“She’s back,” says Root (Amy Acker). “With a vengeance. We need to get back to work,” answers Harold (Michael Emerson) who it seems has finally gotten his beloved Machine up and running in season five episode two of CBS’ crime action series, Person of Interest.
As the episode begins, Finch and Root are rebooting the Machine to see if she’s working correctly. It quickly becomes obvious that it’s not working to the show’s viewers when the computer’s facial recognition program keeps swapping Team Machine members’ faces, putting Root’s face on John’s and Finch’s face on Root and so forth. Realizing what’s happening, Harold once again tries to reboot and check the Machine’s drives. With so much time being used to debug and reprogram the Machine – it’s been two months since the last episode – everyone on Team Machine is getting edgy. Reese (Jim Caviezel) actually tells Harold and Root his trigger finger is getting itchy.
Root is stuck staying underground in the subway headquarters because she no longer has any cover identities and without the Machine she needs to stay off Samaritan’s radar. Finch realizes they are going to need more drives for the Machine to work correctly so he and Reese go out and steal some high-end drives and servers while also picking up a few things for Root, like fuzzy slippers and black nail polish.
Once installed, the Machine is up and running again. Finch and Root use Reese out in Times Square to test the Machine for its ability to ID him and then all the people walking by him. It’s a success and Root wants to start getting ready to fight Samaritan but Finch insists they get the irrelevant numbers up and working again to ensure the Machine no longer has any bugs. The Machine gives them 30 numbers and so Reese and Fusco (Kevin Chapman) divide the list to check on each one. Unfortunately, the Machine is giving out numbers of people who are already dead, used to be a threat, or in one case a threat on stage in a play. It seems the Machine has no context and isn’t processing time or structure. So Finch and Root decide to run another diagnostic test and see how the Machine handles the history of the team.
The Machine sees only the violence the team has done without taking into account the reasons for their actions and the lives they have saved. The Machine decides that Root, Finch, and John are threats so she locks both Finch and Root in the subway car.
Meanwhile, Reese gets another number for a Laurie Granger visiting from Tulsa. Before he can go looking for her, she enters the police precinct looking for help. It seems she heard some guy messing with her window and she got scared. Reese tells her he’s glad she found him and he’ll help her. This is when he gets a call from Finch telling him that they need his help with the Machine. Reese tells Laurie to stay at the precinct and wait for him but instead she follows him. As he walks, talking to Finch on the phone John realizes she is following him and starts to tell her to go back when she pulls out a gun and fires at him just missing him because of his quick reflexes. Finch asks Reese what’s happening and Reese tells Harold that the Machine got the number right only that Granger is the perpetrator and that HE is the victim! Reese tells Harold he can’t lead her to the subway headquarters and Finch agrees telling John that he and Root will handle the Machine.
Back at the subway, the Machine uses Root’s cochlear implant against her every time Finch tries to get close to touch the computer. Finch tries to tell the Machine that it’s all right, he wouldn’t hurt her, but the Machine shows Finch and Root the images of violence they have perpetrated and won’t be talked down. Root decides to remove herself from the equation and with Harold’s help knocks herself out.
Now able to communicate with the Machine and access it, Harold tries to get the Machine to see they are not a threat to it. The Machine shows Finch the first day he programmed her and explained to her what is good and evil. Finch, with a wonderfully written monologue, begins to explain to the Machine that there are no heroes or villains, just people trying to do the best they can. That they make mistakes but the mission he and John started together with the Machine of saving lives “is a pure good.” Finch promises not to hurt the Machine again and it responds, “But you’re hurting me now.” He realizes that the Machine is reliving its 42 deaths that occurred in her creation. Harold realizes the Machine needs a new starting point. He uses all the cases of the people they have saved to anchor the Machine in time as well as to drive home the “pure good” of their work. The Machine re-organizes itself and frees Finch from the subway car.
Meanwhile in Chinatown, Reese finally gets the upper hand on Granger or whatever her real name is and stops the assassin who was hired not by Samaritan but the Machine. “That’s one hell of a bug, Finch,” says Reese to Finch when he informed John of the news. Oh, and Fusco actually saves a family from a mobster because the father owed him money. It seems the Machine got one number right after all.
The next day Team Machine meet at the park to have a picnic. This is especially nice for Root who, thanks to the Machine, has a new cover ID and can once again walk in public. It’s a fun and relaxing moment for all of them.
Review of Person of Interest Season 5 Episode 2:
Emotional and intriguing, season five episode two titled “Snafu” inserts more humor and emotion in the cloak and dagger series with the focus on reorganizing and rebuilding the Machine but also showing that Team Machine are no longer just four colleagues but now a family willing to sacrifice for each other and sticking together always. The opening scene is full of laughs as the Machine keeps putting the wrong faces on the characters allowing each actor to do an impression of their co-stars’ characters.
Without a doubt, the funniest had to be Caviezel as Fusco. Later in the episode, Michael Emmerson delivers a moving, powerful performance as Finch as he tries to explain to his beloved Machine that good and evil are points of view and that there are no heroes or villains, just people making choices but that their work saving lives is pure good. It’s a beautifully written speech that Emerson delivers with just the right amount of emotion showing pride, guilt, and regret.
With the Machine up and running and Root finally free to be out and about, here’s hoping Team Machine can get the numbers going again and start making a plan on how to take down Samaritan.
Oscar winner Tom Hanks and Oscar winner Ron Howard team up once again for the third Robert Langdon story from author Dan Brown. Hanks starred in and Howard directed Brown’s The Da Vinci Code in 2006 and Angels and Demons in 2009. And the third Da Vinci Code film, Inferno, will open in theaters on October 28, 2016, with Columbia Pictures just releasing the first teaser trailer and poster for the dramatic thriller. In addition to Hanks, the cast includes Felicity Jones, Irrfan Khan, Omar Sy, Ben Foster, and Sidse Babett Knudsen.
The Plot: Academy Award® winner Ron Howard returns to direct the latest bestseller in Dan Brown’s (Da Vinci Code) billion-dollar Robert Langdon series, Inferno, which finds the famous symbologist (again played by Tom Hanks) on a trail of clues tied to the great Dante himself. When Langdon wakes up in an Italian hospital with amnesia, he teams up with Sienna Brooks (Felicity Jones), a doctor he hopes will help him recover his memories. Together, they race across Europe and against the clock to foil a deadly global plot.
