Season 2 concept art, shared on twitter.

I know I don’t usually do news, but with as much focus as this site’s start had on Defiance, it felt important to get the news out there. As reported here and confirmed on Twitter, Defiance was successfully renewed for Season 3. I gotta say I’m rather relieved; as irritating as the show can be at times, I’m still pretty invested in it, even if I don’t (yet) love the characters as much as the crew of the Enterprise-D or the gang aboard Moya. I’m only so harsh because I care, really! The show has so much potential and I want to see it through, however it develops. And now, no more will we have to worry about the last hanging plotlines being resolved in game, for those of us who don’t play the MMO.

But just reporting the news that it’s returned isn’t very exciting. What can we expect from Season 3 of Defiance, then? Here are some plot teasers that Kevin Murphy, Defiance‘s showrunner (who will indeed be returning, according to the article), said he’d like to see next season:

• Stahma’s new handmaiden, Andina, will get some focus next season.
• Return of Indogene-doppelganger Kenya.
• Flashback episode set during the Pale Wars-era New York. Double confirmed?
• Reappearance of the present-day Connor Lang, too?
• Potential introduction of a trans or “gender-nonbinary” character. Implication of more Gulanee here, too.
• Heating up of tensions between E-Rep and Votanis Collective.
• More of Doc Yewll’s dark and terrible past?
• Possibly more of the Amanda and Berlin investigation team?
• Berlin drifting away from the E-Rep after being put in front of a firing squad?

That’s all I’ve been able to dig up as far as season 3 related tweets go. Obviously the show would pick up with some of the running plot lines, like Pilar and Quentin, and presumably they’ll have to dig Nolan and Irisa (and Sukar!) up somehow. And keep in mind these are just tweets, speculating about possibilities; that doesn’t necessarily mean all these things will happen. But it gives us an idea of what might lie ahead, and had the show gotten canceled I’d probably have used these to make a “What Could Have Been” post for Defiance. I’m glad I don’t have to, though.

Season 1 of Agents of SHIELD didn’t exactly end on a cliffhanger. There were plenty of plot threads left hanging, but all in all it wrapped up the main plot dealing with the Clairvoyant and gave the show a new direction moving forward–rebuild the agency and strike back against the newly emerged HYDRA. The show picks up with almost all of these, showing us what became of Fitz, Coulson, Ward, and wasting no time introducing a plethora of new characters.

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When you have a shared universe, one of the biggest benefits is the crossover–bringing characters from one show within the property over to another show. Agents of SHIELD is starting off its second season tomorrow with a crossover of sorts, featuring flashbacks with Agent Peggy Carter before her own spinoff starts early next year. While this situation is a little different, as both Agents of SHIELD and Agent Carter are spinning off from the same parent property, they still have enough in common to enjoy the benefits of a crossover. And with that in mind, I thought it would be a good time to examine the crossover and how it helps with the cohesiveness and plausibility of a shared universe. Read more

As a television viewer, odds are you’ve had a show you enjoyed canceled prematurely. Sometimes this is okay; the last episode of Almost Human is probably the best ending it could have realistically asked for. But other times, especially for shows that had orders for a full season upfront, the producers were fairly confident they’d get renewed, and chose to end their season finale with a cliffhanger (like the rebooted V). And then, for whatever reason, the show wasn’t renewed, and… oops. Fans are left with a finale that placed their favorite characters in a trap of unavoidable death, the bad guy in command of the starship, or with hundreds of killer robots surrounding their base, giving a nasty implication about the fate of the heroes and their world. So this week, we’re going to countdown some of the most aggravating unresolved cliffhangers in sci-fi TV history. (Obvious spoilers ahead.) Read more

So, we’ve discussed the history of the webisode, and looked at some of the earlier examples. But as I said at the end of that piece, those early webisodes are quite different from how this medium is utilized today. If webisodes aren’t usually spinoffs, then what are they? And why should anyone care to look them up?

As we’ve already established, webisodes have been linked with sci-fi for a long time. You occasionally see them for sitcoms (Scrubs: Interns comes to mind), but more often than not, the invented world of a sci-fi show provides the kind of room for exploration needed to create interesting web content. One of the biggest shows to utilize the webisode format has been Doctor Who. As an early adopter to the idea, Doctor Who has experimented a lot trying to figure out what makes for a successful webisode. Naturally, then, I’m going to be using it as an example frequently throughout for the different varieties out there. Without further ado, let’s explore the concept and what value it has in a storytelling capacity. Read more

New forms of media are always going to be hard to deal with. Back in the 90’s, and all the time before, a TV viewer got what came on the screen, at a specific time, and nothing more. Did they have to cut a scene for time? You’ll never know, cause you’ll never see it. That started to change when DVDs with bonus features emerged, but it took a while for studios to figure out that adding extra material to the discs could be a real selling point. Deleted scenes, blooper reels, commentary tracks, behind-the-scenes featurettes, even concept art–all these things and more are what helped DVDs become the new default home media experience over VHS. Well, that and ridiculously improved picture quality.

