SciFi Weekend: Pike and Spock on Discovery; Why The Enterprise Looks Different; Robert Picardo Returns To The Orville; Steven Moffat Fills In Plot Holes In Doctor Who; Legends of Tomorrow; The Arrow; Jessica Jones Renewed; Killing Eve

Anson Mount has been cast to play Captain Christopher Pike on Star Trek: Discovery. We don’t know much of the Enterprise will be seen on Discovery next season, but did get some clues from Jonathan Frakes, who will be directing two episodes next season. Last season he was the first to reveal that Discovery would be going to the Mirror universe. Frakes more recently revealed at the El Paso Comic Con that he will be directing the second episode of season two. The episode will include both Captain Pike and Spock.

The catch is that Spock will appear in a flashback of his childhood years, including a view of Michael Burnham. There is no word about whether an adult Spock will ever appear on Discovery, but the producers have expressed reservations about recasting Spock in past interviews. I suspect that they will be keeping adult Spock off screen, whether or not he is aboard the Enterprise at the time, but it is also possible they are hiding their plans.

We also learned why the Enterprise looked slightly different than the original Enterprise in the season finale of Discovery, to the frustration of some purists. (My review of the season one finale was here). The reasons came down to the changes in ownership rights to Star Trek, requiring these changes.  John Eaves, one of the designers for Discovery, explained the process on Facebook last week:

Back in April of 2017 the task of the Enterprise making an appearance came to be and work was to start right away. The task started with the guideline that the Enterprise for Discovery had to be 25% different otherwise production would have most likely been able to use the original design from the 60’s but that couldn’t happen so we took Jefferies original concepts and with great care tried to be as faithful as possible. We had the advantage of a ten year gap in Trek history to retro the ship a bit with elements that could be removed and replaced somewhere in the time frame of Discovery and the Original series…

The changes between the two enterprises are as follows. The new ship has more TMP struts than TOS struts, the main hull and nacelles are shorter and more plump, the deflector dish now has one antenna vs two, the impulse module is thinner from side to side, the overall ship has a heavier plating detail, and the exterior has a more broader range in lighting and nacelle glow. I am sure there are subtle differences but I have not seen any more than you have to make a more detailed comparison so look at the calendar as concept art and all will be good and hope this quick breakdown helps.

He added in a comment:

After Enterprise, properties of Star Trek ownership changed hands and was divided,, so what was able to cross TV shows up to that point changed and a lot of the crossover was no longer allowed. That is why when JJ’s movie came along everything had to be different. The alternate universe concept was what really made that movie happen in a way as to not cross the new boundaries and give Trek a new footing to continue.

If the recent attempt by CBS to purchase Viacom had been successful, there could have been a resolution of some of the problems caused by this division in ownership rights. Perhaps Vulcan could be saved.

Update: After multiple blogs and media outlets posted similar stories, CBS issued a statement saying that the changes to the Enterprise were for creative and not legal reasons, and that CBS does have the rights to use the original design of the Enterprise.

Also in Star Trek news, Star Trek: Discovery has been nominated for a Peabody Award.  Star Trek: The Next Generation previously won a Peabody in its first season, for the episode The Big Goodbye.

ComicBook.com has a look at Robert Picardo’s return to The Orville during the second season and recaps his appearance during the first season.

Radio Times reports that Steven Moffat has cleared up a few plot holes from Doctor Who in his novelization of The Day of the Doctor. This includes sort of bringing the Peter Cushing movies into cannon. No, he did not add yet another unknown Doctor like the War Doctor. Instead he brought in the movies:

In one of the new novel’s more meta moments, Moffat also explains away one of the greatest canonical issues in Doctor Who history – where, exactly, do the 1960s Peter Cushing films fit in?

For those not in the know, these films (called Dr. Who and the Daleks and Daleks – Invasion Earth: 2150 AD) were a remake of some early William Hartnell Doctor Who stories, starring Star Wars and Hammer horror icon Cushing as a human scientist who actually invented the Tardis (losing the “the” to become just Tardis) and battled alien nasties.

Obviously, Cushing can’t be counted among the official line-up of Doctors, but fondness for the films has led Who fans to keep him in their hearts – and now the new book finally explains his place in the canon.

According to Moffat’s Day of the Doctor adaptation, the Cushing Doctor Who films do exist in the main Whoniverse, with the actor playing a fictionalised version of the real-life Doctor with the blessing of the man himself. The new book shows posters from Cushing’s films actually hanging in the Black Archive, which Moffat has previously said he wanted to do in the episode that aired on TV – plans which were scuppered when the BBC were unable to get the rights to the artwork.

“Seen them? He loves them,” UNIT boss Kate Stewart explains to Jenna Coleman’s Clara Oswald in the episode when discussing the films.

“He loaned Peter Cushing a waistcoat for the second one, they were great friends. Though we only realised that when Cushing [started] showing up in movies made long after his death.”

That last bit, of course, is a reference to how the late Cushing was included in 2016’s Star Wars prequel Rogue One using cutting-edge CGI – though apparently it was just Tardis trickery instead.

Other questions answered include earlier meetings between River Song and the Doctor and why the stories about the first two Doctors were in black and white.

Legends of Tomorrow co-showrunner Phil Klemmer discussed last week’s season finale with TV Line and gave a hint about next season in a question about Mallus:

TVLINE | What is his agenda? What does he “want” most in the world?
He is a sort of bellwether of bad guys to come in Season 4. Up until this point, we’ve been dealing with earthly and historical bad guys, and we certainly had fun with all of that, but this year we dabbled in the world of the occult, through Damien Darhk and his enterprises. But you know that Constantine is coming onto the show [as a regular] next season, so we want to go deeper, we want Mallus to be used as “the tip of the iceberg.” He is not human, and we want to start playing with the idea that Earth hasn’t always belonged just to our kind.

We want to get into the world of fantastic myths and monsters a bit more. It’s kind of presumptuous for anybody to think they have ownership of this Earth or any part of it. Not to get deep into immigration metaphors, but Mallus is an ancient evil, he doesn’t understand humans and doesn’t understand why we have any claim to controlling this world of ours.

Of course this will work out well with the addition of Matt Ryan (Constantine) to the cast.

Arrow still has a few weeks to go, but I do like the idea of Oliver going more solo as we saw last week (as long as Felicity is still around, of course). Marc Guggenheim discussed the upcoming finale with Entertainment Weekly. ComicBook.com summarized:

“It’s gonna be interesting,” Guggenheim said. “It’s very, you know, I’ve been saying it’s an unconventional kind of finale. It still feels very much like a season finale. When I first started talking about it we hadn’t written the darn thing yet, but now we’ve written it and we’re in prep on it and on Monday we start shooting. And it’s a real game-changer.”

To a certain extent, the season five finale was also a game-changer for the show with Adrian Chase/Prometheus’ (Josh Segarra) end game resulting in Lian Yiu being blown up, Oliver Queen/Green Arrow (Stephen Amell) becoming a single parent after the murder of his son’s mother, as well as setting into motion some of the events this season — Thea (Willa Holland) in a coma, Oliver trying to find a work-life-vigilante balance, and the splintering of Team Arrow. However, what’s coming for the season six finale will go even further and Guggenheim teased that the aftermath of “Lian Yu” as seen in the season six premiere will play a role as they’ve been plotting up to this game-changer from premiere.

“The show fundamentally changes in the finale and I think you’ll see there’s stuff that we were seeding back in the season premiere that finally comes to fruition here in the season finale, so you’ll see that there was a very specific plan to the entire season,” Guggenheim said. “We always knew that this is where we were headed to. So, hopefully in subtle ways have been teasing this all along without you realizing it. My hope is that people are surprised, but also look back and are like oh, that was kind of the only way that they could have ended the season.”

There are also reports that Colton Haynes is returning to Arrow, which is a bit odd after Thea left the show to supposedly go with Roy.

