro (Legendary Pictures, Warner Bros., Disney Double Dare You)
  • Iron Man 3, screenplay by Drew Pearce & Shane Black, directed by Shane Black (Marvel Studios; DMG Entertainment; Paramount Pictures)
  • The Hunger Games: Catching Fire, screenplay by Simon Beaufoy & Michael Arndt, directed by Francis Lawrence (Color Force; Lionsgate)

The full list of nominees can be found here, with the winners listed here.

While the Emmy Awards generally goes with the safe bet, such as repeatedly giving the award for best comedy to Modern Family, there is at least some realization that genre is ignored. While Tatiana Maslany was snubbed for a second year for her work on Orphan Black, the snub was at least acknowledged in a skit. They finally discovered Sherlock, even if it meant awarding Emmys for the weakest of its three seasons. It was a pleasant surprise to see Steven Moffat up on stage, and he also provided some vague hints about season four in post-award interviews:

Sherlock was a big winner at the 66th Primetime Emmys, taking home three awards (to go with the four the show earned at last week’s Creative Arts ceremony), including trophies for stars Benedict Cumberbatch and Martin Freeman.

In celebrating his win for writing for a miniseries/movie or dramatic special, executive producer Steven Moffat dropped some hints backstage about the British drama’s anticipated fourth season, which begins production in January 2015 — the same time Doctor Who will also start filming.

Moffat was confident that the new season would be even more gasp-inducing than the previous year, which ended with an unexpected resurrection of a character presumed dead.

“We have a plan to top it — and actually I do think our plan is devastating,” he teased. “We practically reduced our cast to tears by telling them the plan. Honestly, Mark [Gatiss] and myself are so excited with what we’ve got coming up, probably more excited than we’ve ever been about Sherlock. … Honestly I think we can [top the last season].”

Moffat spoke of the surge of Emmy recognition the show has received in its third year.

“We’ve won outside of America, which is a place,” Moffat deadpanned. “We were just starting to think that that phase of our lives was dying down because as shows get older they don’t win as often — just like people. We’re delighted that we’ve made it here and hopefully this gets more people watching. That’d be great.”

He remained mum on when the new episodes would be premiering. “When they go out is up to the BBC,” he said. “And I am their loyal servant. I simply do what they ask me.”

Moffat reassured that the creative team behind the show will continue returning to Sherlock, no matter how busy they may be with other projects. “What’s happening with Sherlock is unusual,” he admitted. “We will keep coming back to it.”

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I am thankful to Vox for finally settling in my mind how The Sopranos ended, even if they totally botched the story. When the finale first aired, after I realized that my cable hadn’t gone out, I interpreted it as an intentionally ambiguous ending. Sure, going to black could be what happens to Tony if shot, but I didn’t accept this interpretation as the scene was not from Tony’s perspective. The scene concentrated on many things Tony did not see, from the actions of others in in the coffee shop to Meadow attempting to park the car outside. If I wanted to think that they finished the meal and then Tony showed Meadow how to parallel park, this interpretation was as valid as any other. I saw the real meaning as that Tony would always face threats to his life. One of the people in the coffee shop might have shot him, or he could have been suddenly killed at some other time in the future. There was even a chance he could remain alive despite all the threats.

I was satisfied with this interpretation until I heard a report that David Chase had said that there was a definitive meaning to the finale. Perhaps, as happened again this week, the person reporting put too much meaning into what he said during an interview. However, if there was an answer to the question as to whether Tony Soprano lived in the ending, then I could only see this as meaning I was wrong. If limited to Tony living or dying, I thought it would be easier to making an argument that the ending meant that Tony had died.

Then Vox had an interview with David Chase last week in which it reported that Chase said that Tony had lived. I actually found this to be very unsatisfying as it lacked any further explanation. Soon afterwards, David Chase issued a statement that what he said in the interview was misconstrued:

A statement issued by Mr. Chase’s publicist, Leslee Dart, said that the Vox.com writer “misconstrued what David Chase said in their interview.”

“To simply quote David as saying, ‘Tony Soprano is not dead,’ is inaccurate,” the statement continued. “There is a much larger context for that statement and as such, it is not true.”

The statement added that Mr. Chase had said “numerous times on the record” that answering the question of whether “Tony Soprano is alive or dead is not the point.”

“To continue to search for this answer is fruitless,” the statement said. “The final scene of ‘The Sopranos’ raises a spiritual question that has no right or wrong answer.”

This leaves me comfortable in returning to my original interpretation, more confident than in the past that I’m just not in denial over a scene intended to show Tony Soprano as getting killed.

https://www.youtube.com/watch?v=7usAdGlc32E

The new promo for season three of Arrow above will make Oliver/Felicity fans happy. A digital comic will fill the gap between the second and third seasons.

Fargo season two will concentrate on strong women characters.

Falling Skies showrunner David Eick answered questions on the season four finale.

The series finale of True Blood really isn’t worth talking about. It is a shame that they couldn’t put together something more meaningful to end the series with.

The writers on Defiance did try harder. They used a formula which often works in combining elements of a season-long story in each individual stand-alone stories. Unfortunately it didn’t work very well. It just didn’t work for me to have an alien girl being used by a supercomputer intelligence to destroy New York City and the rest of the planet, and then end the crisis by having her kiss a boy who was a minor character during the season. When the show runners previously talked about expanding the show to New York and space I expected something more sensible, and more than a quick scene at the end of the season.

I was more impressed with The Last Ship. While not an A-list, must-see show, they did a good job of keeping the show entertaining. When I heard that they had renewed the show for a second season, my immediate impression was that this would mean they would not find a cure no matter how many episodes gave them a lead. I am glad I was wrong on that. If the first few episodes reminded me of Battlestar Galactica at sea, the return home to a country destroyed by plague now makes me see the show more like Revolution or Jericho (hopefully doing a better job than Revolution). So far there is nothing ground breaking. Who didn’t see the remnants of the Unites States government as being the enemy and realize they were walking into a trap? Still the show does provide solid entertainment.

Last week’s episode made my happy I stuck with The Leftovers. The episode was a flashback which explained key points, such as why a family which did not appear to have lost anyone was affected so much by the rapture-like event.

Karen Gillan filmed the shaving of her hair for Guardians of the Galaxy (video above)

Joe and Anthony Russo will be directing the sixth season premiere of Community. The Russo brothers are also working on Captain America and say the third movie will be more like Winter Soldier than the first installment (which is a good thing).

What Culture gives five reasons Sin City 2: A Dame To Kill For was a huge flop.

https://www.youtube.com/watch?v=lUw8IAKnEac#t=41

The video above provides a synopsis of last season of Person of Interest.

I’m not sure why, but Fox plans to reboot The Greatest American Hero. Amazon plans to return Patrick Warburton as The Tick. Fox provides plenty of material for anyone who desires to bring back a genre show canceled on the network. How about Firefly? I also wouldn’t mind seeing what happened after the cliff hanger on the final episode of Terminator: The Sarah Connor Chronicles.

