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Sony has announced the newest member of the popular RX100 series of camera. Called the RX100 VI unsurprisingly, the new model continues the trend of few but important changes across the board to keep things fresh and interesting in what is now a six-year old series. The main change in RX100 VI is a new lens. The new model includes a 24-200mm lens, making it the highest focal length lens in the series so far, giving it some serious magnification that RX100 cameras have lacked so far. Despite the increased focal length the camera packs an impressive f2.8-4.5 aperture range, which although...

Sherlock Holmes' Benedict Cumberbatch dabbled in some real-life crime fighting by stopping a potential mugging.

The Sun reports that, late last year, he actor hopped out of his Uber after spotting a cyclist for UK food delivery service, Deliveroo, getting assaulted in the street. The attack took place just around the corner from Sherlock Homles' fictional address on Baker Street.

According to the driver, Manuel Dias, Cumberbatch jumped out of the vehicle to assist the cyclist, who was being attacked by four men. Dias followed to help, only recognising the actor once they were fending off the attackers.

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During most of the second season of The Good Fight, attorney Diane Lockhart (Christine Baranski) is horrified by President Donald Trump — but that doesn’t quell her addiction to cable news or any headline that addresses his administration. It’s a character trait that Baranski relates to the most since she, too, spends an inordinate amount of time glued to her TV.

In an interview with the EW podcast Chasing Emmy, Baranski explains why it’s important for her — and frankly, the rest of the nation — to pay attention to political news, no matter how upsetting or shocking the latest headlines may be.

“I was never a morning news watcher… but every morning I put on Morning Joe,” she says. “I find the news breathtaking and horrifying, but I can’t turn it off because I feel like I need to live through this moment of history, for better for worse, wherever it’s going to take us. It’s such a singular moment in history, and some day we will look back on it as we did with Watergate and think, ‘Oh my God! Look at what the country went through.’”

Diane’s disgust with the news and the subsequent “existential crisis” she suffers from play a key role in season 2, which Baranski calls “the best season she’s ever experienced” from creators Robert and Michelle King.

“Everybody gets dirty,” she explains. “I always felt the Kings really wrote to what was going on in the culture. This season I just think they were very brave. They went head-on into the zeitgeist and had the characters living in this strange non-reality, particularly the leading lady.”

The entire season of The Good Fight can be binged right now on CBS All Access — just like the entire collection of Chasing Emmy can be enjoyed anytime on iTunes, or wherever podcasts can be found.

The rumors are true: Microsoft is buying GitHub, the online, open-source repository for code, for $7.5 billion in stock. "Microsoft is a developer-first company, and by joining forces with GitHub we strengthen our commitment to develper freedom, open...

After all, it literally couldn't be any worse than it already is

Ubisoft has confirmed Assassin's Creed Odyssey is real and teased more information will be revealed at E3.

A post on the official Assassin's Creed Twitter account revealed the news:

See you at E3! pic.twitter.com/03NTPhCkCf

— Assassin's Creed (@assassinscreed) May 31, 2018

Ubisoft's announcement comes shortly after details about Assassin's Creed Odyssey leaked online. According to reports that surfaced earlier today, the game is set in ancient Greece, which, given what is shown in the incredibly brief teaser, appears to indeed be the case.

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Xiaomi may have already released the Mi Mix 2S earlier this year, but it's actually kept its true 2018 flagship, the Mi 8, for marking its eight anniversary -- hence the jump from last year's "Mi 6." As announced in Shenzhen today, the new handset st...

Out of the handful of new devices from Xiaomi today, it was the Mi 8 Explorer Edition that stole the show with its transparent design. Right after the keynote, I had to fight a crowd to get up close and personal with one of the few demo devices avail...

Pew Research Center released a new study today on teen social media use and among findings on internet usage, the impact of social media and smartphone access, the report notes a shift in which sites are preferred by teens. In a similar study release...

'Discredited people become bankrupt' warns former research director

After a not-so-subtle hint in a Twitch stream, it's official: there's a new Fallout game on the way. Bethesda has posted a teaser trailer for Fallout 76 ahead of its premiere at E3. You won't find many details about the gameplay itself, but there a...

A couple weeks ago, I sat down with screenwriters Lawrence Kasdan and Jonathan Kasdan to talk about Solo: A Star Wars Story. I learned how this movie started as a germ of an idea from George Lucas and we talked about how some of the deeper cut references and easter eggs were developed, their approach to these characters, and how they came to design the infamous Kessel Run.

The interview is mostly spoiler-free, so feel free to dig in.

***

Peter: Hello.

Jonathan: Slashfilm? Really nice to finally meet you!

Peter: I was a big fan of your film [The First Time].

Jonathan: Yeah, you’ve been great.  Just terrific.  Yes, thank you so much for that.  With movies like that, it’s support like you gave that’s so meaningful.  It’s such a big deal for a movie like that to get something nice and enthusiastic that can be shared around online.  I’m very, very grateful.

Peter: It was a great film.  I wish more people…maybe more people after this will see it.

Jonathan: Yeah.  It does have one of those things, because Dylan just emerged as such a star that it has a life on iTunes and Netflix and I’m very kind of at peace with how it ended up sort of slipping into the world a little bit.

Peter: Yeah, it’s great. But we should probably get started and talk about Solo We’ve heard that the idea for this film came from George Lucas himself.  

Lawrence: Eh…  Not exactly.

Jonathan: Tell us.

Lawrence: In 2012, Kathy [Kennedy] asked me to come up and meet with her and George.  Because they were gonna reboot, there were gonna be more Star Wars movies.  This is before Disney bought the franchise.  And when I got there, they said, here we have nine ideas.  And those were George’s ideas.  And I said, well I’m not sure I wanna do this.  I’ve really done a lot of Star Wars.  And they said, but look, one of these is Han Solo.  I said, well okay.  I do love Han Solo.  And…

Peter: Did it just say Han Solo or did he have an idea for it?

Lawrence: Yeah, it was a page sort of a very brief outline of where it could go.  And I didn’t say that’s what I wanted to do.  I said, the idea of doing a movie about Han is interesting to me.  And three weeks later, Disney bought the whole thing.  And George was really emeritus.  And those, I don’t think those pages ever showed up again.

Jonathan: He had so much material that he developed over the years, there really is like a treasure trove of stuff that you can go back and one thing that we did have and we had in the room with us was a folder that contained an interview I think he’d done in 1980 or something with someone who worked in the organization where they just like asked him about Han’s past for like an hour.  And you can see him just like making shit up as he went.  And it’s got things in there that are great.

Peter: Was that like that famous Indiana Jones meeting… [Peter just realizes that Lawrence was part of that conversation] Were you part of that?

Jonathan: Yes.  That is the story group, yeah.  But this was just him talking, expounding.  It’s not as good as this, that meeting.  But it was a lot of him just talking about what he thought it could be and he did that with everybody, his imagination was sort of boundless.

Peter: You mentioned these ideas that he’s planted over the years and it seems like there’s a lot of Easter Eggs and deep cuts in this film.  How did they make it [the movie[, even stuff from the PlayStation Games and…?

Jonathan: Yeah, absolutely.  Well, that particular thing you’re referring to, it’s like a perfect example.

Lawrence: What is it?

Jonathan: Like Teras Kasi.

Lawrence: Uh huh.

Jonathan: Which is something that you’ve got to, you’re writing these movies and somebody’s saying, well, she’s gotta be able to have some skills.  And you say like okay, well she’s gotta have some skills.  What are they gonna be and how can they be different than Rey or this Felicity character?  And we said like and you start to dig into Wookieepedia and you start to say, well what are different kinds of martial arts within the games?  (Spoiler invisotext, highlight to reveal) And then we say, well we did wanna land this nugget about Darth Maul and maybe if the fighting style is connected to Maul in some way, that’d be really cool. (end invisotext) And so you start to sort of fill in the gaps with the canon.  And with these deeper cuts and like I was saying, I was in love with this idea of Lando writing his autobiography.  And I thought–

Peter: The Lando Chronicles.

Jonathan: Yeah, The Lando Chronicles.  So, each one of them is sort of a… There’s that one in the movie and then there’s a few others that are references to early novels and the books and that were written right at the beginning, I think in ’79. The Mindharp of Sharu is a big part of how this Empire began.  So it’s fun to be able to pick and choose sort of what you wanna keep and what you don’t.