Jessica Jones has officially been renewed for a third season on Netflix.

HBO has renewed Silicon Valley for a sixth season

SciFi Weekend has frequently gone beyond science fiction. At present two of the hottest new shows on are not science fiction, but instead both deal with killers, the reluctant hitman on Barry and the much more enthusiastic assassin played by Jodie Comer on Killing Eve. A discussion with the creator of Killing Eve,  Phoebe Waller-Bridge, and its stars,  Sandra Oh, and Jodie Comer, can be seen at Vulture.

One reason Killing Eve works so well is by the acting job done by Jodie Comer. Collider has an interview with her:

Will we get to know more about why she ended up in this profession?

COMER: Yeah, you do. As the story goes on, you definitely do see a little bit more of an insight into that. As the investigation progresses and they find out more information, you do learn a little bit about her. I don’t think her past excuses what she does, but I think it definitely gives you a little bit more of an understanding, as to who she is and where she’s come from, definitely.

It’s one thing to kill people and it’s another thing entirely to enjoy it, which she seems to do.

COMER: Yeah, absolutely! It’s like a life force for her. I feel like her job gives her purpose, for sure, and she wants to do a good job. She’s had so many conversations with Konstantin (Kim Bodnia), where she’s like, “Did you see what I did?! Did you see how good that was?! Are you impressed with me?! Because I’m impressed with me!” She’s so self-confident. She’s brilliant.

Do you think that will also get her in trouble?

COMER: Yeah, absolutely! I think she become quite careless. Konstantin is certainly in charge of her, and he sees this going on, so she loses a little bit of her independence and she can’t deal with that. Konstantin says, “Listen, you do what you’re told, and you don’t ask any questions.” She doesn’t abide by that, and there are consequences to that. What’s so lovely about their relationship is that he’s the only person who understands her and sees through her games. He’s like a father figure, in a lot of ways. It’s nice to see her actually have what seems to be a genuine relationship with someone, who she may actually care about, maybe.

Do you think she would still kill him, if need be?

COMER: I don’t know. I wouldn’t put anything past her, at this point.

Does she have a moral code? Is there somewhere that she would draw the line?

COMER: First off, I think she puts herself first, so if her life was threatened, then she would absolutely do anything. I think her independence is what’s most important to her, and why that is, you will discover.

How threatened does she feel by being looked into?

COMER: At the beginning, she thinks it’s just a game. She feels invincible. Maybe there’s a realization that they are actually getting information. She doesn’t speak Russian anymore. That’s the part of her life that she wants nothing to do with, and yet it’s getting dragged up by everybody else. That is not something that sits well with her, at all. What she does about it, you’ll have to see.

What does Villanelle think of Eve, and what can we expect from how that dynamic develops?

COMER: Villanelle lives this luxurious life, and I think she’s intrigued at how ordinary Eve is. She lives her life with her husband. The narcissist in Villanelle is like, “This chick wants to know about me? I’m gonna show her!” She wants to make sure that Eve gets to her. She wants to make sure that they meet. It’s a funny relationship. I feel like Villanelle is seeking something from Eve. Nothing material, but spiritually, there’s something. There’s a connection there that they’re both not sure of, but it’s undeniable. It’s there. There is a connection with Eve, on a personal level for Villanelle, because she reminds her of someone who is very close to her, in her past. It brings all of these emotions up.

Above is the official trailer to Killing Eve. At present it is still easy to catch up with both of these shows if you have not seen them. The second episode of Killing Eve airs tonight and the first episode remains available on line. The fourth episode of Barry will be on HBO later tonight, but as episodes are only slightly over thirty minutes it won’t take long to catch up.

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: Star Trek Discovery; F-Bombs In Genre; Mr. Robot; Arrow; Batman In The Arrowverse; Gotham; Doctor Who; Will & Grace

With Choose Your Pain, Star Trek: Discovery revealed more about Captain Lorca, went where Star Trek has never gone before, and raised new questions. Controversies raised included two incidents on which to further question Lorca’s ethics.

We learned that Lorca had destroyed his previous ship and killed the entire crew to keep them from being captured and tortured by the Klingons, while he alone managed to survive. It may have sounded reasonable when explained by Lorca, but Star Trek fans know that Kirk or Picard would have found a way to save their crews, and would have risked death to achieve this. Lorca’s decision to leave Harry Mudd (played by Rainn Wilson) behind as a Klingon prisoner was also morally questionable, and not something Star Fleet captains we are accustomed to would have done.

While Lorca did leave Mudd behind, he did bring Ash Tyler after what seemed like too easy an escape. Was this just yet another example of a show’s protagonists having unrealistic success which has happened very frequently on television, or were they allowed to escape? There is considerable grounds to suspect that this was a trick with Ash Tyler being a Klingon spy. One popular fan theory that he is actually Voq is explained here. Of course if he is a Klingon spy, he is unlikely to get past Lorca’s pet tribble.

Discovery had the first f-bomb ever on Star Trek after Staments told Tilly of his idea to transfer Tardigrade DNA into his body. Tilly responded to the idea by saying, “You guys, this is so fucking cool.” She apologized for her language but Stamets replied, “No, Cadet. It is fucking cool.”

There was no softening of the word such as with changing it to “fraking” as on Battlestar Galactica. This sure goes beyond McCoy saying, “Damn it, Jim.” AV Club has posted a history of swearing on Star Trek.  Of course such language is common on pay cable, with basic cable being more mixed. Syfy has cut the frequent f-bombs from The Magicians in the initial showing, but later showed the first season again uncut. Presumably the second season will be released in an uncut form in the future. On the other hand, I noticed such language being left uncut on Mr. Robot last week.

After Trek also showed a sneak peak of tonight’s episode with Burnham and Tilly wearing Disco t-shirts. Is disco still alive, or (more likely) is this a shortened form for the name of their ship?Possibly the producers are hoping that fans refer to Star Trek: Discovery as Disco as opposed to the abbreviation STD. Last week’s episode also had a very rare (but not the first) scene of a Star Trek bathroom. Plus we learned that they have not yet learned a more modern, futuristic way to fight tooth decay than brushing, and the suspicions about Stamets and Dr. Culber were confirmed.

The DNA transfer done by Stamets might actually not be all that cool based upon what we saw in the mirror at the end of the episode. Does this mean that the spores connect not only throughout the universe, but also into the Mirror universe? If so, this could be yet another reason why the spore drive is not used (or mentioned) on subsequent series.

Besides the introduction to Harry Mudd and telling us more about Lorca, Stamets, and Culber, the episode also revealed more about  Saru, who does have difficulties assuming the role of Captain, even if all worked out in this episode. There was another nod to continuity in the list of decorated captains which came up: Robert April, Jonathan Archer, Matthew Decker, Christopher Pike, and Captain Georgiou.

Besides including f-bombs as I mentioned above, Mr. Robot was notable last week for Elliot getting the cairn terrier back. As for the even more meaningful aspects of the show, Sam Esmail was interviewed by The Guardian.  The article began:

When Mr Robot first aired, two years ago, it was hailed for its timeliness. A serial drama about a nefarious hacking group taking on corporate power felt right for the age of Anonymous and banking failure. Now, in 2017, the existing two seasons can look a little dated; why spend ages plotting to bring down the west when the US president can do it with a tweet?

While a lot has changed in two years, there is a sense of vindication for Mr Robot creator Sam Esmail. The ideas the 40-year-old wanted to explore in this drama – his first TV show, which he wrote, directed, produced and edited himself – are still playing out in reality.

“One thing I’ve noticed about the show is that it feels like a period piece of today,” Esmail says. “The world is so heavily influenced by technology and it has started to feel like it’s not on solid ground. The world has become unreliable, unknowable. Facts are vulnerable and things you have come to rely on are no longer there. It’s an overlap that I’m not going to be so bold as to say I predicted, but that was what I was thinking about when I constructed the character of [protagonist] Elliot [Alderson].”

