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Tag: TV Finales (1-10 of 20)

'Game of Thrones' showrunners talk season 5: 'There will be Dorne'


Another epic season behind us, another promising season ahead. For the fifth season of HBO’s Game of Thrones, showrunners David Benioff and Dan Weiss will draw inspiration from the fourth and fifth novels in George R.R. Martin’s Song of Ice and Fire saga: A Feast for Crows and A Dance with Dragons. (Each novel focuses on different characters while covering roughly the same period of time.)

On Sunday night, we posted the showrunners’ answers to some burning questions about Thrones’ game-changing finale. Below, our conversation continues as we shift the subject to next year. Who else can’t wait to see Jaime Lannister bust out that jetpack? (Note: The first portion of this interview was conducted by email, with the producers answering via joint statements.)

ENTERTAINMENT WEEKLY: We’ve come to a huge pivot point. George R.R. Martin originally conceived of his books as a trilogy, and the end of A Storm of Swords feels like the first and only natural breaking point in the saga. It also begins a stretch of storytelling that some fans feel isn’t as compelling as what came before it. What’s your take on season 5?
DAVID BENIOFF & DAN WEISS: After finishing season 3, we were nervous about season 4—we’d been looking forward to the Red Wedding for so long that once we shot it, we feared everything beyond that would seem like an anti-climax. We grew less nervous when we outlined season 4, less nervous still when we wrote the episodes, and all nervousness evaporated when we saw the directors’ cuts and knew we had a great season in hand. For season 5, again, the fear started to dissipate when we outlined it and realized how much story we had to tell. Now that we’re nearly finished with the first drafts of each episode, we see no reason why the coming season shouldn’t be the strongest yet. READ FULL STORY

'Once Upon a Time' postmortem: Showrunners talk chilly villainess and the future of Storybrooke

EW was desperate for more information about Sunday night’s Once Upon a Time season closer — and happily, showrunners Eddy Kitsis and Adam Horowitz didn’t give us the cold shoulder. Read on to learn all about why things shook out as they did — and how the pair decided to bring in the show’s newest Big Bad. (Or, to be more accurate, its new Big Misunderstood. Caution: Spoilers ahead!)

ENTERTAINMENT WEEKLY: Take me through the decision to add Elsa to Once.
Eddy Kitsis: We saw the movie, and collectively, the whole entire writers’ room just loved it. It was our favorite film. What we loved so much about Elsa was she was perceived to be a villain, but of course we understood she was misunderstood. And the only one who understood that was her sister. That was a very thematic thing for us, which is a misunderstood character who everyone perceives to be bad. READ FULL STORY

'New Girl' finale postmortem: Zooey Deschanel, Lamorne Morris talk Nick and Jess [SPOILER], a 'reset' in season 4

Fair warning, Roomfriends: If you haven’t seen New Girl‘s sea-legged finale, change course now to avoid the iceberg full of SPOILERS ahead. If you have seen the episode, click through while we ready the full recap (UPDATE: It’s live!) and see what Zooey Deschanel, Lamorne Morris, and executive producer Dave Finkel had to say about “Cruise.” (Secondary warning and deepest apologies to Schmidt: Prepare for lots of nautical puns.) READ FULL STORY

'New Girl': Zooey Deschanel talks Tommy Hilfiger fashion collaboration, drops season 3 finale hints

Though New Girl‘s third season has reached its end, star Zooey Deschanel is embarking on her own new adventure as the finale, “Cruise,” shows off several looks from “To Tommy, From Zooey,” the capsule collection Deschanel co-designed with fashion titan Tommy Hilfiger.

Hilfiger notes that Deschanel’s “modical” (mod + nautical) looks — including the dress above — make for a “serendipitous” addition to Tuesday’s episode, which sees the loftmates roped into a high-seas farce after exes Jess (Deschanel) and Nick (Jake Johnson) realize the couples cruise they booked while drunk is non-refundable.

“I didn’t even tell Liz [Meriwether, New Girl‘s creator] I had a fashion line,” Deschanel says about her pieces’ appearance in the show. “I showed several samples to Deborah Maguire, who’s our costume designer…and put them in the mix for Liz and the powers that be to review.” She adds with a laugh: “When I walked [on set] in them, I got so many compliments. People had no idea.”

