Difficult as it is to believe, there are only four new episodes left for The CW’s Supernatural. Season 15 episode 17, “Unity,” is up next and will air on October 29, 2020. “Unity” was directed by Catriona McKenzie from a script by Meredith Glynn.
The final season cast includes Jared Padalecki as Sam Winchester, Jensen Ackles as Dean Winchester, Misha Collins as Castiel, and Alexander Calvert as Jack.
“Unity” Plot: ONE WAY OR ANOTHER – Dean (Ackles) hits the road with Jack (Calvert) who needs to complete a final ritual in the quest to beat Chuck (guest star Rob Benedict). A difference of opinion leaves Sam (Padalecki) and Castiel (Collins) behind looking for answers to questions of their own.
Details on Supernatural Season 15, Courtesy of The CW:
“The epic journey of the Winchester brothers comes to a close as Supernatural enters its final season. Sam and Dean and the angel Castiel have conquered monsters, demons, Heaven and Hell, and in the show’s 14th season, the Winchesters grappled with the Archangel Michael possessing Dean.
In a valiant act, Sam and Dean’s surrogate son Jack destroyed his soul to redeem his adoptive father. But this proved to be a fatal error, leading to the accidental death of Mary Winchester. The 14th season also featured the return of John Winchester (Jeffrey Dean Morgan) for the show’s historic 300th episode.
Now, heading into their 15th season, Sam and Dean find themselves facing a threat beyond anything they’ve ever grappled with… anything they’ve ever imagined: God himself.”
Netflix has unveiled the official trailer for Selena: The Series based on the life and tragically short career of Selena Quintanilla. The nearly two and a half minute trailer provides our first good look at Christian Serratos, best known for the Twilight film franchise and The Walking Dead, as Selena.
The cast also includes Gabriel Chavarria, Ricardo Chavira, Noemí Gonzalez, and Seidy López. Moises Zamora created the series and serves as executive producer with Jaime Dávila, Rico Martinez, Hiromi Kamata, Suzette Quintanilla, and Simran A. Singh.
The two-part Netflix series will premiere on December 4, 2020.
The Plot, Courtesy of Netflix:
Before she became the Queen of Tejano Music, Selena Quintanilla was a young girl from Texas with big dreams and an even bigger voice. Selena: The Series explores her journey from singing small gigs to becoming the most successful female Latin artist of all time — and the years of hard work and sacrifice the Quintanilla family navigated together.
Javicia Leslie in character as Batwoman (Photo Credit: Nino Muñoz/The CW)
The CW’s Batwoman will return for a second season with a new Batwoman – Javicia Leslie – and a brand new Batsuit. The network just released the first photos of Leslie in character as Ryan Wilder/Batwoman while also revealing Leslie will actually start off wearing Kate Kane’s suit.
Per The CW, “While Ryan Wilder initially dons Kate Kane’s suit at the beginning of the upcoming season two of Batwoman, as Ryan grows into her newfound role as Batwoman, she redesigns the suit. In the third episode, Ryan reveals the new Batsuit, sending a message to Gotham that a New Hero has arrived.”
Batwoman costume designer Maya Mani conceptualized the new suit which was created by Ocean Drive Leather. Janice Workman created the new wig and Cory Roberts styled Javicia Leslie’s makeup.
“Ryan’s journey starts from a place of ‘What can this Batsuit do for me?’ But it’s not long before she realizes the power of its symbol and what it can do for everyone else in Gotham City. As Ryan embraces everything that makes her special, she adjusts the suit to fit her physically and figuratively. This meant creating a new body design and new cowl that was undeniably a statement that screamed ‘powerful.’ Maya Mani sent me her drawings and I loved it,” explained executive producer Caroline Dries. “The wig was something we never perfected in season one, and Janice Workman crushed it with this new take. Javicia and I saw various prototypes of styles and red ombres, and at one point we were trading our own iPad-doodled versions. Janice translated that into what we are looking at now. When I see it, I smile. It makes me feel inspired.”
“I love the fact that Ryan is becoming her own Batwoman — it’s her style, her swag, and her moment! It was an honor to be able to collaborate with Caroline and Maya. I felt it was important that viewers could tell by the silhouette that Batwoman was a Black girl. With the form-fitting suit and beautiful Afro, we definitely nailed it!” said Javicia Leslie who is making history as the first Black actress to play the comic book-inspired character in a live-action TV production.
Commenting on the suit’s design, Maya Mani said, “I was asked by Caroline Dries to design a Batsuit that was unique to the character of Ryan Wilder; as she is a highly skilled fighter, encapsulating her raw, athletic, and passionate nature was imperative. As Batwoman, Javicia Leslie not only brings a fresh perspective but physical strength to the role. It was important for the new suit to define Javicia’s commanding presence while showcasing her athleticism and allowing her the freedom to express the physical nature of Batwoman, all while looking ultra-cool in the process!”
The CW also released the following character description:
“Ryan Wilder is about to become Batwoman. She’s relatable, messy, loyal, a little goofy, and apart from being a lesbian, she couldn’t be more different than the woman who wore the Batsuit before her, billionaire Kate Kane. Ryan, who we meet living in her van with only her plant for company, has been made to feel trapped and powerless by the system her whole life, and believes the Batsuit is the key to breaking out of it. But what she’ll come to discover is that it’s not the suit that makes Ryan Wilder powerful, it’s the woman inside of it who finds her destiny in changing Gotham City for good.”
The new Batsuit from season 2 of ‘Batwoman’ (Photo Credit: Nino Muñoz/The CW)
Crip Camp: A Disability Revolution, Gunda, and Mr. SOUL! top the list of 2020 Critics Choice Documentary Awards nominees. Each impressive documentary earned five nominations and all will be competing against each other in the Best Documentary Feature category.
Four films – Athlete A, Dick Johnson is Dead, My Octopus Teacher, and Totally Under Control – followed close behind with four nominations each.
Winners of the Fifth Annual Critics Choice Documentary Awards will be announced on Monday, November 16, 2020.
“At a unique time for the entertainment industry and the world, documentaries are more important and fortunately more abundant and more available and more essential than ever,” stated Christopher Campbell, President of the Critics Choice Association Documentary Branch. “In 2020, documentaries have taken us to places and shown us perspectives we’ve never experienced before. They’ve chronicled events and life stories that are enlightening and enthralling – and sometimes frightening. It is a great honor for the CCA to celebrate these stories and subjects and shed light on the work of so many incredible filmmakers. The Documentary Branch faced its greatest task yet considering the quantity and quality of nonfiction cinema released this year. Ultimately, these nominees represent the best of the best of a remarkably fruitful moment for documentary filmmaking.”