Pink’s new music video for ‘Just Like Fire’ from Alice Through the Looking Glass features not only her husband Carey Hart but also her young daughter, Willow. It also features the singer once again doing some tricky trapeze work for the music video from the second film of the Alice in Wonderland franchise. Alice Through the Looking Glass was directed by James Bobin and stars Johnny Depp, Anne Hathaway, Mia Wasikowska, Rhys Ifans, Helena Bonham Carter, and Sacha Baron Cohen, as well as the voices of Alan Rickman, Stephen Fry, Michael Sheen, and Timothy Spall. Disney’s launching the fantasy adventure in theaters on May 27, 2016.
The Plot: Alice Kingsleigh (Wasikowska) has spent the past few years following in her father’s footsteps and sailing the high seas. Upon her return to London, she comes across a magical looking glass and returns to the fantastical realm of Underland and her friends the White Rabbit (Sheen), Absolem (Rickman), the Cheshire Cat (Fry) and the Mad Hatter (Depp), who is not himself. The Hatter has lost his Muchness, so Mirana (Hathaway) sendsAlice on a quest to borrow the Chronosphere, a metallic globe inside the chamber of the Grand Clock which powers all time. Returning to the past, she comes across friends – and enemies – at different points in their lives, and embarks on a perilous race to save the Hatter before time runs out.
Bradley James, Megalyn E.K. and Barbara Hershey in A&E’s ‘Damien’ season 1 episode 10 (Photo by George Kraychk / Copyright 2016)
A&E’s Damien concluded season one with an incredibly intense finale that answered the key question as to when Damien Thorn (played by Bradley James) would be forced into accepting his destiny as the Antichrist. Throughout the first season Damien sought to maintain his morality, even as the evidence – and the rising body count – ruled out any other possible explanations. With season one finishing up, Bradley James was free to discuss taking the character from a war photographer with few close confidantes to a conflicted man who chose to embrace his fate in order to save a friend. In our interview with James (and two other journalists), Bradley explained how he approached playing Damien, his real life friendship with Omid Abtahi who plays Amani, chemistry, co-stars, and that final scene in episode 10 in which he smiles at the camera.
Bradley James Interview:
Three scenes stand out for me as far as how really dark you had to go to tackle them: the suicide attempt, the pit with Sister Greta, and the final scenes of episode 10. Can you talk about taking yourself there and how difficult those scenes were?
Bradley James: “What a brilliant question to start us off with! [Laughing] Rebecca, I’d love to paint myself as a tortured soul cathartically releasing energies within myself in those scenes. I am maybe not quite as dark and twisted as those scenes would suggest. But I think we’ve all experienced certain moments in our life that have affected us in certain ways, and one of the things with being an actor is you get to use those if you so wish and want to, I guess, provide a tone of realism, a tone of truth to your performance. A lot of it requires you to dig deep within yourself. I, yes, was actually able to use that cathartic experience of going through some of those moments in my life which related to Damien and sort of infuse them into those scenes. It just required a bit of sensitivity from the crew. The crew was very fantastic in creating the right atmosphere for me to feel safe to explore what I needed to explore. And, yeah, it was a case of that. It was just me digging into things that happened in my life and going, ‘Right, I’m going to use that today,’ and hopefully getting the result that people know Damien was in a lot of pain.”
What’s been the most interesting part of Damien’s journey for you?
Bradley James: “I suppose one of the aspects to him is he’s a 30-year-old man who carries the pain of someone much older. The hope is that when you see this guy, you see a man who has just been through much more than anyone his age should have gone through. It sort of circles back to [the last question] with regards to the exploration of that pain. Yeah, Damien’s had a lot of it in his life yet he still functions. He’s still keeping it together despite the fact that he’s gone through so much more than the majority of people. So, I think that was something that was very interesting to me and something that I needed to figure out how to solve.”
Can you talk about Damien’s relationship with Amani, played by Omid Abtahi, and how it evolved?
Bradley James: “I mean, the way we start off is that Damien hasn’t really invited a great deal of people into his life. A large part of that is that bad things seem to happen to people around him, and Amani is someone who he’s met in very extreme circumstances and has only kind of let in to a certain point. They work together and their relationship is one that’s become friendly through that, but there’s not a sort of traditional level of closeness between the two of them. They just remain loyal to each other, and Amani has never pushed Damien for answers or anything like that so he’s never really been a threat to this darkness that surrounds him. And then as the series progresses, Amani can’t help but get caught up and used, essentially, as people try to get to Damien, as the darkness that is around Damien sort of draws Amani as a byproduct as well. So their relationship is one that gets tested and Amani comes through with flying colors. He never once, I don’t think, lets Damien down. I think Damien predominately still sort of withholds that loyalty from Amani. He’s got a lot of stuff going on, admittedly, and questions that relationship when he has the visions that he has in episode six. But when he gets a clear head about things, Amani’s someone who – as Amani says himself, he’s there to the end. He’s someone who he feels he can trust. That’s the one relationship that sort of has a real strength to it, I think.”
When Damien asks Amani to help him as they’re sitting in Damien’s apartment sharing a bottle of Scotch, is that a transition from just loyalty as friends to a loyalty to the Antichrist?
Bradley James: “I don’t think either of them would label it as such, or label it in terms of, ‘You are the Antichrist therefore I’m going to follow you.’ It’s more, ‘You are Damien my friend and I believe in you, and it just so happens to be that you are also the Antichrist.’ I don’t think Amani was out there specifically looking for whoever was the Antichrist. I think it was just a case that he believes in Damien. As Amani tells the story, Damien is responsible for Amani being with us today and not having a bullet in his head. So, that dedication from Amani comes very much from a personal perspective as opposed to a title perspective.
I think there’s something actually with regards to Rutledge and Lyons as well. Rutledge is very much for Damien; Lyons is very much for the Antichrist. I think you sort of see a difference. There’s a care from Rutledge that’s maybe missing from Lyons. Lyons is more focused on the title of it all, the labeling of it all, whereas Rutledge is very much invested in Damien. If it turned out that he wasn’t the Antichrist, I think Rutledge would still be there caring for him.”
It’s such a slow build and we get to learn so much about Damien before the 10th episode. From episode one did you know it would take until episode 10 for him to fully accept who he is? Or were you taking it more of a one episode at a time approach to the season?