Scribbler includes several genre actresses including Katie Cassidy of Arrow. Trailer above (NSFW–contains nudity)

…it’s a comic book adaptation that stars Katie Cassidy, Michelle Trachtenberg, Eliza Dushku, Gina Gershon, Sasha Grey, Garret Dillahunt, Michael Imperioli and Billy Campbell, which is to say director John Suits has compiled an ensemble filled of “been there, done that” names, but they are recognizable names at least.

The film follows Suki (Cassidy), a young woman confronting her destructive mental illness using “The Siamese Burn,” an experimental machine designed to eliminate multiple personalities. The closer Suki comes to being “cured,” she’s haunted by a thought… what if the last unwanted identity turns out to be her?

Speaking of nudity by genre actresses, there has been more interest this week in the nude picture I posted of Jennifer Lawrence last year. That was a picture of her in her role as Mystique which was used as a publicity photo, and distribution of that is far different from hacking her phone or iCloud account, among with pictures of several other actresses, to obtain nude pictures which were privately stored with expectations that they remain private. As Jennifer Lawrence’s spokesperson said, “This is a flagrant violation of privacy.”

Bryan Fuller has ambitious plans for his adaptation of Neil Gaiman’s American Gods.

Syfy has not renewed the Wil Wheaton Project. No big loss.

Assignment X has an interview with Caitlin FitzGerald, who plays Libby Masters on Masters of Sex. I’ve always been impressed with FitzGerald, who has done a lot of work in indy films. In her role as a late 50’s housewife she faces many of the same problems as Betty Draper on Mad Men. I wonder how much better Betty Draper’s role could have been if cast with someone with FitzGerald’s talent as opposed to January Jones. On the other hand, perhaps a less talented but more beautiful model is exactly who Don Draper would have married.

Atlas Shrugged by Ayn Rand provides a model for how the world should be for many libertarians. Wendy McElroy, who has strong libertarian credentials, found that the real world attempt at making Galt’s Gulch hasn’t worked out very well.

SciFi Weekend: Orphan Black; Hannibal; Arrow; Agents of SHIELD; The Americans; Fargo; Continnum; Game of Thrones; The Newsroom; Hugo Nominees

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Orphan Black returned for a second season following several days of receiving a considerable amount of publicity for being such a high quality show, even if few knew about it when it aired last season. Nature Under Constraint and Vexed picked up right where the show left off last season, but BBC America did run a show last week which might help new viewers catch up, and has been rerunning the entire first season. It is definitely worth watching the full season before starting the second season.

The initial moments, while not as dramatic as the first moments of the first season, when Sarah saw someone who looks just like herself jump in front of a train, did have a similar feel. Sarah was on the run, and initially could not contact anyone else. Subsequently Sarah did reunite with Felix and then with some of her clones. Tatiana Massany has been widely praised for her work as multiple female lead characters in roles far more challenging than those faced by Patty Duke.This includes the following characters mentioned here: Sarah, Beth, Allison, Cosima, Helena, and Rachel.

Last season Sarah did frequently pretend to be Beth, taking her place after her suicide, and briefly impersonated Allison last season. Beyond this they did not take advantage of the fact that Sarah and her clones are even more alike than identical cousins. I liked that Sarah did use this to her advantage twice this week, both with using Alison as a decoy and impersonating the lesbian scientist Cosima, even fooling Delphine when she kissed her. They were also less concerned about hiding their existence, but it hardly matters that Ramone saw someone identical to Allison.

Orphan Black Sarah as Cosima

The episode made excellent use out of the supporting characters. Felix’s performance, and clothing, were most notable, but other characters were also important. I’m glad that Art is now in on what is going on and expect to see him help Sarah more in the future. Paul is at least partially under the control of Dyad, but does seem to want to help Sarah. Delphine seemed to have sided with Cosima, then betrayed her by doing the one thing Cosima told her not to do-give a sample of her blood to Dr. Aldous Leekie. Even Leekie’s motivations are not entirely clear, and in the end I can see him acting to protect the clones.

Besides the clones on one side and Leekie and the Dyad Institute on the other, it looks like other people, another branch of  the anti-clone religious extremists of Proleatheans, will have a major role in the second season. It appears that they have Kira and possibly Mrs. S, and the biggest surprise of the episode was that the presumed-dead Helena is still alive. A lesser surprise, but still unexpected, was how little interest Rachel seemed to have in Kira, except as bait to capture Sarah.

The location of the show remains purposely ambiguous. The show films in Toronto but unlike Continuum doesn’t actually state its Canadian location. They have not tried especially hard to hide this, with Canadian money and license plates visible in some scenes. The federal agency brought in to investigate was intentionally not named, while mention of a Supreme Court decision on genetic material suggests an American background. The show is written to seem like any city, including one surrounded by suburbia with big box stores (where an employee had guns and other items to sell out of his trunk) and a community theater, which fortunately is not putting on a new production of Cats.

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On the surface Su-zakana was like a first season episode of Hannibal, with Jack, Will, and Hannibal working together to solve the  murder of the week. The three even started out the episode having dinner together, except with the Chesapeake Ripper supposedly out of commission, Hannibal served fish instead of red meat. I could even imagine yet another fish in the episode–Richard Fish of Ally McBeal saying “bygones.” When speaking around others, Hannibal explained overlooking Will’s attempts at killing him as being because of Will believing that Hannibal was a killer. This included telling Alana that Will was acting to protect her.

Under the surface, both Will and Hannibal knew that Hannibal really is the killer, and they were more honest when alone. Hannibal might have revealed his own code in saying, “Doing bad things to bad people makes you feel good.” If this is his motivation for killing, he is far less consistent in sticking to his code than Dexter Morgan was to sticking with his.

The murder of the week story was also a bizzaro recreation of the Will/Hannibal dynamic. Peter Bernardorne was a crazier version of Will who was  manipulated by Chris Diamantopoulos, playing a weaker version of Hannibal. We also saw that Will remains damaged, even if not as much as Peter, by Hannibal’s manipulations. Will even considered killing Chris as a substitute for Hannibal, until Hannibal warned him that it wouldn’t feel the same.

The episode also introduced Margot and Mason Verger, who should become more significant in future episodes.

The Man Under the Hood

On Arrow, Laurel has learned more about The Man Under The Hood but took the news far better than expected, deciding against letting Oliver know she knows his secret. That should be the subject for a future episode. The writers have often had difficulty in deciding what to do with her character, and in this episode she appeared far stronger than before. The producers had also been undecided as to whether to ultimately make Isabelle an ally or villain, deciding in last week’s episode that she would be a villain working with Slade. She appeared to be dead, but we learned that Mirakuru is as effective as alien blood on Agents of SHIELD at bringing people back from the dead. While we are not certain as to all the effects of the alien blood, we do know on Arrow that Mirakuru both gives superpowers and makes people go crazy. I wonder if Slade will regret creating an army of crazy super-villains who might be more difficult to control than herding cats.