Included among the unreliable and unknowable elements of Mr Robot are the following: whether Elliot is good or bad; whether he hacked the biggest corporation in the US under instruction from the Chinese government; whether he is living at his mother’s house or in prison; whether his father is alive and, if so, why he wants to kill him; and, finally, whether or not he is really friends with 80s sitcom puppet ALF.

Should we also worry about Flipper the dog after learning about the allegedly Russian run web page full of those puppie pictures?

Oliver Queen made a reference to Bruce Wayne on Arrow last week. Having Bruce Wayne exist in his world does not mean that he is also Batman, but it does raise the question. It is more likely that Batman exists on Supergirl’s earth. After all, if Batman existed in Oliver’s world, there would be no reason for him to spend so much time fighting Batman’s foes.

TV Guide has complied a list of other references to Batman in the CW Arrowverse.

Right now Fox has the television rights to Bruce Wayne, but they have only been able to show him as partially growing into becoming Batman. Gotham is also showing the origins of other Batman characters, sometimes changing the details. Gotham introduced Solomon Grundy last week. Screen Rant reviewed his back story and how Gotham is varying from the comics.

Getting back to Arrow, Entertainment Weekly has spoken with Stephen Amell about the big changes in last week’s episode:

ENTERTAINMENT WEEKLY: Oliver actually gives up the mantle of being the Green Arrow. Game changer! Can you talk about how that might affect him moving forward? Does he still get the urge to go out there? 
STEPHEN AMELL: That’s been the cool thing about this season is that he can’t. You say him giving up the mantle is the game changer, but William is the game changer. The father-son dynamic can’t possibly can’t get any stronger than that. For all of the things that Oliver’s dad did wrong, and for all the things that we have since learned about him, Oliver still reveres him and holds him up to such a high standard, so that relationship is so important. I give it to Diggle; I don’t give it to him with a heavy heart, I give it to him with a full heart. I give it to him expecting him to be able to handle it. I like the idea that I give it to him because the city needs a Green Arrow, right? The Green Arrow can be more than one person. The Green Arrow is a symbol and his team is a symbol. The fact that we are pushing Star City in the right direction is something that is important to me because I don’t want the city to get destroyed every year, because then what’s the point of what we’re doing? We’re a team of vigilantes that are the definition of insanity, because we’re just doing things over and over again and hoping for a different result. Obviously I don’t know what’s going on with Diggle, but I give it up and there’s not a lot of angst.

It’s been a very strange time for me on the show, because we’re talking about going on four episodes now where I’m really out of the mix, and that’s been challenging for me, because I prep myself to work all the time, but we had — without getting into details — a story line last year where in the aftermath of Oliver being tortured by Chase — the big torture, making him reveal his animal instincts and that he enjoyed killing at one point — the producers and I had a lot of back and forth after that about how long that should affect him, because in one iteration, he just jumped right back on the horse. I was like, “Well, if we don’t follow the through line of that affecting him, then what was the point? What was the point of it happening if it doesn’t have consequences?” So I like that he’s given the mantle to Diggle and that’s been the show since then. That, to me, is really cool.

Realistically, do you see Oliver really never suiting up again?
No. Look, I remember one season of 24 when Jack Bauer had been taken prisoner, Jack was in China. They’re like, “Well, how long of this season is Jack going to be in China for?” and the producers were like, “He’s landing like six minutes after it starts. The show is the show.” Our show’s the show, but that doesn’t mean that we can’t surprise people. If he suits back up again, it doesn’t mean that all of a sudden it goes back to the status quo.

In Doctor Who news this week, Matt Lucus has hinted that he might not be done with Doctor Who after the Christmas episode.

Comic Book Resources has accumulated what we know, along with rumors, about upcoming changes on Doctor Who.

Doctor Who has won an Ally Award for LGBT inclusiveness. Pearl Mackie accepted the award and made this statement:

It’s lovely to be able to accept this Award on behalf of Doctor Who. I feel quite honoured to even have been invited, let alone for Doctor Who and the character of Bill.

It’s testament to how well she was received. I met a couple of young girls who were BAME, and talked to me about how watching Bill on Doctor Who enabled them to come out and feel comfortable with their own sexuality. For me, that’s a massive achievement.

The thing that I liked most about Bill was that she wasn’t grappling with her sexuality, she didn’t need to come out, it wasn’t an issue! It was always just about, I’m gay and happy and this is who I am, this is who I like and this is who I’m in love with.

Victoria, staring Jenna Coleman, concluded its second season on ITV last week, with a Christmas episode also announced. Presumably it will be combined with the other episodes into a nine episode series when it shows in the United States. Victoria will premiere on Masterpiece on PBS on January 14, 2018.

Will & Grace had an excellent episode last week dealing with gay conversion camps. A clip is above.

SciFi Weekend: Doctor Who; The Americans; American Gods

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

Why make this your final series?

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

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

What’s the hardest part of being the Doctor?

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

How would you describe your Doctor?

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

What can you say about your regeneration?

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

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

How would you describe your Doctors?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SciFi Weekend: Homeland Finale; Doctor Who; Sherlock; Victoria; Orphan Black; Sense8; Star Wars The Last Jedi; The Magicians; Supergirl; The Marvelous Mrs. Maisel; Big Little Lies

While not as good as the first season (a very high bar), Homeland finally figured out how to reinvent itself and become an excellent show again this season. When the series had a female president-elect, there was no question that they were playing on the thought that Hillary Clinton would have been elected last November. While the used the idea of a female president, she clearly was not Hillary Clinton. For most of the season it appeared that this was a far better choice for the first female present. Rather than being a warmonger and strong proponent the surveillance state like Clinton, President-elect Keane supported seeking peace in the middle east and was no fan of the Patriot Act. The series also dealt heavily with fake news and influencing public opinion.

The finale had an all too realistic warning. (Spoilers ahead). Shocked by an assassination attempt involving portions of the deep state, Keane snapped (as Dick Cheney may have when carried down to safety during the 9/11 attack). Like Donald Trump, President Keane went to war with her intelligence community, but to a far greater degree. She was no longer the anti-Clinton, expanding the Patriot Act and rounding up innocent people based upon metadata from NSA surveillance, including Saul Berenson. A right wing talk show host spoke of how President Keane broke her promises–somewhat like how real right wing talk shows are now talking about how Donald Trump has broken his promises to them. The name of the episode: America First.

Variety discussed the series with showrunner Alex Gansa. The interview was done before the finale and therefore does not include the surprising conclusion, but does discuss how the season was relevant to real world events:

“Homeland” storylines usually reflect real-world headlines in some way. What surprised you this year about how your show dovetailed with real events?

The most surprising and alarming coincidence was that the very thing we had posited a year ago in February — that is a President-elect in an adversarial relationship with her own intelligence community – actually came to the fore after President Trump got elected was just a coincidence of epic proportions. Frankly that was the biggest surprise second only to the fact that Donald Trump got elected in the first place. That dynamic – a newly elected President at war with her intelligence community was really the fulcrum that the entire season hinged on. The fact that it played out in the real world on the national stage was shocking to witness. There were some other (developments) that made us go back into some episodes to retrofit them.

Can you give an example?

The whole idea of fake news and propaganda – that seemed to take on a much more prominent role as we moved into our story. The one major thing we went back in and changed was introducing our Brett O’Keefe character much earlier than we intended. He was originally scheduled to be introduced in episode eight. But we went back in and did some reshoots and new scenes to introduce him in episode two…

You were clear all along in the lead-up to season six that “Homeland’s” female President-elect was not meant to be a thinly veiled Hillary Clinton. But were you concerned about that choice after Trump pulled off his upset win?