Bradley James: “When Glen and I were discussing the character early on back in the day before we’d even shot anything, he asked whether I would want to know where it was going. I said, ‘Well, only tell me something that I’m going to need to know in reference to the future. Something that Damien would need to know already.’ There would be the odd little bit of information that Damien would need to know. But as it happened I just sort of held off from pressing Glen for any answers because a lot of what Damien goes through is self-discovery and I think there’s a danger as an actor that if you know something is going to happen to change your character, you might somewhat subconsciously nod towards that in your performance. And I think you need to give yourself every advantage you can when you’re portraying a character. That was something that I was able to do with Glen and he just made me aware bit by bit when I needed to know.
It wasn’t until we got to about episode seven or eight and I read one of those scripts. I turned to Glen and I said, ‘Listen, I think you’re going to have to tell me the end game here because this sounds like it alludes to it.’ That was probably around about when we were shooting episode eight – maybe – right about episode eight when I was clued in on the whole story. So I was able to take it all on board with very fresh eyes. I wasn’t preempting anything due to not having the information. But I would stress that Glen is an incredible collaborator and so if there was ever anything I did need, he would provide it for me because he’s a fantastic team player and wants the best result. So if there’s something you need to help you achieve that, then he’s there for you.”
Who was your favorite co-star to play off of?
Bradley James: “That’s a question that will only lead to trouble when I see the remaining cast members. But, there is a very truthful answer to this and it’s the fact that as an actor something I look for is the variety that acting offers and I sort of sought that out in the roles that I put myself up for and have been fortunate enough to play, there’s been that variety. What you then get is when you get on a project like this and you work with Glen who’s able to pick out talent very well, you find yourself in amongst a cast to bounce off of. You don’t always get that with actors. Some actors turn up and they’ve got their performance set. They’ve done that performance in the bathroom at home before they’ve turned up. They’ve said their lines in the mirror the way they want to say them. You get on set and there’s no response. You’re not alive in the scene in the moment with that person. But Glen, as I say, has an eye for that flair, that ability, and so I found myself working opposite Barbara [Hershey], working opposite Omid, working opposite David [Meunier] and Scott [Wilson]…whoever I found myself on set with, I was there having a play essentially which is brilliant for an actor because you don’t know what’s going to come about. You don’t know what you’ll experience. I essentially just get a cast list in front of me so I don’t miss out on anybody. It was a case that every day I woke up and was very excited that I got to get back on set and have a play with these terrific performers that I’d been put alongside.”
The chemistry and relationships really came across on the screen. There’s a lot of genuine human drama in this series rooted in the supernatural.
Bradley James: “I’m pleased that came across. One of the things about Damien’s relationships with each of the characters is there’s a huge deal of specificity towards it and I think that was always very clear in the writing. I was just given the opportunity to explore that with each actor. One of the things actually which helped, which alludes to the question before, is the Damien/Amani relationship. I would consider Omid one of my best friends now. Off set we hung out all the time and we got along like a house on fire. I think that then played onscreen when we have to buddy up because it’s like sometimes in scenes with people it’s like, ‘Hey, best friend. How are you?’ [said in a very stilted fashion] It’s what you see in films and TV sometimes between two people who are supposed to be best friends but who clearly have nothing in common. But that wasn’t the case with myself and Omid. We hit it off straight away. And the same with Barbara. That comes about because I love being in her presence. I love working with her. I felt very respected in my process and I have nothing but respect for hers. When we got together and were able to work through scenes, there was very much a mutual appreciation and understanding of working with each other. It was a joy.”
Bradley James in A&E’s ‘Damien’ (Photo by Ben Mark Holzberg / Copyright 2016)
Were there any physically difficult scenes? The exorcism in the pit looked intense.
Bradley James: “Yeah. We shot it all at night in Canada and the weather wasn’t always a balmy 70 degrees. I suppose you probably picked out what was the most intense, but it kind of helped, really. It was something I was able to use. I was walking around covered in prop blood and without a shirt on, no shoes, and strapped to a board, and then walking in a forest – all that kind of stuff. It helped because the sort of extreme nature of doing that at 3 o’clock in the morning just added something that you didn’t have to work for when you’re actually shoot in the camera because you’re out there in the elements uncomfortable and that helps. Again, what I mentioned earlier, you’ve got to try and get every advantage you can when it comes to performing and being the character working on a scene. That was an advantage I took hold of. I spent time taking on board the conditions and then absolutely dousing myself in bug spray because the mosquitoes out there…my god, they were relentless! So I was just bathing in bug spray for all the nights that we shot those scenes.”
The series is grounded in realism and your approach to making the character feel human was phenomenal.
Bradley James: “Thank you so much for that observation. [Laughing] That’s blush-inducing. I would say a big part of that lends itself to my training, really. I went to a drama school that hammers it into you to find the truth, and the truth of the situation is you can’t play an Antichrist in the same way that you can’t play a king or you can’t play a president. You can’t really play the status if no one is giving you the status, so you have to leave that to everybody else. But what you can do is play the humanity of the situation. You can play the human being that you are portraying. And the byproducts of being the Antichrist is more because you’re being bestowed that by your other actors who are generous enough to give you that status, as it were, and that was certainly the case here. Yeah, one of the byproducts of my training was just very much to search for the truth of the human being and that’s what interests me in life anyway about human beings, that truth about them. And so Glen wrote very honestly…I keep saying he has a very warped mind, but I think it’s very honest within that craziness that he creates. There’s a lot of truth there and so it allows you to find that truth in the character, because that’s what people relate to. People know what the truth is because they feel it within themselves and when they see it, they relate to it and that’s I tried to aim for hopefully more often than not achieve.”
For the scene at the end of episode 10 where you smile and look at the camera, did you go back and watch The Omen and look at the young actor who played Damien? Did you at any time during the filming go back and watch The Omen?
Bradley James: “I watched it at the very beginning – I rewatched it. And then for that particular scene there were technical aspects of rewatching that scene just so we got the right type shot and the expression. Again, it was a case of having to find the truth behind that expression. I don’t want to make myself out to be some Leonardo da Vinci artist here but again it was that searching for the truthful moment because you get asked to do things… It’s very much a set piece, it’s a nod to the film, and it’s something that you then have to find the reason for why it’s happening. You can’t just do it. You have to find the truth behind it and thankfully the way it was written allowed that process to find that truth to not be an arduous one. It was there to be found. The circumstances that happened before it just sort of lent itself to finding that bizarre moment of inner peace in a man who’s been running from something and now he’s surrounded by it and by all the people who support him.”
