‘Legends of Tomorrow’: Here’s the scoop on Laurel’s finale return

Show Full Article “I don’t want to give anything away, but I don’t want to also toy with the fans’ emotions,” Lotz says. “As she took on the mantle of leadership, she also learned some of the nuance of time. How are we going to make sure that history doesn’t repeat itself?’”
Bettina Strauss/The CW
Whatever the Legends decide, and therefore however the Lance sisters are reunited, Lotz teases that seeing Laurel again will give Sara a sense of closure. Alas, probably not, since a dead Damien would probably create a paradox that the Legends would not be able to fix. For all the progress that Sara has made, she’s no Frodo, she still has an enormous amount of scar tissue built up — literal scar tissue and the emotional scar tissue that she’s had in the past four years.”
“That’s the big conundrum for our team,” Klemmer continues. Do we each go hiding in places in time? The season finale of DC’s Legends of Tomorrow will air Tuesday at 8 p.m. Read our full finale preview with Klemmer here. RELATED: The Best CW Shows of All Time
With the Legends poised for the ultimate confrontation with Darhk and the rest of the Legion of Doom in the finale, will Sara finally avenge her sister — and bring Laurel back to life? “At the beginning of the season, Sara was back to a place of being an assassin, determined to kill Damian Darhk,” executive producer Phil Klemmer tells EW. “They go back trying to get the Spear, trying to keep it away from the Legion of Doom, and we know the Legion of Doom shouldn’t have it, but I don’t think any one of our Legends, Sara included, think that they’re qualified to wield it either, which leaves us in a sticky place, where it’s like, ‘Then how do we save the day?’ We’re back to where we were to the JSA: ‘Do we break it up in pieces again? Since Laurel’s death at the end of Arrow‘s fourth season, Sara (Caity Lotz) has spent a bulk of Legends‘ second season with a vendetta against her sister’s killer, Damien Darhk (Neal McDonough). But the big question remains: How? “It’s that ring of power, magical totem that can only be wielded by the purest of heart. “It’s no coincidence that we did the Tolkien episode, it’s no coincidence that we’ll be returning back to the Tolkien episode,” Klemmer teases. In the wake of Reverse-Flash (Matt Letscher) rewriting reality, creating Doomworld, and subsequently destroying the Spear of Destiny, the Legends will be heading back to WWI in a bid to stop the Legion from obtaining the Spear in the first place, offering the team a chance to rewrite their own version of reality in the finale. Back in February, Legends boss Marc Guggenheim revealed on Twitter that Katie Cassidy would be reprising her role as the late Laurel Lance in the finale. ET on The CW. “It’s not like a full coming back, but it is a really lovely appearance, and I think people will like it a lot.” Even if Laurel doesn’t make a full comeback, Cassidy will still play a big role in the Arrow-verse next season when the actress returns as a series regular on Arrow — the Black Siren! She’s now a time mistress, she understands the sanctity of time supersedes her own personal agenda.”

However, Sara doesn’t necessarily need to kill Damien. Laurel Lance will return during Tuesday’s season finale of DC’s Legends of Tomorrow.

‘Legends of Tomorrow’ boss teases ‘so many deaths’ in season finale

The season finale of DC’s Legends of Tomorrow airs Tuesday at 8 p.m. But from an interpersonal perspective, it’s interesting to see how our Legends will interact with themselves. But then there’s also a very poignant opportunity for people to meet yourself — your future self getting to talk to your past self and impart whatever lessons you’ve been able to learn over the course of Doomworld. What’s the one question you think fans will have? Well, it’ll take at least another season to try to, if not fix, mitigate some of the destruction that we inflict on the universe in the finale. When we had Hourman appear and say he’s a member of the JSA, you have an idea of where that’s going, but it’s not until you really sit down and start writing those stories that you know for sure. ENTERTAINMENT WEEKLY: The Legends must return to the past in the finale. During the season finale of DC’s Legends of Tomorrow, the CW super series will break a cardinal rule of time travel, leading to some big consequences. Definitely. There’s a seismic shift in our show, quite literally, that will give you an idea of what season 3 will look like, but also I don’t think anybody will know what it’s going to look like, because frankly, we don’t quite know what it’s going to look like. RELATED: The Best CW Shows of All Time
It’s obviously a rule for a reason, so what are the consequences of coming into contact with your past self? We do. We make our ultimate mess in Tuesday’s episode. It’s more people that I’ve probably killed in my entire television career. We’ve always wanted to break the cardinal rule. We’ve had a couple of humanizing moments for Thawne in space to see his more human side, but he’s a pretty messed-up guy, and I don’t think he trusts his partners, nor do his partners trust him. We hit that hard for the first time when we went back to the Civil War, and we had our team dealing with zombies, but at the same time you’re like, “Even once the zombies are fixed, there’s still a monstrous thing happening here.” We meant to make that a bigger part of season 2, and it’s something that’s really still available to our team. It’s a meat grinder. What can you tease? Yeah, or what if Snart doesn’t go back, there’s no Captain Cold, and there’s nobody to save our team at the Oculus, and Vandal Savage isn’t vanquished! I will tease it like that: The only person Thawne really trusts is himself. At the end of this finale, obviously everybody is pulling in the same direction because they have to, because the stakes are so high, but as we finish this season, we really want to   change the dynamic in season 3 so that it’s not going to be just like, “We’re picking up where we left off and we know where everybody stands!” That’s why we have these crazy cliffhangers, this is why we bring on new characters, that’s why we had the JSA, that’s why we blew up the Vanishing Point. Obviously, from a mythology standpoint, it’s very exciting to imagine what will happen when we do the one thing that Rip told us never to do. Season 1 was about stopping Vandal Savage, and then season 2 we accidentally blew up the Time Masters, and now we’re effectively the time police, so we’re fixing these aberrations, even though we didn’t want to do this and we’re not really equipped to it. After Reverse-Flash (Matt Letscher) rewrote reality to create Doomworld and subsequently destroyed the Spear of Destiny, the Legends are now forced to travel back to WWI to prevent the Legion from getting their hands on the Spear in the first place, running the risk of coming into contact with their past selves. We’re not going that far back in time, but so much has happened. Hats off to The Flash, but when you have somebody as powerful as a speedster, it’s always a challenge to come up with a way of evening the playing field. Show Full Article It’s definitely not a finale you want to turn off in the last couple minutes. They were the most fun scenes I’ve ever written on the show — [the scenes] between the Legends and themselves — both for the comedy and for the pathos of it all. It’s just nothing but death. It’s great when it catches people by surprise. After the finale, people will wonder, “What does an episode look like now?” A great thing about our show is that not only do the characters change and the dynamics change, but the engine of the show changes with it. What can you tease of how that will culminate, especially since we know Damian needs to return to his timeline, otherwise what does that mean for season 4 of Arrow?! What you do with the cliffhanger is basically paint yourself in a corner, and you have no idea how you’re going to get out of it. It will redefine our Legends, who they are and what they do, which is great because it’s always good to make them responsible for the mess. The fact that our one team can’t come to a consensus and march in a straight line, it’s hilarious to imagine what two teams would try to do if you try to herd those cats. Stay tuned for more scoop on the return of a familiar face in the finale. As our team is maturing, they’re going to be — next season — faced with questions of like, “What if putting things back to the way they were wasn’t good enough?” It’s always great when you have a conflict, when you have two equally valid points of view. The things we get to do on this show, nobody on TV gets to do episodes about George Lucas and a Nazi cabaret song or a Land of the Lost episode. Below, the Legends boss also teases how their actions will reverberate into season 3, which will include some new team members. It gives you that slightly weightless feeling, where it’s a thrill, but it’s also scary as s—, where you’re like, “Man, sometimes it would be easier to keep writing the same show,” but that’s not what Legends does best. The consequences of their actions will lead to “so many deaths,” according to executive producer Phil Klemmer. Will you be adding new members? I just know, as a viewer, I would hate people if they made it too easy. One of the fun parts of our show is even evil parts of history are part of history. We’re doing versions of all those things we did last year, we’re doing them Tuesday night, which is crazy to do, because we love season 2 of this show, we love the dynamics we have on our team, we love our villains, but kill your darlings, or whatever they say. There’s comedy to that. We will deal with all of those things in the finale. You will not know who the new characters are [in the finale], you’ll have to wait until next year. It’s ridiculous. Our Legends provide the best part of the show, which is us trying to clean up our own messes. What will next season’s Legends team look like? There will be so many deaths! It’s a wall-to-wall carnage. ET on The CW. Obviously, he has his henchmen. With double the amount of Legends that he’s facing, what will Thawne do to combat that? PHIL KLEMMER: As Marc Guggenheim has said many times, and in shaming me for the fact that I’ve never seen Back to the Future 2 — I’m sorry, I apologize to everybody — from what I understand, this is a version of what happens in Back to the Future 2. Again, season 3 is going to be totally different, it’s not going to be just fixing these simple aberrations and then moving on. There were a couple of big questions coming out of Doomworld, like whether Stein will get his memory back, whether Amaya is really dead, and whether the team can trust Mick. What can you tease of how the finale will set up season 3? The show has always been designed to morph. It’s been 33 episodes of us being like, “You can’t do that, you can’t push that button,” so if it were too easy to undo the cataclysm, I would be like, “Oh, come on!” It’s not resolved this season. That’s what you want on a show, because if everybody agrees, the show gets really freaking boring really fast. Should we expect any death in the finale? There’s a big morph moment coming. The team is also facing off against Legion. Our mission is to surprise people, and that’s why we have to force ourselves out of our comfort zone at the end of every season, so we’ll be as surprised as the rest of the audience when we finally get there. It basically is the propulsion that will take us into season 3. It’s something akin to the scale of what we did this season. Will you definitively answer those in the finale?