Below, see two more of Deschanel’s designs from tonight’s episode, plus a few teases about how the finale will play out for the exes and their reluctant shipmates. READ FULL STORY

'Parks and Recreation': Exec producer Michael Schur on the finale's shocking last scene, that surprise cameo, and the future

[SPOILER ALERT: Do not read this story until you have watched “Moving Up,” the season 6 finale of Parks and Recreation, which aired tonight.]

Leslie journeyed all the way to San Francisco in the season finale of Parks and Recreation, but she left her heart in Pawnee. And so the city’s unofficial head cheerleader devised a way to snag her dream job running a regional branch of the National Parks Service but remain in her dream town by strong-arming and binder-ing her boss into moving the office from Chicago to Pawnee. In the boffo hourlong episode, Tom’s Bistro pulled off a successful early opening (well, the second time around), the Unity Concert was a crowd-pleaser, the rights to The Cones of Dunshire were rightfully returned to Ben, and… let’s see, was there anything else that happened… oh, just that IT’S THREE YEARS INTO THE FUTURE AND LESLIE JUST FIRED JON HAMM. The final scene of the episode was a mouth-agape game changer, as we saw future Leslie (Amy Poehler) running around on the third floor of City Hall, terminating Hamm’s incompetent National Parks employee (who had somehow in the last three years screwed up more than future Larry, a.k.a. Terry) and preparing to walk into some sort of high-level situation with husband Ben (Adam Scott). You have tons of questions. We have tons of… well, some answers. EW spoke with exec producer Michael Schur about the wild finale (which he directed), Parks in the future, and the future of Parks. READ FULL STORY

'The Sopranos' finale: Michael Imperioli shares his opinion on what it meant

EW has been taking a deeper look at some of the most iconic TV finales from shows such as Murphy BrownFriends, and Breaking Bad, but none were as controversial as the series finale of The Sopranos.

When the HBO series ended in 2007, many questions were left unanswered for fans concerning the fate of patriarch Tony and his family when the show cut to a black screen right before the credits. Creator David Chase has said in past interviews that “there was nothing definite about what happened” in the final scene at the diner but “if you look at the final episode really carefully, it’s all there.” To this date, fans are still debating what happened. EW sat down with Michael Imperioli to discuss his new film The M Word, but we couldn’t resist asking the Emmy winner’s opinion about that last seminal moment. Spoilers obviously ahead. READ FULL STORY

'Parks and Recreation' finale: 'Workaholics' star Blake Anderson to guest -- EXCLUSIVE

Parks and Recreation will unveil its season finale next Thursday, and it will be filled with all sorts of guest stars, from musical (Yo La Tengo, The Decemberists, Letters to Cleo, the returning Jeff Tweedy) to political (First Lady Michelle Obama) to mystery (???). One name you can add to the list from the comedy world: Workaholics star Blake Anderson. READ FULL STORY

'The Walking Dead': Robert Kirkman on why you need to 'stay tuned for season 5'

[SPOILER ALERT: Read on only if you have already watched the season finale of The Walking Dead.]

The Walking Dead took its first trip to Cliffhanger City with its season 4 finale, leaving Rick Grimes and most of the group reunited in the worst of all places — locked in a train car by the baddies of Terminus. But there is hope because at least the group has Rick back at his badass best. The finale used a flashback framework to show Rick’s transformation from a leader into a farmer after the fall of Woodbury, at the urging of Scott Wilson’s Hershel. That was juxtaposed against the things Rick had to do now to keep his family and friends safe — things like biting one marauder’s neck off and gutting another. Translation: the old Rick is finally back. And it is the Rick the group will need if they are to survive this encounter with their latest foes. We caught up with Walking Dead creator Robert Kirkman to get his thoughts on the finale, the evolution of Rick Grimes, and the fact that nobody major died, as well as get some insight into Terminus leader Gareth (that dude in the photo above) and what will happen when things pick back up in season 5. (Click through both pages to read the entire interview. Also make sure to read our finale interviews with showrunner Scott M. Gimple and star Andrew Lincoln.)