Documentaries must have had a release in theaters, on television, or via a major digital platform to be eligible for awards consideration.
2020 Critics Choice Documentary Awards Nominees:
BEST DOCUMENTARY FEATURE
Athlete A (Netflix)
Belushi (Showtime)
Crip Camp: A Disability Revolution (Netflix)
Dick Johnson is Dead (Netflix)
Feels Good Man (Wavelength Productions/PBS Independent Lens)
The Fight (Magnolia Pictures)
The Go-Go’s (Showtime)
Gunda (Neon)
Mr. SOUL! (Shoes in the Bed Productions)
My Octopus Teacher (Netflix)
The Painter and the Thief (Neon)
A Secret Love (Netflix)
The Social Dilemma (Netflix)
Time (Amazon Studios)
BEST DIRECTOR
Garrett Bradley, Time (Amazon Studios)
Bonni Cohen and Jon Shenk, Athlete A (Netflix)
Kirsten Johnson, Dick Johnson is Dead (Netflix)
Victor Kossakovsky, Gunda (Neon)
James Lebrecht and Nicole Newnham, Crip Camp: A Disability Revolution (Netflix)
Dawn Porter, John Lewis: Good Trouble (Magnolia Pictures)
Benjamin Ree, The Painter and the Thief (Neon)
BEST FIRST DOCUMENTARY FEATURE
Robert S. Bader, Ali & Cavett: The Tale of the Tapes (HBO)
Chris Bolan, A Secret Love (Netflix)
Melissa Haizlip, Mr. SOUL! (Shoes in the Bed Productions)
Arthur Jones, Feels Good Man (Wavelength Productions/PBS Independent Lens)
Elizabeth Leiter and Kim Woodard, Jane Goodall: The Hope (National Geographic)
Elizabeth Lo, Stray (Magnolia Pictures)
Sasha Joseph Neulinger, Rewind (Grizzly Creek Films/PBS Independent Lens)
BEST CINEMATOGRAPHY
Michael Dweck and Gregory Kershaw, The Truffle Hunters (Sony Pictures Classics)
Roger Horrocks, My Octopus Teacher (Netflix)
Kirsten Johnson, Dick Johnson is Dead (Netflix)
Victor Kossakovsky and Egil Håskjold Larsen, Gunda (Neon)
Scott Ressler, Neil Gelinas and Stefan Wiesen, The Last Ice (National Geographic)
Gianfranco Rosi, Notturno (Stemal Entertainment)
Ruben Woodin Dechamps, The Reason I Jump (Kino Lorber)
BEST EDITING
Don Bernier, Athlete A (Netflix)
Eli Despres, Greg Finton and Kim Roberts, The Fight (Magnolia Pictures)
Lindy Jankura and Alex Keipper, Totally Under Control (Neon)
Helen Kearns, Assassins (Greenwich Entertainment)
Victor Kossakovsky and Ainara Vera, Gunda (Neon)
Eileen Meyer and Andrew Gersh, Crip Camp: A Disability Revolution (Netflix)
Charlotte Munch Bengtsen, The Truffle Hunters (Sony Pictures Classics)
BEST SCORE
Ari Balouzian and Ryan Hope, Feels Good Man (Wavelength Productions/PBS Independent Lens)
Marco Beltrami, Brandon Roberts and Buck Sanders, The Way I See It (Focus Features)
Tyler Durham, Sven Faulconer and Xander Rodzinski, The Last Ice (National Geographic)
Peter Nashel and Brian Deming, Totally Under Control (Neon)
Daniel Pemberton, Rising Phoenix (Netflix)
Jeff Tweedy, Long Gone Summer (ESPN)
Jeff Tweedy, Spencer Tweedy and Sammy Tweedy, Showbiz Kids (HBO)
BEST NARRATION
David Attenborough: A Life on Our Planet (Netflix)
David Attenborough, Narrator
David Attenborough, Writer
Dick Johnson is Dead (Netflix)
Kirsten Johnson, Narrator
Kirsten Johnson, Writer
Fireball: Visitors From Darker Worlds (Apple)
Werner Herzog, Narrator
Werner Herzog, Writer
Mr. SOUL! (Shoes in the Bed Productions)
Blair Underwood, Narrator
Ellis Haizlip, Writer
My Octopus Teacher (Netflix)
Craig Foster, Narrator
Craig Foster, Writer
Time (Amazon Studios)
Fox Rich, Narrator
Fox Rich, Writer
Totally Under Control (Neon)
Alex Gibney, Narrator
Alex Gibney, Writer
BEST ARCHIVAL DOCUMENTARY
Ali & Cavett: The Tale of the Tapes (HBO)
Belushi (Showtime)
Class Action Park (HBO)
Crip Camp: A Disability Revolution (Netflix)
MLK/FBI (Field of Vision/IFC Films)
Mr. SOUL! (Shoes in the Bed Productions)
Spaceship Earth (Neon)
BEST HISTORICAL/BIOGRAPHICAL DOCUMENTARY
Belushi (Showtime)
Crip Camp: A Disability Revolution (Netflix)
Howard (Disney+)
John Lewis: Good Trouble (Magnolia Pictures)
Mr. SOUL! (Shoes in the Bed Production)
Mucho Mucho Amor: The Legend of Walter Mercado (Netflix)
Natalie Wood: What Remains Behind (HBO)
BEST MUSIC DOCUMENTARY
Beastie Boys Story (Apple)
Crock of Gold: A Few Rounds with Shane MacGowan (Magnolia Pictures)
The Go-Go’s (Showtime)
Laurel Canyon (Epix)
Once Were Brothers: Robbie Robertson and The Band (Magnolia Pictures)
Other Music (Factory 25)
Zappa (Magnolia Pictures)
BEST POLITICAL DOCUMENTARY
All In: The Fight for Democracy (Amazon Studios)
Boys State (Apple)
John Lewis: Good Trouble (Magnolia Pictures)
MLK/FBI (Field of Vision/IFC Films)
The Social Dilemma (Netflix)
Totally Under Control (Neon)
The Way I See It (Focus Features)
BEST SCIENCE/NATURE DOCUMENTARY
Coded Bias (7th Empire Media/PBS Independent Lens)
Fantastic Fungi (Moving Art)
Gunda (Neon)
I Am Greta (Hulu)
The Last Ice (National Geographic)
My Octopus Teacher (Netflix)
Spaceship Earth (Neon)
BEST SPORTS DOCUMENTARY
Ali & Cavett: The Tale of the Tapes (HBO)
Athlete A (Netflix)
Be Water (ESPN)
A Most Beautiful Thing (50 Eggs Films)
Red Penguins (Universal Pictures)
Rising Phoenix (Netflix)
You Cannot Kill David Arquette (Super LTD)
BEST SHORT DOCUMENTARY