Harrison Ford won’t be fined after airplane landing incident

In February, Ford inadvertently landed on an active taxiway instead of the parallel runway he was cleared for at John Wayne Airport in Orange County, California. From Coinage: See Where 6 Stars Were Before They Were Famous

In newly released audio, the actor can be heard taking responsibility for the mistake,   telling   the tower at Orange County’s John Wayne Airport, “I’m the schmuck that landed on the taxiway.”
He added, “I was distracted by the aircraft which was in movement when I turned to the runway and also the big turbulence from the landing.”
“I estimate that [Ford] missed the aircraft by less than 100 feet,” Captain Ross Aimer, a retired United Airlines pilot and CEO of Aero Consulting Experts, previously explained to   PEOPLE. He   responded to the control tower by fumbling his words and telling   them that he was flying a helicopter rather than his single-engine plane. Harrison Ford   has been cleared for takeoff. In a video of the incident, Ford’s yellow single-engine Husky aircraft is seen flying over the American Airlines flight waiting to cross the runway he was cleared for. Though the plane can carry up to 14   passengers, Ford was seen with only a co-pilot with him. 13, the   Federal Aviation Administration (FAA) confirmed in a statement Monday. The actor was heard making mistakes during radio communication with air traffic control in the minutes leading up to his close call. During his landing, he came extremely close to an American Airlines flight with 116 people on board awaiting takeoff. The   Star Wars   actor will not be fined, nor will he lose his pilot’s license after he   mistakenly flew over a jetliner before landing his plane on an airport taxiway on Feb. Ford, who   keeps his collection of planes there, chose to travel in his   single-engined Cessna Caravan airliner. “He came uncomfortably and dangerously close on that landing — the video is pretty clear.”
This article originally appeared in People.com

Show Full Article The 74-year-old star has continued to man the cockpit during the FAA investigation, and was pictured flying his private plane out of the Santa Monica Airport in Santa Monica, California, on Friday.

‘The Walking Dead’: Inside the business of the mega-franchise

Show Full Article Watch the video above. The Walking Dead season 7 finale aired Sunday night, with the AMC series returning in October. Having first began in 2003 as a comic book series, Robert Kirkman’s creation made the jump to television in 2010, spawning a mega-franchise that includes video games, conventions, and attractions. The Walking Dead isn’t just in the business of killing walkers. Now, seven seasons in and counting, the brand is still as valuable as ever. In 2016, 289,000 copies of the books were sold and ads during an episode cost $470,410. The latest video from Coinage, Time Inc’s new personal finance video company, explores the booming industry that is The Walking Dead.

‘Love Actually’: Andrew Lincoln looks back at his ‘weird stalker guy’ role

But I think because Andrew was so openhearted and guileless, we knew we’d get away with it.”
The sensitive nature of the part might explain why Lincoln was repeatedly screen-tested before he secured the role in the film. “I think it was decided that I looked quite innocent,” he says. “In one of the most romantic movies of all time, I got to play the only guy who doesn’t get the girl,” he tells EW for our Love Actually reunion feature. “I didn’t have facial hair or wrinkles back then — and I wasn’t starring on a zombie TV show. “He just came to National Theatre to watch the play and cast all three of us.”

For more revelations from the past four decades of entertainment, visit   ew.com/untoldstories. Looking back, the director now says, “Retroactively, I’m aware that Andrew’s role was on the edge. In one of the movie’s (often-parodied) touchstone scenes,   Mark declares his unrequited love by holding large handwritten cards. To read more Untold Stories, pick up the new issue of Entertainment Weekly,   on stands now, or buy it here — and   subscribe for more exclusive interviews and photos, only in EW. It’s   an interesting phenomenon of being an actor longer than 25 years because you can tell what people know you from.” At the time he was cast in Love Actually, Lincoln had just appeared on stage in London in the play Blue Orange — opposite future costars Ejiofor and Bill Nighy. She’s also Curtis’ longtime partner (they have four children together) and informed Lincoln, “You realize who you’re playing? I didn’t look as, well, creepy as I do now.” (Lincoln, 43, has played Rick Grimes on AMC’s hit The Walking Dead since 2010.)
Regarding that show’s massive success, he adds, “There’s a whole generation in England who think I’m American, thanks to The Waking Dead. “The story is   set up like a prism looking at all the different qualities of love. I just had to hold cards and be in love with Keira Knightley. So I got to be this weird stalker guy.”

Lincoln continues, “My big scene in the doorway felt so easy. You’re Richard.”
Reached by phone amid frantic preparations for the U.K.’s Red Nose Day in late March, Curtis lets out a gale of laughter. Mine was unrequited. I don’t know about that.” (Curtis cofounded Comic Relief, which has raised more than $1 billion for charities across the globe, in 1985.)

The mini-sequel to Love Actually, titled Red Nose Day Actually and featuring several cast members including Lincoln, Knightley, and Ejiofor (plus a cameo surprise), will air as part of Comic Relief on NBC on May 25. You’ll have to wait until then to see if the passing years   have made Mark   any less — or perhaps more — of an obsessed creeper. Another factor that eased Lincoln’s mind while playing Mark was a conversation he had during filming with script supervisor Emma Freud. And that was my own handwriting on the cards, thank you for noticing. In an EW online poll last year, 66 percent of voters said that Mark was a lovestruck sap rather than a stalker creep. That’s not how Lincoln himself saw it. “It was very lazy casting on Richard’s part,” Lincoln jokes. In the 14 years since British rom-com classic Love Actually was released, a majority of the film’s fans have found nothing weird in the behavior of lovesick Mark (Andrew Lincoln), who’s infatuated with the new wife (Keira Knightley) of his best friend (Chiwetel Ejiofor). “Me?” he asks. Show Full Article “You mean, obsessively in love and unable to express it so well? But I kept saying to Richard [Curtis, the film’s writer-director], ‘Are you sure I’m not going to come off as a creepy stalker?’”
At the time, Curtis told him not to worry.