We did learn that there is a cure to Mirakuru, which might turn out to be the way that the new army is ultimately defeated, and perhaps be used to keep Roy from going insane. The back story makes more sense in giving Slade additional motivation beyond the death of Shado to want to destroy Oliver. Back on the island, Oliver had chosen to kill rather than cure Slade. The episode also introduced characters from the upcoming Flash spin-off.

Collider spoke with producer/writer Andrew Kreisberg about Oliver’s relationship with Laurel and the ramifications of the Queens’ financial problems now that Isabelle has taken control of Queen Industries:

Where are Oliver and Laurel at now, romantically?

KREISBERG:  It’s Oliver and Laurel.  It’s Lois and Clark.  They can break up, get together, sleep together, break up, get married, get divorced, and she can forget him.  The best part about the success of the show is that it’s always our desire to speed through story.  The fans appreciate that.  We just blow through things.  We’re not like, “Well, we’ll do that in Season 4.”  No, we’ll just do that now.  On the other hand, success has enabled us to slow play some things.  We’ve really adopted this mantra of, “We’ll give people what they need, even if that’s not what they want.”  Having Oliver and Laurel get together in Season 1 is what people needed then.  But then, they needed them to go on a break, so Oliver could have his storyline with Sara for this season.  That’s what felt right to us.  Oliver has women in his life.  He has Laurel.  He has Felicity.  Helena is doing a 10 to 20 stretch.  But Laurel will always be one of the closest people to him, whether that’s romantic or not.  That’s why it’s so powerful to us that, in his darkest hour, Laurel is the one who pulls him out of it.  There has been a subset of fans who have questioned our sanity and our talent, for making some of the decisions we’ve made, over the course of last year and this year, but somebody is always going to be upset.  A lot of the things we have done have been leading up to what we’re doing in the finale, and then moving that forward to Season 3.

How long-running are the ramifications of the Queens’ financial problems?

KREISBERG:  We’re gonna make it a thing.  That plays out in the last five episodes.  We’re gonna start Season 3 with Oliver in very different circumstances than he’s been before.  Obviously, him being in different circumstances changes the circumstances of his paid bodyguard and paid assistant, since he can no longer pay them.  For Season 3, you’ll see that some of our familiar standing sets from Season 1 and 2, that you’ve come to know and love as being Arrow, are gonna be retired for reasons that will become apparent, as you see these last episodes.  We have already seen designs for some of the new sets for Season 3, which are amazing.  We want the show to feel like it’s constantly evolving, changing and growing.  If this year is the sequel, then next year is Arrow 3.  As different as 2 is from 1, in 3, they got Ewoks.

BRETT DALTON, BILL PAXTON

Providence continues the story of Agents of SHIELD after the infiltration by Hydra destroyed the organization, at least as we knew it. The have a secret base, Coulson learned that Director Fury is alive, and they are determined to remain Agents of SHIELD rather than Agents of Nothing. Last week there was a lot of speculation as to whether Ward had been brainwashed like the Winter Soldier or was faking allegiance to Garrett.  Anything is possible in this series, but the exchanges between Ward and Garrett suggest that Ward was recruited as a teenager and really has been working with Garrett from the start, with many of his actions designed to obtain trust from Coulson and his team. It appears that the only way that this could not be real would be if false memories were implanted into Ward, or if Ward spying on Garrett was intentionally withheld from Coulson. Such explanations would seem extremely contrived, and I hope that they just keep Ward the villain. Besides he is more interesting that way, although his feelings for Skye might complicate matters, especially as Ward’s allegiance so far seems more personal with Garrett as opposed to Hydra as an organization.

Besides the direct continuity in the recent episodes to Captain America: The Winter Soldier, there is further continuity with the Marvel universe with the Hulk’s old enemy, Colonel Talbot. Next episode Amy Acker visits as Coulson’s cellist girlfriend.

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The Americans maintained its usual quality with New Car. Once again Elizabeth and Philip had to deal with questions as to who to kill, or allow to be killed, and hand child rearing problems. Unfortunately for Lucia, it turns out that Larrick was far more important to the Russian plans than she was.  Plus Elizabeth really hates Ronald Reagan. The big surprise of the episode was to see Vasili alive along with Anton in the Soviet Union.

Fargo was off to an excellent start. It does remind me a little of Breaking Bad with over the top events portrayed as plausible in an area where I would not want to live. You would have to combine both Martin Freeman’s Lester Nygaard and Billy Bob Thornton’s Lorne Malvo to have a Walter White. While the premiere episode had a few murders, it looks like the series will be more about the consequences of the actions than a traditional detective series to uncover the identity of the murders.

I continue to avoid writing too much about Continnum as I’m a few weeks ahead of the American schedule by downloading from Showcase and I want to avoid any spoilers. The third episode, Minute To Win It, aired in the United States this week. The sequence taking place in the future revealed Kiera as being less blood thirsty than her superiors, but perfectly willing to ignore what they do. This week it was the future police shooting someone unnecessarily. Next week look forward to seeing Kiera’s take on a shooting which really has occurred in our history.

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Major Spoiler if you have not seen last week’s Game of Thrones: I make a point of not posting predictions about Game of Thrones as many people know far more than I do about the series if they have read the books. I would have never predicted that Joffrey would be killed off until late in the series. This should create a lot of interesting situations, ranging from speculation as to the murderer, effects on various characters, and a new fight for power. Natalie Dormer discussed the impact on Margaery in this interview. George R.R. Martin discussed the death here.

There is a little more news on the script being worked on for a Farscape movie which will follow the son of John and Aeryn.

Laura Pepon is only returning for four episodes of the second season of Orange Is The New Black but will return full time assuming there is a third season.

Aaron Sorkin only plans to write six episodes for the probable third and probable final season of The Newsroom. As he writes every episode of the series, I imagine it is better that he limit this to what he can handle if this leads to better scripts. HBO has not let the cast out of their contracts in case Sorkin decides to do more according to an interview with Olivia Munn.

The Hugo Award Nominees for 2014 are out. Doctor Who dominates the nominations for Dramatic Presentation (short form) with two episodes of the show, Adventures in Space and Time, a documentary about the origin of the television show, and The Five(ish) Doctors about the former Doctors who did not make it into the 50th Anniversary episode. An episode of Game of Thrones and Orphan Black complete the nominations in that category.