Blackfeet Boxing: Not Invisible (ESPN)
(Directors: Kristen Lappas and Tom Rinaldi. Producers: Craig Lazarus, José Morales, Lindsay Rovegno, Victor Vitarelli and Ben Webber)
The Claudia Kishi Club (Netflix)
(Director and Producer: Sue Ding)
Crescendo! (Quibi)
(Director: Alex Mallis. Producers: Matt O’Neill and Perri Peltz)
Elevator Pitch (Field of Vision)
(Director and Producer: Martyna Starosta)
Hunger Ward (Spin Film/Vulcan Productions/RYOT Films)
(Director and Producer: Skye Fitzgerald. Producer: Michael Scheuerman)
Into the Fire (National Geographic)
(Director: Orlando von Einsiedel. Producers: Mark Bauch, Harri Grace and Dan Lin)
My Father the Mover (MTV Documentary Films)
(Director: Julia Jansch. Producer: Mandilakhe Yengo)
The Rifleman (Field of Vision)
(Director: Sierra Pettengill. Producer: Arielle de Saint Phalle)
The Speed Cubers (Netflix)
(Director and Producer: Sue Kim. Producers: Evan Krauss and Chris Romano)
St. Louis Superman (MTV Documentary Films)
(Directors and Producers: Sami Khan and Smriti Mundhra. Producer: Poh Si Teng)
MOST COMPELLING LIVING SUBJECTS OF A DOCUMENTARY (HONOR)
Dr. Rick Bright – Totally Under Control (Neon)
Steven Garza – Boys State (Apple)
The Go-Go’s – The Go-Go’s (Showtime)
Judith Heumann – Crip Camp: A Disability Revolution (Netflix)
Dick Johnson – Dick Johnson is Dead (Netflix)
Maggie Nichols, Rachael Denhollander, Jamie Dantzscher – Athlete A (Netflix)
Fox Rich – Time (Amazon)
Pete Souza – The Way I See It (Focus Features)
Taylor Swift – Miss Americana (Netflix)
Greta Thunberg – I Am Greta (Hulu)
Roddy Ricch and The Weeknd topped the list of 2020 American Music Awards nominees, each picking up eight nominations including one each in the Artist of the Year category. Megan Thee Stallion made her first appearance on the AMA list, scoring five nominations, making her the most nominated female artist of 2020.
Bad Bunny, Justin Bieber, Lady Gaga, Taylor Swift, DaBaby, and Doja Cat followed close behind with four nominations each.
Winners will be announced during a live American Music Awards broadcast from Microsoft Theater in Los Angeles on Sunday, November 22, 2020. ABC will air the awards show beginning at 8pm ET/PT (tape delayed on the West Coast.)
Nominees are chosen based on “key fan interactions – as reflected on the Billboard charts – including streaming, album and digital song sales, radio airplay and social activity. These measurements are tracked by Billboard and its data partners MRC Data and Next Big Sound, and reflect the time period of Sept. 27, 2019, through Sept. 24, 2020.”
Winners are selected via fan voting.
2020 AMERICAN MUSIC AWARDS NOMINEES:
ARTIST OF THE YEAR
Justin Bieber
Post Malone
Roddy Ricch
Taylor Swift
The Weeknd
NEW ARTIST OF THE YEAR
Lewis Capaldi
Doja Cat
DaBaby
Lil Baby
Roddy Ricch
Megan Thee Stallion
COLLABORATION OF THE YEAR
Cardi B ft. Megan Thee Stallion “WAP”
DaBaby ft. Roddy Ricch “Rockstar”
Dan + Shay with Justin Bieber “10,000 Hours”
Lady Gaga & Ariana Grande “Rain On Me”
Megan Thee Stallion ft. Beyoncé “Savage Remix”
FAVORITE SOCIAL ARTIST
BTS
Billie Eilish
EXO
Ariana Grande
NCT 127
FAVORITE MUSIC VIDEO
Doja Cat “Say So”
Future ft. Drake “Life Is Good”
Lady Gaga & Ariana Grande “Rain On Me”
Taylor Swift “cardigan”
The Weeknd “Blinding Lights”
FAVORITE MALE ARTIST – POP/ROCK
Justin Bieber
Post Malone
The Weeknd
FAVORITE FEMALE ARTIST – POP/ROCK
Dua Lipa
Lady Gaga
Taylor Swift
FAVORITE DUO OR GROUP – POP/ROCK
BTS
Jonas Brothers
Maroon 5
FAVORITE ALBUM – POP/ROCK
Harry Styles “Fine Line”
Taylor Swift “folklore”
The Weeknd “After Hours”
FAVORITE SONG – POP/ROCK
Lewis Capaldi “Someone You Loved”
Dua Lipa “Don’t Start Now”
Post Malone “Circles”
Roddy Ricch “The Box”
The Weeknd “Blinding Lights”
FAVORITE MALE ARTIST – COUNTRY
Kane Brown
Luke Combs
Morgan Wallen
FAVORITE FEMALE ARTIST – COUNTRY
Gabby Barrett
Miranda Lambert
Maren Morris
FAVORITE DUO OR GROUP – COUNTRY
Dan + Shay
Florida Georgia Line
Old Dominion
FAVORITE ALBUM – COUNTRY
Luke Combs “What You See Is What You Get”
Blake Shelton “Fully Loaded: God’s Country”
Morgan Wallen “If I Know Me”
FAVORITE SONG – COUNTRY
Dan + Shay with Justin Bieber “10,000 Hours”
Maren Morris “The Bones”
Blake Shelton (Duet with Gwen Stefani) “Nobody But You”
FAVORITE MALE ARTIST – RAP/HIP-HOP
DaBaby
Juice WRLD
Roddy Ricch
FAVORITE FEMALE ARTIST – RAP/HIP-HOP
Cardi B
Nicki Minaj
Megan Thee Stallion
FAVORITE ALBUM – RAP/HIP-HOP
Lil Baby “My Turn”
Lil Uzi Vert “Eternal Atake”
Roddy Ricch “Please Excuse Me For Being Antisocial”
FAVORITE SONG – RAP/HIP-HOP
Cardi B ft. Megan Thee Stallion “WAP”
DaBaby ft. Roddy Ricch “Rockstar”
Roddy Ricch “The Box”
FAVORITE MALE ARTIST – SOUL/R&B
Chris Brown
John Legend
The Weeknd
Netflix is adding binge-watching the final season of Chilling Adventures of Sabrina to your New Year’s Eve celebrate-at-home plans. The streaming service announced the popular witchy series’ premiere date by way of a new teaser video. They also released a batch of photos from the upcoming fourth and final season.