‘The Walking Dead’: Sonequa Martin-Green cried reading the finale script

Do you think there was ever a moment where Sasha, like Eugene, was tempted to turn to the dark side? And I felt that in a way, my journey as Sasha, in the zombie apocalypse, was finding true strength, not pretending to have strength, but actually being strong, and realizing that self-preservation is usually something that you do out of fear. And being able to sacrifice for the greater good is something that you do out of strength. I didn’t have the layers, but they usually do, in the heat and whatnot. I found out a little bit ahead of time. You know, at a time that presents itself to me.”
Yeah, playing double agent there. What was funniest about them was that you couldn’t see anything, and some people had to lead you around, and I always had sympathy for those awesome folks that play the walkers. I had a lot of fun with it, because once it was there you’d sit down in the chair and you go, “Oh man, here we go.” [Laughs]   With the special effects, the guys were so awesome, and we just had a really good time in that trailer. I mentioned this on   Talking Dead, but   it was as if all my roles had led me to that moment. So those guys, they work really, really hard. It sort of lives in the ether where it can’t be described. Those last days of the time that I spent with everyone and being able to look back at all of my time on the show —   just divine. It was just… it was family coming together. And so then he gave me insight into how it was gonna happen. We were so thrilled when found out we would be able to work together again in that capacity because we didn’t think that would ever happen again. The contacts were not as bad as I thought they were gonna be, actually. It’s intangible, and so I would love to be influenced by all of that. The plan didn’t work, but it showed Sasha’s true warrior side, giving up her life in the hope that it would aid her friends in combat. We both thought it was so brilliantly written. Gimple and finale director Greg Nicotero. I think I did. But what he did tell me ahead of time was that it was going to be sacrificial in a sense   and that   it was gonna be very heroic in a sense. But more than the story, I’ll miss everyone — the entire cast, the entire crew, the entire creative team. What are you going miss most? It was really incredible. So I knew it was gonna be great, and when I actually saw it, the day I read the script, I cried, because it was just so powerful. You know, maybe I could be a part of it now, always with the intention of turning —   always with the intention of finding a point of weakness that I could exploit.  

Show Full Article I certainly learned to gamble at this point, but I do still do the math. Make sure to also read our Q&As with showrunner Scott M. And it’s saying goodbye to the legacies that they left behind. It was very lighthearted. And so, I do think it changed   when the suggestion came for me to stick around and being a part of it. We spoke to Sonequa Martin-Green (who has moved on to space, the final frontier, to star in CBS All Access’   Star Trek Discovery) to chat about Sasha’s last stand, and the actress weighed on her last days on set, reuniting with Michael Cudlitz, and whether Sasha ever considered working for Negan. But now I have empathy   because I went through it, and it’s tough to be visually impaired and to have all the [prosthetic] layers on you. You know, we had fun with each other. And that’s definitely what I’ll miss the most. SONEQUA MARTIN-GREEN: He was so gracious through the whole process. For a split second, I did consider it, but as a long gain. To see what the sort of heartbeat of their relationship is. And so it was a great opportunity to do that, and just to be lost in my thoughts. I’m gonna miss the story. What was what your zombie experience like? I had a lot of fun with it. All of it sort of comes together, and it really affects you, and it turns it into this living, breathing, thing. And we wanted to give it justice. I think he’s just so powerful, but so available, and so present and so deep. The coffin, and walker, and suicide pill of it all didn’t come until a little bit later. How much did you enjoy the fact that Sasha went out actively, instead of passively, and the fact that she did so with a purpose — the purpose being to try to take out the enemy? I did consider that, and I said, “Well that’s an option for me, to pretend that I’m on board,” and use that to my advantage at a later time. And to be lost in the moment. I don’t have words to describe how special it was. It wasn’t just the story itself. He let me know that it had been in the works for a really long time, that it was the way the story was going to go, and it had been a longstanding vision of his. And so I felt like, having changed as much as I had, having opened up the way that I had, I felt like that was the perfect way to end it because it was that sort of suspension that ended in the biggest action of all. Gimple and director Greg Nicotero.)
ENTERTAINMENT WEEKLY:   So when and how did showrunner Scott Gimple deliver the news of Sasha’s demise? And so it was very similar to what happened in episode 1 of Season 7. It was really beautiful and we saw the beauty of it, and we really took joy. Oh, it was awesome! Those moments are so charged because of everything. Yes, exactly. I was so grateful for it. And I just love working with Michael. When you’re in a cell like that, especially someone like Sasha, you know, I do the math. And so I would rather be influenced of all of that, in those moments, and I love those quiet moments —   those moments where you’re just alive in the story, in what’s happening around you. What was it like filming those coffin scenes in the dark with your iPod on and just having to act with your face? We really are a family and I’ll miss being there on the ground with them. It was also what the moment meant to me personally, as Sonequa. Gene Page/AMC
How nice was it to get to work with Michael Cudlitz again in those flashbacks we saw? SPOILER ALERT: Read on only if you have already watched the season 7 finale of The Walking Dead, “The First Day of the Rest of Your Life.”
The season 7 finale of The Walking Dead was a new beginning for our heroes who finally joined the battle against Negan and the Saviors. And so it was getting a gift that we just weren’t expecting — being able to share that moment between Abraham and Sasha, and being able to see them that way, being able to see why they are drawn to each other. Even though it’s been a long time, and you’ve heard me say that   I do the math and I don’t gamble. We did all sorts of funny videos, and selfies, and, you know, really just playing it up. I thought it was like that period at the end of a wonderful poem. Because what we have is real, and it’s eternal. I thought that was the perfect ending. We always love each other, any day. What was it like on set for your last few days, knowing that this was the end? Also, follow @DaltonRoss on Twitter for all the latest Walking Dead updates. I could cry talking about it right now because any word that I use to try to describe it might diminish it a little bit. I’m gonna miss everyone! He let me in on it. And that’s exactly what it was, just being able to take in everyone that way. I think he’s brilliant. Gene Page/AMC
I’ve been a zombie before on the show, and for me the contact lenses were the worst. That was a very traumatic experience for us, because it’s not just the story that’s so haunting and brutal, but it’s also knowing that you’re losing two people that you really love — losing them from the show, and now you’re not going   see them as often. Oh my goodness. So, it wasn’t a shock or surprise. (Also make sure to read our season finale Q&As with showrunner Scott M. But it was the end of the line for one of the   said heroes, as Sasha sacrificed herself — taking Eugene’s poison pill so she could emerge as a zombie and hopefully take out Negan. But then when people leave, it’s such an enchanted time because we come and we laugh and we share and we give everything we have to each other in those last moments. It’s a little bit different than how it happens in the comic, with that character of Holly, who sort of had some similarities to Sasha here.

’13 Reasons Why’: Get to know series star Katherine Langford

The Netflix show, based on the book by Jay Asher, tells the story of Hannah’s suicide and the 13 tapes she recorded before her death to explain her decision. “The next year, I got an agent,” she says. Just a few years ago, Langford was a national swimmer at her high school whose top three job preferences were medicine, politics, and musical theater, in that order. For her final year of high school, Langford stopped swimming and started getting more into music and performance. The first thing that I bought in San Rafael,   [California], because we were going to be there for six months filming, was a bed and a piano. “It’s more of a comfort. And along the way, Langford had to film a number of intense scenes, which is where her love of music came back into her life: She’d often play the piano to help herself unwind. And on set, we would sometimes have green rooms, which were houses, and those houses would have pianos and so I would play in between takes.”
Suffice it to say that she’d be more than willing to partake in a 13 Reasons Why musical, but until that’s an option — a girl can dream — Langford doesn’t know for sure what her future holds. That’s one of the greatest gifts of this industry and this job.”

Show Full Article “It’s a weird point in my life right now because I just finished the most incredible show with the most incredible people and I kind of don’t know what to do with myself,” she says. She received a diploma of musical   theater, at which point she decided to pursue acting. “I don’t know what happened. But for Katherine Langford, 20, portraying Hannah Baker is only the start of her story. “I went to see Born This Way,” says the Australian actress. Well, at least until she went to a Lady Gaga concert when she was 16. “I just want to keep doing good projects with good people. From the first episode of 13 Reasons Why, the audience knows how Hannah Baker’s story ends. “I actually told my parents I was at university and I just worked and auditioned.”