BEST DRAMATIC PRESENTATION (LONG FORM)

  • Frozen Screenplay by Jennifer Lee; Directed by Chris Buck & Jennifer Lee (Walt Disney Studios)
  • Gravity Written by Alfonso Cuarón & Jonás Cuarón; Directed by Alfonso Cuarón (Esperanto Filmoj; Heyday Films; Warner Bros.)
  • The Hunger Games: Catching Fire Screenplay by Simon Beaufoy & Michael Arndt; Directed by Francis Lawrence (Color Force; Lionsgate)
  • Iron Man 3 Screenplay by Drew Pearce & Shane Black; Directed by Shane Black (Marvel Studios; DMG Entertainment; Paramount Pictures)
  • Pacific Rim Screenplay by Travis Beacham & Guillermo del Toro; Directed by Guillermo del Toro (Legendary Pictures, Warner Bros., Disney Double Dare You)

BEST DRAMATIC PRESENTATION (SHORT FORM)

  • An Adventure in Space and Time Written by Mark Gatiss; Directed by Terry McDonough (BBC Television)
  • Doctor Who: “The Day of the Doctor” Written by Steven Moffat, Directed by Nick Hurran (BBC)
  • Doctor Who: “The Name of the Doctor” Written by Steven Moffat, Directed by Saul Metzstein (BBC)
  • The Five(ish) Doctors Reboot Written & Directed by Peter Davison (BBC Television)
  • Game of Thrones: “The Rains of Castamere” Written by David Benioff & D.B. Weiss; Directed by David Nutter (HBO Entertainment)
  • Orphan Black: “Variations under Domestication” Written by Will Pascoe; Directed by John Fawcett (Temple Street Productions; Space/BBC America)

SciFi Weekend: Gallifrey Falls No More, A Review of Day of the Doctor

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The Day of the Doctor accomplished Steven Moffat’s goal of presenting an homage to the past but primarily looking towards the future. Just as real life isn’t neatly divided into sixty minute episodes (or serials in the case of older Doctor Who), the 50th anniversary episode combined two different stories. Both had the common theme of the Doctor finding a way to defeat an invasion and prevent destruction to either London or Gallifrey. The episode  won a Guinness World Record award for the largest ever simulcast of a TV drama, being shown in ninety-four countries.

There were many tributes to the past beyond those I mention here. We saw the original opening, starting in black in white just as the series began. Clara was teaching at Coal School which Susan attended in the first episode. After several mentions of Queen Elizabeth I over the years, we saw the Doctor marry her, believing she was actually a Zygon shape shifter in disguise. (No word on what River Song thought of this). A UNIT agent (or her Zygon copy) wore Tom Baker’s scarf.  David Tennant repeated his classic line, “I don’t want to go” and John Hurt said “reverse the polarity” in a tribute to Jon Pertwee. The episode included all thirteen Doctors, including John Hurt and Peter Capaldi, even if some were primarily from old clips and CGI. The episode ended with an ambiguous appearance from Tom Baker as the Curator, who might be the form which the Doctor takes after he retires. Billie Piper returned, but as Bad Wolf Rose in order to allow for her presence without altering Rose’s story.

The Doctors stopped a Zygon invasion of earth by literally bringing about the concept of a veil of ignorance, as the shape-shifting Zygons and members of UNIT did not remember which they were, giving motivation to both sides to negotiate a fair deal. From there the three Doctors tackled an even bigger problem, saving Gallifrey from the Dalek attack during the Time Wars by some way other than destroying them all. This was ultimately accomplished due to Matt Smith and David Tennant’s version of the Doctor having had more time to work on the problem, and the joint effort of thirteen Doctors.

We have now seen all of the regenerations. The webisode (posted here) The Night of the Doctor, showed the regeneration of Paul McGann to John Hurt.  The regeneration of John Hurt was present near the end of The Day of The Doctor but unfortunately Christopher Eccleston declined to appear to complete the scene. Considering how little effort it would have taken to film the regeneration scene, his refusal to participate in the anniversary episode just makes him look more petty, regardless of what problems he had with the previous crew.

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Although Steven Moffat had said that the numbering of the Doctors would not change, it is hard to see justification for not including John Hurt. Moffat recently said:

“I’ve been really, really quite careful about the numbering of the Doctors. He’s very specific, the John Hurt Doctor, that he doesn’t take the name of the Doctor. He doesn’t call himself that. He’s the same Time Lord, the same being as the Doctors either side of him, but he’s the one who says, ‘I’m not the Doctor.’ So the Eleventh Doctor is still the Eleventh Doctor, the Tenth Doctor is still the Tenth…

He adds: “Technically, if you really counted it, the David Tennant Doctor is two Doctors, on account of the Meta-Crisis Doctor [in Journey’s End]… It’s not a matter of counting the regenerations, but of counting the faces of the Time Lord that calls himself the Doctor. There’s an anomaly Doctor slotted in somewhere, that’s all. In the script to The Day of the Doctor, Matt’s Doctor was called the Eleventh, and David’s was called the Tenth, so the numbering stays exactly the same – and we call Peter Capaldi the Twelfth Doctor.”

Of course we know that Moffat lies, and  perhaps he said this to avoid giving away the ending to The Day Of The Doctor. Now that we have seen the full story of  John Hurt’s Doctor, it is harder to justify not counting him. Despite being called the Warrior, we have now seen rather standard regenerations both into him and into the subsequent Doctor. Taking a different name hardly makes sense as a way around the regeneration limit. Even if his story ended with being responsible for a heinous act, this should not change the numbering.  Now that this act was reversed, there is even less reason to exclude him. There was reference to “all thirteen” on Gallifrey. The Daleks recognized him as the Doctor. If we want to go meta and try to limit the official Doctors to those who had their own shows, this would contradict the convention of including Paul McGann who, before this month, appeared in only a single movie. Surely John Hurt’s appearance in the 50th anniversary episode, along with a brief scene in the previous episode, is as significant as an essentially stand-alone move.  The BBC even reposted the 50th anniversary promo picture with John Hurt included (above).

The episode has significant ramifications for the future. The Doctor now has a new goal, to find Gallifrey. I wonder if this will be a season-long McGuffin like was done previously with The Key To Time serials in the Tom Baker era. This could provide a new emphasis from the show now that Amy Pond is gone and the mystery of Clara has been resolved, getting away from the stand-alone episodes of last season. A limit of twelve regenerations, meaning thirteen versions of the Doctor, was previously established, and we have now seen reference to “all thirteen” Doctors. The search for Gallifrey opens up one of several possible solutions as it is a safe prediction that Doctor Who will not end with Peter Capaldi’s Doctor. Perhaps saving Gallilfrey will lead to the Doctor being given another set of regenerations solving this issue. There has been precedent for the Time Lords having this power.

Before we see how this rewriting of the mythology affects Peter Capaldi’s Doctor, there remains the Christmas Episode in which Silence will Fall and we return to Trenzalore (trailer above).

For those disappointed in not seeing cameos from more actors who have played the Doctor, we do have the video below which was written and directed by Peter Davison. “The Five(ish) Doctors Reboot” stars  Peter Davison,  Colin Baker,  Sylvester McCoy and Paul McGann attempting to make it into the 50th anniversary episode. In a way they have accomplished this. I think that this video, along with The Day of the Doctor,  and An Adventure in Space in Time should be counted as parts of a set honoring the 50th anniversary.