Megalyn E.K. and Bradley James in A&E’s ‘Damien’ (Photo by George Kraychk)
A&E wrapped up the first season of the riveting horror drama Damien on Monday, May 9, 2016, with an episode that can only be described as brilliant. The finale of season one of Damien worked on so many levels that when executive producer/series creator Glen Mazzara agreed to answer questions about the first season in general and episode 10 in particular, it was impossible not to jump at the opportunity to pick his brain for one last time this season.
Damien season one was a slow build, not in the pacing of each episode but in the way Mazzara and the writing team allowed the evolution of the titular character, played by Bradley James, to unfold. Damien Thorn was destined to be the Antichrist; however, the writers never once took the easy way out when displaying Damien’s humanity and morality.
Speaking to a small group of journalists, Mazzara discussed the detailed research that went into each episode, that hand that emerges from the grave, Simone’s arc over the season, staging the final scenes of episode 10 and how they connect to the final scene of The Omen, and his personal favorite scene from season one’s finale.
Glen Mazzara Interview:
Do you already have season two planned out?
Glen Mazzara: I knew how this was going to lay out for the most part. I knew the emotional journey and I actually have some episodes that I’m very interested in writing, some very specific episodes. What’s been an incredible gift is to have such a talented cast. I really do spend a lot of time thinking about writing for them and what aspect of those characters we want to bring out. I have very specific thoughts about a season two. I know how it starts, I know it ends, I know specific episodes in the middle. This is just me thinking about it when I’m driving around. I haven’t even started working on it with writers. I really hope I get the chance.”
What was the big catalyst for you that made you want to explore this particular idea?
Glen Mazzara: “I really took very seriously the concept that Damien is an Antichrist. I have spoken about how Christ, Jesus Christ—as opposed to George Christ, but I’m talking about Jesus Christ-he’s fully God and fully human. Damien would have to be, the Antichrist, fully human and fully evil, fully devil. I think that’s very interesting and I wanted that humanity there.
I think a lot of people were expecting that he was just going to be some type of demigod, that he was just going to be all evil and committed, and I want to see that struggle because I think a good horror film always keeps the audience guessing as to what’s really going on. Guessing as to what’s real, what’s not real, what’s supernatural, what’s not, and keeps you uncomfortable and in suspense. And so, to do that on a TV show, I think the tension comes from within the characters. Certainly, you have a lot of storylines, but I needed to have a very complex character to explore.”
The complexity and the human element make it interesting.
Glen Mazzara: “Thank you. It gives a lot to play with other characters. For example, as Damien is developing his power, learning more, going down a particular path, going through a process of denial, anger, acceptance, all of that stuff, we’ve got all of that covered in the season but he affects other people. Simone [played by Megalyn Echikunwoke]goes through an arc, Amani [played by Omid Abtahi] goes through an arc, Ann Rutledge [played by Barbara Hershey] goes through an arc in which she is, surprisingly, humanized by her experience with Damien. We just think when we meet her, ‘Oh, she’s just going to be a Machiavellian power broker,’ and look at the intricate work that Barbara did throughout the season, in which she has many emotionally compelling, heartbreaking scenes. The show is mercurial by design.”
You are incorporating religion into the show, especially regarding the theme of seven. In the Vatican City scene in the finale, the names of the seven churches that are mentioned in Revelations surround the daggers of Megiddo. What was the thought process in incorporating the religion so seamlessly and how it became the show’s foundation?
Glen Mazzara: “When I first approached this, I really thought about Jesus Christ. If Jesus was a carpenter from a backwater town in Galilee, with no power, how does that person start a movement that sweeps through the entire world and is still standing 2,000 years later and has affected billions of people over 2,000 years? That’s amazing. But he starts and he’s powerless, you know? What was interesting about the promise of the Messiah at that time, when people thought the Messiah was going to be a great General that was going to deliver Israel from the Roman Empire, right? So I’m familiar with this; I’m interested in this, I’ve done a lot of reading about this.
Now how do you tell that story in a modern way? An Antichrist who has to be seen as a Messiah, I think people would expect him to be an evil Senator or something like that. I said, ‘No, we’re going to come at it from a totally different point of view.’ Some people got it, some people didn’t. I really wanted to explore the meaning of religion. I have this line and I hope we get a season two, and I would write it into the script somewhere. It’s easy for a demagogue to get somebody to kill for them; it’s hard for a Messiah to get people to die for them. You have to love that character to be able to die.
Look at in the finale, Amani is a martyr, possibly – we’re not sure who’s coming out of the grave. He’s willing to give up his life for his friend. That’s really interesting. Look at the conversion of Detective Shay. Look at the look in his eyes. There are these personal moments that are religious. I think what happens a lot of times in Hollywood is people look at religion in a very cynical way, and religion’s important to many, many people, and I wanted to really examine that. Sister Greta’s faith when she’s in the grave and she says, ‘I’m not worthy to receive you, but only say the word and I shall be healed,’ that’s what – I’m not sure if you were raised Catholic, that’s what Catholics say before the Communion. That’s directly from the Mass.
Damien’s last line is what Jesus supposedly said before he died on the cross. So being raised Catholic, understanding that faith from the inside out, gave me a lot of material that I wanted to examine in a very respectful way. Now, the show is still an entertainment. It’s a horror film in 10 parts. We took that stuff very seriously, but we never looked down at the religious aspects or the religious feelings or thinking of our character.
We’re with those characters, and I think sometimes on TV those characters are comical, those characters can be two-dimensional. They’re not treated respectfully by writers, let’s say. That was something that was a mandate for this show in the writer’s room right away. We really talked about questions of philosophy and religion, and humanity’s need to find meaning. That’s what we’re really taking on.
Let me just say we wanted to do it in a way that was entertaining. I find sometimes, when shows do handle that it can feel didactic, it can feel preachy. We also had a balance we needed to strike, and fortunately, I had a fantastic team of writers that really challenged the material, and we made sure we didn’t fall into any of these traps.”
Along with making it not sound so archaic and not sound so heavy for the viewers, you also created conversations about not just religion, but some of taboo topics including suicide and negligence in veteran care. It’s been set up very tastefully and with the utmost care and respect.
Glen Mazzara: “Well thank you. We spent a lot of time trying to get that done. We wanted the show to feel like it was grounded in this world and we wanted to look at that. I just saw some stuff that was really gratifying on Twitter where people were saying that they…this one person said that they were in a dark place before this show and I think people, they turn to TV for some meaning. They look for entertainment but you can always find meaning in shows and I wanted to say something.