The one-minute teaser begins with Sabrina declaring, “My name is Sabrina Spellman and I will not sign it away!”
The final eight one-hour episodes arrive on December 31, 2020. The season four cast is led by Kiernan Shipka as Sabrina, Miranda Otto as Zelda Spellman, Ross Lynch as Harvey Kinkle, and Lucy Davis as Hilda Spellman. Chance Perdomo plays Ambrose Spellman, Michelle Gomez is Mary Wardwell/Madam Satan, Jaz Sinclair is Rosalind Walker, Lachlan Watson is Susie Putnam, and Gavin Leatherwood plays Nicholas Scratch.
The cast also includes Tati Gabrielle as Prudence Night, Adeline Rudolph as Agatha, Abigail Cowen as Dorcas, and Richard Coyle as Father Faustus Blackwood.
Archie Comics’ Chief Creative Office Robert Aguirre-Sacasa (Riverdale) serves as the showrunner and executive produces with Greg Berlanti, Sarah Schechter, Archie Comics CEO Jon Goldwater, and Lee Toland Krieger. The series comes from Berlanti Productions in association with Warner Bros. Television.
Chilling Adventures of Sabrina Part 4 Plot:
Chilling Adventures of Sabrina re-imagines the origin and adventures of Sabrina the Teenage Witch as a dark coming-of-age story that traffics in horror, the occult and, of course, witchcraft. Over the course of Part 4’s eight episodes, The Eldritch Terrors will descend upon Greendale. The coven must fight each terrifying threat one-by-one (The Weird, The Returned, The Darkness to name a few), all leading up to…The Void, which is the End of All Things.
As the witches wage war, with the help of The Fright Club, Nick begins to slowly earn his way back into Sabrina’s heart, but will it be too late?
A Look Back at Season 3:
Part Three finds Sabrina reeling from the harrowing events of Part Two. Though she defeated her father Lucifer, the Dark Lord remains trapped within the human prison of her beloved boyfriend, Nicholas Scratch. Sabrina can’t live with herself, knowing that Nick made the ultimate sacrifice and is suffering, burning in Hell under Madam Satan’s watchful eye. So with an assist from her mortal friends, “The Fright Club” (consisting of Harvey, Rosalind, and Theo), Sabrina makes it her mission to free him from eternal damnation and bring him back into her arms.
However, the Dark Lord’s unseating has sent shockwaves through the realms—and, with no one on the throne, Sabrina must assume the title of ‘Queen’ to defend it against a challenger, the handsome Prince of Hell Caliban. Meanwhile, in Greendale, a mysterious carnival rolls into town, bringing with it a threat to the Spellmans and the coven: A tribe of pagans looking to resurrect an ancient evil…
Jason Schwartzman as Josto Fadda in ‘Fargo’ season 4 episode 6 (Photo by Elizabeth Morris/FX)
FX’s Fargo season four episode six begins with a very mellow birthday celebration for Ethelrida (E’myri Crutchfield). She’s turning 16 which should be a happy occasion, but it’s obvious no one in the Smutny family is in the mood to party.
It’s nighttime when Detective Odis Weff (Jack Huston) returns home. He sees something out of place and then hears a noise just before having a shower curtain draped over his head. He passes out and when he comes to, Loy (Chris Rock) is standing in front of him. Odis quickly confesses Josto ordered the raid and promises he can return the money. Loy doesn’t care about that and instead explains he’s fighting not just a war with the Italians, he’s fighting 400 years of history.
Loy tells Odis he doesn’t have any idea what it feels like to be property. That will change immediately. Loy warns Odis to be ready to do his bidding when he calls. “I own you, and you’re going to help me win this war,” says Loy.
Odis has no choice but to agree.
U.S. Marshal Dick “Deafy” Wickware (Timothy Olyphant) has been seated in his car outside Odis’ place and watches the comings and goings of Loy and his men.
Gaetano Fadda (Salvatore Esposito) is passing time stabbing a dress form when a car pulls up outside. He spots the two women exiting the vehicle but isn’t concerned. It appears he’s under the mistaken impression they’re there for pleasure.
He’s returned to stabbing when he hears a commotion downstairs. Gunfire erupts, accompanied by the sounds of men screaming. Gaetano trades in his knife for a gun and as he hears footsteps approach the door, he fires a barrage of bullets. One of his own men falls into the room, riddled with bullets.
He’s reloading when Swanee (Kelsey Asbille) sneaks in through the open window. She stands behind him, gun pointed at his head as Zelmare (Karen Aldridge) steps into the doorway. Gaetano’s ready to shoot Zelmare, but Swanee shoots him first.
They were supposed to return him to Loy alive and, fortunately, he’s still breathing.
Gaetano wakes to find himself chained up in a chair, arms bound and legs tied. Loy asks if he’s heard of Sugar Ray Robinson and then introduces Omie Sparkman (Corey Hendrix) who apparently used to be a first-rate boxer and still has some moves. Loy assures Gaetano that Doctor Senator is the mistake that got him killed as the bell rings for round one to begin.
Nurse Oraetta Mayflower (Jessie Buckley) arrives at work and is immediately called in to speak with Dr. Harvard (Stephen Spencer). He’s received a distressing letter from someone who wants to warn him about employing her. He asks if she attends her patients’ funerals and if she retains keepsakes from her deceased patients. Oraetta claims not to know what he’s talking about. He warns her it’s a crime to do so, and she calls herself a Christian citizen of the highest caliber.