As I was working on my impressions of the episode, Blogator Who posted the official comments from Steven Moffat. Some portions of the interview follow:

I asked Steven for his thoughts on Peter Davison’s special The Five(ish) Doctors Reboot.
“I loved it. I love it, I’m in it! I’m the villain as far as I can see! [Laughs] Absolutely adorable. It was actually my idea to do that, I had bumped into Peter at a party and he said, ‘I’m going to do this little fan video about us all trying to get into the 50th. Do you mind and would you be in it?’ And I said I’ll give you a budget and a camera crew and some time and why don’t you make it for real? Make it for us? It solved a problem for me. I wanted all The Doctor’s properly involved, if they were willing, as best they could.

It maximises what you can do with Sylvester [McCoy] and Colin [Baker] and Peter because they’re not the same people were, all those years ago. You get to see Colin Baker playing Colin Baker which is much more fun that seeing him trying to do a performance that no longer suits him, frankly. And the same with Peter and the absolutely charming Sylvester McCoy, who is an absolute hero. It was brilliant, I love The Five(ish) Doctors Reboot, it was gorgeous.

Regarding Billie Piper in The Day of the Doctor Steven stated:
“I thought the story of Rose, which was beautiful, was done. I didn’t want to add to it, I didn’t feel qualified to add to it. That was always Russell’s [T Davies] story. The way Russell ended it in The End of Time was perfect. I didn’t want to stick another bit in. It would be wrong.

But we did want Billie Piper, one of the absolute heroes of Doctor Who, back in the show without interfering in the story of Rose Tyler. I think I might of spoiled something if I had done that.  Billie represents the rival of Doctor Who, more than anyone else. It’s all about Billie, it’s her show for two years. It’s really startling watching The Runaway Bride and you’re going, ‘Where is she? Where is she? Where is the star of the show?’

On the 2013 Christmas Special, Moffat commented, “It’s a proper finale to Matt Smith, it’s the story we’ve been telling since he put the bow tie on. A lot of stuff we’ve left hanging, we tie up there. And it’s Trenzalore!” At a panel at the Official Doctor Who Celebration, including Matt Smith, Jenna Coleman and Steven, they revealed that the world “bubbly” will appear in the finale for The Eleventh Doctor.

 

SciFi Weekend: Doctor Who 50th Anniversary; Agents of SHIELD; Arrow; Community; How I Met Your Mother Sequel; Big Bang Theory; Alpha House; Almost Human

The Night of the Doctor, a prequel video for The Day of the Doctor was released during the past week, showing a regeneration from Paul McMann’s Doctor to John Hurt’s.  There is a difference in the nature of Hurt’s Doctor which we will undoubtedly learn  more about in the 50th anniversary episode. Despite what we learn in this video, Steven Moffat says that the numbering of the Doctors will remain the same.

A clip from The Day of the Doctor played at Children in Need above showing when Matt Smith and David Tennant met is above.

There are many more shows planned for the 50th anniversary celebration. I posted a schedule of BBC American broadcasts here.

The trailer for An Adventure In Space And Time, on the development of Doctor Who fifty years ago, is above. A spoiler-free review has been posted here.

Steven Moffat discussed fifty years of Doctor Who in a twenty-minute video available on line here.

SHIELD The Hub

The Hub was one of the better episodes of Agents of SHIELD so far, but still remained weak. Last week Simmons was in danger but fans were disappointed to see her survive. Fitz came out looking much better in this week’s episode which was centered around placing him in danger. On the other hand, Simmons came out looking like an even weaker character than before, if that was possible. Once again we were teased with the possibility of being rid of her. One would think that Simmons would be history after shooting a superior officer, but nothing really happened. They advanced the mystery of the season about Coulson returning after being killed when Coulson found that the file about his time in “Magical Tahiti” is being kept from him. Speculation ranges from there really being magic involved to Coulson being a robot.  More credence was given to the robot theory when Sky said during the episode that “He’s acting like a robot version of himself right now.” Considering the weak level of writing in this series, that might be intended to foreshadow the end result.

While this episode involved Russia and Georgia, Arrow (the far better of the two superhero series) also had its characters travel to Russia. Summer Glau’s character was a little less robotic as she wound up going to bed with Oliver in a scene which was primarily designed to frustrate the fans who have been rooting for Felicity and Oliver to get together since last season. (Yes, while this is a fun genre show, it is also a CW show.)

COMMUNITY -- "Introduction to Teaching" Episode 502 -- Pictured: (l-r) Jonathan Banks as Hickey, Joel McHale as Jeff Winger -- (Photo by: Justin Lubin/NBC)

We have to wait until January 2, but a lot of photos from Community have been posted on line. In the picture above, Jonathan Banks of Breaking Bad appears as Professor Nichols. We don’t know the circumstances or his position (student or faculty), but Jeff is definitely back at Greendale Community College.

CBS is going ahead with a sequel to How I Met Your Mother entitled How I Met Your Father which will presumably be the same format from a woman’s point of view. I am glad that Carter Bays and Craig Thomas will be doing another sitcom but question whether network television can manage to be a little more original as opposed to doing the same thing over again. It was amusing when the original pilot, in which viewers expected to see how Ted met his wife, instead said it was how he met “Aunt Robin.” The actual answer as to how Ted met his wife took nine years and once seems to be enough to for that idea. At least the format is quite loose and does leave open the possibility of having unique aspects in the new show. There have been a lot of shows about a group of friends in New York since Friends left the air, and How I Met Your Mother was the best of them which I have seen.

THE BIG BANG THEORY

What Culture! has five reasons that Big Bang Theory is good for nerds. This includes the many prominent guest stars, such as Stan Lee in the photo above.

Garry Trudeau’s political comedy Alpha House has been released on Amazon video. Review at The New York Times.

They can’t kill The Killing. It will receive a fourth season, this time on Netflix.

http://www.youtube.com/watch?v=ns91hBJqsDM

Almost Human premiers on Fox tonight. Trailer above.

SciFi Weekend: Doctor Who; Arrow; More Marvel on TV; Almost Human; S.; Batman vs. Superman; Better Call Saul; Downton Abbey

The BBC has released two trailers for The Day of the Doctor, with the longer version above. The 50th anniversary episode of Doctor Who will be simulcast internationally, starting at 2:50 EST in the United States on BBC America. (From my point of view, this is an awful time, interfering with both noon and 3:30 football games.) There is discussion of the trailers and images here and here. The official synopsis has also been released: “In 2013, something terrible is awakening in London’s National Gallery; in 1562, a murderous plot is afoot in Elizabethan England; and somewhere in space an ancient battle reaches its devastating conclusion. All of reality is at stake as the Doctor’s own dangerous past comes back to haunt him.”

The BBC America Trailer is above.

Steven Moffat has some major teases as to the meaning of the episode:

Moffat’s previous comments that the episode “will change the narrative in a big way” encouraged speculation that writers have found a solution to the fact that the Doctor can only regenerate twelve times. He has now further added to this by saying, “This should be the next step on the journey, guaranteeing the 100th anniversary”.

He said: “The story focuses on the most important thing that ever happened to the Doctor. We very rarely do that in Doctor Who as it’s usually about the people the Doctor meets or the companion that travels with him. This time it’s different.”

More from Moffat here.

McQ by Alexander McQueen

Jenna Coleman has been doing some modeling. The Guardian has more pictures.