Peter: One of the things I love about this film is that, in A New Hope, Han Solo was a bad guy with the core of being a good guy.  And this is like the opposite, it’s a good guy wanting to be the bad guy.  Can you talk a little bit about that?  

Lawrence: That’s a good analysis.

Jonathan: It’s a beautiful, eloquent way to put it.

Lawrence: And part of the attraction to the character is that he is the guy that says, I don’t stick my neck out for anybody.  He always wants to put on a front of being the tougher guy, the more cynical guy.  But he in this movie, you’re seeing him just try to build that persona for himself.  And there’s a witness there from his childhood who says, no, you’re the good guy.  She knows what his heart is like.  And turns out that she’s maybe a tougher character than he is.  And maybe her mind encompasses his.  So it’s all about the fact that none of us are any one simple thing.

Jonathan: But that idea that and one of the things I think that why my dad responded so strongly to Han as a character when he saw A New Hope is he recognized an archetype of a Bogart-type character that really has a through line to [Treasure of the Sierra Madre] and to a lot of Westerns and stuff like that where it’s the guy who says, absolutely I will never help anyone ever and you know in the end he’s gonna do it begrudgingly.  In Casablanca, I mean, Rick is the ultimate guy like that.  And it’s not subtle what George is doing with Mos Eisley and Casablanca.  I think if that movie came out today, people would say, oh he just ripped off Casablanca.  But he did it so artfully and it fits so nicely at that time that that mold of a character was a great form to work in.  And to then be able to go backwards and say, how do you get to be Rick?  And how do you get to be Bogart or McQueen?  It was a fun challenge and writing experiment.

Peter: I was afraid this film was gonna be a list of things like here’s how he met Chewie and so on, and it was that, but it was always done in an unexpected way.

Jonathan: Right.

Lawrence: That’s what I like to hear.

Jonathan: That’s the dream.

Peter: And the Kessel Run I feel like is something we fans have been imagining for decades now.  How did you tackle that?  How did you come up with the idea of how it was gonna work?

Jonathan: That was the big issue, because it’s one of those things that he says and it’s so, such a cool toss-away line because it’s one of those lines where he’s saying three things at once and you don’t like understand any of them.  It’s like don’t you understand, Millennium Falcon?  It’s the ship that made the Kessel Run in 12 parsecs.  And you’re like what, wait, what?  That just sounds cool.  But then when you get into the dissecting the words of that sentence and you realize that a parsec is not a unit of time, it’s a unit of distance, you’re immediately faced with all these problems and we very quickly in the first draft arrived at the conclusion that we would equate it to the idea of somebody flying into a hurricane.  Of a, or rather of a ship’s captain piloting a ship into a hurricane.  And that kind of pirate idea of someone who’s like the only way out is to travel right through that hurricane.  And we thought that made sense for Han as a character.  He would be the guy who would do that.  And if we did that, we could throw anything in the world at him that we wanted.

 

***

Solo: A Star Wars Story is in theaters now.

The post Lawrence and Jonathan Kasdan on Writing Han Solo’s Origin and Figuring Out the Kessel Run [Interview] appeared first on /Film.

If you think the Marvel Cinematic Universe timeline can get confusing, don’t even try to make sense of the movies’ shooting schedules. But Marvel Studios is a well-oiled machine, and sometimes stars find themselves having to shoot scenes for a movie that could potentially spoil their introduction.

That was the case for Brie Larson, star of Marvel’s first female solo superhero movie, Captain Marvel. After being teased for years, she will make her highly anticipated debut in March 2019 and appear in Avengers 4 a few months later. But because of Avengers: Infinity War and Avengers 4‘s back-to-back shooting schedules, Larson found herself shooting scenes for Avengers 4 before she even got to touch her solo debut.

Hopefully, Larson didn’t mind the spoilers.

Captain Marvel, which is set in the ’90s, will take place decades before the events of Avengers 4. And yet, Brie Larson found herself having to don the Captain Marvel uniform before she got to film that origin story.

Stephen McFeely, one of the screenwriters behind Avengers 4, said that it all came down to scheduling issues in an interview with Collider:

We were in the position we were in with Spider-Man and Panther where Brie was going to have to shoot her scenes, I think its okay to say, before she shot Captain Marvel. So, we can’t really talk about what we decided, but it was clearly a conversation we had to have with Ryan and Anna who didn’t exist yet before when we started that process. So, you are bringing directors on and were trying to set up something that will work for our movie and not screw up their movie.

Gone are the days when Marvel had time to introduce each of their major superheroes in a solo film before moving on to shoot the gigantic team-up movies. Captain America: The First Avenger was filmed in 2010, a year before production of Avengers would begin — a pretty tight schedule back then, with Avengers director Joss Whedon stepping in to film the end-credits scene for The First Avenger before heading to the Avengers set.

McFeely said it was tricky to film scenes with Captain Marvel before she’d had a movie, or even an origin story. But it’s nothing Marvel hasn’t done before — introducing Spider-Man and Black Panther in the crossover films before they got their own solo movies. It may have caused some discrepancies with their costumes — and in Black Panther‘s case, confusion in their timelines — but it’s a necessity when Marvel puts out two to three movies a year.

Captain Marvel opens in theaters on March 6, 2019. Avengers 4 opens on May 3, 2019.

The post Brie Larson Shot Her ‘Avengers 4’ Scenes Before ‘Captain Marvel’ appeared first on /Film.

Solo: A Star Wars Story is full of references and Easter Eggs for fans everywhere. Here's everything we found!

The Solo movie offers a surprise cameo that connects it to other Star Wars projects like The Phantom Menace and Rebels, so we explain how it all fits together!

Cancellations are no longer death sentences. Brooklyn Nine-Nine moved over to NBC after getting dumped by Fox, fan petitions helped continue Timeless and Sense8, and now The Expanse secured a Hail Mary of its own.

After Syfy dropped the sci-fi space drama, Amazon picked it back up for a fourth season amid online calls to #SaveTheExpanse. Media outlets had reported rumblings of this deal in the past few days, but Andrew Kosove and Broderick Johnson, co-founders and co-CEOs of Alcon Entertainment, made the news official.

“We couldn’t be more excited that The Expanse is going to continue on Amazon Prime,” they said in a joint statement. “We are deeply grateful that Jeff Bezos, Jen Salke, and their team at Amazon have shown such faith in our show. We also want to thank Laura Lancaster, head of Alcon Television for her tireless efforts. We are fully aware that this wouldn’t have been possible if it wasn’t for the staggering outpouring of support from the most creative, hardest working sci-fi fans around the world. From reddit campaigns to airplanes, we say thank you. It worked!”

The Expanse actor Cas Anvar shared footage of the moment the cast found out from Amazon head Jeff Bezos. They had been present at the International Space Development Conference when Bezos took the stage.

“I was talking to the cast half an hour ago, right before dinner started, and I was telling them we were working hard at Amazon to save The Expanse, but it wasn’t a done deal yet,” he said. “And during dinner, 10 minutes ago, I just got word that The Expanse is saved.”

As expected, Anvar and stars like Steven Strait and Wes Chatham were over the moon.

I'll just let him say it…#TheExpanse#RocinanteIsSafe#BreakingNews

Thank you @JeffBezos pic.twitter.com/wxHN31zgJs

— Cas Anvar (@Casanvar) May 26, 2018

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“You guys did this. You guys made this happen,” writer Naren Shankar addressed the fans in a separate video.

“Our minds are blown,” Anvar added. “I had my suspicious that this was something spontaneous that happpened because the energy and the synergy of the universe came together. But you are getting season 4, people!”

@JeffBezos #SavedTheExpanse #ISDC https://t.co/QesC1TwNz9

— Cas Anvar (@Casanvar) May 26, 2018

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“To all #TheExpanse fans, thank you! #YouDidIt,” Chatham wrote on Twitter.

“It has been one surreal day to say the least,” the show’s writers tweeted. “Thank you so much to all the amazing fans who worked so hard & put in so much time & passion to fight for this family. Our family. The Expanse family. Thank you! Here we go! Together!”