Absolutely. There was a moment we all just slapped our foreheads and wondered if the show was going to be irrelevant from that point forward. However, the story of the President-elect in an adversarial situation with her own intelligence community, that certainly wouldn’t have been Hillary Clinton. She was an establishment candidate. She was front and center of American foreign policy for years. …In a crazy way, the show would have been more irrelevant if Hillary would have been elected. The fact that Donald Trump and his team were in such a contentious relationship made the show feel current and contemporaneous. We lost on the gender but we certainly gained on the dynamic.

There has been a lot of news going into the season premiere of Doctor Who. As it has been sixteen months since a regular episode, Yahoo TV has the above catch-up guide.

Peter Capaldi has already filmed his regeneration scene. Steven Moffat has discussed the regeneration:

“With Matt I had a sort of idea that his entire run should be in the pre-math of a battle he’s having at the end of his life,” Moffat told RadioTimes.com exclusively at the BFI and Radio Times Television Festival this weekend (see video below). “But with Peter I wasn’t quite sure. I wasn’t sure for a long time whether I’d be writing him out or whether he’d be carrying on with [new showrunner] Chris Chibnall.

“That fits his Doctor, though,” the screenwriter went on, before hinting that this less mapped-out path would be echoed in Capaldi’s regeneration.

“His Doctor feels sort of impulsive and in the moment and would do something reckless that you wouldn’t expect. That suits me.

“And I mean, you can overstate the difficulty of planning a finale for a Doctor. In the end, any Doctor Who story has such catastrophe going on in it, that he could be the one that gets the rock on his head.

“But I think I’m really happy with what we’re doing for his finale. I’m just working on it now. It’s quite early. I should be further through it, but there you go.”

Moffat has also said he will be working on another show with Mark Gatiss.

Normally when Doctor Who is on, the lead item of SciFi Weekend is quite frequently a review of the current episode. Because of the holiday weekend, I have moved up this week’s post to Saturday, before this season’s premiere episode has been shown. I still might add a full review as a separate post rather than waiting until next week, depending upon both available time and how much the episode warrants it.

The Telegraph ran a story entitled, Steven Moffat talks the future of Sherlock and possible recasting. Of course, while scheduling Benedict Cumberbatch and Martin Freeman might be difficult, the show would never be the same with a different cast. Fortunately Moffat agreed:

Speaking at London’s BFI and Radio Times Television Festival, Moffat revealed: “Neither Benedict, Mark or Martin are against doing more Sherlocks. We have a great time making them, it’s a very, very nice bunch of people and we enjoy our reunions very much… [but] we’d never want to do it if we didn’t think we could do it as well as we used to.

“It also means, we’ll come back to it when we feel we’ve got the right idea. It could be off the earth quite a long while now. But I would be surprised, as I’ve said before, if we never made any more Sherlocks.”

Along with concerns over future stories, Moffat and Gatiss also have the busy schedules of their two stars to contend with: both men entrenched in the Marvel universe, as well as their multitudes of additional projects. It lead to Moffat being asked whether he would ever consider a recast.

“Absolutely not,” he was quick to reply. “You can admire great cinematography, a great score, great writing, great direction, great production. You can admire all those things, but you only fall in love with people. And the people you fall in love with are Sherlock, Benedict Cumberbatch and Martin Freeman.

“You cannot replace them. They are the magic, they are the show.”

Speaking of recasting, while The Crown plans to recast Claire Foy and Matt Smith after the second season as their characters age, Victoria will be moving more slowly through the 1840’s. Therefore there are no plans yet to recast Jenna Coleman.

BBC America has released a longer trailer for the fifth and final season of Orphan Black, which returns on June 10.

Netflix has released the above trailer for season 2 of Sense8, which will become available on May 5. The description:

From renowned creative geniuses Lana Wachowski, Grant Hill (“The Matrix,” “Cloud Atlas”) and J. Michael Straczynski (Clint Eastwood’s “Changeling,’ “World War Z”), Sense8 is centered around eight characters, from different parts of the world, who experience a violent vision, and soon find themselves mentally connected by the experience. They become connected, able to see and talk to each other as though they were in the same place, with access to each other’s deepest secrets. Not only must the eight adapt to this new ability and to each other, they must figure out why their lives are now in jeopardy. In Season 2, dark forces continue to track the cluster of eight connected characters. The sensates will learn more about BPO, the secret organization searching for their cluster and others like them, and will work to protect themselves from this organization that is out to hunt and kill them.

The above teaser has been released for Star Wars: The Last Jedi which will be released December 15. More at Entertainment Weekly.

Syfy has finally announced that The Magicians will be renewed for a third season. Grace and Frankie has also been renewed by Netflix.

Calista Flockhart will be returning for the final two episodes of Supergirl this season. She was written out of the show after two episodes as a consequence of the show moving production to Vancouver. Tyler Hoechlin will also return as Superman.

Manu Bennett (Slade Wilson/Deathstroke) will be returning for the season finale of Arrow.

Gotham plans to “introduce the idea of Harley Quinn” in the Season 3 finale.

The pilot for The Marvelous Mrs. Maisel has received excellent reviews, so it is no surprise that Amazon has picked up this series from Amy Sherman-Palladino and Daniel Palladino. The only surprise is that Amazon has already picked it up for two seasons, which could keep Amy Sherman-Palladino busy if the rumors come true of a second season for Gilmore Girls: A Year In The Life. The summary for her new series:

The series, written and directed by Sherman-Palladino, stars Rachel Brosnahan (House of Cards) as Miriam “Midge” Maisel, a 1958 New York City woman who has everything she’s ever wanted—the perfect husband, two kids, and an elegant Upper West Side apartment perfect for hosting Yom Kippur dinner. But her perfect life suddenly takes an unexpected turn and Midge discovers a previously unknown talent—one that changes her life forever. She charts a course that takes her from her comfortable life on Riverside Drive, through the basket houses and nightclubs of Greenwich Village as she storms the world of stand-up comedy…a course that will ultimately lead her to a spot on Johnny Carson’s couch.

In addition to House of Cards, Rachel Brosnahan also appeared as Abby Isaacs in the WGN series Manhattan.

Big Little Lies completed the events of  novel it was based on in its first season, but that might not keep it from getting a second season. It certainly is plausible–and there is precedent for this. The Leftovers was better in its second season, after its first season completed the novel it was based on, and early reviews suggest the third season might be even better. HBO was certainly not going to stop filming Game of Thrones when it caught up to the published novels.

Peter Capaldi Announces Plans To Leave Doctor Who

During an interview on BBC Radio 2, Peter Capaldi announced he plans to leave Doctor Who, with his last appearance to be on the 2017 Christmas special. Radio Times Reports:

The actor was speaking with BBC Radio 2’s Jo Whiley during a special Evening in with Peter Capaldi when he revealed that he had decided it was time to say goodbye to the Whoniverse.

“One of the greatest privileges of being Doctor Who is to see the world at its best” he told Whiley. “From our brilliant crew and creative team working for the best broadcaster on the planet, to the viewers and fans whose endless creativity, generosity and inclusiveness points to a brighter future ahead. I can’t thank everyone enough. It’s been cosmic.”

“For years before I ever imagined being involved in Doctor Who, or had ever met the man, I wanted to work with Peter Capaldi”, departing Doctor Who boss Steven Moffatt said in an official statement.

“I could not have imagined that one day we’d be standing on the TARDIS together. Like Peter, I’m facing up to leaving the best job I’ll ever have, but knowing I do so in the company of the best, and kindest and cleverest of men, makes the saddest of endings a little sweeter” Moffatt added.

Capaldi’s last season as the twelfth Doctor will start in April, which will also be Steven Moffat’s last season as show runner. Just over one year ago we got the news that Chris Chibnall, creator of Broadchurch, will be taking over for Moffat.