Joanna Page (Stacey of the British sitcom Gavin and Stacey) will play Queen Elizabeth. She discussed kissing David Tennant.

BBC America has released their schedule of shows for the 50th anniversary (via TV Addict). Beyond Day of the Doctor, highlights include An Adventure in Space and Time about the initial development of Doctor Who. The cast includes Jessica Raine of Call the Midwife as producer Verity Lambert.

MONDAY, NOVEMBER 18
Doctor Who: The Doctors Revisited Marathon – 9:00am – 9:00pm ET
The First through Tenth Doctor

Doctor Who: Tales from the TARDIS – 9:00 –10:00pm ET
An all-new special, Doctor Who: Tales from the TARDIS, features the series’ actors and producers sharing their experiences and memories of the world’s longest-running sci-fi show. The special features exclusive interviews with principal cast members from the show’s 50-year history, including actors who have played the Doctor: Matt Smith, David Tennant, Tom Baker, and Peter Davison, actors who have played companions: Jenna Coleman, Karen Gillan, Freema Agyeman, and William Russell, as well as the current lead writer and executive producer Steven Moffat. The discussion includes how the actors got cast, how the roles changed their lives, how a ‘regeneration’ is recorded, and how filming the show in the 60′s compares to today.

The Science of Doctor Who with Brian Cox – 10:00–11:00pm ET
A former rock star and Britain’s popular TV physicist, Professor Brian Cox explores the universe of the world’s favorite Time Lord when he takes the audience on a journey into the wonderful universe of Doctor Who, with the help of celebrity guests. In this exclusively recorded special from the lecture theatre of the Royal Institution of Great Britain, Brian reveals the science behind the spectacle and explains the physics that allows Doctor Who to travel through space and time. Fun, but filled with real science, it’s a special night for Who fans and anyone with a thirst for understanding.

TUESDAY, NOVEMBER 19
Doctor Who – The Ninth Doctor Marathon – 10:00am –11:00pm ET

WEDNESDAY, NOVEMBER 20
Doctor Who – The Tenth Doctor Marathon – 2:00am –11:00pm ET

THURSDAY, NOVEMBER 21
Doctor Who – The Eleventh Doctor Marathon Part I – 9:00am – 11:00pm ET
The Eleventh Doctor – Matt Smith

FRIDAY, NOVEMBER 22
Doctor Who – The Eleventh Doctor Marathon Part 2 – 9:00am – 8:00pm ET

Doctor Who Explained – 8:00pm – 9:00pm ET
An all-new special, Doctor Who Explained, explores the mysterious and two-hearted alien who is the Doctor. Through exclusive interviews with principal cast members from the show’s 50-year history, including actors who have played the Doctor: Matt Smith, David Tennant, Peter Davison, and Tom Baker as well as actors who have played companions: Jenna Coleman, Karen Gillan, and Freema Agyeman, viewers get an insight to what happens behind-the-scenes of the award-winning sci-fi show.

An Adventure in Space and Time – 9:00pm ET
What do you get when you mix C.S. Lewis with H.G. Wells, and sprinkle in a bit of Father Christmas? An alien Time Lord exploring space and time in a Police Box spaceship called the “TARDIS” (Time And Relative Dimension in Space). Written by Mark Gatiss, the BBC AMERICA co-production, the film stars David Bradley (the First Doctor, William Hartnell), Brian Cox (BBC Head of Drama, Sydney Newman), Jessica Raine (Producer, Verity Lambert) and Sacha Dhawan (Director, Waris Hussein). An unlikely trio of misfits set out to create a genre series that all ages would love. William ‘Bill’ Hartnell, displeased with his career, was presented with a chance to break out of the hard-man roles he’d become known for. And with the instincts of first time producer, Verity Lambert and first time director, Waris Hussein, the Doctor was born. As the success of the show grew, William went from unhappy curmudgeon to beloved television star who relished his career resurgence and found a new lease on life. But all good things come to an end. How will Bill face leaving behind the part that has made him a hero to millions of children? And can the show survive without him? Journey back fifty years through space and time to witness the exciting beginning and untimely end of the First Doctor in this touching drama.

SATURDAY, NOVEMBER 23
Doctor Who – The Eleventh Doctor Marathon Part 3 – 1:00am – 2:00pm ET
The Eleventh Doctor – Matt Smith

Doctor Who: The Day of the Doctor – Global Simulcast – 2:50pm ET
The centerpiece of BBC AMERICA’s celebrations is the global simulcast of Doctor Who’s 50th Anniversary special, Doctor Who: The Day of the Doctor, written by Steven Moffat. The Doctors (Matt Smith and David Tennant) embark on their greatest adventure across space and time. In 2013, something terrible is awakening in London’s National Gallery; in 1562, a murderous plot is afoot in Elizabethan England; and somewhere in space an ancient battle reaches its devastating conclusion. All of reality is at stake as the Doctor’s own dangerous past comes back to haunt him. Starring Matt Smith, David Tennant, Jenna Coleman, with Billie Piper and John Hurt. Last seen as the Doctor on January 1, 2010, this will be the first time David Tennant has reprised his role as the Tenth Doctor. During his reign as the Time Lord, Tennant appeared in three seasons as well as several specials. He was first revealed as the Doctor in the 2005 season finale, The Parting of the Ways. Meanwhile Billie Piper, who played companion Rose Tyler for two seasons following the reboot in 2005, will appear in the show for the first time since featuring in David Tennant’s last episode, The End of Time in 2010. The special is directed by Nick Hurran, executive produced by Steven Moffat, Faith Penhale and produced by Marcus Wilson.

Doctor Who: The Day of the Doctor encore primetime broadcast – 7:00pm ET.
BBC AMERICA will premiere exclusive Inside Look interviews with Matt Smith and David Tennant during the broadcast. The special will be followed by the premiere of new fantasy-adventure series Atlantis at 9:00pm ET.

The Graham Norton Show with guests Matt Smith and David Tennant – 10:00pm ET
Doctor Who stars Matt Smith and David Tennant make their first appearance together on BBC AMERICA’s hit talk show The Graham Norton Show. Emma Thompson, singer Robbie Williams and comedian Jimmy Carr will also be guests.

SUNDAY, NOVEMBER 24
Doctor Who – Matt Smith Countdown – 9:00am – 8:00pm ET
BBC AMERICA counts down the top 11 episodes from the Eleventh Doctor, Matt Smith, as voted on by fans.