The letter was sent anonymously and Oraetta thinks whoever wrote it might just be jealous of her, professionally. Dr. Harvard believes the letter was written by a woman – possibly a fellow nurse – and Oraetta begins silently calculating who could have possibly sent it.
Oraetta begs him not to show the letter to human resources. She reminds him her former employer said she was an outstanding nurse, and Dr. Harvard agrees to keep the issue between them. Oraetta shakes his hand while noting where he’s stashed the letter.
Ebal Violante (Francesco Acquaroli) returns from his New York trip, briefly introduces Joe Bulo out of New York, and then sits down to speak with Josto (Jason Schwartzman) privately. Ebal reveals NY will back him only if he fixes the issues with Loy Cannon within the next two weeks. He’s about to explain the second part of the deal when Constant Calamita (Gaetano Bruno) interrupts to inform Josto that Loy took Gaetano.
Josto asks if his brother’s dead and Constant confesses he doesn’t know. Ebal’s shocked to learn that while he was gone, Gaetano and Constant killed Doctor Senator. He asks if Josto ordered it, and Josto confirms it was Gaetano’s order. Constant wants to go after Gaetano, but Josto’s more interested in learning what else NY said. Ebal replies, “They said if you want to be boss, you’ve got to make things right with your brother.”
Chris Rock as Loy Cannon in ‘Fargo’ season 4 episode 6 (Photo by Elizabeth Morris/FX)
A brief flashback shows Loy telling Doctor Senator he needs to have Satchel returned home. Doctor warns him if he grabs Satchel back, it will spark World War III. Loy claims to have a plan.
Odis gets pulled off the street for a meeting with Loy. He spots a bloodied Gaetano chained up in the next room as Loy says Odis needs to do something for him. Odis attempts to remind Loy he served up Gaetano – that should count for something – but Loy will have none of it. Loy declares the kid-swapping time is up. He orders Loy to go to the Faddas and get Satchel. After Satchel’s returned, Loy will kill Gaetano and take over the town.
Loy doesn’t care how Odis gets him back; he only cares about the end result.
Odis heads over to the Fadda place, completely stressed out and alone. A couple of men are stationed outside and Odis makes it seem as if he’s there for a planned meeting. He walks in and spots Satchel reading to Rabbi Milligan (Ben Whishaw). Odis and Rabbi exchange a look, but then Constant breaks up the silent communication. Constant informs Odis he’s wanted at the club right now. Constant confirms that now that Loy’s grabbed Gaetano, the war is on.
Odis is forced to accompany Constant and can’t do what he was sent by Loy to do. Odis is being pulled apart by these dueling loyalties.
Ebal meets again with Josto and explains they need to do a trade for Gaetano. They’ll have to pay with cash and/or territories, but at least they’ll get Gaetano back. Josto doesn’t care what New York wants and doesn’t care about Gaetano’s powerful friends back home.
Odis and Constant arrive for the meeting and Josto asks if he’s been able to get rid of Wickware. Odis confesses he hasn’t and Josto tells him to immediately. They need to retrieve Gaetano and Josto charges Odis with finding out where he’s being kept. If he doesn’t, he’s a dead man. Odis has until 2:30pm to locate Gaetano because at 3pm they’re supposed to meet with Loy for the trade.
After Odis leaves, Josto questions Constant’s loyalty.
Antoon Dumini (Sean Fortunato) is the next to meet with Josto. Josto instructs him to go to the house, tell Rabbi to come see him, and then take Satchel for a “drive.” Josto doesn’t spell out what he’s supposed to do, but Antoon understands this means he’s supposed to kill Loy’s boy. When Antoon reminds his boss they’ll kill both Gaetano and Zero, Josto seems okay with that possible outcome. Josto believes he might be able to talk Loy out of killing Zero.
Antoon returns to the house where Rabbi’s talking to Antoon’s wife. Antoon delivers the message he needs to go see Josto without bringing Satchel with him. Rabbi warns Satchel that if he doesn’t come back, it means he’s dead or in jail.
Rabbi leaves and doesn’t seem to suspect what’s coming next.
Antoon greets his own small children as he tells Satchel to grab his coat because they’re going for a ride. Antoon’s wife realizes what’s happening and says a quick prayer. He advises her not to wait up.
Rabbi arrives over at Joplin’s for his meeting with Josto. Josto instructs him to go see Ebal, but Rabbi’s first concern is Satchel. Josto only replies cryptically, “The kid’s done,” before driving away.
Rabbi Milligan races back to the Fadda house, crying out for Satchel. He’s forced to shoot one of the Fadda men while demanding info from Antoon’s wife.
Antoon drives Satchel to a remote spot and walks with him through the ruins of an old building. Antoon explains it was where he was brought by the Americans after the war. He was almost dead and the Americans saved him. He recalls seeing fields of corn and remembers the smell of the bread. He reminiscenses about the big American sun and how it made him grow big and strong.
Antoon shows where he carved his name on a stone. He tells Satchel to climb down and get a look at the carving for himself. Satchel does as Antoon loads his gun. His hand trembles as he holds the gun out, ready to fire. Antoon’s deeply conflicted about murdering this child and hears his own children’s voices in his head.
Antoon makes the decision to not follow orders and places his gun back in his jacket. At that very instant, Rabbi Milligan fires a single shot and kills Antoon. Satchel assures Rabbi he’s not injured, and Rabbi quickly explains the war is on and they’re not safe. Satchel can’t be returned home right now because it’s not safe there either.
Rabbi says, “I never got to choose. A child soldier – that’s what they made me. But that’s not going to happen to you. Understand?”
Satchel understands and Rabbi explains they’re going to figure out a quiet place to ride out the war. If Satchel wants to go home after that, he’ll take him home.
Charlotte Hope and Sai Bennett in ‘The Spanish Princess’ season 2 episode 3 (Photo Credit: Starz)
The loss of another son and heir has caused a rift in King Henry and Queen Catherine’s marriage as Starz’s The Spanish Princess season two episode three, “Grief,” begins. Henry’s cold and distant as Catherine mourns the loss of yet another son as the third episode unfolds.
Maggie Pole (Laura Carmichael) accompanies Catherine (Charlotte Hope) for a celebratory meal with King Henry and his council. When they raise a toast to Catherine’s victory, Henry (Ruairi O’Connor) interjects, “The Queen had a loss.”