To all #TheExpanse fans, thank you! #YouDidIt pic.twitter.com/N6tIhHFzww

— Wes Chatham (@weschatham) May 26, 2018

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well Bezos said it was ALL you if it wasn't for Grunny he said he never would have pulled the trigger. Well except for the fact that he loves the show! I'll be pitching you to the showrunner tomorrow. I was thinking maybe some kind of pilot. What do you think? https://t.co/jJ7ppln4om

— Cas Anvar (@Casanvar) May 26, 2018

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EXCELLENT NEWS!!!! YAY :) https://t.co/76w9BZlXGI

— Dominique Tipper (@Mi55Tipper) May 26, 2018

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It has been one surreal day to say the least! Thank you so much to all the amazing fans who worked so hard & put in so much time & passion to fight for this family. Our family. The Expanse family. Thank you! Here we go! Together!#TheExpanse #amazon https://t.co/vgbkAeb2TD

— The Expanse Writers (@TheExpanseWR) May 26, 2018

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Season 3 premiered on Syfy this past April with a story that saw “Earth, Mars and The Belt at war, with each competing entity vying for control.” Now, as a beaming Anvar said in his videos, Shankar has to “get to work” writing season 4.

There's a lot of talent behind Quantic Dream's latest release Detroit: Become Human, but aside from the likes of developers or programmers, players will likely be more familiar with the television and film actors who provided their voices and likenesses for the title's various characters. Detroit: Become Human features a number of high-profile actors, and players who have been left curious as to who plays the part of characters like Kara, Connor, or Markus will find the information they desire below.

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Featured Voice Actors in Detroit: Become Human

We're ever so fond of giving credit where credit is due, and Quantic Dream as well as all of the actors in Detroit have done a fantastic job pulling together the game's complex, neo-thriller world. Keep reading to discover the names of some of the featured voice actors and cast members behind the recognizable characters in Detroit: Become Human as well as learn more their acting histories in films, television, and other video games.

Connor - Bryan Dechart
The role of the android Connor is played by Utah-borne actor Bryan Dechart, a man that TV fans may remember playing the role of Eli Chandler in ABC Family series Jane By Design. Dechart also starred as Dave in one episode of True Blood, and provided various voice work for the game Mafia 3.

Kara - Valorie Curry
Kara is played by California native actress Valorie Curry, known for her roles playing Jane Kuhne in the television series Veronica Mars as well as for playing Charlotte in The Twilight Saga: Breaking Dawn Part 2. She's also starred as Kelsey in House of Lies, Talia in 2016 film Blair Witch, and Dot Everest in recent television series The Tick.

Markus - Jessie Williams
The recognizable face of android Markus is actually that of Jesse Williams, the American actor primarily known for playing the role of Dr. Jackson Avery in the Grey's Anatomy TV series. He's also starred as Eric Medina in television series Beyond the Break and Holden in 2012 film The Cabin in the Woods.

Lt. Hank Anderson - Clancy Brown
The gruff and grizzled Lt. Hank Anderson is played by none other than famous Hollywood actor Clancy Brown, known for playing such roles as Sgt. Zim in Starship Troopers, Captain Hadley in The Shawshank Redemption, and Blackhand in Warcraft: The Beginning. Brown's film and television resume is extensive, and he's also provided voice work for over 30 different video games, including Call of Duty: Black Ops 2, Mass Effect: Andromeda, God of War 3, and Superman 64.

North - Minka Kelly
TV fans should have no trouble recognizing the character of North as being played by actress Minka Kelly, known for her work in series like Jane the Virgin, Almost Human, Charlie's Angels, Friday Night Lights, and The Path. She also starred as herself in a single episode of HBO's Entourage.

Carl - Lance Henriksen
The role of old timer Carl is played by longtime actor Lance Henriksen, who lent his talents to such classic films as Aliens, The Terminator, and Hard Target. He's done a lot of video game work in recent years, lending his voice to games like Hearthstone, the Mass Effect trilogy, and Star Wars: The Old Republic. As a bonus, he also played the role of The King in the 1993 live-action Super Mario Bros. film.

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Now that you're all caught up on the talent behind the characters, learn more about Quantic Dream's latest narrative thrill ride by heading over to our Detroit: Become Human walkthrough and guide, where we detail 100% mission completion requirements and break down every possible chapter ending.

It's been a few days since reports indicated Amazon was close to a deal that would extend the life of sci-fi series The Expanse, and tonight at a National Space Society event Jeff Bezos made it official. Alcon Entertainment makes the show, which is c...

A version of this story appears in the Summer Preview issue of Entertainment Weekly, on newsstands Friday. Buy it or subscribe now for more exclusive interviews and photos, only in EW.

There’s a small town nestled in the heart of Massachusetts, an hour and a half west of Boston, called Orange — that for now, doesn’t look like Orange at all.

For four months, it’s been posing as Castle Rock, home of the Hulu anthology series based on the works of Stephen King. Locals aided with Orange’s temporary transformation into the unluckiest fictional town in America: Business owners placed Castle Rock signs in their windows, shops sell show-branded souvenirs — one even stocks “Castle Rock” coffee — and residents regularly gather to observe production.

But today the streets are quiet — a mid-December snowstorm will do that — and inside a building on Main Street posing as the Castle Rock police station, actor André Holland (Moonlight) has grown restless. He’s about to film a scene from the season finale in which his character, lawyer Henry Deaver, dashes into the precinct to … well, the reason’s a spoiler. Point is, it’s an intense sequence, and Holland’s preparing by doing push-ups. And jumping jacks. And running in place. And more push-ups. Until finally he bursts into frame, out of breath, over and over again, take after take.

The physical demands of playing Castle Rock’s protagonist, though, are nothing compared to the character’s emotional turmoil. This — his hometown, the police department, all of it — is the last place Henry wants to be. “It’s definitely taken a toll on him,” Holland says. “He wanted to get as far away from this town as he could. He has a complicated history with it.”

“Complicated” is putting it simply. As a child, Henry was involved in an accident that left his father dead and him the sole suspect, but he has no memory of it and eventually fled when townspeople turned against him. Now a death-row attorney with few connections — his clients, see, usually die — Henry only returned home because a mysterious inmate at Shawshank State Penitentiary (Bill Skarsgård, below), who was discovered in a cage deep beneath the facility, asked for him. Only him. Yet, Henry has never heard of the inmate — and the inmate, nicknamed “The Kid,” has been in solitary confinement so long that he may be insane.

“He’s a very traumatized creature,” Skarsgård says of his character. “He’s very feral. He’s not normal. Everything is off and wounded in some way.” But why? “A lot of what he’s been through has shaped who he is, and …” Skarsgård chuckles. “I can’t say who he is without revealing what he’s been through.”

He’s not really spoiling anything; this is just how Castle Rock begins, and it’s all J.J. Abrams needed to hear to sign on as an executive producer. Co-creators Sam Shaw and Dustin Thomason’s (Manhattan) plans for the pilot alone got the Lost co-creator so excited he broke out laughing: “I was like, ‘This is going to be so much fun,’ ” recalls Abrams. “There were things they were pitching that were truly terrifying and truly creepy.”

And truly ambitious. Shaw and Thomason — both, as Shaw puts it, “unreformed total Stephen King heads” — want to take the author’s (arguably) most terrorized Maine locale and, um, terrorize it further. Their vision is a Fargo-like series in which each season not only matches King’s tone and aesthetic, but also plucks characters and settings directly from his work.

To avoid being overwhelmed by the author’s extensive oeuvre (56 novels and counting, not to mention more than 200 short stories), they focused on finding a type of King tale that would resonate today. “When we returned to his library, a lot of his stories about prison and justice were really compelling to us,” Shaw says. “They’re the closest things to true-life monster stories that we tell ourselves as a culture. How do we assign blame? How do we reckon with the idea of evil and whether we believe in it?”

“Our intention was always to tell an original story in the tune of Stephen King,” Thomason adds, pointing out that the town of Castle Rock offered the most opportunity for invention. “The germ of the idea was to think about the kinds of people who have the grit to stick it out in a place that’s been terrorized over and over again. Who stays in a place like that?”