And when the audition for 13 Reasons Why came her way, she read for the roles of Hannah and Jessica before eventually landing the lead. “Luckily I think my high school experience was far better than Hannah Baker’s, but I think she’s a character that goes through so many things that I feel like all of us have felt,” she says. I love the opportunity to affect change in people’s lives. “I don’t play professionally or very well for that matter,” she says. “In that way, I find her really personable.”
With each episode, the show digs deeper into the story of Hannah’s emotional undoing, which leads to her tragic end. It was like a spiritual experience, and I was so moved by her performance that I went home and that week I taught myself how to play piano.”
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From that point on, a flip had been switched.

‘The Walking Dead’: Andrew Lincoln had no idea about the big finale twist

I thin it’s much, much stronger. He sees a man with nothing. Nope. Gene Page/AMC
Was what it like getting everyone together for that one big action spectacular scene? It was such a thrilling atmosphere with the cavalry returning to push them out and save the day. It’s hilarious. He was a fan before he did this and he said there’s something weird about being attacked by all these people I’m rooting for as a fan. I went back to set with a little spring in my step because I knew a tiger was showing up at the party! And you want that, because it’s been a rough season for these characters and there was that huge payoff and relief and joy and verve in sharing this air with these old friends. It turns out star Andrew Lincoln had no idea either —   not when he did earlier episodes with the group, not when he spoke with showrunner Scott M. They got a little bit more than they bargained for. What is happening?!? Nope. I’m there baring my soul in Jeffrey Dean Morgan’s face and then this guy gets in my eye-line and he’s six-foot-three and blue! It was just great to see Lennie and see Melissa and to be able to hang with them on set and be able to watch their scenes. To me the moment of the episode is when Negan is about to take off Carl’s head and you just get all up in his face and tell him “You’re all already dead.” What a 180 from last time Rick was on his knees. It was the first time that I got to push back a little bit. I hope they don’t show a couple of takes on the DVD or Blu-ray. Did you know all along, even when you were filming episodes 709 and 710, that Jadis and the Scavengers were going to eventually turn on you guys? You could feel it. I’m not going to say anything, but there were a couple of comments thrown around. It was fun. And you don’t have to work too hard for it. Because you know what the writers did is they put that really good joke in before and it diffuses, and it’s such a smart way of going, oh they’re never do that, because you just think, oh, they’re funny. And then he calls him on it. And to be able to give him a bit of energy the other way was a relief and also kind of exciting. Obviously if there are things like his relationship with Michonne I would prefer to know that there are seeds being sown, but with big reveals like this, I love learning on the day. He sees a coward. Jeffrey Dean Morgan! It was so painful losing Glenn and Abraham, and it was a very pivotal point in his leadership. That’s pretty much the arc of the entire season right there, right? There was a real excitement on set. I was the same! (Make sure to also read our Q&As with Sonequa Martin-Green, showrunner Scott M. I actually gasped out loud when they turned on you. The man behind Rick Grimes shares what it was like on set for that huge confrontation with Jeffrey Dean Morgan’s Negan, how he feels about being saved by a tiger, and what we can expect to see coming up in season 8. Everybody felt it was like an all-star game. He sees a bully. I don’t want to know. He doesn’t have anything. Gimple and finale director Greg Nicotero.)
ENTERTAINMENT WEEKLY: Well, that was exciting. Make sure to also read our Q&As with Sonequa Martin-Green (Sasha), showrunner Scott M. And I love the line “You’re all already dead.” Because he is. And it was absolutely bizarre. It had been a season —   certainly from my view of things —   of one-way traffic. To see the big bad wolf on the run was particularly enjoyable. It’s so good because it deflects and then it reveals. That’s the realization is that unless you have love, unless you have friendship, unless you have something worth fighting for, you’re dead. Yeah, I think so. That’s what excited everybody that I think where we’re heading is much more of that — that sort of unspoken history between these friends and warriors and survivors. ANDREW LINCOLN: Yeah, everyone can breathe again. We had a lot taken out of this season and I know the audience has as well, so it was kind of nice to begin to push back. And it smashed him and pulled apart the leader. And also being reunited with really good friends. When everybody read the script everyone said, “How are we going to manage to do this again,” and everybody just charged all the way through that episode. Also, follow @DaltonRoss on Twitter for all the latest Walking Dead updates. Show Full Article Even for Jeffrey. This is what you’ve got now, my friend, now that I’ve got a little bit of bite back! And what happened during the course of the first 8 episodes is you see him be diminished, and the back 8 was him being rebuilt, largely a lot by Michonne and the strong women in the community. It’s already there. At that point he said it was enough. No clue. For everybody there was a real sense that we had earned this moment, and this episode, and possibly season 8. I read it and I went, ooooooh, it’s so smart! He assumes he has everything but he looks him square in the eyes and he goes, I know what you are. There had been too much death on his watch. He was carrying a lot of story this season. Well, it was neat not just to have old friends reunited but have characters like Ezekiel and Maggie —   who had never even met —   all together in one spot. The tiger comes and saves the day! That’s just one of the nuggets The Walking Dead star spilled to us when we spoke about the action-packed season-ender. That’s true! The crew was excited to see us back together again and get a flavor, a taste of Rick returning and not bowing down anymore. SPOILER ALERT: Read on only if you have already watched the season 7 finale of The Walking Dead, “The First Day of the Rest of Your Life.”
Perhaps the biggest shock of The Walking Dead season 7 finale was when Jadis and the Scavengers turned their guns on Alexandria, having struck a secret deal with the Saviors. I never thought I would be saying that. Gimple and finale director Greg Nicotero. And I think that’s the victory already, and he sees it in his eyes. Everybody felt it. It got a little testy. Because no matter how good you are, there’s an inherent sense that you might play something that may signal. And I wont speak for Jeffrey, but I think we’re going to get a little bit more texture in the relationship in season 8, if you know what I’m saying. It was nice to give a little bit back to Mr. Seven seasons in and it’s a tiger that saves my ass! I’m serious when I say that I don’t ask for any information. Nope. Tell me about filming that scene where you get in Negan’s face because I know you were pretty excited about it. Gimple about the episode, not until he sat down and read the finale script right before filming it. Hey, better a tiger than a dude in a giant blue unitard. He had such a spring on him. That was the feeling in the air among the crew and the cast. I can only imagine what was going on between you and Jeffrey in between takes on that scene. Viewers where stunned, and they weren’t the only ones. One of the weirdest experiences. It was quite fun. All the EPs asked me, “Did you see it coming?” And I went “I didn’t see it.”
You also have that one very quick but significant moment with Morgan where he kills that guy next to you and a simple nod is exchanged but it kind of says everything.

‘Friends’: How Phoebe got her flirt on in ‘The One Where Everybody Finds Out’

(“They don’t know that we know that they know.”)
Kauffman: That’s what sticks out to me, was trying to write it and see how many twists we could make without getting confused. Lembeck: I remember the incredible charge that went through the audience when he said, “I’m in love with Monica.” It was electric. But the real fun started when Phoebe (Lisa Kudrow) spied the couple together — and launched a full-on flirt assault against Chandler. We kind of went, “Huh, this is such an unexpected duo, let’s play with it for a little while.”
RELATED: The Best and Worst Episodes of Friends Ever
As Monica and Chandler’s fling deepened into something more in season 5, the friends — one by one — learned the secret, beginning with Joey (Matt LeBlanc) and then Rachel (Jennifer Aniston). After Phoebe’s overtures grew more aggressive, Monica realized the trio was playing them — and decided to play back. Don’t forget to   subscribe for more exclusive interviews and photos, only in EW. [Laughs]
Lembeck: As Matt talked through what he wanted to do, it became a technical exercise: Show the costumer what you want to do and see if she can rig the dress. With neither side backing down, Phoebe and Chandler agreed to a date. One of the fun things about doing a show that has years of legs on it is that it begins to tell you what it should be. Chandler finally pulled away, declaring his love for Monica. Show Full Article When we were shooting the scene in London where we find out that Monica and Chandler have slept together, we were in front of a live audience and the reaction was so stunning…. For more revelations from the past four decades of entertainment, visit ew.com/untoldstories. Lembeck: Lisa moves in a certain way. Because this particular element of sexual tension had never been there before and them discovering comedically how to go about the business of succeeding at that was, again, just a hilarious event. Kauffman: I’m trying to remember if it was snaps or Velcro. And you can see Matthew’s little grin. We didn’t expect applause to last for two minutes. Michael Lembeck, director: The scene where she [touches his] bicep — I don’t think we ever got through it in rehearsal. And all week, me, as her director, and her cast just kept encouraging her to do more because we found it so damn funny. She is a bit rhythmically challenged, so I wanted to really take advantage of that. There’s a moment when his head goes back when she starts doing it. If you keep your eye on him, you can see the twinkle. With season 4 of the NBC hit drawing to a close in the spring of 1998, the Friends writers decided to introduce an unexpected romantic pairing: pals Monica (Courteney Cox) and Chandler (Matthew Perry). She and Matthew really enjoyed this week playing off of each other. You can see Matthew — while Chandler is curious, Matthew is enjoying. The scene culminated in one of the most awkward small-screen kisses on record. Lisa was always the first one to break. A version of this story originally appears in   Entertainment Weekly’s   Untold Stories issue, on stands now or available to   buy right here. Joey helped prepare Phoebe by effortlessly popping open her top, explaining that Chandler’s “afraid of bras, can’t work ’em.”
Kauffman: We almost had to rig Matt’s fingers to make it work! Marta Kauffman, co-creator, now co-creator/EP for Grace and Frankie: Our intention was not for them to be as serious as they became. I think we ended up using Velcro…
Phoebe’s seduction also included a trippy mating dance that was pure Kudrow choreography.