Chaplain Thomas Wolsey (Philip Cumbus) briefly acknowledges the loss and then changes the subject to England’s new relationship with France. Despite Catherine’s argument against the idea, Wolsey suggests they need to solidify their peaceful connection to the newly conquered France by having Princess Mary wed King Louis, rather than Catherine’s nephew.
Edward Stafford (Olly Rix) sides with Catherine against Wolsey.
An angry Catherine reminds everyone how hard she’s worked on Mary’s betrothal to Charles. She also reminds the men gathered that Princess Mary isn’t a piece of meat to be tossed around on a whim.
Henry’s heard enough and leaves the room.
That evening, Catherine confesses to Maggie that Wolsey’s only suggesting this now as a way of weakening her standing with Henry. She also admits Henry has difficulty even looking at her. She asks Maggie if she thinks she’s being punished for lying about never sleeping with Arthur, and Maggie reminds her there’s one place where Wolsey can’t intrude.
Catherine decides she will make Henry want her that very evening.
Catherine works her magic and Henry does seem on the verge of forgiving his wife for the loss of their two male heirs. She’s eager to resume lovemaking with her husband but Henry claims to be exhausted. She does everything she can, slipping out of her nightgown and enticing him to bed. When he has difficulties becoming aroused, he asks her to sit on the bed facing away, with her neck exposed. The fact he’s not erect angers Catherine and humiliates Henry, and he blames her for his lack of sexual interest.
She assures him he will make love to her the following night.
Meanwhile, poor Meg (Georgie Henley) is having a difficult time ruling Scotland. She reminds her council she has King Henry’s backing as regent of Scotland until her son’s old enough to sit on the throne. They do not support an English Queen ruling them until Jamie comes of age.
Maggie visits Lina (Stephanie Levi-John) and Oviedo (Aaron Cobham) and learns Lina isn’t producing enough milk to feed both babies. Maggie suggests a wet nurse, but the new parents don’t have the money to pay for that service.
Later, Maggie plays chess with Catherine and gently tells her Lina would love for her to visit. Their conversation’s interrupted when Princess Mary (Sai Bennett) charges up, upset about the rumor she’s now meant to marry King Louis. Catherine tries to calm down the situation, sure that King Henry would never agree to Wolsey’s plan.
Edward Stafford and Charlie Brandon (Jordan Renzo) walk with the Queen to a council meeting, and Edward’s seething over Wolsey’s influence on Henry. Edward calls Wolsey a poisonous weed that twists about their throats. He reveals the council thinks Wolsey’s influence has grown too great.
Catherine’s still convinced Henry won’t listen to Wolsey. However, she quickly learns she’s misjudged the situation. King Henry has decided to make Princess Mary wed King Louis. Edward tries to get King Henry to explain how that benefits England, but Henry refuses to offer an explanation. He’s made up his mind and won’t hear anything further on the matter.
Queen Catherine chases after King Henry as he leaves the meeting, angry he’s allowing Wolsey to attack her this way. When Henry says it’s not personal, she reminds him she went to war and lost a child to stop Scotland and save England. Henry only hears what he wants to hear and seizes on the fact she lost their child because she “tried to be a man.”
“I was a woman fighting to protect our people,” replies Catherine.
Catherine pens a letter to her father informing him the marriage between Mary and Charles is off, blaming it on his actions.
A note arrives from France confirming King Louis has agreed to wed Princess Mary. They’ll use the French prisoner looked up in the tower as a proxy.
Catherine tells Princess Mary she must make the best of this new arrangement. There’s nothing they can do to stop it.
Ursula (Amelia Gething) speaks with her mother and reveals she thinks Princess Mary’s lucky to have a Spanish prince and a French king interested in marrying her. Maggie assures Ursula that Mary isn’t lucky because she has no say in the matter. Maggie tells her daughter marriage should be about respect and love, but Ursula proclaims she’s ready to marry whoever King Henry wants her to. She’s fine with marrying for position and power, not love. Ursula confesses she doesn’t want to end up struggling like her mother.
The French prisoner’s brought in as a proxy and Wolsey conducts the wedding ceremony. When asked if she’ll take King Louis as her husband, Princess Mary firmly replies, “No.” King Henry notices Queen Catherine smiling at this response and storms out of the ceremony.
Alone, Henry confronts Catherine and accuses her of being a traitor. He believes she instructed Mary to say no, but Catherine claims she did no such thing. She promises him she had nothing to do with Mary’s behavior.
Henry demands to know how it’s possible that he doesn’t have any sons, given that God is on his side. Catherine swears she’ll give him an heir. Henry instructs Catherine to tell Mary she will agree to this new arrangement or else.
Catherine’s still upset when Maggie hands her a note from Lina. Lina desperately wants Catherine to visit, but Catherine isn’t capable of doing so just yet. Maggie changes the subject and confesses Ursula wants to marry for politics and status. Catherine believes that’s wise and Maggie wonders if she’ll ask Henry to find a good match for Ursula. Catherine thinks Maggie should ask for her land and money back first. However, she warns Maggie now isn’t the time since Henry’s in a foul mood.
Meg writes to Catherine asking for advice on how to make her people accept her.
Maggie arrives at Lina’s home accompanied by two wet nurses. She announces the wet nurses were sent by Catherine. When Lina asks about Catherine visiting, Maggie reminds her it’s hard for her since Lina has what Catherine desires the most – healthy baby boys.
King Henry rewards Chaplain Wolsey’s counsel by appointing him Archbishop of York.
Catherine meets with Mary and advises her she must bend to Henry’s will. Princess Mary admits she’s grown up hating France, and Catherine confesses she’d always thought ill of the English until she wed Henry. Her opinion’s changed and now she’s found her family in England.
Catherine makes a deal with Mary. If she agrees to wed King Louis, when he dies she can then choose to wed whoever she wants. Mary’s initially not pleased with the idea, reminding Catherine that King Louis is old and fat. Catherine thinks that’s exactly why she should make this deal. Louis won’t be around that many more years, given his age and health.
Catherine delivers the news that Princess Mary will marry King Louis if she can select her second husband for herself. Henry’s still in a rotten mood and doesn’t receive this as good news. Instead, he replies, “The only good news would be a son.”
Catherine responds to Meg’s letter, admitting Wolsey has taken over her position as Henry’s most trusted advisor. Catherine confesses she’s fallen from Henry’s grace and can’t really offer any helpful advice at this time. “I know one day I will return from this. In the meantime, I must play at being a Queen. I must play at living an enviable life,” she writes. “There are times I want to scream but if I did, I know I would never stop. I would rage against God, against my own body, and against my own helplessness.”