For starters, the introverted Molly Strand (Melanie Lynskey), whose real-estate business seems like a cruel joke she’s playing on herself. (“It’s just the strangest choice,” Lynskey says, laughing. “Why would you have that job in a town where no one wants to buy real estate?”) There’s also world-weary Alan Pangborn (Scott Glenn, above), the iconic hero of the novels Needful Things and The Dark Half. He’s no longer Castle Rock’s sheriff, but a lion in winter living with, as Glenn calls it, “a bitterness, day by day.”

That bitterness has to do with another permanent resident: Ruth Deaver (Sissy Spacek), Henry’s adoptive mother, who suffers from dementia and struggles to remember where — and when — she is. The role’s complexity drew Spacek back into the King universe 41 years after starring in Carrie, the first screen adaptation of one of his novels. “The Stephen King world is a good place to be. This story, really, is an homage to him,” she says. “I hope we were able to do him proud.”

She needn’t worry. The author approved the project and signed on as an EP. After watching the pilot, he even emailed Abrams a positive review, which Abrams promptly sent to Shaw and Thomason. “It was a very, very cool moment, when J.J. forwarded us the email,” Shaw says with a laugh. “You want to be sure that when Stephen King watches your Stephen King show, he’s happy.” And maybe just a little scared.

Castle Rock debuts July 25 on Hulu.

Warning: This story contains major spoilers from the season 4 finale of The Flash. Read at your own risk.

The Scarlet Speedster prevailed over big bad DeVoe in the season 4 finale of The Flash, but an even greater threat arose out the reveal of the Mystery Girl’s identity.

As many theorists had already surmised, the Mystery Girl (Jessica Parker Kennedy) is none other than Nora West-Allen, the daughter of Barry (Grant Gustin) and Iris (Candice Patton).

The team was able to thwart DeVoe (Neil Sandilands), first by going into his consciousness Inception-style to appeal to his humanity, and then by Marlize pulling the plug on his chair when that failed. After Cecile subsequently gave birth, the Mystery Girl showed up to reveal herself to the group, who each recognized her from various interactions this season. Alas, as she announces her identity, she also adds that she’s made a huge mistake.

What mistake could that be? Well, it may have to do with who the villain will be in season 5. Unfortunately, a tag scene that would’ve provided a hint as to the new threat’s identity had to be cut for time. Below, executive producer Todd Helbing gives us the details:

ENTERTAINMENT WEEKLY: The Mystery Girl is Nora West-Allen! Why change her name from Dawn as it is in the comics?
TODD HELBING: When we first started talking about it, we decided on her name like a year ago, right around this time, after we’d pitched the season to the studio and network. It was to pay homage to Barry’s mother. It felt like if Barry and Iris were ever gonna have a child that would be female, that would be one of the names we brought up. It seemed like it didn’t matter — the second that we talked to Jessica Parker Kennedy, we knew that people were gonna figure out pretty quickly who she was. So we had to put a little spin to make it a little bit different than what everybody was expecting.

What can you tell us about this huge mistake she’s apparently made?
Well, I mean, a lot of it is obviously all about next season. Barry certainly learned his lesson about time travel and the effects that it can have. She comes back for a specific reason, not only to see her parents and meet everybody on the team, which you saw all throughout the season — there’s four specific times that she came back, and you’re gonna learn about why she chose those four times and how they’re gonna play into not only the mistake that she made, but the consequences for somebody like her, a speedster traveling from the future to the past, and what that means for Barry and the team.

Speaking of those interactions, are there specific reasons why she’s avoided Iris and why she was so cold to Caitlin?
Yeah, she comes from 30 years in the future, so 30 years from now, a lot has happened. She’s privy to information that nobody else is, so her experience in the future is certainly different than where everybody is now. A lot of next season too, you’re gonna see this relationship between Barry and Iris and Nora, so we just wanted to give the audience a little glimmer into what her reaction is to everybody. If you go back and watch all of the ways that she interacted with everybody, you can get a nice little sense of what her relationship is with everybody in the future.

What can you tease of Caitlin’s journey next year? That flashback seemed to indicate that Caitlin’s father already knew about her Killer Frost side, which made me think she may have gone on to accidentally kill her father. Am I jumping to conclusions?
One of the themes for next season is family. When you’re dealing with a show that jumps around, obviously with Barry, Nora, and Iris, it’s gonna be family, with Joe and Cecile and the new baby, there’s family, and then Ralph is part of this new family. And then with Caitlin, she had one understanding of where her powers came, and you’ve met her mother in the past seasons, you got a little glimpse of her father. But there’s gonna be a new dynamic with Caitlin and her family in season 5.

You said there would be a hint at the new villain for season 5 in the finale.
What happens more often than not is, we shoot a lot of stuff in the finale that gets cut. So for time we had to cut it. It was gonna be the tag at the end of the episode. But we’ll get it out; the public will see it before the season starts. Maybe we’ll release it online or at Comic-Con. But yeah, it just it came down to a time thing.

Harry has left, but presumably Tom Cavanagh is sticking around. Anything you can say about the new Wells we’ll meet next season?
I don’t want to tell you yet who he is, but when I was up there in Vancouver shooting for the finale, I talked to Tom for quite a bit about it. We landed on a pretty fun and interesting new Wells to join the team.

Was it always the plan for Ralph to actually still be alive?
Oh, yeah. From the beginning of the season, we wanted DeVoe to hop into other people and then to finally get to Ralph, and really play it like he was dead. That was what we walked partly through at the beginning. So it was always the plan to kill him and then bring him back to join the team at the end, and then to be part of the next season.

If Ralph is alive, any word on the other bus metas?
No, they’re toast, they’re all toast.

The Flash will return Tuesdays this fall on The CW.

Emilia Clarke is teasing that her last minutes on screen in HBO’s Game of Thrones are pretty emotional.

The actress told Vanity Fair in a new cover story that Daenerys Targaryen’s last scene “f—ed me up … knowing that is going to be a lasting flavor in someone’s mouth of what Daenerys is…”

And then she didn’t reveal anything else!

The actress has been out promoting Solo: A Star Wars Story and saying other things about GoT season 8 as well.

She told GMA: “It really is the most heartbreaking thing to be filming the last of anything,” she said. “I’ve become an emotional wreck on set. They’re like ‘Emilia…it’s okay,’ and I’m like, ‘But it’s the last time!'”

And in an interview with The Herald Sun via Digital Spy, Clarke said she said she expects the reaction to the final season to be mixed. “People will scream, and people will say, ‘That’s exactly what I wanted,'” Clarke said. “And some people will go, ‘Huh?’ — my mum, probably.”

The final six Game of Thrones episodes premiere in 2019.

Warning: This story contains major spoilers from the season 6 finale of Arrow. Read at your own risk.

The hero got arrested. The show’s moral center was killed. The bad guy got away. All in all, it was a pretty rough season finale for Arrow.

During the episode, Team Arrow launched an assault on Ricardo Diaz (Kirk Acevedo), who threatened to kill Laurel (Katie Cassidy) unless Mayor Lance (Paul Blackthorne) ordered the FBI to leave Star City. Following a meetup to strike a deal gone bad, an angry Diaz goes to shoot Laurel, but Lance steps in front of the gun instead, taking a bullet to the gut.

Team Arrow arrives just in time to thwart Diaz from taking a kill shot, with Oliver (Stephen Amell) finally getting the upper hand over Diaz in a rooftop showdown. But a distraught Laurel blasts Diaz off the roof with her canary cry, inadvertently letting Diaz get away. That’s right, the season’s big bad escapes to live another day. His forces are decimated by season’s end, but there was that mention that he’s been working with the Longbow Hunters, so he’s not totally on his own.

Back at the hospital, Oliver finally reveals how he got the FBI to help: He’s going to publicly admit he’s the Green Arrow and then turn himself in to police custody. As everyone argues against it, the doctor comes out to reveal that Lance has died — Blackthorne is exiting the series and will star on the NBC drama The InBetween.