I don’t know exactly what I wanted to say or I wanted to say a lot of different things at once, but this wasn’t just slapping this together. We spent a lot of time going on a journey as writers and actors and as directors. We spent a lot of time inhabiting this world and thinking about it. It’s nice that at the end of the season, people are getting that. I don’t know if that was readily apparent at first, but we did our homework.”
If I can ask you about that final scene where Damien turns to the camera, was that in your mind the entire time? How did that come about? What was the decision process behind that particular scene?
Glen Mazzara: “That was very early on. That last scene was designed…it was sketched out, let’s say…before we even sold the show. I knew at the end of the season Damien needed to enter a Faustian bargain. I wanted that process. I wanted season one to be about a guy who’s coming around and he’s going to sacrifice himself to commit evil. That’s just bananas, but that’s what we wanted it to be.
The Faustian bargain signed in his blood was something we were always shooting for. We started to develop it. I would say take a look at the end of episode one, he’s alone in a mirror, he’s looking in a mirror. His wound, the 666 is bleeding. Now it’s bleeding at the end of 10. There are shots that are set up 10 episodes before and everything, so we really knew we had to do that.
Then we started thinking about…I don’t remember where it was. It was probably when we had the scripts for the first few episodes and we were thinking about the Faustian bargain for episode six, then we got picked up for 10 and we moved it back and I wrote the script. I think as we started talking about the script and started getting into everything coming together, because when you’re designing this you want to really be sure when you’re getting to that last scene, where’s Shay? Where’s Amani? Where’s Ann? We always knew it was about Simone, we didn’t know where the setting was.
As the pieces start falling into place, that was really the final piece of the puzzle. I think that came together in the back half of the season. It came together before the script was written, I believe, but it was just something that we, as horror fans, knew we needed and it made sense.
I love the idea that if this is a show about the devil in some extent, the show is serpentine and it constantly curls around itself and now that you have the last shot of the season, brings you back to the last shot of a movie 40 years ago, that’s just really fun for me as a horror writer. That was a tremendous amount of fun. That’s just one of the things that I think we’ve done on our show that other shows have not done.
I think we’ve kind of pushed ourselves in ways. The way we kind of kept re-inventing the show. There were certain things that we did. The idea that we use the clips, the idea that we had a spirit inhabit seven wounded soldiers. I hadn’t seen that in a horror movie. There were a lot of things that we kept throwing in and to be able to curl back around to that final shot, that was something that our show can do that I don’t think any other show can do.”
We see Ann cut 666 in her skin in one of the earlier episodes. If you get a season two are we going to see more of that angle? Is there something more to that?
Glen Mazzara: “Well, actually that cutting was our attempt to examine something that is said in both the Book of Revelation and the original movie. The priest who is killed when the thing falls off the church, when the steeple falls off the top of the church – the lightning rod falls off. The photographer Jennings said he had a 666 on his inner thigh. That was a tricky thing for us as writers because we said, ‘Well, why? I thought Damien has the 666 and wouldn’t the Antichrist be marked with the 666? Why would his follower? And is that priest actually a follower?’ It’s something that was in the original script and as we started talking about it, we saw in the Book of Revelation that it says that his followers will be marked by the 666 as well.
So, that led to this. We wanted to make sure that the audience understood that she was part of this larger conspiracy group that had been around since before his birth. You see in the finale Lyons says, ‘We’ve been around for centuries.’ It’s sort of tying her into that. Now, would we go back and see that type of creepiness? Sure. I think there’s a lot of stuff that we would see in a season two.
I think we’re just getting started and I would like to even push further, and there’s characters I have in mind that I’d like to introduce. There’s a whole big story, but Ann Rutledge is obviously… I think the relationship between Ann and Damien is sort of the wicked heart of the show. Yeah, I would certainly examine her worship of Damien, let’s say, or her following of Damien, in depth.”
Was John Lyons in it more for the power and is Ann in it more for Damien, specifically?
Glen Mazzara: “That’s exactly right. His wife, Margot, says that his intent is to lead one of the 10 armies, to wear one of the 10 diadems. She says that in episode seven, so he is looking for power. He is looking for power. Look at what he does, he’s trying to control people, he’s trying to do that. She very much understands Damien’s heart and she realizes that he needs them. She doesn’t know, I’ll be very clear, no one knows exactly how this is going to come around. She said, ‘I can feel we’re on the eve of his ascension,’ but she’s not exactly sure what the miracle is. But she can feel things are progressing to where he will come into his own. She wants that.
She, I think, wants to be first among his worshipers. She wants to be, in a sense, if Damien is the Antichrist, she’s a Mother Mary figure. Where she cares about him as you would a son, but she realizes that he belongs to history. He belongs to the world; he belongs to other powers.
I think that she has consistently shown that she’s not in it for her own glory, but only for Damien’s glory, whereas Lyons is more of the player. And what I am happy about in that last episode is he gets outplayed. She is also a master player. One of the things, if I can tell you, one of the things that I give a lot of credit to the writers for is that look at all of the well developed female characters on stage at the end with different points of view, and really affecting action and not just being passive. I feel that this is a show that did a good job on that front, if I could say so myself.
I felt like we had tremendous actresses come in and join the cast and then we wrote for them, and we developed story, and they all affected Damien in a different way. I was pleased with the amount of story that was driven by those women. [Laughing] So the idea that John Lyons ends up getting outplayed was very satisfying.”
Omid Abtahi and Robin Weigert in ‘Damien’ (Photo by Ben Mark Holzberg)
I thought I was the only one who didn’t know whether that was Amani’s hand coming up out of the grave or not. Are we supposed to be left wondering if that’s his hand and if it is his hand, how does he return? Is there some other hint that was dropped about how he comes back?
Glen Mazzara: “That could be his hand, it could also be Greta’s hand. The worst thing that could happen is that we don’t get a season two and you don’t get an answer to that question because I promise you… And even though I’m in Hollywood, I do not lie, and I don’t lie to the press. I know whose hand it is and I know exactly what that story is. Not just, ‘Oh, it’s this.’ I know the scenes, I know the episodes, I know what that is. It would be a shame not to write that because I think it’s just bizarre and weird, and whenever I feel like that that usually turns into a good scene. I would like the opportunity to answer those questions, but I do have that figured out.”
If we don’t get a season two, are you at least going to tell the viewers? Will we get a Tweet, at least, about what happened?