Meg receives the letter and decides her next step will be to take Angus’ advice. (Angus is the one who rode with her to the battlefield to tell King James about her dream of Scottish blood being shed.) Angus had explained that when he wants to feel close to the people, he performs charity work and helps distribute food to the poor. Meg asks him to show her what that’s like. “Take me to my people, Angus. Let us do charity together,” she says.
Meg and Angus walk among the people at night and Meg feels firsthand what her people are experiencing.
Princess Mary renounces her betrothal to Prince Charles and declares she will marry King Louis the 12th of France. Thomas Boleyn’s daughters Mary and Anne are chosen by King Henry to serve as Mary’s ladies on the journey to France.
King Henry places Edward Stafford in charge while he’s gone.
Princess Mary’s shocked to learn Charlie Brandon won’t be traveling with her to France. Instead, he’s to be betrothed to his eight-year-old ward. Mary laughs at the news and reminds him she’s also marrying someone of the wrong age. It’s obvious there’s a strong attraction between the two that neither is allowed to act on.
Georgie Henley stars in ‘The Spanish Princess’ season 2 episode 3 (Photo Credit: Starz)
In Scotland, crowds gather outside the palace and the council warns Meg a riot is imminent. She wishes to speak with them, against the advice of her council.
Meg addresses her people as they chant, “Where’s our King?” She reminds them she’s now head of state and explains she understands their anger and their grief. Meg admits she’s also grieving and beseeches the clan leaders gathered to go home to their people and organize feasts to honor those who’ve been lost. She also advises them they shouldn’t be ashamed of their grief but to weep openly if they wish.
The crowd’s silent as she sings “The Battle of Otterburn” in a sweet, strong, angelic voice. When she’s finished, she’s won over those assembled.
Meanwhile, Queen Catherine comforts Princess Mary as the ship is tossed around by the waves.
After they arrive in France, Maggie Pole and Thomas More (Andrew Buchan) discuss marriage on their shared carriage ride to meet King Louis. Maggie believes you should marry for love and Thomas admits his own second marriage is loveless. He wonders if a true union’s possible more than once and Maggie confesses she believes it is. He hints at his feeling for Maggie and she smiles in acknowledgment at the truth of his words.
Princess Mary gets her first real look at King Louis and quietly comments to Catherine that he appears to be 500 years old.
King Henry presents Mary to the French King, and King Louis compliments Mary’s looks.
King Henry’s still out of sorts when he allows Queen Catherine to take his hand as they enter the palace.
Maggie interrupts Henry speaking to a few of his men to ask if he would consider returning some of her land and titles. She admits Catherine told her now wasn’t the best time because he’s unhappy, and Henry seems to scoff at the very idea he’s upset. He agrees to return the land taken by his father and will give her a modest income. However, he also declares she needs to remarry. He’ll give her back the Earldom if she’s safe from fortune hunters, and that can only be accomplished via marriage.
Maggie doesn’t want to remarry and then confesses Ursula requested the King’s suggestion on who to marry. Henry spots Henry Stafford and immediately announces that’s who Ursula shall marry. Henry’s set to inherit Buckinghamshire and would make a fine match.
King Henry then suggests his Groom of the Stool, William Compton, for Maggie. She doesn’t have any feelings toward him, but Henry reveals William often speaks fondly of her. Henry also declares he’ll pay for her son Reggie’s education and will send him away to Oxford.
After Henry walks away, Ursula runs up to her mom. Maggie tells her Henry wants her to marry Henry Stafford and Ursula’s immediately on board with the idea.
Thomas More watches as William Compton bows at Maggie’s feet. William’s already aware she’s been given back her land and congratulates her, using her title of Countess of Salisbury. William asks her to accompany him as they look at the paneling in the Great Hall. Maggie really has no choice but to accept the invitation.
Queen Catherine’s standing alone as the celebration of Princess Mary and King Louis’ marriage continues. Henry joins her and asks if it’s possible to recover their relationship. “I want it to be as it was before,” confesses Henry. Catherine confesses she feels the same but also feels the void in the middle of her body. She believes Henry thinks God is punishing her, and Henry asks her to join him as they walk.
Henry explains that if he doesn’t have an heir, it’s a sign God hasn’t blessed him. He believes it empowers his enemies but the fact he needs to make another child makes him feel choked. Again, Catherine admits she has similar feelings.
“I don’t want to make love to you because it’s sad…so sad. It used to be my greatest joy on earth,” says Henry. (He looks absolutely devastated.) Seeing his baby on the ground, dead, has deeply affected him. Catherine reveals she felt in her soul this baby would be just as strong as his father. Henry again places all the blame on Catherine, angry that she fought like a man while with child.
Catherine reminds her husband that’s who she is and that’s why he loves her. When she says he’s always wanted her, Henry disagrees and says he no longer does. Catherine doesn’t let him get away with that and, finally, Henry takes her head in his hands and delivers a passionate kiss, proving her right.
King Louis and his new bride retire to his chambers and Mary looks a little lost. He promises not to hurt her since it’s her first time. The scene cuts away to show Catherine and Henry lost in each other’s bodies.
The mood in King Louis’ chamber turns playful and Princess Mary runs around the room with Louis chasing her. She hits him lightly with pillows until he plops down in a chair. It momentarily appears as if he’s died of a heart attack…but Mary’s not that lucky.
Over in Scotland, Angus assures Meg she’s healed the country with her song. Meg credits him with showing her what needed to be done, and he calls her the greatest Queen Scotland’s ever known. The sparks fly and they kiss.
The trip to France is over and Queen Catherine arrives home. Oviedo’s waiting to speak with her and begins by acknowledging her bravery. Catherine understands what he’s getting at without Oviedo needing to ask, and she assures him she will pay Lina a visit.
A short while later, Oviedo is home when Queen Catherine arrives. Lina asks Catherine if she did something wrong to keep her away and Oviedo interrupts to remind her Catherine is there now. Lina thanks her friend for sending the wet nurses and hands a baby to Catherine. Catherine calls him a little angel and then apologizes for not making it sooner. Lina understands and is sorry about Catherine’s loss.
Catherine confesses everything in her died for a while and her marriage soured, but she believes they’ve found each other again.