If Capaldi follows the pattern of Matt Smith and Jenna Coleman after they left Doctor Who, perhaps he will take a leading role in a drama about a member of the British royalty.

SciFi Weekend: Sherlock; The Expanse; Deadpool; Stranger Things; Wayward Pines; Twin Peaks; iBoy; Humans; Victoria; John le Carré; Celebrities On Surviving Trump

I am not going to give any spoilers on the season finale of Sherlock which airs tonight but leaked out early, waiting to watch until this is posted, but there remains a lot to say about last week’s episode. Steven Moffat and Mark Gattis spoke about the big twist in The Lying Detective. (Major spoilers for those who have not seen the episode):

At the end of the episode, we found out that the woman pretending to be Watson’s therapist, rush hour crush and Culverton Smith’s daughter were the same person. Not only that, but she was Sherlock and Mycroft’s long lost sister, Eurus (which means east wind).

After a screening at the BAFTA Cymru in Cardiff, the show creators hosted a Q and A where they told all about the chaos that had just ensued.

Mark Gatiss and Steven Moffat explained how the idea that Sherlock had a sister had been in the back of their minds ever since the first episode. Gatiss said:

It started as a joke years, years ago. Right from the beginning of the first season, there was a line in ‘The Great Game’ when we were sort of sketching in the idea of the Holmes family and there was going to be a line about Mycroft being a member, Sherlock admitting that he was cleverer than him and then him kindly saying, mind you…my sister…

It was absolutely cut off, and that’s really where it all began.

[At the time] we thought, we won’t do too much. And thank god we didn’t, as it gives us this place to go.

But that wasn’t the only shock of Sherlock. People were frankly dumbfounded to see that Watson had been seeing a girl behind Mary’s back. Steven decided to tackle that one, head on, saying:

He’s a fully rounded character. He’s a fully rounded human being with all the normal flaws that people have.”

BuzzFeed then asked him if he was going to be back to his usual self for the next episode, to which he said:

We’re not going to say now that he’s cosy and lovely, you don’t get Martin Freeman to play that.”

The episode even contained a Torchwood Easter egg–a postcard on the mantel with the Torchwood ‘T’ logo. Technically this would place Sherlock in the Doctor Who universe.

The Lying Detective left Radio Times with thirteen burning questions. Fans are looking back through old scenes for clues.

Moffat and Gatiss did tease tonight’s finale:

“It’s a grand old finale. It’s a very very finale finale,” said Moffat, at the BAFTA screening for ‘The Lying Detective’.

“It’s the most like a Universal Sherlock Holmes that we’ve ever done,” Gatiss added. “It’s like a Basil Rathbone one. It’s absolutely crazy.”

The Expanse returns for season 2 on February 1. For those of use who didn’t make it through the entire first season, Syfy has put out a series of videos on the series, such as the one above. For those who want a briefer summary of season 1, below is a recap with cats:

Deadline interviewed the writers of Deadpool about the planned second movie. They also blamed the leak of test footage from the first movie on Putin.

The cast of Stranger Things teased season two in an interview with Vanity Fair.

Wayward Pines will not be returning this summer, but Fox has left open the possibility of it returning in the future. I’m actually happy to hear this. I’ve read the novels the show was based on by Blake Crouch, but the television show is one of many shows in this era of peak TV which I haven’t gotten to yet. Another year might give me a chance of watching the first two seasons before a third if there should be one. Incidentally, Blake Crouch is also the author of Dark Matter (no relationship to the televisions how by that name). The novel is more a page-turner thriller than hard science fiction, but, like his Wayward Pines series, was a quick and enjoyable read, and I’ve seen it on some of lists of top books of 2016. (Also, while not really related, I have used the hiatus in new shows around the holidays to catch up on Syfy’s Dark Matter and will now be able to include it in the weekly show coverage when it returns).

Return to Twin Peaks on May 21:

Kyle MacLachlan reprises his role as FBI Special Agent Dale Cooper. TWIN PEAKS, the 18-part limited event series will debut with a two-part premiere on Sunday, May 21 at 9PM ET/PT. Immediately following the premiere, SHOWTIME subscribers will have access to the third and fourth parts, exclusively across the SHOWTIME streaming service, SHOWTIME ANYTIME® and SHOWTIME ON DEMAND®. In its second week, TWIN PEAKS will air the third and fourth parts back-to-back on the linear network, starting at 9 p.m. ET/PT, followed by one-hour parts in subsequent weeks…

Directed entirely by David Lynch, the new SHOWTIME limited event series picks up twenty-five years after the inhabitants of a quaint northwestern town were stunned when their homecoming queen Laura Palmer was shockingly murdered.

Widely considered one of the most groundbreaking and influential broadcast series of all time, TWIN PEAKS followed the inhabitants of a quaint northwestern town who were stunned after their homecoming queen Laura Palmer was shockingly murdered. The town’s sheriff welcomed the help of FBI agent Dale Cooper, who came to town to investigate the case. As Cooper conducted his search for Laura’s killer, the town’s secrets were gradually exposed. The mystery that ensued set off an eerie chain of events that plunged the inhabitants of Twin Peaks into a darker examination of their very existence. Twenty-five years later, the story continues…

Maisie Williams has a major role in an new superhero movie coming out on Netflix. It has a more modern origin story. Instead of being bit by a radioactive spider, the hero gets his powers from portions of a smartphone embedded in his brain:

Tom is an average teenager whose world is turned on its head when a violent encounter with local thugs leaves fragments of his shattered smartphone embedded in his brain. He wakes from a coma to discover that returning to normal teenage life is impossible because he has developed a strange set of superpowers. With these new powers he sets out to seek revenge on the gang, who also assaulted his best friend Lucy.

iBoy is a Netflix original film starring Bill Milner, Maisie Williams, Miranda Richardson and Rory Kinnear and is available on Netflix globally from January 27th, 2017.

The Hollywood Reporter has news on another Game of Thrones Star. Peter Linklage is engaged in talks to appear in Avengers: Infinity War.

The second season of Humans was excellent, and will become available (legally) in the United States on AMC on February 13. Deadline has some information. Syfy Wire spoke with the showrunners about topics including the comparisons to Westworld:

The showrunners were asked whether they minded that Westworld entered their same thematic storytelling space last year, but Brackley says the more, the merrier. “From our point of view, it’s only a good thing if people are interested in the issues we are all talking about. There’s plenty of room for both of us, and probably more about AI. Our shows are very different.”

Another excellent series from the UK will also become (legally) available in the US. Victoria debuts on PBS tonight. It is often compared to Golden Globe winner, The Crown, with similarities including actors from Doctor Who in key roles. While The Crown had Matt Smith in a supporting role, this one stars Jenna Coleman. Both The Crown and Victoria center around a new Queen and her relationship with the Prime Minister in their first season. Unlike The Crown, in which Elizabeth is married to Philip at the start, Victoria doesn’t meet Albert until later in the first season.  Entertainment Weekly has more on Victoria and spoke with Jenna Coleman:

Apparently there is some other show about British royalty called The Crown, which features your Doctor Who costar Matt Smith. Have you two compared notes?
[Laughs] I think both of us tried to work out our [characters’] relationship to each other. It’s funny, he’s filming the second season in London. I’ve seen all the first, which I think is fantastic.

We already know Victoria will have a second season. In an ideal world, how long will the show run?
It depends on appetite and the pacing. There’s so much story, it could run for 60-odd years!

There is another interview with Jenna Coleman at Collider.

The Night Manager was one of the highlights of 2016. This leaves me optimistic about the next John le Carré adaptation from AMC, The BBC, and The Ink FactoryThe Spy Who Came In From The Cold.