‘Bridesmaids’ director Paul Feig explains cutting Paul Rudd out of the movie

“It made more sense that she’d be caught between these two guys. “It was one of the funniest things I’ve ever been a witness to.”   (You can catch a glimpse of Rudd filming with Wiig in the bonus feature below from the Bridesmaids   home release, at the 1:48 mark)

For more revelations from the past four decades of entertainment, visit   ew.com/untoldstories. What did the comedic actor also known as Ant-Man receive in return for his day of hijinks? “It just didn’t ring true that in addition to Jon and Chris, she’d be also going out on other dates to try and find more love,” Feig explains. To read more Untold Stories, pick up the new issue of Entertainment Weekly,   on stands now, or buy it here — and   subscribe for more exclusive interviews and photos, only in EW. A big fat goose egg when the scene was deleted from the movie, much to Feig’s dismay. Bridesmaids director Paul Feig wrote Paul Rudd the very specific role of blind date-turned-crazy man. Very sadly, we cut all the blind date sequences out of the movie.”
So who told Rudd that the scene was cut? According to Feig, the movie was already running at two and a half hours and with audiences already required to navigate Annie’s odd love triangle involving Jon Hamm’s scuzzy commitment-phobe and Chris O’Dowd’s lovable police officer, adding a blind date sequence into the film only muddled matters. “We did so many takes of it,” says Feig, happy to defy audience expectations of Rudd’s typical nice-guy persona. “I felt so bad about it.”

Show Full Article So why was it axed? “There is always that terrible moment when you have to kill your babies,” says Feig of the scene in which   Rudd plays a seemingly perfect blind date for Kristen Wiig’s Annie, only to transform into a deranged ice-skating sociopath when a chubby kid innocently skates over his finger. “Judd delivered the sad news,” says Feig. Producer Judd Apatow convinced him to spend the day throwing his body down on an ice-skating rink, running around the set like a deranged fool and tossing expletives at small children.

What does the song at the end of ‘S-Town’ mean?

Though light in tone, the lyrics actually tell a heartbreaking tale of loneliness:
She watches her flowers grow
While lovers come and go
To give each other roses from her tree
But not a rose for Emily


 And as the years go by
She will grow old and die
The roses in her garden fade away
Not one left for her grave
Not a rose for Emily 

The bittersweet ballad stems from William Faulkner’s 1930 short story, which John B. What plays at the end of each Southern Gothic-esque chapter is “A Rose for Emily,” a melodic song from 1968 by the British rock band The Zombies. As EW’s Joe McGovern notes in his review of the podcast, Faulkner’s sad tale could easily be subtitled “A Rose for John B. Show Full Article What was initially believed to be a podcast about an alleged murder in a small town turned out to be a multifaceted exploration of a man’s life that was as complicated as it was fascinating. WARNING: This post   contains spoilers about the S-Town series
Nothing in S-Town is simple. Faulkner’s   tale depicts a wealthy woman from a fictional town in Mississippi who died a “spinster.” During her life, she became a recluse and her peculiar behavior often caught the attention of the nearby townspeople. McLemore.” Listen to the full song by The Zombies below. McLemore, the main subject of S-Town, gave a copy of to host and producer Brian Reed during the first days of their initial meeting. As each hour unfolds in the seven-episode series by the creators of Serial   and   This American Life, the dark-and-twisty journey listeners are   on is suddenly met with a sound so jarring, it’s impossible not to pay attention. It’s hard to ignore the parallels between the story’s main character and McLemore, both misunderstood beings who lived lives of   solitude and mystery. The same complexity can apply to the show’s use of music.

Watch Chase Williamson in first look at science fiction-horror film ‘Sequence Break’

Actor Graham Skipper has become a familiar face to genre fans over the past few years, thanks to his appearances in films like Almost Human, The Mind’s Eye, and Beyond the Gates, as well as the stage musical version of Re-Animator, in which he played obsessed scientist Herbert West. The film is written and directed by Graham Skipper and produced by Skipper, Kanouse, and Wasilewski. Skipper tells EW that the film was, “inspired by films such as Videodrome, Altered States, and modern indie genre cinema. Sequence Break will have its world premiere on opening night of the Chattanooga Film Festival on Thursday. You can exclusively watch the first-ever clip from Sequence Break above. Sequence Break throws Oz down the rabbit hole, [where he finds] strange metaphysical forces, bizarre biomechanical mutations, Cronenbergian hallucinations, and a shocking self-realization.”
Sequence Break costars   Fabianne Therese (Starry Eyes, Teenage Cocktail), Lyle Kanouse (Firefly, Auto Focus), Audrey Wasilewski (Big Love, RED), and Johnny Dinan (The Village). Show Full Article Now, Skipper has stepped behind the camera for the science fiction-horror movie,   Sequence Break. The film stars the always-watchable Chase Williamson (John Dies at the End) as Oz, a reclusive video arcade repair technician whose reality begins to fracture when a mysterious new arcade machine appears in his shop and a beautiful young woman (Fabianne Therese) enters his life.