Now that Oliver is in jail and Diaz is in the wind, what will happen to Star City? EW turned to executive producer Marc Guggenheim to find out:

ENTERTAINMENT WEEKLY: What came with the decision to kill Quentin?
MARC GUGGENHEIM: Well, it was a really hard decision whenever we kill off the character on the show. But it’s funny, when I was pitching that particular beat to Greg , he said, “Wow I’ll really miss him,” but he made the point that the show has always had sort of a Game of Thrones-like element to it in the sense that no one is safe. That’s always been part and parcel of the show. We haven’t killed off a character in a season finale since season 1. But fundamentally, the reason we did it was sort of two-fold. We really felt that we had come to the end of Lance’s story, but primarily, whenever we kill off a character, it’s always out of, well what does this get us? What story consequences does this lead to that excite us? The idea that Diaz is responsible for Lance’s death has huge ramifications for Laurel’s character and her story line. That really intrigued us as we started talking about where Laurel was headed in season 7. As has been the case with every other death on the show, once we start getting excited about those consequences and start getting excited about the stories that the death leads to, it kind of takes on its own momentum. It was hard. Paul has been with us since the beginning, he’s an absolute joy to work with. He’s just a class act. I really, really enjoyed working with Paul so much over the last six years. It was the right time, and the right way, and the right story to tell at this moment.

Oliver has ended up in prison. These consequences seem pretty irreversible. What was your goal here? How dangerous will it be for him in prison?
From the very beginning of season 6, we talked a lot in the room about the show going into its sixth year, about a lot of shows that go in six seasons, and what’s necessary for the long-term vitality of the show. We were very determined to rock the show out of its comfort zone. I think you started to see that by design at the end of season 6. We started playing around with format, we had the all-Dragon episode, we had the episode where Oliver is vertigo and hallucinates. We wanted to get out from our traditional ways of telling story. I mean, quite frankly, even the structure of the season finale is very unconventional for us. Usually the climactic fight with the “Big Bad” of the year happens with Act 5 and then Act 6 is all wrap-up. This year the climactic battle between Oliver and Diaz happened in Act 4. So we’re constantly looking for different ways to shake up the show and do things differently.

Between the development of Oliver going to prison and his secret identity becoming public, those were very much designed to shake the show up so that in season 7, the show has to be fundamentally different. There’s no way to go back to the status quo. That was very exciting for us, because there’s probably a very safe conventional way to do Arrow where every episode is the villain of the week and every episode is kind of the same. Probably that version might even be very successful, but that wasn’t something that I think the writers and the cast are particularly interested in doing. We always keep the show moving forward and evolving and trying to push new boundaries. We’re very cognizant of the fact it’s not only that we’re in our sixth, now gong into the seventh season, we’re also cognizant that we’re the first of the Arrowverse shows, so we feel like we’ve got to do stuff on Arrow that the other shows haven’t done yet. The identity reveal is a good example of that. None of the other shows have revealed their protagonist’s secret identity to the rest of the world, so we wanted to do it first.

Oliver and Felicity end the season on a rocky note. What’s next for their marriage? Can they survive this?
I will tell you this: I’ve been married now 14 years, and when I make unilateral decisions, my wife is not generally happy about it — and those include the unilateral decisions that don’t involve me going to prison. So I think it’s probably not spoiling anything to say that there’s going to be some challenges Felicity will have to overcome in light of Oliver making this big, momentous move without consulting Felicity.

Ricardo Diaz got away, something you don’t normally do when ending a season. Why him and what can you tease of what’s next now that his empire has been decimated?
Yeah, well that was another thing that we got excited about midway through season 6 was the idea that another thing that we’ve never done before, or that any of the other Arrowverse shows have done before, was the “Big Bad” not coming to justice. The idea that Diaz is out there as an antagonist, albeit he’s going to have to operate in a different way because he no longer has his empire, was very intriguing to us. Like I alluded to when talking about Lance’s death, we’re certainly setting up a pretty major collision between Laurel and Diaz, and that is something that’s very exciting. We talk about Laurel as a woman on fire and I think those fireworks will be a lot of fun to see.

There was a mention of Longbow Hunters. Will we see them next season?
I don’t feel like I can spoil that or not spoil that. I will say this: We would be dicks if we were to drop that big of a name and never follow through on it.

Do you see Oliver being done as the Green Arrow for good?
Well, let’s proceed from first assumptions, which is that I think it’s safe to say that all of season 7 will probably not take place with Oliver in prison, so I don’t think it’s spoiling anything to say that he will get out at some point. It never occurred to me, quite frankly, that once he comes out that he necessarily has to stop being the Green Arrow. I think it probably all depends on the circumstances under which he eventually gets out.

Do you expect a time jump going into next season?
It’ll be the traditional time jump. Every year we always do the same time jump, which is five to six months depending on when our season premiere is.

Arrow will return this fall on The CW.

LA to Vegas has been grounded.

Fox has canceled the freshman airplane-based comedy, the network confirmed to EW.

The series — which starred Dylan McDermott as a cocksure pilot relegated to flying on a lower-tier airline and centered on the flight crew and passengers on the Los Angeles to Las Vegas route — premiered in the fall and quickly brought viewers the much-anticipated screen share between Dylan McDermott and Dermot Mulroney. It even earned an order of three additional episodes earlier this year. But the ratings apparently weren’t strong enough to merit more: LA to Vegas had been averaging a 1.1 in the 18-to-49-year-old demo with 3.4 million viewers this season.

The series, which counts Will Ferrell and Steven Levitan among its executive producers, remained on the renewal/cancellation bubble during upfronts, with talk of Ferrell appearing on the show in season 2. Alas, Fox, which is in the midst of a rebranding and scheduling overall, did not move forward. It has been a bloody time for Fox comedies, as the network also axed Brooklyn Nine-Nine, The Last Man on Earth, and The Mick.

The news was shared on social media by one of the show’s cast members, Amir Talai, who tweeted, “I love you so much #LAtoVegas fans. That’s why it breaks my heart to tell you that our show is not coming back.”

The cast also included Kim Matula, Peter Stormare, Ed Weeks, Nathan Lee Graham, and Olivia Macklin.

Just because Syfy dropped The Expanse doesn't mean the cult sci-fi hit has met its end. Sources talking to Deadline, Variety and Hollywood Reporter have all claimed that Amazon is in discussions to resurrect The Expanse for a fourth season. Neither...

WARNING: This post contains plot details from Sunday’s season 5 finale of Brooklyn Nine-Nine, titled “Jake & Amy.”

The final-ever episode of Brooklyn Nine-Nine brought viewers a wild wedding to remember: the nuptials of Jake and Amy. It was, of course, bittersweet to watch these two cops declare their eternal love for each other, knowing that this would be the very last time that we would — what’s that, you say? It’s not the final-ever episode? Brooklyn was canceled by Fox and then renewed for a sixth season the next day? Apparently I’ve been living under a freakin’ rock trapped in a cave with very poor cell reception?

Let’s try that opening sentence again: The final episode of Brooklyn Nine-Nine‘s fifth season brought viewers a wild wedding to remember. Jake (Andy Samberg) and Amy (Melissa Fumero) were eagerly awaiting their very toit nups, but then came along Amy’s ex, Teddy. Well, first came the bomb threat, and then Teddy (Kyle Bornheimer) showed up, explaining that he was running the bomb squad and trying one more time to win her back. (In most cultures, it’s considered poor form to hit on the bride on her wedding day, especially when she has previously and summarily rejected you.) Jake and Amy had little time to tsk-tsk Teddy, though; they reverted to detective mode, aiming to solve the case, while the Nine-Nine tried to put out some other fires. Rosa (Stephanie Beatriz) and Terry (Terry Crews) fixed Amy’s veil and saw it ruined it again, but on the bright side, I’m-not-open-to-a-relationship-right-now Rosa found herself vibing with their ride-share driver, Alicia (guest star Gina Rodriguez). Holt (Andre Braugher) and Gina (Chelsea Peretti) trained Cheddar to fill in as ring bearer, but the little dog lost his way and took down the Nakatomi Plaza wedding cake of which Jake had always dreamed.

Ultimately, Jake and Amy learned that there was indeed a bomb on the premises (which resulted in the cancellation of the ceremony), and, working with Charles (Joe Lo Truglio), they discovered that it was planted by an obsessed criminal (Kyle Gass) from her past, not his, and that Charles had accidentally helped this arch nemesis locate the wedding by excitedly posting the news about their nups. But in the darkest hour, despair turned into repair: Instead of letting Jake and Amy exchange vows at City Hall the following day, those ever-resourceful Nine-Nine detectives staged a lit ceremony at the precinct, with Holt doing the officiating and Hitchcock (Dirk Blocker) and Scully (Joel McKinnon Miller) tapping the weirdo from the show’s first episode, Mlepnos (Fred Armisen, who made his first appearance in the pilot), to provide angelic violin music.