But just as it took time to work out what benefits a DVD offered, so, too, is the usefulness of the Internet being worked out. It’s been known for a long time that the internet offered a very unique point of leverage with a show’s fanbase. Look around Memory Alpha and you’ll see that AOL web chats with the producers (Often Ronald D. Moore, specifically) were common among Star Trek fan circles in the late 90’s. It gave fans some insight into the production of the show, how certain plot points were decided upon (“Whatever happened to Thomas Riker?” being a popular one), and allowed the writers to have some back and forth with the fans, to get a feel for where the show was succeeding and where it was failing to resonate with them. Of course, you always have to be careful when taking advice from the fandom; we often don’t know what we really want, and there have been no small number of shows that have died from catering too much to a picky fanbase. Read more

So, there’s been talk recently of a Minority Report TV series, and it looks like it’s moving ahead at full steam. While I’m highly skeptical that the show can succeed (it’s almost like someone forgot to tell the producers this is supposed to be a horrible dystopia), it would hardly be the first film needlessly adapted to fit television. This is a little different from something like Agents of SHIELD, which is still in continuity with an ongoing film series; instead, it’s trying to take a plot that worked for one film and turn it into a long running TV series. In the past, this has occasionally been successful, with Stargate SG-1 as by far the best example. In that case, the show took the loose premise of the film–that there exists a network of stargates, established by ancient aliens, that can be used to travel interstellar distances instantaneously–and ran with it, going places the film would never have dreamed of exploring. It’s such an open premise that the possibilities for stories in this universe are almost endless. And then there are these, films which barely had enough plot for 90-120 minutes that someone tried to stretch out far beyond what it could support.

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With Defiance having finished its second season, it’s time for me to shift gears and get ready for my next series to review: Agents of S.H.I.E.L.D. I know, I keep starting out with things that are on their second season, but there’s not a lot of new stuff coming in the near future (Syfy’s Ascension excluded) so I’ll run with what I’ve been into. To the topic at hand, then: SHIELD (as I will refer to it for the sake of my keyboard) was a highly anticipated show last year, and when it premiered it didn’t exactly meet everyone’s expectations. Even the highly anticipated tie-in with Thor 2 was a bit of a disappointment for those who (unrealistically) expected a cameo or something. It was frustrating because, much like season 1 Defiance, there was a lot of potential going unused as the show dealt with small and seemingly irrelevant details. Things changed big time, however, after the winter break.

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When people like something, they want more of it. It’s a fairly simple concept, and one that lies at the heart of the franchise phenomenon. Doctor Who is, of course, no exception to this. Its varying levels of success over the years have led to the creation of a large number of spinoffs throughout its 50+ year history. Modern ones like The Sarah Jane Adventures and Torchwood are fairly well known and popular in their own right. Some are strangely specific, like the K-9 spinoff that ran on Disney X D in Australia. Hardcore fans are likely familiar with older attempts, such as the Peter Cushing film Dr. Who and the Daleks, which is about a human male named Dr. Who, who creates a time machine and proceeds to go on adventures strangely similar to those from the series. And then there are these, spinoffs that have all but fallen off into the abyss of time.

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The demise of Stargate Atlantis has long been a point of contention in the Stargate fandom. While the story of how it ended has changed over the years, the commonly believed version is that Atlantis was canceled to make room for Stargate Universe, which aimed to take the franchise in new (not necessarily fan-approved) directions. The truth is a bit more complex, but even at the end of its run, Atlantis was popular, with solid ratings, an active fanbase, and growing good will for accepting and addressing some of the more common criticisms of the show. Whether its cancellation was deserved or not, we have to face the fact that with the reboot in the works, there’s no going back to Atlantis. With that in mind, the show’s writers have been uncommonly open about their plans, particularly Joe Mallozzi, who posted in great detail what he felt he could share about Stargate Atlantis season 6. There’s a lot to dig through, however, so I’m going to try to condense it all in one place.

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