ABC announces spring finale dates for 'Scandal', 'Once Upon a Time,' more

ABC announced its spring finale dates for 19 of its current series. Of note is the season 3 finale date for Scandal — Thursday, April 17 — a special two-hour Once Upon a Time season finale, and an extended, one-hour season finale for The Middle.

Check out the full list of dates below: READ FULL STORY

NBC sets finale dates for 'Community,' 'Blacklist,' 'The Voice,' more

NBC has announced finale dates for several of its series, including breakout hit The Blacklist, Community, and singing competition The Voice. The network previously announced the April 24 date for the season finale of Parks and Recreation, which will feature a guest spot from first lady Michelle Obama.

See the rundown below: READ FULL STORY

'The Voice' finale: Bruno Mars, Florida Georgia Line, Nelly will perform -- EXCLUSIVE

Next week’s Voice finale really will have something for everyone.

NBC has unveiled two of the season 4 finale’s star attractions: Florida Georgia Line and Nelly, an unlikely duo who will tag-team their summer anthem “Cruise,” and Bruno Mars, who will appear with his Hooligans in a pre-taped performance of “Treasure.” Mars and the gang recorded the song in May, shortly before Mars’ mother died suddenly of a brain aneurysm.

'Orphan Black' season finale review: Tatiana Maslany dazzles, the clone sisterhood frazzles


Haven’t seen the season finale of BBC America’s Orphan Black? Then I’ll give you two shakes of a genetically engineered tack-on tail to click away, because there be more spoilers here than Sarah Manning has dopplegangers. “Endless Forms Most Beautiful” gave the audience a little of everything – matricide, sororicide, death by garbage disposal strangulation (!), devilish bargains, numerous twists, and new a big bad ProClone – and dealt the many multiples played the marvelous Tatiana Maslany a lot of loss. Unhinged Helena lost her lunatic life, Brainy Cosima lost her health, Domesticated Alison lost her husband, and our Anti-Hero Sarah lost her child (abducted!), her birth mother (murdered!), and her foster mother (?), who appears to have been playing ball all along with the devious Evo Devo conspiracy that has populated the planet with oblivious petri dish spawn.

In its own unique way, Orphan Black’s cliffhanger-packed capper dramatized at variety of Feminist concerns. A discussion among the clones about whether to accept “peace treaty” deals from their morally ambiguous makers sounded like a conversation about something else altogether. Cosima, Alison, and Sarah spoke of their right to choose, and that their individual choice should not be judged. The Faustian bargains presented by snakey Dr. Aldous Leekie (Matt Frewer) were tempting apples, indeed, and they should have been resisted. They offered only the appearance of freedom and effectively trapped them in narrowly defined social roles. Alison the Mother-Wife was offered a lifetime of security in suburbia for herself and her children, while Cosima the Careerist was offered unlimited professional advancement and forbidden knowledge.

Another loaded theme: Sister versus sister. Sarah and Helena – biological twins, we learned – fought yet one more time, and for the last time: Sarah put a permanent end to deranged, damaged sibling, who had become fully activated with homicidal rage at anyone and everyone who had made her nothing but a more-ways-than-one mad woman, from the birth mother who abandoned her to at the anti-science zealot who warped her into a killing machine. A new clone was introduced: Rachel Duncan, a high-ranking member of the conspiracy, a sell-out to the corrupt culture that forged her. She was a pitiless ice queen who reigned high above the city in a empty skyscraper suite, her exalted office as barren as a prison cell. Her burdensome job, it seemed, was to police her fellow clones, to keep them boxed and checked. Way to smash through that glass ceiling, sister.

It was Cosima – unlocking a bar code embedded in her DNA – who discovered the secret that revealed just how profoundly not-free, how truly chained and kept these women were: They had all been patented by the conspiracy. They were someone else’s product, someone else’s property. She rejected her deal, a choice that will cost Cosima the knowledge she needs to figure out a cure for the degenerative respiratory sickness (cough-cough-bloodycough) now killing her. Sarah – who was offered protection from further persecution and prosecution – rejected her deal after Cosima tipped her off to the fact that she lacked ownership of her life and body. (“UP YOURS, PROCLONE!”) Rachel retaliated by taking away her daughter, she of the miraculous healing powers.