While several celebrities say that at first they were petrified about the upcoming inauguration of Donald Trump, they are now singing, I Will Survive. Those singing Andrew Garfield, Chris Pine, Emma Stone, Amy Adams, Natalie Portman, Matthew McConaughey, and Chris Pine. Needless to say, conservatives don’t find this entertaining. The New York Times looked at how other celebrities such as Judd Apatow are responding in a different manner. I previously posted about reactions to Donald Trump at the Golden Globe Awards, including text and video of Meryl Streep’s speech, here.

SciFi Weekend: Doctor Who–The Return Of Doctor Mysterio; Carrie Fisher; Will & Grace; Gilmore Girls; Matt Smith On The Crown; Sherlock; Hollyweed

A Doctor Who Christmas Special is different from a regular episode. While there have been some exceptions, generally they are lighter and disconnected from the story lines of a particular season, making them something the entire family might watch even if they do not watch Doctor Who regularly. Keeping this in mind will answer some of the criticism I’ve seen of The Return of Doctor Mysterio, which worked fine as a Christmas story, even if light. It was not, and was not intended to be, a major story with profound ramifications for the mythology of the show. The show broke ratings records for BBC America.

The episode got its name because Peter Capaldi loved to refer to his character as he is referred to in Mexico, and it fit as it did include two times in which the Doctor returned to see Grant after he accidentally turned him into a superhero. Having the Doctor be responsible allowed for Steven Moffat to play with many troupes of superhero comics and movies without fully including superheroes as part of the Doctor Who universe. Instead it is superhero comics, and generally not superheroes, which are a part.

This was the first appearance of the Doctor (other than his brief cameo in Class) since last year’s Christmas special, The Husbands of River Song. While it was not necessary to have seen it, this episode is a direct continuation. Both episodes included a key situation involving not recognizing someone else. They also both involved  aliens exchanging heads or brains, and has the return of Matt Lucas as Nardole. Fortunately the Doctor’s many skills include the ability to reassemble Nardole’s head on his body, allowing him to become a valuable assistant after the twenty-four year night he spent with River Song before she met her fate in the library. Matt Lucas will remain a semi-regular in the upcoming season.

Moffat took advantage of his experience in writing the romantic sit-com Coupling. This was seen when he had the entire body of the adolescent superhero who couldn’t control his x-ray vision levitate, obviously representing the rise of something else. It was seen again in scenes with Grant and Lucy, especially when they had dinner on the roof, while Grant had to be in two places at once.

The roof-top dinner was a clear homage to the Richard Donner/Christopher Reeve Superman films. There were even panels from a Superman comic displayed early in the episode. How many collectors felt ill to see the Doctor deface what would now be a rare old comic by drawing glasses on Superman to show off how he figured out that Clark Kent is Superman, oblivious to the fact that everyone else already knows this (except for Lois Lane). It is just something we accept that wearing glasses keeps most people from figuring out his secret identity, but to the Doctor, “there are some situations which are too stupid to be allowed to continue.”

There were other ways in which this was a homage to Superman, including the double-L name of Lucy Lombard to match the names in DC comics. Moffat worked in the names of Siegel and Shuster, the creators of Superman, as names of employees at Harmony Shoals. There is a globe on top of the  building reminiscent of The Daily Planet.

Moffat didn’t limit himself to Superman comics. There are items from multiple DC and Marvel comics all over young Grant’s bedroom. The Ghost had aspects also comparable to Batman, including the look of the Ghost, his voice, and a reference to the bat signal. The advice, “With great power comes great responsibility,” comes from Uncle Ben’s advice to Peter Parker in Spider-Man. The Doctor reacted to Spider-Man’s origin in being bitten by a radioactive spider by expecting the signs of radiation poisoning. He considered himself to be the inspiration for superheroes with Doctor in their name.

There were other great moments in the episode, such as Lucy interrogating the Doctor by squeezing Mr. Huffle. I bet the BBC will be selling those toys in the future. I also liked the earlier scene when the Doctor came across Lucy, also spying on the aliens: “It’s okay. I’m an intruder too. Yeah, I brought snacks – mark of a pro. Keep listening.”  Plus there was the Doctor’s comment on the situation: “Brains with minds of their own? No-one will believe that – this is America.”

Yes, there was also an alien invasion, but this was a trivial aspect of the show, present to provide a backdrop for Grant’s story. This did make the episode seem a little disjointed at times, but the pleasure of seeing the classic superhero triangle of Grant, The Ghost, and Lucy made up for  this.

The episode ended with a teaser of the next season, and the new companion, Bill, played by Pearl Mackie.

Bill met the Doctor at a University and, contrary to previous rumors, is from the present. The trailer above does give some clues as to her personality and relationship with the Doctor. At this time we don’t know yet whether she will encounter the strangest aspect of being a companion to the Doctor, witnessing a regeneration.

The biggest genre related news of the week was the death of Carrie Fisher, followed the day later by her mother, Debbie Reynolds, dying, presumably of a broken heart. Carrie Fisher’s death was too big a story to wait for SciFi Weekend, and I posted about this story in greater detail here: Carrie Fisher Dies At 60, May The Force Be With Her Always.

Also this week, William Christopher, best known as Father Mulcahy on M*A*S*H died.

It looks like NBC will be bringing back a ten episode revival of Will and Grace next fall.

Netflix dropped a hint raising speculation that there will be more of Gilmore Girls after the cliff hanger ending of A Year In The Life.

Bot Matt Smith and Jenna Coleman played British royalty in The Crown and Victoria in 2016. While Matt Smith’s role was not as big as Jenna Coleman’s, his portrayal of Prince Phillip was an entertaining aspect of The Crown. Radio Times reports that Matt Smith will continue to have a major role in season two of The Crown:

You might think you know what’s coming next in Netflix’s The Crown: after all, the life of the most famous family in the country is not exactly untold history and requires no spoiler alerts.

But with the making of season two, creator Peter Morgan has revealed how he plans to continue the story of Elizabeth’s reign – and the focus will shift away from the Queen herself as other royals take centre stage.

“We start to focus on Charles as a young boy and his education, and on Philip and his back story,” Morgan told People magazine.

Matt Smith’s Prince Philip was one of the most engaging characters in the first season as he struggled to adjust to his wife (played by Claire Foy) becoming Queen. The production team has recently been in South Africa, filming part of Philip’s Commonwealth tour which took him away from his wife and young family for months.

Executive producer Suzanne Mackie teased: “We glance backward to Philip’s childhood and his upbringing, and how that might have impacted him as a man, a father and as Prince Consort – which is fascinating.”

Diana won’t be appearing until season three.

Sherlock season four premieres tonight. Steven Moffat and Mark Gattis warn that it had people sobbing in an interview with The Sun:

We’ve watched the first episode and we really felt as though something bad was going to happen…
Mark: It’s prefigured. You start with the sharks and then you go into lots of light-hearted fun. But it’s important to think: ‘This is not going to end well.’ I was listening to people sobbing in our first press screening – that’s a very good reaction.

Are you two still moved to tears, despite knowing what’s coming up?
Mark: Oh, I cry every time with episode one. That one shows what fun the duo have, but that events have consequences… It’s about the past coming to get you. And there are at least two scenes in episode two that make me cry. And I always cry at a certain point in episode three…
Steven: Episode three is the finale of finales…

You have said that this is not the last series. Have you got the next one mapped out?
Steven: It’s slightly early to be talking about season five when season four hasn’t been on yet. But no one can really end the story of Sherlock Holmes, can they?
Mark: We’d like to carry on. We just don’t know.

Finally in show business, including Hollywood, news, someone changed the famous Hollywood sign to read “Hollyweed” last night. This happened once before in 1976 following the passage of a California marijuana law.