‘Prison Break’: EW review

The first hour of this nine-episode limited series does succeed at replicating some of the pleasures that made Prison Break a hit back in 2005, when cliffhanger serials were all the rage after the double-whammy phenoms of Lost and Desperate Housewives (not to mention 24, which was peaking creatively at the time). What is he up to? Is Michael really Michael? There are emotional and mysterious aspects of Michael’s identity crisis that could make for strong characters drama and more twists in the latter half of the season. The story seems to be about getting the brothers and some of their crew back to the United States and joining the more interesting conspiracy plot that’s unfolding there involving Sara, T-Bag and those aforementioned assassins, plus a few surprises best left unspoiled. How did he get there? Another tries to rape and murder a new character, Sheba (Inbar Lavi), an ally to Lincoln. I’m only telling you what could have been in order to name-drop and evangelize Five Came Back, which is very much worth your time. The first 4   episodes are watchable enough thanks to the cast, and it’s possible Prison Break could finish strong. I had an   idea of doing this April Fool’s thing of raving about Fox’s subversive strategy of deliberately producing another dead-inside reboot (also see: The X-Files and 24: Legacy) just for the purpose of weaning us off brandsploitation zombie pop. Michael’s maybe/maybe not identity theft is intriguing, and the actors take to their old parts with gusto. Brendan Meadows / FOX
But then the action shifts to an extravagantly generic facsimile of war-torn Yemen, where the government is fighting a losing battle with ISIL. I would have found some way to compare Fox to the culture-shaping Hollywood propaganda machine depicted in the brilliant new Netflix documentary Five Came Back, about the filmmakers who framed and chronicled World War II for America, but I couldn’t make it work. The prison itself is a dull, unimaginative setting that doesn’t offer much in terms of facilitating a conceptually interesting escape plot full of fresh ideas or   interesting complications. Prison Break isn’t worth much of anything, but it could have been. But I do need it to be a hoot. Written by series creator Paul Scheuring, the revival is set in the present, several years after ornately tatted escapologist, Michael Scofield (Wentworth Miller), went to his grave, or seemed to. The franchise’s most colorful idea – that Michael’s blue tattooed body is inked with clues and data that help him in work – is weirdly underutilized. Purcell is a strong, muscular center,   Miller grips you with his cool, calculated charisma, and Knepper has buffed his loquacious, decadent scuzzball to a gleaming shine. C-
Prison Break returns Tuesday, April 4 at 9 p.m. Ultimately, the break-out, covered in episodes 3 and 4, hinges on a variety of cliches, including a literal prison break. Not at first, though. I don’t need Prison Break to be Emmy-baiting prestige TV. There’s an exciting action sequence involving a remote control carjacking; there’s a mysterious subplot in which T-Bag gets a mechanical hand from a mysterious donor, and there’s a pair of cool assassins who effectively re-start the show’s mythological big bad, The Company. Does the network’s playbook for reboots dictate   that stores must play to the Fox News worldview and depict Muslims as terrorists and inhuman monsters? Here, Prison Break spirals into a depressing quagmire of Muslim stereotypes and over-simplified geopolitics. Show Full Article Scheuring and director Nelson McCormick make quick, slick work of re-establishing characters and ‘ships, and they amuse you with entertaining ridiculousness. Either I’m not clever enough, or something reasonable in me took hold and insisted that Prison Break isn’t worth the effort. Sorry, fans, but Prison Break should have stayed locked up. Why waste it on a creatively dim enterprise of middling pleasures and demeaning effect? Scheuring attempts some balance —   C-Note, for example, heads up the show’s Good Muslim representation – but the black-or-white portrayals are insulting, and the whole business is just exasperating. RELATED: The Best Surprise Celebrity Reunions of 2015
Lincoln does the requisite fact-checking – he quizzes Sara, Michael’s remarried widow (Sarah Wayne Callies); he digs up Michael’s grave – and he gathers some of the old gang for an implausible-but-okay-we’ll-roll-with-it rescue mission, tapping C-Note (Rockmond Dunbar) as his right-hand man and keeping Sucre (Amaury Nolasco) stateside as I’ll-call-you-when-I-need-you back-up. You can see the better show trying to escape its lock-up of bad ideas. This, in turn, diminishes Michael, whose ingeniousness is limited to faking a fever, crafting some crypto-origami, and trading drugs for cell phone time. And by “better,” I don’t mean “important.” I mean a version of the show that honored Prison Break’s best form, sharply plotted, zestfully performed, over-the-top pulp escapism. The first episode follows Michael’s beloved big bro, Lincoln Burrows (Dominic Purcell), as he discovers through an old frenemy – Robert Knepper’s deliciously salty and ham-tastic T-Bag – that a dead-ringer for Michael is imprisoned in Yemen. In this regard, Fox really is peddling propaganda. There’s just too much good TV out there that’s more deserving of your attention. All are questions that drive either some or all of the season. The show’s midseason climax is the Michael-Lincoln reunion, which means that it makes you wait, and wait, and wait, for one of its best energies to be activated, the Miller-Purcell chemistry. (A terrible episode of The X-Files revival trafficked in such stuff, too.) One tries to string up the homosexuals in the prison. Yet I can’t imagine anyone except the most die-hard of Prison Break fans sticking around to find out. It’s all bazaars and squalid inner cities, byzantine passageways and road-blocked streets, shot through a burnt-sand filter. Alas, the reboot hurts for hoots. The return of Prison Break is so exhaustingly mediocre, I barely have energy to make jokes about it. ET on Fox. The storytelling does get the pulse racing, though, with the ever-encroaching war outside the prison ratcheting up the tension and some quality action scenes.

James Marsters on the Buffy-Spike romance: ‘Many people have chosen the wrong sexual partner’

“His redemption at the end was realizing how much he loved her but also that he was not yet good enough for her,” says the actor. James Marsters totally understands why some Buffy the Vampire Slayer fans are Team Angel and others are Team Spike. It was a big risk.”
b>For more revelations from the past four decades of entertainment, visit ew.com/untoldstories. At one point, the vamp nearly raped the slayer. I think what they came up with—the almost-rape scene in the bathroom—was the most dramatic thing that I could possibly think of. I think [the writers]   were trying to remind the audience, ‘Guys, Spike is evil! I think what the show was saying very clearly was that Angel was her One, but it was impossible. He’s got a nice swagger, but he’s evil!’ And it was frustrating, I know to the writing staff, that it was hard to make that point, or the audience didn’t seem to care. For members of Team Spike, Marsters thinks ultimately there’s a world where the blond vamp and Buffy would be together. In the series finale, though, it’s Spike who ultimately earns a soul and saves Buffy and her friends by sacrificing himself. “I always said if you give Spike enough time to figure out what to do with his new soul, he could grow into the vampire that deserves her.” Then he adds, “But it would take some years.”

Show Full Article I think the show was equally clear that Spike was not the right answer.”
Season 6, in particular, showcased the more brutal side to Spike as he and Buffy entered into a violent sexual relationship. “You see Buffy make that mistake. “I think that many people, myself being one of them, have often chosen the wrong sexual partner,” says Marsters. “People like to fight,” says the actor. “They like to get into teams and push against the other team and prove the other side wrong.

‘The Graduate’ returning to theaters for 50th anniversary

Originally released in 1967, The Graduate   garnered   a directing Oscar for Mike Nichols (one of the film’s   seven nominations), made Hoffman a star with his performance as   Benjamin Braddock, and captured the angst of a generation of baby boomers. Show Full Article The   acclaimed   dramedy starring Dustin Hoffman as   an aimless college grad who is seduced by an older woman (Anne Bancroft) and then falls in love with her daughter (Katharine Ross) is returning to theaters this month in celebration of its 50th anniversary. Presented by Rialto Pictures, Studiocanal, and Fathom Events, The Graduate will screen in more than 700 venues   nationwide   on Sunday, April 23, and Wednesday, April 26, at 2 p.m. The Graduate is drifting back to the big screen. Tickets   are available via the Fathom website. The screenings will also feature specially   produced commentary from Turner Classic Movies host Ben Mankiewicz. Five decades later, it remains essential viewing. and 7 p.m. local time.

Norman Lear almost cast Mickey Rooney as Archie Bunker in ‘All in the Family’

To read more Untold Stories, pick up the new issue of   Entertainment Weekly on stands or right here, right now. They’re gonna shoot you dead in the streets.’ Can never forget this speech. Mickey Rooney’s would-be role as Archie Bunker   is one of those famous “castings that almost happened,”   and   All in the Family creator Norman Lear will never forget the actor’s speech that made both parties   think twice. I called his manager and he said, ‘Well, Mickey’s in the office, he happens to be in the office. When Lear described the Archie character as a bigot, Rooney responded with an   unforgettable speech:   “‘Norm, they’re gonna kill you. I never met Mickey Rooney. Watch the interview above and head to PEOPLE.com/PEN for more from the   People/Entertainment Weekly Network (PEN). You can also download the PEN app on Apple TV, Roku Players, Amazon Fire TV, Xumo, Chromecast, iOS, and Android devices. “In New York, I thought before I came out here and met Carroll [O’Connor], I thought about Mickey Rooney playing the role,” Lear tells   Black-ish creator Kenya Barris in the PEN interview above. ‘You wanna do something with the Mick, listen to this: Vietnam vet, short, blind, large dog… private eye.’”
Clearly, that didn’t work out, and Lear ended up casting Carroll O’Connor as Archie Bunker in   All in the Family. “I knew his manager. Why don’t you talk to him?’”
Lear continues to recall how Rooney spoke of himself “in the third person” over the phone and declared, “If you got something for the Mick, just tell ’em.”
For more revelations from the past four decades of entertainment, visit   ew.com/untoldstories. Don’t forget to   subscribe for more exclusive interviews and photos, only in EW. Show Full Article