That renewed connection is confirmed when we see Queen Catherine joining King Henry for a council meeting. Wolsey stands by Henry’s side and looks on with disdain as King Henry takes Catherine’s hand and gently kisses it. After King Henry rises, Catherine warns Wolsey no one will come between them.
Netflix’s official trailer gives away a lot of the story, but since Dash & Lily isn’t a thriller/whodunit the experience of actually watching the series isn’t ruined. The holiday-themed romantic comedy’s official trailer lays out the story of the two title characters that will play out over eight half-hour episodes.
Netflix has set a November 10, 2020 premiere date.
Austin Abrams plays Dash and Midori Francis stars as Lily. The cast also includes Dante Brown, Troy Iwata, Keana Marie, James Saito, Jodi Long and Glenn McCuen. Michael Park, Gideon Emery, Jennifer Ikeda, and Diego Guevara also star.
Dash & Lily is based on Rachel Cohn and David Levithan’s bestselling young adult book series. Joe Tracz created the television adaptation and serves as showrunner and executive producer. Discussing the series, Tracz said, “Our series is a romantic comedy that (like Lily) is unapologetically hopeful, while (like Dash) acknowledging that it’s not always easy to believe. When Dash finds a hidden notebook with a dare from Lily on a bookstore shelf, it pushes both of them outside their bubbles to see the world from someone else’s point of view. And when they do, they fall in love.”
The series is a Shawn Levy’s 21 Laps Entertainment and Nick Jonas’ Image 32 production, with Shawn Levy, Josh Barry, and Nick Jonas executive producing.
A whirlwind holiday romance builds as cynical Dash and optimistic Lily trade dares, dreams, and desires in the notebook they pass back and forth at locations all across New York City, finding they have more in common with each other than they would have expected.
Dash is an only child born and raised in New York City. He is a smart and cynical teenager whose maturity, wisdom, and sophistication are advanced for his age. Barely tolerating the forced merriment of the holidays, he’d prefer to be alone watching depressing foreign films. Dash can be quite charming, despite his sour feelings on the holiday season.
Lily is a smart and hopeful New York City teen with a stubborn optimism and youthful energy. Beneath her bubbly and passionate demeanor, she possesses a raw and honest vulnerability. The holidays are her favorite time of year, and this holiday season, Lily is looking for love.
Despite the ending only a handful of episodes away, The CW’s Supernatural is still doling out filler episodes. Season 15 episode 16 “Drag Me Away (From You)” joins the list of flashback episodes featuring young Sam and Dean, with some exposition toward what’s to come.
Things start off with a man named Travis checking into a motel specifically asking for room 214. He’s clearly in distress and fiddles around with a ring but seems to want to be there. Just then, a boy who resembles a standard Supernatural ghost arrives and kills Travis.
We then flash back to 1993, where John drops Dean and Sam off at the same motel. Dean taunts Sam over his wanting to go to college someday, with young Sam simply pouting in response. (This kid doesn’t do much else during the episode.)
Dean then comes across a girl named Caitlin and, get this, the boy who killed Travis in the opening. It turns out this boy is young Travis. In present-day, Dean (Jensen Ackles) didn’t really want to go to Travis’ funeral – yes, the show is very much sticking to the ‘Dean is a giant jerk’ thing they’ve got going on – but was coerced into attending by Sam (Jared Padalecki). It also turns out that Castiel (Misha Collins) did tell Dean about Jack’s plan to kill himself to end Chuck and Amara, but Dean is hiding this information from Sam because he’s back to his self-righteous logic.
Meanwhile, when the boys get to their destination, the adult Caitlin (Kelsey Crane) tells them the funeral is already over and she called them because “her” is back.
In the past, Travis is almost abducted by an eerie-looking woman from inside a vending machine before he’s saved. Dean and Sam then decide to do their first solo job since they can’t reach John on the phone. Sam, as would become his role in the future, does the research while Dean heads to an abandoned cannery after they trace mysterious child disappearances to that location.
Caitlin has followed him there and the two discover what seems to be some kind of a nest that Dean investigates. He gets freaked out by whatever it is inside and they hurry back to the motel to find the woman attacking Sam and Travis. Dean manages to vanquish her by cutting off her fingers and stabbing her.
Still, it’s clear she is alive since the boys are back in the same motel in the present day.
Dean sees his younger self and is motivated to stab himself – until Sam stops him. Distressed, he finally tells Sam and Caitlin what he saw in the nest that day: a pile of dead children. While Sam is okay with Dean hiding this fact because he was a kid at the time, he’s wrong in assuming Dean doesn’t keep secrets anymore.
During Dean’s food run, Sam learns from the lore that the creepy woman is a Baba Yaga, a witch who preys on people using hallucinations. This one’s powers are from the ring, the same one Travis had.
Caitlin runs to her car to retrieve the ring without telling Sam, but is then attacked by the Baba Yaga.
More pressing matters are up with Dean, who is visited by Billie. She tells him Chuck has destroyed every world he’s ever created and will do it to this one. Billie also claims she’s given Jack orders to prepare for the final phase and kill himself. The only problem is getting Sam on board. When she questions if Dean has the same reservations about Jack’s death as Sam would, he easily denies it. Yup, this guy is still holding a grudge over Mary’s death and agrees that Jack’s sacrifice is the only way he could forgive him.
When Dean returns to the motel, the Baba Yaga makes him hallucinate that he’s back at the cannery where he sees young Sam’s body in the nest. Sam arrives and there’s a scuffle during which Dean destroys the ring and ends the Baba Yaga once and for all. Caitlin, who had been knocked out, is also revived.
In the past, Dean and Sam say goodbye to Caitlin, and Dean then tries to convince Sam to stay with him by reminding him that they’re a great team.
In the present, after again bidding Caitlin farewell, Dean tells Sam about Jack’s whole deal. Sam is understandably upset, which is when Dean tries his usual schtick of screaming over Sam and forcing him to get with the plan. While Sam doesn’t fight with Dean, he’s livid enough to cut Dean’s crap and tells him to quit with the excuses. Dean tries to apologize but Sam is too furious to listen and tells him to just drive while remaining devastated at the prospect of Jack’s death.
All in all, I get the feeling that Supernatural might be turning Dean into such an unlikeable person to set up his sacrifice instead. At the moment, Castiel, Jack, and Sam still have redeeming factors but Dean has been solely motivated by rage and contempt. Let’s also hope that the remaining episodes are fast-paced, as this one was too mellow for a story that takes place right before the end.