Glen Mazzara: “I refuse to accept the possibility that I may not get a season two.”
Good answer.
Glen Mazzara: “I’m not going to take that bait. You will find out when there’s a season two, okay?”
Fair enough.
Were the scenes with Simone cleaning Damien’s feet and then her execution and revival purposeful allusions to Jesus Christ?
Glen Mazzara: “Yes, yes. To be very honest, imagine being in my shoes as a showrunner and you write a scene between two characters. Now everyone’s running around, everyone’s trying to find Damien, we’ve got SWAT teams with laser sights and we’ve got dogs and we’ve got magical women, and little girls with their eyes taped shut, and I stop the action to have someone wash somebody’s feet. You could imagine I received notes on that part of the script, and I said, ‘We absolutely have to have it. I need that scene, it is important. It shows that she is a religious player in this story.’ There’s a bit of a Christ figure for her, and very often Christ figures are solely men. But the idea that she would be more compassionate – she doesn’t have an evil side for the most part – she doesn’t really have an evil side, we’ve played her as a force of good, and there’s a lot of evil in this particular episode.
Look at the first act break, the execution of the nuns, the mass grave, the being buried alive. There’s a tremendous amount of evil in this. The opening scene with the shootings and the suicide. Tremendous amount of evil. To have that human compassion in the face of all that evil is important. It also gives her the stage, because we know she is worthy, she is a good, she is worthy of Damien’s sacrifice of his soul.
And then, I don’t know if you can catch this but she steps forward when Shay raises his gun. She steps forward to save Damien and that’s why she takes the bullet. She sacrifices herself and the bullet hits her and her head snaps back and her blood is on Damien. Then he raises her from the dead. That’s a miracle. That will lead people in the future to see him as a Messiah. He raised the dead. He’s Jesus raising Lazarus, if you will. But she also is resurrected. Well what does that mean for her? I have, I think, an interesting storyline for her moving forward is what does that mean? She was raised and how do people see her?
We don’t do anything straight here. We try to make everything, like I said, serpentine and as complex and as layered as possible. All of that was by design, and if you were to ask me where is Simone seasons from now I have answers for that, too. She’s a very important character for the show.”
Just from learning her last name (Baptiste) it seemed destined that she’d be an integral part of Damien’s path forward.
Glen Mazzara: “She also goes through a process. She’s kind of gaining her voice. Every time she speaks up, people tell her to be quiet. At the end, she even has locusts flying out of her mouth. It’s about gaining her voice. But the way we tell stories here on Damien is we don’t follow the rule book, to be honest. To have a character, and she was always described as very significant, but look how we introduce her in episode one. She’s not really driving action. She’s not there. You sort of feel like she’s just a character filling out the cast. No, she was always, always, from before we sold the show, she was always a major character but we just decided to subvert the audience’s expectation and introduce her as sort of an afterthought.
Again, what you expect is not what you’re going to see. It’s always different. It was always by design and I’m not sure that when the show first came out people got that. I’m very, very satisfied that you see that all the answers are there. It’s all, ‘Oh, we’re watching this kind of story.’ It’s come together. I really can’t thank the writers and directors and actors enough, and producers, because people thought I was crazy to try something this intricate.”
Did Shay actually convert or was he just overcome with emotion and dropped to his knees?
Glen Mazzara: “I think that’s a moment of conversion. I’ll give you that. I’m not going to hide that. I think he has witnessed a tremendous amount of supernatural stuff and he I think witnesses something extraordinary and he’s emotionally moved. So, yes, I think he is about to become a disciple.”
(As the interview concluded, Glen pointed out one of his favorite shots in episode 10.)
Glen Mazzara: “Watch as [Shay’s] driving off…I love this shot – I don’t know why I love this shot but it just scares me. He’s driving away and we see the swing is still in motion. The swing swings twice and it’s empty. The third time the girl is on the swing. We never cut to add that girl so watch that. [Laughing] It scared the shit out of me. I think it’s kind of cool. Again, there’s a lot of stuff hidden in there.”
Blue Sky Studios and 20th Century Fox have just released a brand new trailer for the latest entry in the Ice Age film franchise, Ice Age: Collision Course. They’re also showing off a brand new poster featuring the acorn-loving Scrat who actually sets off a global catastrophe in the new animated film. Directed by Mike Thurmeier, the voice cast includes Ray Romano, Denis Leary, John Leguizamo, Queen Latifah, Seann William Scott, Josh Peck, Simon Pegg, and Keke Palmer.
The voice cast also includes Wanda Sykes, Jennifer Lopez, Stephanie Beatriz, Adam DeVine, Jesse Tyler Ferguson, Max Greenfield, Jessie J, Nick Offerman, Melissa Rauch, Michael Strahan, and Neil deGrasse Tyson. Ice Age: Collision Course will open in theaters on July 22, 2016.
The Plot: Scrat’s epic pursuit of the elusive acorn catapults him into the universe where he accidentally sets off a series of cosmic events that transform and threaten the Ice Age World. To save themselves, Sid, Manny, Diego, and the rest of the herd must leave their home and embark on a quest full of comedy and adventure, traveling to exotic new lands and encountering a host of colorful new characters.
Universal Pictures has released a new featurette for the upcoming Bourne film, Jason Bourne, with Matt Damon reprising his role as Bourne. Directed by Paul Greengrass, the return to the action-packed world of Jason Bourne also features Alicia Vikander (the new Lara Croft), Vincent Cassel, Tommy Lee Jones, and Julia Stiles. Greengrass co-wrote the script and produces along with Damon, Frank Marshall, Jeffrey M. Weiner, Ben Smith, and Gregory Goodman. Jason Bourne is set to open in theaters on July 29, 2016.
The Plot: Matt Damon returns to his most iconic role in Jason Bourne. Paul Greengrass, the director of The Bourne Supremacy and The Bourne Ultimatum, once again joins Damon for the next chapter of Universal Pictures’ Bourne franchise, which finds the CIA’s most lethal former operative drawn out of the shadows.
Jason Patric and Djimon Hounsou join the cast of Fox’s Wayward Pines for season two, with Patric playing Dr. Theo Yedlin and Hounsou playing CJ Mitchum. Yedlin’s described as a confident surgeon with leadership skills and Mitchum is a historian who understands the town’s unique setup and provides a “bridge between the current world of Wayward Pines and the previous world that humans inhabited.” Based on the bestselling books by Blake Crouch, Wayward Pines is executive produced by Crouch, M. Night Shyamalan, Donald De Line, Ashwin Rajan, and showrunner Mark Friedman.