SciFi Weekend: Holiday Shows (Doctor Who, Sherlock, Sense8); Holiday Gifts; Metropolis; Star Trek Discovery Casts Lead; Humans; The Man In The High Castle

We have now gone almost a year without any new episodes of Doctor Who. (At least there was Class, along with seeing Matt Smith on The Crown and Jenna Coleman on Victoria). Peter Capaldi and others have filmed the above message in advance of the Christmas special, and Capaldi has been available for interviews, including the one below:

Doctor Who does have some famous fans, including Prime Minister Theresa May, who has said she always watches the show on Christmas Day. Peter Capaldi responded to hearing this by saying, “I hope she takes this message of kindness and tolerance and compassion to heart.” When asked about whether he plans to leave the role, Capaldi responded by saying, “not for a long time, I hope.”

In another recent interview with Digital Spy, Steven Moffat has suggested someone else for the Doctor to meet, but does see a potential problem. “I’d like Doctor Who to meet the real James Bond, that’d be awesome. They wouldn’t get on at all. He’d shag his assistant!”

The fourth season of Sherlock begins on New Year’s Day. (They don’t worry about competing with the Rose Bowl in the U.K.) There have been hints that it might be the final season in light of how busy Benedict Cumberbatch and Martin Freeman are, but Steven Moffat denies it will be the final season.

Among other things I’ve recently learned about Doctor Who, Matt Smith has a sister, who is one of the girls in the above video.

Gizmodo lists The Best Gifts for Doctor Who Fans. Of course I already have my own full-sized Tom Baker scarf and a sonic screwdriver.

If you prefer a different franchise, and have a big budget, Ars Technica reviews a $434 replica light sabre. Or, if you want to build your own Death Star, here is how to begin.

We have become accustomed to seeing special holiday episodes of shows from the U.K., but I believe it is a first for Netflix to do this. The trailer for the Sense8-Christmas Special is above (to be released December 23). I have seen conflicting reports as to whether they will wait until May (as the trailer states) versus releasing the second season this month. Presumably the trailer has the most up to date plans.

In other genre news this week, Sam Esmail (Mr. Robot) is planning to do a miniseries of the 1927 classic science fiction movie, Metropolis.

The lead has been cast for Star Trek: Discovery. Sonequa Martin-Green (Walking Dead), will play a lieutenant-commander. Unlike previous Star Trek series, the show will not center around the captain.

Humans ended its second season tonight. (I have the season finale downloaded but have only watched through the seventh of eight episodes). The series raises many of the same issues as Westworld. It lacks the budget, the hype, and the big stars, but it many ways it has done an even better job. AMC will be starting the second season in the United States on February 13.

Amazon started the second season of The Man In The High Castle. While I am still early in the series, it looks good so far. The show which includes Nazi occupation of the eastern United States now seems more relevant with just over a month to go until Donald Trump becomes president. Deadline also recommends another new streaming show released on December 12, OA on Netflix.

SciFi Weekend: Gilmore Girls A Year In The Life; CW Superhero Crossover; Bryan Fuller and Star Trek Discovery; Class; Doctor Who; Sherlock; Luke Cage; Sense8; Westworld

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Gilmore Girls, A Year In the Life finally revealed the greatest mystery beyond the secret of life, the universe and everything (which was revealed in The Hitchhiker’s Guide To The Galaxy to be 42). Major spoilers ahead as I figure that any fan of Gilmore Girls will have completed the series by now. It is only six hours and it is Lorelai, Rory, Emily, and Stars Hollow, after all. The series concluded with those four final words which  Amy Sherman-Palladino had intended when she first started the series, but did not get to use because of leaving the series for its final seventh season over contract disputes. After years of waiting, we now know they were, “Mom. “Yeah?” “I’m pregnant.” The words, in retrospect, were entirely predictable. As we learned from Battlestar Galactica, “All this has happened before, and all of it will happen again.” Lorelai being pregnant with Rory years earlier set up the series, and now all of it will happen again.

Of course it will not happen exactly the same. Rory will not run off and leave her family as Lorelai did. Rory is now much older than both Lorelai was, and also significantly older than Rory would have been if the four final words were spoken at the end of the original seventh season. She could go down a completely different path. “Rory doesn’t have to keep the baby,” as Amy Sherman-Palladino told TVLine. “There are choices here that she can make. It’s just the left turn. It’s that curveball that life throws you. I will say, weirdly, that I like it much more now. ”

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The revival captured much of what made the original series great. Most of the old cast was seen, with Paris having some of the best scenes. Drop Murder She Wrote and sign Liza Weil for a Paris Geller spinoff. There were many additional cameos, including cast members from Bunheads and Parenthood. This included her Parenthood daughter Mae Whitman. The two park rangers were played by Jason Ritter, a romantic interest on Parenthood, and by Peter Krause, her brother on the show, and real-life romantic partner. A full list of cameos can be found here.

There were many pop culture references. This includes genre references include Doctor Who (with an appearance by Alex Kingston), Superman, Star Wars, Star Trek, Marvel Movies, Outlander, Buffy the Vampire Slayer, Twin Peaks (with Ray Wise also having a role), and Game of Thrones. While there were far too many to mention all the genre references here, Screen Rant has a full list. The timing of the show, taking place during the 2016 election year but filming before the results were known, prevented them from including political references. A future season of Gilmore Girls could easily include some snarky comments about Donald Trump–as they sometimes did at the expense of George Bush and other Republicans during the original run. I collected some examples here and here.

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Amy Sherman-Palladino and Daniel Palladino gave multiple interviews which covered some of the points discussed, included whether Stars Hollow would have gone for Donald Trump. Here’s a portion of one interview from Vulture:

Let’s get right to the heart of the matter: the final four words. You’ve said these were the same four words that would have marked the end of the original series. But did you ever contemplate changing the ending for A Year in the Life in a way that differed from that plan?
Amy Sherman-Palladino: We didn’t really know what that last season was until we got into it and then we asked a lot of questions and we found out where the show ended. The show could have ended in a different place that made those last four words completely irrelevant. So we went into breaking this in a way that we were really looking at it like these three women are at a crossroads. The patriarch has died and what’s the way forward for them?

Organically, the last four words fell into place on this. It’s not something we would have shoved in there if it hadn’t really led us to a good space and if we weren’t churning toward that anyhow. What’s interesting about the last four words as originally conceived is they would have been when [Rory] was 22, and while that still, I think, thematically would have worked with the whole idea of history repeating itself full freaking circle — you know, daughter follows in mother’s footsteps — to me it’s actually more interesting, it takes on more relevance, that it’s at the same age. She’s at the same age now that Lorelai was when we started the series.

That’s just an interesting kind of dynamic. When we met Lorelai, she was 32 and that’s where she was in her life and now we’re leaving Rory at 32 with the thing on the horizon. It felt kind of cooler to us to do it now than if we had done it when we were still on the WB.

Also, Rory has had an opportunity to live life and do some things that her mom didn’t.
ASP: She’s bringing more to whatever decision she makes than she would have at 22, fresh out of college.

Let me ask you this: Do you know who the father of Rory’s baby is?
ASP: We do…

I’m sure everyone is asking you this question, but do you want to do another season or series of mini-movies like this? Has that been discussed at this point?
DP: Nothing’s been discussed. This was kind of set as a one-off thing, but we would never have anticipated that we were going to do this up until a couple of years ago when it occurred to us. So we never say never. It wasn’t designed to go beyond this, but it certainly can go beyond this.

ASP: Yeah, it wasn’t the sales pitch. The sales pitch was, these are the four stories, this is A Year in the Life, this is what it’s going to be. There were no ulterior motives walking into that room to pitch, other than we think it will be really interesting to see where these women are over this particular year.

Because it ends the way that it does, some people may assume that, “Oh, they set it up to continue.”
ASP: Nope, not at all. We’ve always tried to not wrap things up in a bow. We tried to do that on the series. Because life isn’t like that. You can have a good moment with a parent you are estranged from, and you have a great moment, and then the next time you see them, everything’s back to the way it was before and you guys are throwing knives at each other. Life doesn’t tend to fix things or wrap them up in bows. Because of that, we wanted the ending of this to not have a pat, “And they all lived happily ever after!”