‘The Walking Dead’ showrunner on the finale scene you didn’t see

But it was a lovely scene that kind of did. That scene in my mind   absolutely   did   happen in the show. It’s actually a very flummoxing sort of part of this. In that teaser. I also knew that Holly was very much a victim of Negan   in the book. Those guys face to face. The purpose of it changed. But we knew where we were ending, more or less, from early on. It might have changed. And all this stuff was flowing together. I think there are a lot of scenes that go on that we don’t see. Show Full Article I was thrilled with it. And I love that Eugene and Sasha were playing off each other. Was Sasha’s fate sealed the second you decided that Abraham’s fate was sealed? I would say the difference was always going to be there when we finally made it with certainty on Sasha’s fate. ENTERTAINMENT WEEKLY: You had the flashbacks with Abraham, you had Maggie’s big speech about Glenn and the decision he made back at the end of the first episode to save Rick and how that set everything in motion. We had somewhat of an idea where it was going to end. This was sort of a long scene and it wasn’t 100 percent necessary, but I really did like it and I believe it will be included as part of the deleted scenes. Gimple to get the inside scoop on the episode, including the importance of Rick’s stand against Negan, how a Fear the Walking Dead episode took a classic comic moment “off the table,” and intel on a scene that was filmed for the finale but did not make the final cut. Did any of those changes have to do with the fact that Fear The Walking Dead already used that zombie prisoner exchange stunt from the comic? We knew we had this Eugene story that was independently   predicated   on poisoning   Negan. [The Fear episode] sort of took it off the table, but I don’t know if so much of what was happening in that moment was changing anyways. I wouldn’t have been surprised if more had changed beyond that as well. The Walking Dead ended its seventh season with a bang — several hundred actually, thanks to all the firefights going on throughout Alexandria as five different communities engaged in all-out war. I was thrilled with what [director] Greg Nicotero did with the episode as well. Sonequa [Martin-Green] and I were talking about that from the beginning of the year that it was definitely a possibility. Also follow @DaltonRoss on Twitter for all the latest Walking Dead updates. And that’s where the whole season basically started. I always love hearing if there was anything that   didn’t   make the episode. Maybe in the   future,   we’ll be doing ensemble shows where we do all 18 characters and take a deep dive. Because they’re completely different characters. We spoke to showrunner Scott M. Every year it’s been incredibly satisfying to reach the end of the circle, which in this case, some of the most powerful stuff in the finale had to do with Sasha and Maggie at the end of the premiere. This was already an hour and a half episode. I’m a Savior!” I mean, they’re complete and total opposites, and yet they’re friends. I will say that it was a big moment for the book that we weren’t going to do once it was done. You just didn’t see it. There is a lovely scene with Rick and Carl with Michonne and I’m hoping I put it in the deleted scenes. When you have an ensemble show and you want to have beginnings and middles and ends of each character’s story, you could easily tell those. And I will say, that all that stuff is floating around in our head about how that’s going to change. And I don’t feel we needed to set it up. SCOTT M. And   on   Fear, it was something out of desperation —   didn’t have a choice but to do it that way. GIMPLE: Oh,   believe me, I’m all about the circles. And I think about that a lot. In the   book,   Holly is basically an ambush. Even more so than other season finales you guys have done, this one really was all about things coming full circle, wasn’t it? Obviously some pretty big changes with the Sasha thing in terms of what happened to Holly in the comics. At the very least, we knew what her story was going to be. We didn’t have   every   single piece locked down, but we have what the pieces are going to be. [Laughs] Maybe every episode. So much of it was predicated on   Negan   using Sasha as leverage. That sets up that moment a little bit between Rick and Negan. I’m pretty sure I did. There was a lot going on as Sasha sacrificed herself to attack Negan (unsuccessfully) as a zombie, the Scavengers turned on the Alexandrians, Rick stood up to Negan with a vicious threat, and the Kingdom and Hilltop soldiers showed up in the nick of time to drive off the Saviors. And that wouldn’t be the case here. Andy’s performance was spectacular. Exactly. You have one character that is sacrificing herself to strike a blow against the Saviors, and you have another guy who’s like, “Cool. A lot of story strands came together in really cool ways I felt. I think for a lot of people the moment of the episode was Rick’s speech back to Negan where he gets right in his face and says, “You’re all already dead.” We talked about the bookends earlier, but is this the ultimate example of: Here’s where we were, and here’s where we are now? It was strictly about time. There’s always room for unsealing or mixing up plans. But the story was about Sasha getting the final word. Was there anything notable that you either filmed or talked at some point about having in the finale that did not make the final episode? But at the very least, you regret deeply that this is going to be a big part of Sasha’s story, the loss of Abraham and the thirst   of   revenge and making the world right, her journey throughout that whole thing, who that made her, and also her being there for Maggie, and yet having this other agenda. It’s just a factor of time and also wanting to also keep things moving along and not overload the audience with information. Just so wonderful and powerful and emotional. That it was her choice. It was in the mix. I think I try to do that with every finale. And I could have followed any one of those characters throughout the whole day. So that butterfly effect sort of took things further. [Laughs]

  Make sure to also read our Q&A with finale director Greg Nicotero and keep an eye out for interviews with other key cast members. Read on for more and also make sure to check out our interview with finale director Greg Nicotero. This was something that Sasha was doing. Certainly, the circumstances behind it changed.

Read an excerpt from ‘It’s Always the Husband’