While true love and teamwork did prevail in the end, uncertainty would hang in the air later that night at Shaw’s: Holt decided to read aloud the email that contained the verdict about the commissioner’s job that he’s been jockeying for all season. “Well, from the look on my face,” he said with dispassion and resignation, “I’m sure you can guess what it says.” Damn you, Stone Monster!!!

Did Holt indeed land his dream job? Will Rodriguez return to romance Rosa? Will we see what happens on Jake and Amy’s honeymoon? And what was it like for the Brooklyn squad to be canceled on Thursday and then rescued on Friday? Fans of the dearly beloved cop comedy, let us walk down the aisle of intel and see what Brooklyn Nine-Nine creator Dan Goor has to say.

ENTERTAINMENT WEEKLY: And so we end the three-season courtship with the satisfaction of vows, albeit after a bomb threat. How were you feeling about “Jake and Amy” having to serve as the series finale, if need be? Would you call it “not optimal but could do the trick”?
DAN GOOR: Yes, I would say slightly better than that. I think the only thing that’s not optimal about it is that the Jake/Amy aspect of the show is a major aspect but not the central aspect of the show, and I would love for the series finale to end on a more squad-oriented, Jake/Holt-oriented, or police-oriented note.

A Nine-Nine note.
A Nine-Nine note. That said, I was very happy with the episode, and I felt like there were a lot of Nine-Nine moments in it.

What was the biggest challenge in writing a wedding finale episode? What was interesting about the process?
The most challenging thing was that the two of them love each other and want to get married. So that meant that it was difficult to create a story that had internal conflict, which is why we created a story that had external conflict. … We had a debate as to whether or not it should be a case or a different police element there. There was talk of it being a massive blackout — like a brownout in the city — and that no one could come to the wedding, and they ended up having to direct traffic in their wedding outfits, and every one of the Nine-Nine coming to the aid of the community and then coming back, and the wedding was canceled. And then it would have ended in the same way. But this seemed more exciting. And we also had done the episode with Amy stopping a perp in her wedding dress.

Holt delivered a simple but powerful statement to the couple, “I’m proud of you, and I love you both,” which they then asked permission to say it back to him. How did you settle on those words?I know that it was very difficult to write because we had done one other wedding in which Holt gave the oatmeal speech about how love is like oatmeal, and it was such a perfect Holt-ian thing. So we really struggled with how to make an equally Holt-ian speech. But Luke and I wrote that script together, and Luke may have written that part of the vows. I don’t remember, but that didn’t change much throughout the whole process.

I loved that it was warm and touching and loving, but at the same time felt completely in Holt’s character. And I loved the simple joke at the end. It just felt very Holt-ian. In terms of it being a potential series finale or season finale, it was nice for Holt to say to them the words they’ve always wanted to hear.

Given Jake’s Die Hard dream wedding with the Nakatomi Plaza cake — and the fact that you got Reginald VelJohnson to pop up at the bachelor party — was there any attempt to get Bruce Willis for this episode? Or do you save that ask for the series finale?
Yeah, I think that we’d save that ask for the series finale. Or for some special time. We would love to have Bruce Willis on the show. Whenever we can get him, we’ll have him on the show. It would be an unbelievable get, obviously, in our world.

Jake and Amy have some pretty high-profile parents, played by Jimmy Smits, Bradley Whitford, and Katey Sagal. Why weren’t they part of this episode?
Not only is it hard to schedule such prominent, wonderful, amazing actors and get them all there, we really wanted the finale and the wedding to feel like it was about our squad. Especially with such great actors, you end up feeling like, “We have to give them all something,” and then all of the sudden, it dilutes it. And so we were really happy to figure out a way to do it with just them.

I know you can’t reveal the outcome of the cliffhanger, but I assume the answer would be that Holt would get the job if the show were canceled? That doesn’t mean the show won’t do that now — and you’ve done it before, where Holt left the precinct, when he took the PR job.I cannot answer that. Have you ever read that short story “The Lady, or the Tiger?” That guy never said whether or not it was the lady or the tiger. People tried for years. So I feel like there’s a weird way in which saying it would’ve been one thing and then maybe making it something else is like a narrative dissonance, where it’s almost like a Schrödinger’s cat thing. The world should be consistent.

Okay, but any hints about that cliffhanger? Is the answer already there? Should we study that like the Zapruder film?
The answer is there. If you truly know Holt, you’ll know.

The show continues to take more chances in form, whether offering up an all-interrogation episode or in tackling socially conscious topics, such as Rosa’s coming-out story or the active-shooter episode. How will the show build on that next season? Does this embolden you to take even more risks?
Yes. I’m not exactly sure that that means at this point, but we’re very committed to continuing with those experiments. It’s really fun for the actors. It’s fun for the writers. And I think the viewers enjoy it too. But at the same time, we also know that people like — and we like — writing about the squad hanging out in the precinct and solving cases. So I think that it will continue to be a mix of those sorts of episodes: standard Brooklyn Nine-Nine and formally or tonally interesting departures.

How far along have you plotted an arc for Gina Rodriguez, who’s tight with Stephanie and Melissa? What can you hint about her return? 
Just because it’s between seasons and nobody knows what anyone’s schedule is, I can’t make any promises. But what I can say is she had a great time, and we love her. So I’m very hopeful that we will see more of her, and that we as writers are looking forward to writing a relationship between the two of them. But just with the one caveat that no one’s been booked and it’s difficult to make these things happen. But all the parties are hopeful that this will happen.

How does Jake and Amy story change for you, if it all, now that they’re married?
That’s a great question. Our general approach remains the same, which is to say that we try to treat them as two people who love each other and are normal, non-insane human beings. So therefore I don’t think we’ll be forcing weird marital spats or conflicts that don’t feel natural to them. I think that it’s an opportunity for us because there are just different stories that happen for young married couples that are different from couples that are even living together. They are now combining their finances, and there’s more pressure on their in-law relationships, and other aspects of married life that I think could provide conflict and story. And then in general, as we’ve done before, our plan is to do stories we’ve done that are about their relationship. And to do stories with them that are not about their relationship but still involve the two of them, where they’re just two cops who happen to be married, or they work in the same building but they’re married.

Will we see their honeymoon? It’s good for them if we don’t do a honeymoon episode, as it means it wasn’t stressful. But then again, they could solve a case on their honeymoon …
I would love to see their honeymoon, but I could also see not doing their honeymoon. I could see them as people who don’t do their honeymoon immediately after they get married, but do it a couple of weeks later. It seems funny to see them, in some capacity, on their honeymoon, whether that’s an episode, a flashback, or a cold open. It feels like some version of them on their honeymoon is something you want to see. I want to see.

Amy’s still in the building in her new role as sergeant. How much will you lean into that next season yet keep her involved in the workplace stories?
I’m not 100 percent sure what we’re going to do there, just because we don’t have a room . I feel like we’ve done a bunch of stories about her starting her job and being unsure of her job, and I’d like to see her as more of a master of her job. I feel like there’s more to explore in that world. But I am also conscious of the fact that you want her with the squad, and so we want to always feel natural that she’s with the squad.

NEXT PAGE: Goor talks Brooklyn‘s rescue, drops a season 6 hint

More than a year after he left the White House, Barack Obama’s post-presidential life is beginning to take shape — and Netflix will be a big part of it.

Two months after rumors first started swirling that the former first couple was interested in producing content for the streaming service, Netflix confirmed the deal on Monday, tweeting that “President Barack Obama and Michelle Obama have entered into a multi-year agreement to produce films and series for Netflix, potentially including scripted series, unscripted series, docu-series, documentaries, and features” through their new entity Higher Ground Productions.

“One of the simple joys of our time in public service was getting to meet so many fascinating people from all walks of life, and to help them share their experiences with a wider audience,” former President Obama said in a statement. “That’s why Michelle and I are so excited to partner with Netflix — we hope to cultivate and curate the talented, inspiring, creative voices who are able to promote greater empathy and understanding between peoples, and help them share their stories with the entire world.”