Fox’s set to debut the first of season two’s 10 episodes on May 25, 2016 and at this year’s WonderCon in Los Angeles new co-stars Patric and Hounsou teamed up to talk about the upcoming season which is set shortly after the events of season one. And speaking of season one, Patric hasn’t seen it. “I saw the pilot and it was explained to me a little bit. I thought it was best that my character didn’t see any of that stuff because I’m dropped in the middle of it and so I wanted my reactions to be as pure as possible,” explained Jason Patric.
Patrick and Hounson describe the actual set of Wayward Pines the town as big and freaky. “It’s kind of like when you get on a roller coaster that you hate, that you despise. You didn’t like the first ride and it just continues,” said Hounsou, and Patric added, “There is a strange sort of never-ending timeless feeling about the town and the strangeness of it. I had a scene where I just walk in for the first time and it’s very much almost like a Western. Walk into the town and standing there, and this shot all the way down. It’s interesting.”
Both actors said one of the things that drew them to Wayward Pines was the fact it was such a short season and they didn’t have to commit to doing 20+ episodes. “I haven’t done television and I’ve never had to extend a character on stage or in a movie past two hours, and when you do that for 30 years… I mean, that’s the type of ballplayer I am. It is. So to try to find a way to extend something and in this way it was very cinematic,” said Patric. “I’m just looking at it as sort of 10 installments of a larger movie.”
“This is my first proper TV also and it threw my off a little bit when I first started. You get so much info and actually you don’t need all that info,” said Hounsou. “You’re starting here and that’s all that matters. It’s pretty engaging that way.”
“Not knowing what’s going to happen in the middle or the end really forces you to the present. But of course you bring who you are and what your skillset is,” offered Patric. Hounsou also felt the limited series format allowed him to be much more creative because he didn’t have any real preconceived notions about what’s happening down the line with his character. “I think it’s safe to just stay sort of content with the one storyline that you have and deal with that, and then you can figure out the next one.”
As for playing a doctor, Patric admitted he didn’t do any special research but viewers will have the opportunity to see his character practice medicine a little during this second season. “I used my great imagination,” said Patric, smiling. “If it was specifically about that and you saw that stuff, yeah. But if you see me doing stuff, you’ll buy it. Also, we’ve seen enough of those medical shows that I hope you’ll believe that I’m a doctor.”
Watch the full interview with Jason Patric and Djimon Hounsou:
IFC Films has released the first teaser trailer for The Land, an indie film about four skateboarder friends that premiered at this year’s Sundance Film Festival. Written and directed by first-time helmer Steven Caple Jr, the cast of The Land includes Erykah Badu, Michael Kenneth Williams, Jorge Lendeborg Jr., Moises Arias, Rafi Gavron, Ezri Walker, Machine Gun Kelly, Kim Coates, Linda Emond, amd Natalie Martinez. IFC Films will open The Land in theaters and on VOD on July 29, 2016.
The Plot:The Land tells the story of four teenage boys who devote their summer to escaping the streets of Cleveland, Ohio to pursue a dream life of professional skateboarding. When they get caught in the web of a local drug queen-pin, their motley brotherhood is put to the test.
Lana Parrilla and Sean Maguire in ‘Once Upon a Time’ (ABC/Jack Rowand)
ABC’s Once Upon a Time season five episode 21 included the tragic death of a main character, a touching reunion, two supporting characters biting the dust, and a pivotal moment that altered the relationship between siblings. Fans weren’t happy with the loss of a key character but at least one fan favorite returned to Storybrooke after performing a heroic act in the Underworld. Episode 21 titled ‘Last Rites’ was jam-packed with potentially game-changing moments, and it’ll be interesting to show how the season finishes up and if we lose any more key characters.
Outside of Storybrooke, Present Day: Hades (Greg Germann) is thrilled to be in the land of the living, telling Zelena (Rebecca Mader) he’s finally becoming himself. Zelena’s anxiously awaiting her sister, but Hades says it’ll be fine. Zelena also wonders why they’re outside of the town and Hades says he’s worried they will all still think of him as a villain. Passing off her daughter to the surprised Hades, Zelena heads into Storybrooke. As he’s waiting with the baby, King Arthur races up and wants to be unshackled. He says he was destined to rule a kingdom, and Hades introduces himself as Hades, God of Death. Hades thinks he’s destined to rule this kingdom, and so he kills off King Arthur.
Snow (Ginnifer Goodwin) is upset Merida (Amy Manson) allowed King Arthur to escape and sends everyone out to search the town. Just as Snow says to her baby that they need their family back, in walks David (Josh Dallas) followed by Emma (Jennifer Morrison) and Henry (Jared Gilmore). Only Hook (Colin O’Donoghue) wasn’t able to make the journey. Snow hugs Emma and tells her at least she got to see Hook one last time. David then breaks the bad news that Hades and Zelena are also back and they have Robin’s baby.
Zelena meets up with Regina (Lana Parrilla) and Robin (Sean Maguire) on the way into town, and Robin tells her Hades has absolutely not changed. Zelena’s confused and Regina says Hades tried to trap them in the Underworld, but Zelena absolutely won’t believe them. Zelena doesn’t want to give up Hades’ location after Regina confirms they’ll do whatever they have to do to protect themselves from him. Zelena reminds them Hades is a god and if they try to hurt him, they do so “at their own peril.”
King Arthur (Liam Garrigan) shows up at the diner in the Underworld and has no clue where he is. Hook’s there and King Arthur threatens him with death if he doesn’t explain where he is. Hook simply says you can’t kill a dead man, which should answer King Arthur’s question. King Arthur won’t believe it…he had so much left to do. Hook demands answers from King Arthur about who killed him, and King Arthur says it was Hades. The Blind Witch butts in saying Hades never reveals his weakness. That gives Hook the idea that he and King Arthur should take off on a quest to find out what Hades is hiding and learn the secret to defeating Hades.
Meanwhile back in Storybrooke, Merida, Emma and David find King Arthur’s dead body and know it’s Hades’ work. Emma wants to immediately rush off and fight Hades but David tells her she has to stop and think about her actions and she has to deal with Hook’s death by grieving.