It’s not that it’s a sad ending, particularly, but it’s an ending of, “And life throws you another left turn and then you’ve got to go with the flow.” That’s what we’ve always tried to do, successfully or unsuccessfully, with the show over the life of it. We felt it would have been weird to end this year with, “Everyone’s happy! Yay! Unicorns for all!”

A detail that jumped out at me while I was watching was a poster with the date of Luke and Lorelai’s wedding, which would have been a few days before the election. I didn’t know if that was something that was …
ASP: They were so happy then. So innocent to the ways of the world.

DP: We were tempted to put something about — you know, because there was the prospect and the likelihood that there was going to be a woman president-elect at the very, very end. I think that poster [originally] indicated that it would be on November 19, I think it was post-election. I think it may have been post, you know, it was right around that time. We in this industry can’t afford to even predict the future even when it’s as certain as Hillary Clinton winning the presidential election. Quite frankly, this show — Amy and I are dyed in the wool liberals and very left wing. But the show, we always wanted it to be bipartisan and Stars Hollow is a — probably voted for Trump, mainly …

ASP: No. No, no, no, no.

DP: Oh, I think they did.

ASP: No, no, no, no, no.

DP: It’s rural America!

ASP: No, no, no, no, no. There is no evilness in Stars Hollow. Do not put that out there, I do not accept that. Absolutely not.

DP: Okay, maybe it’s a …

ASP: No. No.

DP: … clean, liberal …

ASP: No. No.

DP: … maybe.

ASP: No. No, no, no. The problem is that if we had known Satan was taking over the world we would have needed a whole other budget for, like, dragons and flying demons and, you know, like the sun disappearing from the world. Winter is coming. It would have been so expensive the way we would have needed to do it, had we known that the apocalypse was coming. It’s good we didn’t, so we didn’t have to spend all that money on horns, harpies — and Minotaurs and women with snakes.

Gilmore Girls, A Year In The Life works well as a stand-alone revival, or given the flexibility of Netflix, it should be possible to have further mini-seasons.

DC's Legends of Tomorrow --"Invasion!"-- Image LGN207c_0156.jpg -- Pictured (L-R): David Ramsey as John Diggle, Caity Lotz as Sara Lance/White Canary, Carlos Valdes as Cisco Ramon, Emily Bett Rickards as Felicity Smoak, Stephen Amell as Oliver Queen, Grant Gustin as Barry Allen, Brandon Routh as Ray Palmer/Atom, Melissa Benoist as Kara/Supergirl, Nick Zano as Nate Heywood and Victor Garber as Professor Martin Stein -- Photo: Diyah Pera/The CW -- © 2016 The CW Network, LLC. All Rights Reserved.

The CW Network had its big cross over event with Supergirl, Flash, Arrow, and Legends of Tomorrow.The episodes were a treat not only for fans of the CW shows, but for all genre fans. While there weren’t as many genre references as in Gilmore Girls, MoviePilot.com listed some of the Easter Eggs for genre fans included in the episodes.

Andrew Kreisberg and Marc Guggenheim discussed some of the issues raised in the episodes with TVLine:

WILL THERE BE MORE FLASHPOINT CHANGES FOR ARROW AND LEGENDS CHARACTERS? | The producers are keeping mum on that front, but Guggenheim did share that “there’s a fair amount of discussion” about the subject in next Wednesday’s Arrow midseason finale. “[The characters] deal with — in some humorous ways, actually — some of the ramifications. For example, I think Curtis is concerned that maybe he was straight, originally.” As for whether Barry’s voicemail is directly tied to Flashpoint or referencing more changes that the speedster makes down the road, Kreisberg offers this cryptic tease: “The message from the future relates to Flashpoint, but it also may relate to something else coming up.”

WILL SUPERGIRL VISIT EARTH-1 AGAIN? | Now that Kara has a way to communicate and travel across Earths, crossovers are certainly “easier” to execute, Kreisberg says. “The next time we do it, it means it doesn’t necessarily have to be because Oliver and Barry need Kara; it could be because Kara needs them.” However, the EP notes that nothing is in the works, seeing as how “we just barely survived this one. So we’re not too concerned with what we’re going to try to do next year. But it just gives us another way to come at a story.”

WILL STEIN’S DAUGHTER BE BACK? | “You’ll see her again in a few episodes,” Guggenheim says. And as early as next Thursday’s Legends midseason finale, “the ramifications” of Stein and Jax keeping the doc’s newly discovered offspring a secret “come into play.”

COULD THE NEW PRESIDENT HAVE BEEN LYNDA CARTER? | “Actually, in the original draft of the Legends episode, she was the Vice President, who became the President,” Guggenheim reveals. “The studio had what we all considered to be a very fair note [that] it was a bit too confusing.”

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Bryan Fuller is no longer involved with Star Trek: Discovery, but his early work on the series should still have a big impact on the direction of the series. From Newsweek:

“Ultimately, with my responsibilities [elsewhere], I could not do what CBS needed to have done in the time they needed it done for Star Trek,” Fuller explains to Newsweek. “It felt like it was best for me to focus on landing the plane with American Gods and making sure that was delivered in as elegant and sophisticated a fashion as I could possibly do.”

CBS opted to move ahead without Fuller after previously accommodating his and co-creator Alex Kurtzman’s request to push the show’s planned January 2017 premiere to May in order to “achieve a vision we can all be proud of.” Variety reported in September that the pair wanted to meet fans’ expectations, particularly with special effects.

“It is bittersweet,” says Fuller. “But it was just a situation that couldn’t be resolved otherwise…so I had to step away.”

Fuller—who retains an executive producer credit—wrote the first two episodes of Discovery and the story arc for the rest of the 13-part first season. CBS said it would see his “vision through,” but the writer confirms he has no active involvement with the series.

“I’m not involved in production, or postproduction, so I can only give them the material I’ve given them and hope that it is helpful for them. I’m curious to see what they do with it,” he says.

He commented on a potential second season: “They have my number and if they need me I will absolutely be there for them.”

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Class began it season with an appearance by Peter Capaldi and now has completed its first season with a surprise visit from a classic Doctor Who enemy. As it won’t be airing in the United States until spring, I won’t give any details. Those interested can find out more here. Warning, the spoiler is in the title and cannot be avoided if you click on the link. Review of the episode here.

Jenna Coleman reports that filming of the second season of Victoria will start in February. The first season will be available in the United States on Masterpiece on PBS starting January 15.

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The above picture provides several clues about Sherlock. Radio Times goes through the clues, which include a nod to a Doctor Who character.

Netflix has picked up Luke Cage for a second season.

Originally Netflix was only going to release a Christmas episode of Sense8. Now they have decided to release the entire second season on December 23. (Update: The second season will not be released until May.)

Masters of Sex has been canceled after its fourth season. The show has gone downhill and it didn’t seem like they really knew what to do with it anymore. I just wish that they had known that it would be the final season earlier. Rather than a meandering fourth season, they could have told a story over a longer time span and taken the story until wherever they wanted to ultimately finish it.

Amazon has canceled Good Girls Revolt after its first season. I have not had a chance to see it yet, but I had added the first season to my queue following favorable reviews.

Last week more fan theories were confirmed on Westworld but there are a lot of questions remaining. With the season finale airing soon after this will be posted, there is little point on speculating further until the finale is viewed. I do have one additional tip for casual viewers who have not been paying attention to all the on-line discussion of the show. Pay close attention to the opening credits. The scenes do give away a lot.

Alec Baldwin did his impersonation of Donald Trump once again on Saturday Night Live, this time mocking his use of Twitter. Probably failing to see the irony, Trump responded by blasting Baldwin with a tweet. Baldwin offered to stop doing his impersonations if Trump would release his tax returns.