Doctor Who: The Doctors Revisited –The Eleventh Doctor – 8:00pm –10:30pm ET
BBC AMERICA celebrates the Eleventh Doctor, Matt Smith, in a new special of Doctor Who: The Doctors Revisited. Matt Smith first stepped into the TARDIS in 2010 and, after starring in the 50th Anniversary Special on November 23, will regenerate in the Christmas special. The Doctors Revisited begins with Matt Smith, Jenna Coleman (companion Clara Oswald), Karen Gillan (companion Amy Pond), Arthur Darvill (companion Rory Williams), lead writer and executive producer Steven Moffat, among others, examining the human side of this Doctor and taking a look at how his extraordinarily long life has affected him. The special is followed by the Eleventh Doctor two-part story, The Impossible Astronaut and Day of the Moon, in which a strange summons reunites the Doctor, Amy (Karen Gillan), Rory (Arthur Darvill) and River (Alex Kingston) in the middle of the Utah desert and unveils a terrible secret the Doctor’s friends must never reveal to him. These were the first Doctor Who episodes to be filmed in the U.S

 

arrow-league-of-assassins-caity-lotz-navid-negahban

I’ve frequently said that Arrow is far better than SHIELD, regardless of any comparisons of the DC versus Marvel lines. After an especially strong episode this week, League of Assassins, I’ve seen reviews (including at The Hollywood Reporter) calling Arrow the best live action superhero television series ever. Considering the competition, and poor translation of superheroes to television, this is a fairly low bar. The question then is whether it is compared to Heroes season one, which was excellent, versus the entire run of Heroes.

There is criticism of the current story lines on Arrow which everyone seems to agree with. It is not plausible that Laurel would be involved in the prosecution considering the conflict of interest. We know we have to accept unrealistic sequences when a man with an bow and arrow can regularly win out against guns. We also must ignore how people do not see though secret identities of people they know well. While this is necessary for the show to exist, they should avoid unrealistic scenarios unnecessary for superhero shows such as Laurel being involved with the prosecution in this situation.

There is more Marvel coming to television (besides a second rumored show on ABC about Agent Carter). They are planning for a set of thirteen episode series on Netflix of Daredevil, Jessica Jones, Iron Fist, and Luke Cage. Just as the movies led to a joint movie in The Avengers, these Netflix individual series will be followed by a joint mini-series entitled The Defenders. Considering that they have not done all that great a job with Agents of SHIELD, I wonder if it is a good idea to go ahead with four more series. Maybe, not being limited by the constraints of a prime time network television series these could be better for genre fans.

SHIELD really teased viewers last week. How many others were hoping that Simmons was not rescued when she jumped off the plan, and Fitz would follow her?

almost-human-08_750x1000_595_slogo

Spoiler TV has a lot of information on the upcoming television show, Almost Human in an interview with J.J. Abrams and J.H. Wyman:

The series is set in the year 2048 and stars Karl Urban as John Kennex, a cop who is forced to partner with an android (named Dorian) played by Michael Ealy after an increase in crime leads to all human law officers being accompanied by robots. J.J says that “The idea when Joel pitched it was that Dorian, who is a synthetic, was in some ways more human than his partner.” Wyman told reporters that Ealy heightened what was already on the page with “an incredible sense of thoughtfulness and compassion. He’s playing a character who is by design, literally, as brave and as knowledgeable and as strategic as you’d want your partner to be if you were riding along as a cop, but he’s also as sympathetic as you’d want. What Michael brings is that kind of depth and humanity.” His dubious partner, in turn, is “forced to kind of deal with the idea that his well-being now relies on this technology which he sort of holds in contempt.”

So what sets this latest series apart from the increasingly present action and sci-fi shows on networks today, let alone from the duo’s previous work in the genre? First of all, Wyman began, he wasn’t interested in presenting another dystopian vision of Earth’s future. “I hope that we’re not really in that territory and that we’re successful in that.” Often in the genre, the writer says, the outlook seems to be “‘Look what you humans have done!’ whereas what we’re talking about, I think, is a little more hopeful. There’s a sense of going forward. We’re resilient, we’re going to succeed.”

Abrams mentioned that unlike many of his past efforts this series has much less of an emphasis on mythology and will instead focus on a procedural case-of-the-week type format that will allow us to explore the characters as well as the unique complexities of navigating in an increasingly technology-reliant world. He also promised “a level of humor that is distinct from what we’ve done before” which backs up his partners talk of the series leaning towards a more ‘popcorn’ movie vibe than their previous collaboration. That’s not to say the show is all-action-all-the-time, as Wyman went on to explain his hopes to create a conversation about what these human-computers are at their core and how we should interact with them. “They’re thinking beings, so what are their rights? And where are those lines drawn? A lot of those things are sort of examined in our later stories: What is a robot? What is an android? What is a being?” Wyman, to be sure, did his homework. “J.J had set us up with some very brilliant people from MIT and one was a woman who studied robot ethics, which is pretty amazing, that they’re actually… real.”

The case also includes Minka Kelly of Friday Night Lights.

I haven’t had a chance to read J.J. Abrams’ new book, S., yet, but it looks intriguing. Besides a conversation in margin notes going along with the narrative of the book, there are many postcards, maps, and letters at various points in the book. Librarians are not very happy about this.

Alan Alda will be going up against James Spader’s character on The Blacklist later this season. I’m hoping for a reunion with William Shatner.

Adam Driver of Girls is being considered for the role of Dick Grayson/Nightwing in the upcoming Batman vs. Superman movie. It is scheduled for release July 17, 2015.

When news came out about plans for Better Call Saul it was being called a prequel to Breaking Bad. There remains interest in what will happen to Saul after going to Nebraska, and now Bob Odenkirk says the show might be both a prequel and sequel.  There has been speculation that the show might be more of a comedy but Odenkirk says, “It’s going to be 70% drama and 30% comedy.” He also played down the speculation that characters from Breaking Bad will pay a major role in Better Call Saul. If it is a sequel, they should at least work in Gus and Mike. It is also feasible that Saul would cross path with a certain DEA agent, and a high school science teacher could briefly appear as long as any contact with Saul is minimal.

With the success of The Girl With The Dragon Tattoo and other books by Stieg Larsson in the United States, HBO is planning an hour-long series based upon the works of another Scandinavian author, Jo Nesbø. They are planning an adaptation of his 2008 novel, The Headhunters.

Dan Stevens of Downton Abbey will play Lancelot in Night at the Museum 3. It is hard to believe that the season finale already aired tonight on ITV. I haven’t watched today’s season finale yet, but as of last week there were several loose ends. I wonder how many were tied up tonight, and how many will be extended to the Christmas episode. Thanks to British television, Christmas has become a big television day with episodes of Downton Abbey, Doctor Who, and Call the Midwife. Update: News came in shortly after this was posted that Downton Abbey has been renewed for a fifth season.

SciFi Weekend: Doctor Who News; Matt Smith’s Is Bigger Than David Tennant’s; Counting Regenerations; Wonderland; Arrow; Community Returning; Big Bang Theory; Tatiana Maslany Does Comedy

The trailer for the 50th anniversary episode of Doctor Who, The Day of the Doctor, has been released with video above. Discussion and breakdown of the frames from the trailer here and here.

There’s been more news out about Matt Smith and David Tennant working together, including confirmation that Matt Smith’s is bigger than David Tennant’s:

“Mine’s bigger” confirms Smith. “I won… on that one”. “His is much bigger!” laughs Tennant. Everyone’s since 1963 is bigger than mine! Well, maybe I just don’t have as much to compensate so much; maybe I’m very happy with my sonic’s length. And it does everything it needs to.”