This is not the former president’s first post-presidential appearance on Netflix; back in January, he was the very first guest on David Letterman’s talk show My Next Guest Needs No Introduction.

The Obama’s also signed lucrative book contracts for memoirs. Michelle Obama’s memoir Becoming, in which she talks about her roots and “how a girl from the South Side found her voice,” she recently said, is due out in November from Crown Publishing Group.

President Barack Obama and Michelle Obama have entered into a multi-year agreement to produce films and series for Netflix, potentially including scripted series, unscripted series, docu-series, documentaries, and features.

— Netflix US (@netflix) May 21, 2018

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Warning: This story contains major spoilers from the season finale of Marvel’s Agents of S.H.I.E.L.D. Read at your own risk!

Since the creatives minds behind Marvel’s Agents of S.H.I.E.L.D. were unsure as to whether or not the show would get renewed — it did! — the season finale brought the ABC super series full circle with a bittersweet end to the story of Phil Coulson.

After the team thwarted Graviton and broke the time loop, Coulson (Clark Gregg) was ready to go quietly into the night. (tldr; he was healed of his Avengers injury by a Kree serum, which burned off when he temporarily took on the powers of Ghost Rider, so he’s dying again.) At the end of the hour, Coulson was dropped off in Tahiti with Agent May (Ming-Na Wen) to live out his final days. Tahiti, if you’ll recall, was the name of the project that brought Coulson back to life, hence why the producers always knew Coulson’s story would end this way.

However, with the show now renewed for a 13-episode sixth season, set to air next summer, EW asked Gregg whether it feels weird to think Coulson’s story might continue after such a touching ending — and fans might not like his answer.

“I don’t get any sense that it will,” Gregg says. “It doesn’t feel weird to me that it might go forward because I don’t know that that’s the case.”

Alas, Gregg says there’s no official news on whether his character will be back. “I know that they’ve picked up the show, I don’t know if it includes me,” he says. “I don’t know if it’ll just be me in flashbacks or sexy dreams with Agent May.”

Watch our full interview with Gregg above, and read our postmortem with the Agents of S.H.I.E.L.D. executive producers here.

Warning: This story contains major spoilers from the season 5 finale of Marvel’s Agents of S.H.I.E.L.D. Read at your own risk.

After Marvel’s Agents of S.H.I.E.L.D. dropped a number of hints that Infinity War‘s jaw-dropping ending would befall our beloved agents, the ABC super series closed out its fifth season with a major tragedy — just not the one fans expected.

During the final hour, the team disagreed over whether to save Coulson — would they give him the Centipede serum, or save the world by injecting the serum with a mix of Odium into Graviton? Daisy insisted on saving Coulson while Yo-Yo fought to protect the world. But May took their choice away by destroying the Odium, effectively forcing their hand to save her love.

Alas, Coulson only tricked his team into thinking he took the serum, sending Daisy in to talk Talbot off the cliff. But when he tried to absorb her — he’d steal her powers and use them to crack open the earth — she injected herself with the serum and blasted him into space. In doing so, she broke the time loop they had been stuck in.

Unfortunately, breaking the loop also cost the team greatly. Knowing they survive into the future, Fitz and May went into the spaceship to save Mack and Polly from a grim fate. But it was Fitz who was ultimately killed in the most heartbreaking of ways — seriously, if you didn’t cry during that scene, you’re a monster.

Here’s the good news: Yes, Fitz died, but that was future Fitz. Present-day Fitz is still in cryo-sleep, floating around in space just waiting to be woken up in the future. So there is hope of a FitzSimmons reunion!

But here’s the bad news: Coulson really didn’t take the serum, and therefore only has days — maybe weeks — to live. The team drops him and May off on the white sandy beaches of — wait for it — Tahiti to live out the rest of his days. (Clark Gregg reacts to that heartbreaking ending in the video above!) And that’s it. Seriously. S.H.I.E.L.D. did not follow in the footsteps of Infinity War. Why? EW turned to executive producers Jed Whedon, Maurissa Tancharoen and Jeffrey Bell to get the scoop:

ENTERTAINMENT WEEKLY: You guys had been hinting at possibly incorporating the Infinity War ending. Why didn’t we see that in the finale?
JED WHEDON: There’s some of that we can’t answer.
JEFF BELL: Part of what happened was, they changed the release date.
WHEDON: Yeah.
BELL: And we move at a different schedule than they do and so suddenly everything was a week earlier, and so we had to make some adjustments and that’s how we end up with our story.
WHEDON: Right. And the other thing is that there’s certain story points that are so — there would really be no way for us to address it and keep our show intact. Given that there’s another movie coming out, and there’s gonna be constant repercussions of their universe, so what we felt was that the safe play for our story, and for the integrity of our universe, was to operate outside of it.
BELL: To acknowledge it was happening, but that we had our own problems and we’re dealing with that.
WHEDON: Right, and also the timeline is a little bit fudged in that we assume that the last couple of episodes of our show take place during Infinity War. We’re running in a lot of real-time at the end of the season.
MAURISSA TANCHAROEN: The last four all in real-time.
WHEDON: Yeah, so we sort of thought of it as these events are still ongoing as our season ends.

What would that mean if the show is renewed? Is the team somehow magically exempt from Thanos’ snap?
WHEDON: Yeah, well what we like is painting ourselves into a corner, so that the problem we face is not that our show went off the air, it’s that it’s back on the air. “Oh no, now what?” Yeah, so we’ll have to figure out how that plays, and it’ll depend on what the season looks like and our air dates and all that. So, yeah, that’s a bridge we’ll have to cross.
BELL: We call it a classy problem.

Coulson says he has days, at most weeks. Should the show be renewed, do you feel like an 11th-hour save is in order, or are you saying Clark Gregg is done with the show after this?
TANCHAROEN: We never definitively say anything when it comes to …
BELL: Yeah, he’s been dying for a long time.
TANCHAROEN: Yeah, he’s been dying for a long time.
WHEDON: What we do think is that there’s an emotional impact with everything that happened this season and we would never wanna undercut that. That being said, our show’s founded on a man who had been killed in the movies, and Clark Gregg is the foundation upon which our show is built. So, it’s a good question and one we’ll hopefully get to answer by having another season.

What came with the decision to kill Fitz, even though you guys have this loophole?
WHEDON: I can say that in the writers’ room, I don’t remember what happened, but it was a big eureka moment for us.
BELL: Right, because the one time loop problem we had was that Fitz was out there in space.
WHEDON: Yeah, and when we brought everybody back, we talked for weeks about how to bring them back. Do they come back to the diner? Well, then he would still be there. Okay, well, how do we fudge this? And this problem we had in bringing them back — and we brought them back after he had left the planet just to avoid that problem — that problem became this great opportunity. What we realized is the thing that would weirdly have the most impact, one of the most painful things that you can experience, could be then experienced and then, not brought back, but a loophole could be revealed.
BELL: Actually, it cleaned up a mess a little bit.
WHEDON: Yeah, exactly. And so, it asks bigger questions about can you change time and all that, but we were pretty excited about that story point. One of the things that we did this year was put them together in a concrete way, because we felt like we pulled them apart too many times, and we realized, “Wait, we can do it again!” So we were all pretty excited.

If the show got renewed, this would be a different Fitz who hadn’t gone through the future experiences, right?
BELL: Absolutely.
WHEDON: True.
BELL: He would have no idea he was married.
WHEDON: He’d just be trying to find Simmons because he wants to propose.

It feels like Deke made his exit so we wouldn’t know whether he suddenly disappeared or not. Anything you can say of what actually happened to Deke?
TANCHAROEN: No.
BELL: I think it really is a mystery. Did he disappear or did he walk away? But that’s a good thing for people to argue about I think.
WHEDON: Yeah, and we hope they do. Part of this season was about hoping that people on their couches had the same arguments that we had in the writers’ room for hours on end.
TANCHAROEN: Yeah, we wanted everyone’s brains to melt the way ours did in the writers’ room.
WHEDON: Wanted to share that just a little bit.