Her shoes were covered in mud, and she trembled from the cold. Pictures didn’t capture the place. The thought of her roommates made Aubrey’s stomach sink. Once she spotted the statue, Aubrey knew where she was, and within moments she was gazing in wonder at the graceful brick façade of Whipple, her new home. “Go ahead.”
“Go… ahead?”
“Go ahead and jump. You know you want to.”
2
Twenty-Two Years Earlier
Aubrey Miller lugged her heavy duffel bag through ivy-covered Briggs Gate and let it drop to the ground, stopped in her tracks by her first real-life glimpse of Carlisle College’s world-famous Quad. The purpose seemed to be to encourage cooperation about setting up the room—who’d bring the mini-fridge, who’d bring the speakers, that sort of thing. Her financial aid didn’t cover her mother flying across the country to the East Coast just for the frivolity of unpacking her clothes for her and tearing up when they hugged good-bye. She’d never been in a place with this much history in her life, not where she came from. The common room furniture was cozy and well used; the bookshelves full of old year- books and board games. Below, the water swirled and foamed. The more people who died here, the bigger the dare. Aubrey wasn’t good at friendship. She didn’t think of herself as ambitious, just as somebody who really needed to get out. In Michele Campbell’s forthcoming novel,   It’s Always the Husband,   three women meet in college and become inseparable. Now, against all the odds, after three years of nonstop studying and scheming, here she was. Aubrey settled the duffel bag back onto her shoulder and got her bearings from the campus map that she’d tucked in the back pocket of her jeans. Scientists, writers—presidents, even. Whatever she’d   done wrong before, she’d fix. The sense of peace that flowed from the mellow brick, the cheery shouts of the students as they greeted each other. The town had done a crappy job of boarding it over. Aubrey became a reader early so she wouldn’t feel alone in her apartment at night. The entry foyer was dim after the bright sunshine. She’d make her roommates love her, no matter what it took. Martin’s Press. They walked forward a few paces, stepped over an old, tumbled-down metal fence and kept walking until they got to where the center of the bridge used to be. She’d mailed the letters two months ago now, and checked the mail every day for their replies. Show Full Article Here she was, eighteen years old, on the brink of realizing her dreams. Books kept her company and became her friends; they were more welcoming than people, and less threatening. Carlisle was more beautiful than she’d dreamed. Look at the results. No Trespassing. But 20   years later, all of them   are married and not quite as close with each other as they once were — and one of them is standing on a bridge while someone behind her encourages her to jump. It was a miracle. As the woman paged through boxes of envelopes searching for Aubrey’s registration mate- rials, Aubrey took in her surroundings. What went wrong? There were barriers across the bridge now, blocking access, and a profusion of warning signs. Aubrey had been dreaming of this moment ever since she’d picked up a Carlisle brochure in her high school guidance office back in Las Vegas three years before. Roommates. Her dorm was called Whipple Hall, and it was located somewhere along this exquisite quadrangle. Whenever she did, the debacle of the roommate letters loomed, and made her feel sick to her stomach. When she saw the ghostly shape looming in the distance, she stopped dead. She didn’t regret it. From the pictures and the limited biographical   information provided in the mailing, Aubrey had spent hours daydreaming about them already. No transformation was beyond her, not at this place. Everywhere she looked, she saw students with their families—the Carlisle student identifiable by the expensive backpack, the well-heeled dad toting cardboard boxes, the pretty mom with a designer handbag, the gaggle of younger siblings. Dark wood paneling, a fireplace with an elegant marble mantel, a sparkling brass chandelier. Her real life was starting. There it was, the abyss that he’d fallen through, the night he dis- appeared forever. “No,” she said, backing away from the edge. But she didn’t have a clue how to be a cool girl. “This is crazy. Her mother worked back-to-back shifts as a waitress, her father was out of the picture, her older sister slept where she wanted to and didn’t come home for days at a time. Danger. But she didn’t turn back. Private Property. She could have told them. “Hey,” she called out. My shoes are soaked.”
“Just a little farther.”
She was out of breath, and her feet were killing her. If she was skinny and gawky, she’d become thin like a model. Somebody dies, and it changes the lives of those left behind, forever. The promised land. If she’d been shy, she’d become the life of the party. At the beginning of the summer, the Housing Office sent her their names, addresses, and pictures, and invited her to get in touch. Aubrey had nothing more to contribute than the clothes on her back, but she wrote anyway, because she longed to know these girls immediately. The blonde with the perfect turned-up little nose, who lived on Park Avenue and went to a fancy private boarding school, was a debutante, Aubrey imagined, who owned a horse and played tennis. The end result was no friends, and no social life. In her school, there were kids who wouldn’t come near her because her family was so-called white trash, and other kids who would give her the time of day but were into drugs, and sex and partying, and would only drag her down. Aubrey had been so focused for so long on getting into Carlisle, then on the financial aid, the plane ticket, and making money to help her mother get her bills straightened out before she left, that she hadn’t thought much about how life would be once she got here. From It’s Always the Husband by Michele Campbell. Excerpt from   It’s Always the Husband   by Michele Campbell
1
Present Day
The Night of Her Fortieth Birthday
She stumbled through the dark woods, the trees dripping raindrops onto her hair and her party dress. Her mother, who’d dropped out of high school when she had Aubrey’s sister at seventeen,   would never fit in. Then there were the nerds like her, who would rather study than hang out. But maybe she was wrong, and anyway, she was dying to know more, so she wrote two long, chatty letters asking each roommate all about herself— about her family, her high school, her likes and dislikes, what she planned to study, anything Aubrey could think of, really. Then they rounded a bend. It wouldn’t be good for the baby if she tripped and fell. They’d “fixed” it many times in the intervening years, but they were too cheap for the one fix that would work, which would’ve been to tear the evil thing down once and for all. Tons of famous people had graduated from Carlisle over the centuries. She got an open view ahead, and knew finally where they were. She could hear the roar from up here, over the pounding of her heart. Aubrey was here alone. At one end of the Quad was Founders’ Hall, with the famous statue of Elias Carlisle holding up the lantern of knowledge. Aubrey followed signs to Registration and ended up in the dorm common room, where she handed her driver’s license to the cheerful lady behind the desk. She could visualize them lounging here in this very room, engaged in dazzling conversation. She’d never heard back, not a word. She looked down and saw the water roiling against the rocks. A frigid wind blew in her face, carrying the scent of decaying leaves and ice-cold water. Get a glimpse into the story   below with EW’s exclusive sneak peek inside the book. She imagined studying here herself, on a cold winter night in front of a roaring fire, talking about ideas, or just drinking cocoa with her roommates. She told herself that was just as well. It’s Always the Husband   hits shelves May 16. Green grass, old brick, tower- ing trees. She couldn’t imagine a place like Carlisle, let alone know how to behave here. “I don’t know what kind of point you’re trying to make, bringing me here,” she said, her voice shaking with tears. Copyright (C) 2017 by the author and reprinted by permission of St. Back home, she’d been in the advanced placement classes, studying constantly whenever she wasn’t working at whatever part-time job she could find. If she’d been a nerd, she’d be the It Girl now. The signs were there for liability reasons, but from what she understood, the local kids still loved to make the breathless leap into the river. “Why?”
“You know why.”
In a matter of minutes, they reached the foot of the bridge. Kids had no fear; they were young, and didn’t know   better. The brunette with the glasses and gold-cross necklace was quiet, studious, and religious. No wonder the roommates hadn’t written back. She couldn’t believe she’d get to live here, after spending her childhood in a succession of crappy apartments with leaky sinks and dank hallways. All that was about to change. It was surely her own fault that they never replied. It was a gorgeous late-summer day, and she twirled around three hundred and sixty degrees, drinking in the sights and smells of the place.

‘Daria’ exclusive: See what Daria and her friends look like today!

For more revelations from the past four decades of entertainment, visit ew.com/untoldstories. “A lot of the issues and feelings you have in high school are timeless,” says co-creator Susie Lewis, who admits that she’d love to bring Daria back to TV. For more on Daria, pick up Entertainment Weekly’s   Untold Stories issue on stands now, or buy it right here. Don’t forget to   subscribe for more exclusive interviews and photos, only in EW. Check out the video above for a rundown on the Morgendorffers and co. (Hint: Daria now has a toilet-trained cat named Godzilla.)
RELATED: Daria: 20 Years Later
“It had been a long time since I watched the show, but this brought back such great memories and reminded me of how much fun it was to create Daria,” says Lewis. It’s been 20 years since the debut of MTV’s hit Daria, but the sardonic heroine and her crew   still feel totally relevant today. (We’re game!)
To commemorate the series, Lewis and character designer Karen Disher reimagined their adored cast as they’d be today. Show Full Article

‘iZombie’ EP Rob Thomas gives us a prep talk for season 3

And to help prepare us, we’ve enlisted the help of executive producer Rob Thomas (not to be confused with the singer Rob Thomas, who appeared, died, and whose brain was consumed in the season 2 finale of the series) to refresh our memories and share the three things you absolutely need to remember before you watch. ET on The CW. That was all destroyed in the big shootout at the end of season 2,” he says, noting that Vaughn Du Clark (Steven Weber) really is dead and gone. “She’s put a question to Liv (Rose McIver), which is: Someday, humans are going to come after zombies and you’ve gotta decide whose side you’re on — humans or zombies?”
2. Show Full Article figure it out when   iZombie premieres Tuesday at 9 p.m. “The first two seasons had very similar shapes,” he says. Season 1 really revolved around tracking down Blaine — who was murdering teenagers and selling their brains — and a big shootout at the end of the season. 1. “The Max Rager portion of the zombie universe is over. She’s “the head of Fillmore-Graves, a military contractor that employs all zombies,” Thomas explains. 3. “Blaine (David Anders) and Ravi (Rahul Kohli) went to rescue Peyton (Aly Michalka), and Blaine went in guns a-blazin’ and rescued Peyton while Ravi sat out in the car not knowing what Blaine was going to do, but that has affected him in a negative way.”

Thomas also warns that season 3 will follow a bit of a different path than those that came before it. “We had a clearly defined big bad character in each of the seasons. It’s been almost a full year, but   iZombie is finally returning to The CW on Tuesday for more brainy mysteries. We have no clearly defined big bad. First, we met Vivian Stoll (Andrea Savage) in the season 2 finale. Season 3 is going to have a much different shape. There’s a really central question: that ‘whose side are you on, zombies or humans,’   question is going to be asked throughout the season.”
See Liv and co. And then season 2 was built largely around Steven Weber as Vaughn Du Clark, the head of Max Rager, and an even bigger shootout at the end.