Begun, I think, the Clone War has.

What dazzled me most about Orphan Black this season was Maslany’s performance. If I had an Emmy ballot, she’d be on the Best Actress list, or at least three of the Best Supporting Actress spots. Or both. She never phoned in any of her clones. They all felt remarkably realized. In the finale, I loved Cosima’s complex reaction to learning that she was just a bunch of numerically-tagged genetic material to the conspiracy — a string of numbers that her duplicitous Watcher-crush knew it by heart. Dearest 324b21! How I’ve secretly yearned for your digits! Have grace for my amateur lesbianism! Sarah’s drama, Helena’s tragedy, Cosima’s romanticism, Alison’s comedy – Maslany made me believe in all of her clones and all of their textures and tones, even when the story’s twists and turns threatened to subvert them. Don’t ask me to pick a favorite… although I will say that by the end, Helena was my least favorite. But her death felt correct, and therefore poignant. Her demise also gives Orphan Black a chance to strengthen if not reinvent a weak spot in its saga, the under-developed conflict between science (represented by the Neolutionists) and religion (represented by the Prolethians, who I suspect will see more screen time next year).

One of the best things about Orphan Black’s well measured first season (10 episodes — a perfect number for this series) was how the writers allowed the mystery of the clone mythology to gradually reveal itself while maintaining a thriller’s momentum. The strategy allowed for much character-oriented storytelling and imbued the sci-fi with intriguing human drama. I hope Orphan Black can maintain this quality now that the slow-burn mythology blazes hot in the foreground. I said I don’t have favorites, but the clone that comes to mind as I reflect on season one is Alison. I loved watching this tightly wound desperate housewife unravel into a chaos-producing mess as she valiantly tried to wrap her mind around a terrible enlightenment that nonetheless produced some terribly needed transformation that stretched her identity and world… at least until she sold out anew to suburban safety in the finale. (Ah, but how long will it last? What’s going to happen when the cops ask her some questions about Aynsley’s absurd but satisfying garbage disposal death? Does Watcher-Hubby plan on actually returning from that nighttime jog to see Dr. Leekie? ) (By the way, kinda saw that coming, just as I always suspected that Mrs. S knew more about Project Leda than she was telling.) The episode that convinced me that Orphan Black was not just good but great was “Variations Under Domestication,” the worlds-colliding, role-swapping riot set during an afternoon house party, in which Alison/Sarah tried to juggle being a good hostess upstairs while stealing away downstairs to beat some secrets out of Alison’s husband, whom she suspected of being her watcher (she was right!), whole also dealing with intrusions from Sarah’s rough-and-tumble world. I really hope Orphan Black can keep producing episodes like that, be it with the existing clones (and/or clones to come?) …  and/or another set of clones altogether. Because I have to think there has to be a whole bunch of Neolutionary Adams out there for all the Eves that Project Leda has created.

Did  “Endless Forms Most Beautiful” dazzle you as it dazzled me? The message board is yours.

Twitter: @EWDocJensen 

'Rectify': Sneak peek of tonight's season finale -- EXCLUSIVE

It’s never just about remodeling the kitchen, is it?

Tonight, the Sundance Channel’s first original scripted series wraps its first season with a finale that could find former death-row prisoner Daniel Holden (Aden Young) leaving his hometown for good. Daniel’s had a rough few decades — he was arrested and jailed 19 years before Rectify begins for murdering and raping his teenage girlfriend. Though new DNA evidence has shed doubt on his conviction — allowing Daniel to finally return home — he hasn’t yet been exonerated for the crime.

In this clip from the finale, a simple conversation about home improvement between Daniel and his mother (J. Smith-Cameron) leads to tears — and maybe some sort of emotional breakthrough. Just don’t expect it — or the rest of the episode — to reveal whether Daniel is guilty or innocent: as Smith-Cameron told EW last month, “I think that Daniel’s not sure what happened, so therefore it’s impossible to know.”



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