Anything you can say about Daisy’s new powers, and also why you guys ended this finale without her being the leader of S.H.I.E.L.D.?
WHEDON: Well, she’s definitely juiced up in some way, and how much that carries, we’ll see. We talked a lot about how to change their timeline and the decisions that would be made, and who would ultimately make that decision. And we felt like Coulson had to be the pivotal point of it, in that it became giving it to her. But in terms of her not being the leader of S.H.I.E.L.D, we don’t really think of it that way. We think of it as the strongest move she made as a leader was installing Mack as the head. We think of that as her ascension to what Coulson believes she could be. He says, “I couldn’t have said it better myself. I need you to start figuring out these problems.” And she had a real big one on her hand, which is our team has no cohesive gel, nothing holding it together. And here’s a guy who made a great speech at the beginning of the episode, and she realized, “Wait a second, I still want to be the tip of the steer. I want someone else to be in charge of where I go.”
TANCHAROEN: I think a huge part of the beauty of Daisy as a character, and the reason why we find her so compelling, is that for the past five years, her entire story has been about her forging her own identity. So perhaps, in this place where she is emotionally, and of course with the potential loss of her father figure, this is just another part in her journey. So her stepping down might not necessarily mean that she will never be the leader, but if anything it does show merit in her potential in being a really, really spectacular leader, essentially.
BELL: Yeah, and we think of the two of them . Even at the end of the episode, she’s sitting shotgun, feet up on the dash, she thanks him for the plane, there’s a sense of ownership of S.H.I.E.L.D. and she’s the one who says, “Where we going?” There’s a sense that she’s leading the charge, she just wants someone else deciding where that charge goes.

How important was it for you guys to end up in Tahiti?
BELL: Well, we’ve known that since forever.
TANCHAROEN: Forever.
BELL: Since we started, since episode 1.
WHEDON: We thought it was a beautiful image and we all latched on. It’s one of the things where you don’t overthink it. We latched onto that and went, “That will be great.” It’s an emotional thing for him. We even heard from Mike Peterson that this was something he always wanted. Our big mystery in episode 1 was, “Never been to Tahiti.” He doesn’t know, and he can never know. And here he is, finding some sort of peace on that beach. We love that image and we were solid on it all the way.

Marvel’s Agents of S.H.I.E.L.D. will return in summer 2019. Clark Gregg addresses his future with the show here.

Here are your exclusive first looks at George R.R. Martin and Joe and Anthony Russo’s two new Syfy shows!

First up, we have a teaser for the Game of Thrones author’s Nightflyers, which you can watch above. Based on Martin’s novella of the same name, the 2093-set series follows a group of maverick scientists and a powerful telepath who embark on an expedition aboard the Nightflyer in order to make contact with a mysterious alien life at the edge of our solar system. Per the logline: “As they race towards first contact, terrifying and violent events begin to occur, causing the once tight-knit crew to mistrust each other. It’s not long before their main mission becomes survival.

Executive-produced by Martin and showrunner Jeff Buhler, Nightflyers stars Eoin Macken (The Night Shift), Sam Strike (EastEnders), Maya Eshet (Teen Wolf), Angus Sampson (Fargo), Jodie Turner-Smith (The Last Ship), Gretchen Mol (Boardwalk Empire), David Ajala (Fast & Furious 6), and Brían F. O’Byrne (Million Dollar Baby). Brian Nelson, Mike Cahill, and Andrew McCarthy serve as executive producers. 

Watch the teaser above.

In addition to Nightflyers, we also have an exclusive look at the Russo brothers’ new coming-of-age comic book show Deadly Class, which you can watch below:

Here’s the logline for Deadly Class, which is based on Rick Remender and Wes Craig’s 2014 Image Comics series: “Set in a dark, comic book world against the backdrop of late ’80s counterculture, Deadly Class follows a homeless teen recruited into a storied elite private school where the world’s top crime families send their next generations. Maintaining his moral code while surviving a ruthless curriculum, vicious social cliques, and his own adolescent uncertainties soon proves to be vital.”

“Deadly Class is one of the more twisted coming of age stories we’ve ever read,” says Joe Russo in the first look clip. “. It does an amazing job of exploring the teenage years and the sense of the alienation you feel. The first time we read the book we were blown away.”

Remender promises that the adaptation will delight fans. “Deadly Class is authentic, honest, and brutal. The threats are real,” he says in the clip.

The series stars Doctor Strange’s Benedict Wong, Benjamin Wadsworth (Teen Wolf), Lana Condor (X-Men: Apocalypse), Maria Gabriela de Faria (Yo Soy Franky ), Luke Tennie (Shock and Awe), Liam James (The Way Way Back), and Michel Duval (Queen of the South). The Russos are executive-producing alongside Remender, Miles Orion Feldsott, Adam Targum, and director Lee Toland Krieger.

Nightflyers will premiere this fall, and Deadly Class is due in 2019.

Warning: This post contains spoilers from the black-ish season 4 finale, which aired tonight. Read at your own risk!

Well, we’ve finally reached the end of black-ish’s first serialized arc and a resolution to the Johnsons’ marital woes.

The last four episodes of the ABC sitcom’s fourth season were about a recent rough patch in Andre (Anthony Anderson) and Rainbow’s (Tracee Ellis Ross) marriage, which ultimately led to the once-happy couple separating. In the season finale, Dre bought his dream home, where he could spend time with the kids on his days, and the episode dove into how Dre and Bow were adjusting to being apart from the first time in quite a while. However, the sudden death of Bow’s father brought the couple back together and helped them realize they wanted to be there for each other.

“The thing we wanted to do as we moved into this episode was to show that when this couple got back together, we left the audience in a place knowing they were actually in this for real, and it’s not about codependency and it’s not because was too hard,” says black-ish creator Kenya Barris. “We wanted to show that one of the great things about having a great family is that they do have your back and support you.”

Below, EW chats with Barris about whether he ever considered not bringing Dre and Bow back together, the hardest part of this arc, and more.

ENTERTAINMENT WEEKLY: Did you know from the beginning that this arc would ultimately end with the Johnsons getting back together? Did you ever consider not reuniting them?
KENYA BARRIS: No, we wanted them to get back together. We knew that this was a family that we feel like we want to have a positive image, and we feel like they’re in love. The biggest thing is that we wanted to get people you can’t see daylight without seeing night first. You can’t taste sweet before you know what sour is. As I think 100% of couples would admit to , we wanted to give them something saying, “You’re not the only one.” The couple we see every week and we love has gone through things, and sometimes it actually does seem like it hits a rock bottom, but there’s a place to come back from.

Where did the idea to have Bow’s father die come from?
Sometimes you realize that life isn’t defined by the good times. I don’t know you, Chance, and I could come to your office right now and literally go have the wildest, greatest night in the world, but in the morning when I realize my parents are sick or I’m having financial problems or something work-wise happens, you don’t know me, you’re not going to be there. Life isn’t defined by the good times, it’s defined by the bad times, and sometimes those are the moments you reach in deepest to your life and say, “Who are the people who are there for me when the moments aren’t quite funny?” It makes you look past those bickering moments, those moments when the cap was off the toothpaste, and realizing, “I have problems with everybody, but I would not want to go through a bad time with anybody else. This person is a person that’s been there for me when the sun wasn’t so bright.”

I know this story was inspired by your own marriage. How much of the finale scene between Dre, Bow, and their therapist came from your real life?
I feel like that particular thing was directly taken from my life, as was a lot of this, and from the writers’ lives. These things were things that we as a writers’ room really emoted and really went through together in a really big way. This was an extremely personal arc for me.

RELATED: Get the lowdown on the Emmys with EW’s new CHASING EMMY podcast

Looking back at this four-episode arc, what was the hardest part for you as a writers’ room to nail?
I think our episode “Blue Valentine” was our hardest, and it was also one of the most proudest moments for me in making television for network. It was a complete departure from the tone. We shot it long-lens, we shot wide-angle, we did color desaturation, and we actually had a wall-to-wall score that had a motif to it. The thing that I get so often with network comedies, and I think some of the most brilliant people in the world do them, but it’s easy to hide behind a joke. I kind of feel like when you have to face things and you don’t have humor, it becomes very vulnerable; it exposes your deepest and darkest fears, in some aspects.

Do you have any idea what you hope to tackle in season 5?
No idea.

Black-ish will return in the fall for season 5 on ABC.