Celebration of the anniversary includes additional events including a TV movie on BBC 2 about the development of the series,  An Adventure In Space And Time. Five pictures have been released here, including  one with Jessica Raine (of Call the Midwife) as producer Verity Lambert:

Jessica Raine

Steven Moffat has been teasing the regeneration in recent interviews. From a statement in Doctor Who Magazine, it appears that Matt Smith’s regeneration into Peter Capaldi will occur in the TARDIS:

“Pretty soon [Peter] will arrive and he’ll be whisked off to begin the trip of a lifetime, probably wondering what it will be like, where it will take him, and how long it will last. And about then, Matt Smith will be standing in his TARDIS for the very last time, with his eyes on the studio door – because about to step through is a Scottish actor, dressed as him.”

Moffat discussed the twelve-regeneration limit in an interview with Radio Times:

The fact that the Doctor could be close to using up his apparent limit of 12 regenerations is one that hasn’t passed Doctor Who fans by. What will happen when his time is finally up we don’t know but there’s an assumption that whoever’s in charge of the show will find a way.

After all, there is a precedent here. The Doctor’s Time Lord adversary the Master used up his entire allocation but was handed a new regenerative cycle after taking possession of a non-Time Lord body and later having it restructured (it’s a long story).

However, Steven Moffat today confirmed of the Doctor, “He can only regenerate 12 times”, while simultaneously suggesting there has been a miscalculation of how many regenerations he has actually been through.

“I think you should go back to your DVDs and count correctly this time,” said Moffat, “there’s something you’ve all missed.

What can it all mean? If we were attempting to explain how the Doctor might already have had more than his fair share of regenerations, we could do it. John Hurt’s newly introduced dark Doctor would presumably add one, making Peter Capaldi the 13th and final incarnation. If we then followed the argument that David Tennant’s tenth Doctor used up a whole dose of regenerative energy when he re-grew his lost hand almost immediately after having transformed from the ninth Doctor, that would give us an illegal 14 versions of the Doctor. Whether the new hand counts as a full regeneration is very much up for debate, of course, but either way these are both arguments for adding not subtracting regenerations.

On the other hand (pardon the pun), we didn’t witness Paul McGann regenerating into either John Hurt’s ninth(?) Doctor or Christopher Eccleston’s ninth/tenth Doctor. If somehow neither of those counted as regenerations we would have one fewer than we’d previously thought – Matt Smith would be the tenth Doctor and Peter Capaldi would be the 11th. But how could the Doctor have changed bodies without regenerating?

Needless to say, there has been a lot of speculation regarding this on various blogs.

MICHAEL SOCHA, SOPHIE LOWE

It seems that in recent years there have been more genre shows and movies which attract female following–not that these shows are for women only.  I had almost skipped Once Upon A Time in Wonderland until I read good reviews of the first episode, and thought the second episode was even better. In this version, Alice is an older action figure, not a small girl, and she is in love with a different version of the Genie from Aladin. Besides the new impressions of classic Disney characters, the magic in Wonderland reminds me of the fun in the early Harry Potter movies. The original version of Once Upon A Time, is spending the season in Neverland. The creators of the shows, who previously worked on Lost, discussed the two shows, and explained why the made Peter Pan evil in this interview.

Arrow cliffhanger

Arrow, which is also fun even if sometimes feeling too much like a soap opera, ended with quite a cliff hanger. Earlier in the episode, Oliver Queen acknowledged the same issue I brought up last week and made Felicity his executive assistant (over her objections) to explain why he spends his days as well as nights with her. (“And I love spending the night with you.”) Laurel tried to explain why she suddenly hates the vigilante so much but it is hard to accept her arguments as to why he is to blame for Tommy’s death. This leads to the cliff hanger and brings up two more of my ongoing complaints about the series (or two reasons why it is best to just enjoy the show and not to think much about it). We have seen repeated examples of predictable crimes with little done to prevent them. With medical supplies being stolen, you would think that guarding the trucks carrying them would be a top priority for police. That didn’t happen as it turns out that Laurel had all the well-armed police officers on stand-by for the next time the vigilante encountered her. In the past, Oliver has escaped such traps with far too  little difficulty. With all the guns aimed at him, I hope they come up with a more creative and plausible way for him to escape.

Following the recent criticism on Twitter on how he handled the finale of Lost, compared to the Breaking Bad finale, David Lindelof has left Twitter.

Steve Buscemi of Boardwalk Empire hopes people remember the shutdown in the next election:

“I think the shutdown is ridiculous. I think the Republicans in Congress are holding the country hostage. I think it’s criminal. I don’t see why they’re allowed to do it.” Buscemi on politics livens up. “The Tea Party faction of the Republican party are holding the Republican party hostage. They’ve hijacked it. I don’t understand their philosophy. I think that in their own hearts and minds there’s a reason why they feel they’re doing good. But I certainly don’t agree with it. And I hope the shutdown effects change. I hope people remember this in the next cycle of elections.”

The assassination of the Vice President on  Homeland was not only plausible, but a scenario which Dick Cheney’s doctor had taken precautions against several years previously.

BBC America is going for even more genre:

BBC America has greenlit Intruders, an eight-episode original series based on Michael Marshall Smith’s 2007 novel The Intruders. Glen Morgan (The X-Files, Those Who Kill) is the writer and executive producer on the series that’s about a secret society devoted to chasing immortality by seeking refuge in the bodies of others. BBC Worldwide Prods is producing, with production to begin in early spring 2014. Jane Tranter and Julie Gardner are exec producing, and BBC Worldwide is handling global distribution. The Intruders joins BBC America’s breakout original drama Orphan Black.

Community is returning to Thursday nights on January 2. Unfortunately, in terms of ratings, it goes up against The Big Bang Theory again. That’s why we have DVR’s.

The Workplace Proximity

This week’s episode of The Big Bang Theory included a break-out event for Sheldon Cooper. He was relieved to learn that the old adage about not defecating where you eat does not mean he shouldn’t use the men’s room at the Cheesecake Factory:  “Not as relieved as I’m about to be. It’s a brave new world, little lady.” Amy saw a bright spot in Sheldon’s incessant knocking: “I don’t mind. I’m hoping to put his love of repetition to use someday.” Meanwhile Raj got it right while watching Howard digging himself into quite a hole when talking to Bernadette: “His only options here are to fake a heart attack or have a real one.” She didn’t fall for it, especially when he chose the wrong arm.

I have often randomly pulled up old episodes of The Big Bang Theory to rewatch. It might be easier to choose which episode the next fifteen times I do this if I follow this guide to the top fifteen episodes. I may or may not wind up agreeing as to whether they are the fifteen best, but I’m sure they will all be excellent.

Also on last Thursday’s sit-coms, Tatiana Maslany of Orphan Black added comedy to the many roles she plays on Parks and Recreation. She will return next week.

Parks and Recreation - Season 6