Zelena’s back with Hades and he says he’d give up his freedom to save her and the baby. Liar, liar, pants (and everything else) on fire! Zelena’s buying into it for some reason (she used to be so smart!) and stops him from turning himself in. If he can’t do that, then Hades says they have to defend themselves. If it comes to a fight, he has something that will end the feud. He has the Olympian Crystal that belonged to Zeus and he’s waited a long time to use it…
Regina and the gang show up at the town hall only to discover Zelena’s placed a protection spell around the building. But, Regina knows there’s a secret tunnel under the town hall that can help them get Robin’s daughter back. No one wants Emma’s help because she’s too emotional and they tell her she can’t help them until she works through her grief issues. Robin and Regina head down into the tunnels where Regina apologizes but to Robin it sounds more like Regina’s continuing to defend Zelena.
At the flower shop, Gold shows up to ask if Belle’s dad will try and wake her with a kiss. He won’t do it, mainly because he hates Gold so much. Until Gold’s gone for good, she stays asleep. Gold shows him a gold handled cane…but Emma barges in and tells Gold she needs his help. She has to stop Hades and needs to know how to kill him. Gold won’t tell her because she’s the one who got them into this mess in the first place.
Down in Hades’ throne room, Hook and King Arthur look around for anything that can be used against him. The Holy Grail they’re looking for is pages from the storybook that Hades kept them from seeing. They’re tearing his place apart when Hook admits it’s all about Emma and he has to move on but can’t while Emma’s still in danger. Nearly in tears, he asks King Arthur where he hid his treasures while he was king. Arthur says the one place no one would ever dare touch: his throne. And there they are…Hook’s Holy Grail. The pages will allow Emma to destroy a god!
Hook and King Arthur meet with Cruella and she’s overcome with their hunkiness. They need the phone booth she ripped out but it’s been destroyed. She didn’t want anyone to resolve their unfinished businesses. So, Hook needs the book but she put it in the River of Souls. The book could be their way to get the pages to Emma.
Emma shows up at the library where Snow, David, Henry, and Merida are looking through books for a clue how to get rid of Hades. They want her help but she doesn’t want to go through books. She tells them she can’t grieve for Hook because he’s still trapped in the Underworld and can’t move on.
Hades puts the crystals back together – something he can do because he now has a beating heart. He promises Zelena they can live any life they want or they could even rule Storybrooke, but that’s not something she really thought they wanted. Hades convinces her they may have to make a show of strength to survive. Gold rings up, asking if Hades wants a deal. Hades says no, but then Gold reveals he knows Hades has the Olympian Crystal. Still, Hades refuses the deal.
In the tunnels, Robin thanks Regina and she says, once again, she feels horrible for what she did. She’s trying to make up for it. Robin agrees they owe Zelena another chance and tells Regina she is his future. They kiss, deeply, and then he reveals he doesn’t have a plan on how to actually get his daughter out.
Hook and King Arthur sail the River of Souls and find the book. Hook goes for it, trusting Arthur to stay with book. Arthur’s grabbed by a soul but he tells Hook to go for the book. Hook doesn’t and instead saves Arthur. The soul then goes for the book instead but Arthur wipes it out with a torch and Hook saves it just before it falls into the river. Hook says the Olympian Crystal can kill Hades, putting the pages that contain the info back in the book.
As Emma’s at the library, she picks up the storybook but puts it away without looking at the new pages. Thankfully, it opens itself to the pages and she knows they’re from Hook. Awww. Meanwhile, Hades has completed the process to make the Olympian Crystal whole again. Zelena wants to leave Storybrooke and not fight, but Hades will have none of that. Fortunately, Regina and Robin overhear their plans. Outside, Emma is trying to break in. Zelena and Hades leave the baby and go out to see Emma, leaving Robin and Regina to get to Robin’s baby. Outside, Emma’s working on a spell and when Zelena pops out, Emma explains she doesn’t want to hurt her. She has figured out a way to kill Hades and knows he has the crystal. Zelena grabs the pages from Emma, demanding to know if Regina agreed to it. As Robin and Regina pick up the baby, Hades reappears thwarting their escape. He tells them the crystal ends them – no Underworld, no anything. As he tries to use it on Regina, Robin steps in front of her and absorbs the blow. He dies but smiles one last smile as he disappears. Just as he’s about to kill Regina, Zelena comes in and Hades lies that he killed Robin only to save her. Regina tries to convince Zelena it’s all a lie, but Zelena doesn’t know who to believe. Then Hades admits he did trap Regina and the rest of the gang in the Underworld and now he must kill them and create a new kingdom. Hades says it’s about getting back at the families who didn’t believe him. While he’s distracted, Regina knocks the crystal from his hand but Zelena gets to it first. Hades wants Zelena to end Regina, and Regina says Robin tried to defend her. True love is sacrifice and that’s what Robin did when Hades killed him. Hades twists the story to make Regina the bad guy again, but now Zelena isn’t buying it. Love would never have been enough for Hades so Zelena stabs him through the heart with the crystal. Regina rushes back to Robin’s side, holding her love’s dead body. Zelena and Regina hug, crying.
Hook thanks Arthur for his help, but he’s just glad to have finished one quest that was righteous. Hook’s sure Emma did what she needed to. All of sudden a bright light appears and Hook heads toward it, but he thinks the defeat of Hades might have been Arthur’s unfinished business, too. But, Arthur tells him to go without him because he believes he has to repair the Underworld. They shake hands and Hook again heads toward the light. He’s pulled through and meets Zeus, who thanks him for helping to destroy the God of Death, Hades. He’s there to escort Hook onward to where he belongs. Hook heads down a hall.
Meanwhile in Storybrooke, Emma visits Hook’s grave and thanks him for the pages. She’s crying and says she hopes he’s in a better place. “It just feels like now you’re really gone,” completely breaking down.
The gang gathers at Robin’s grave, each stepping forward and placing an arrow on his casket. Zelena and Regina are together and talking about Robin never being able to name their daughter. Zelena says it has to be Robin, and Regina agrees. Emma and Snow are the last at the grave and Snow tells her it’s not her fault. Emma just wants to say goodbye alone, and Snow leaves after one last hug. As she’s standing there she feels an electric charge. Killian’s back!!! They kiss and Emma can’t believe he’s back, and Hook says it was Zeus who sent him back to Storybrooke. She then tells him Robin was killed.
Gold walks over to the pile of Hades dust and finds a piece of the Olympian Crystal. “Like I told you, this is my kingdom.”
Colin O’Donoghue and Jennifer Morrison in ‘Once Upon a Time’ (ABC/Jack Rowand)
