The Teen Wolf season 6 winter finale aired on Tuesday, and a lot of fans are wondering what’s next. Creator Jeff Davis has plenty of details to share.

Teen Wolf season 6, episode 10, “Riders on the Storm,” marks the halfway point to the series finale. We saw the defeat of a Nazi Alpha and the Ghost Riders of the Wild Hunt, as well as the triumphant return of one Stiles Stilinski. Several relationships blossomed in this episode, and two friends said what may be their final on-screen goodbye.

There’s a lot to dig through with “Riders on the Storm,” and even more to speculate about for season 6B. Luckily, we caught up with Davis and asked him what we can expect from the final 10 episodes of the series.

The season 6 winter finale felt like a series finale in a lot of ways. Where do you go from here?

That’s a good question. That’s exactly the question we asked ourselves as writers. What other stories do we have to tell, that one last, final story? It was sort of inspired by a few current events. We decided to go back to Scott’s character, to really explore what it’s going to mean for Scott to be stepping out into the world as an adult now. And we decided on a theme of being an outsider again and what happens when the supernaturals of Beacon Hills once again become pariahs, once again become feared and possibly hunted. It’s very much a backlash season, which is kind of the current climate of events in the world right now. How do they step forward? We wanted 6A to sort of close the chapter on Scott, Stiles, Malia, and Lydia’s teenage years and high school years, but now they have a challenge to face as adults.

The biggest question on everyone’s minds at this point is whether or not Dylan O’Brien will be in 6B. What can you say about that?

You’ll have to wait and see. I can’t officially say anything yet. It could be the end of Stiles.

What kinds of mythology and themes can we expect in 6B?

I’ll tell you that this 6B season, in terms of horror and in terms of the supernatural, started off with an influence from H.P. Lovecraft. It’s a new kind of horror, a definite darkly supernatural horror.

I know I ask you this every time we talk, but I’m going to try my hand at it again. What can you tease us about possible cameos coming up in 6B?

I’ll tell you that I had a list of the people I wanted to get back, and I got several more than I thought I would.

Pairing Melissa and Chris is a departure from the slow build we’ve seen over the years between Melissa and Sheriff. What made you guys decide to go in that direction?

It wasn’t my decision. [laughs] No, I’m kidding. It’s been a favorite pairing in the writer’s room, actually, and I’ve been a bit resistant to it, but once you see their chemistry on screen… and it’s fun. I also prefer to take the narrative in unexpected directions. If everybody expects Stilinski and Melissa to get together, is it more interesting to find them a new path? We don’t like being predictable here at Teen Wolf.

Now that Stydia is happening, what does this mean for Malia and her relationship with both Stiles and Lydia?

Complicated. I think Malia will always see Stiles as her first love and her first experience with a human romance. In Teen Wolf, we’ve always been the proponents of, “You love more than once in life.” So, we’ll have to see.

What made you guys decide to definitively make Peter a good guy? Where does he go from here?

Fatherhood changes people. And is he definitively a good guy? That remains to be seen. But he definitely has a role in 6B. Part of it is that we just find Ian Bohen such an enjoyable person to work with that we keep bringing him back. No one can sell a line like, “No one likes a Nazi,” like Ian Bohen. We’ll see where he goes, but a lot of it has to do with his relationship to Malia. If he’s ever to become a truly good guy, it will really be because of Malia.

Which is complicated for her because we see her in the finale kind of resisting reaching out but ultimately doing so. Is she willing to give her father a second chance?

Yeah, and that is partially based on Scott’s influence because Scott always gives people a second chance, where Malia would be perfectly fine saying it, “Fuck it.”

Another character who walked a similar path to Peter this season was Theo. What was that like for you guys to turn the tables on what we’ve seen from him in the past?

Theo is kind of a tragic character. He looks like he’s had a terrible childhood. We love Cody Christian, and part of what we do is try to figure out who is good together and who creates good conflict and what kind of characters in that dynamic we can explore this season, and who’s a fan favorite? We love our bad guys here. We love to hate them, but they also bring a certain darkness and cynicism that challenges the good guys in great ways. We wanted to pair Liam and Theo up and see how those two actors play off each other. And is Theo someone who wants redemption, or is he always going to go down a dark path? He’s just a guy who wanted a pack, and he couldn’t help but kill people to try to get one. Don’t we all just want friends in the end? And if a few people die along the way, is that really so bad? [Laughs]

Where will Liam’s journey to becoming an Alpha of sorts take him from here now that he’s much more confident in his leadership skills?

Very much stumbling his way into becoming a leader, and his insecurity about that as well. There is a new supernatural threat that occurs in Beacon Hills that does prey upon Liam’s greatest weakness, which is his own fear and anger.

Corey was a surprising MVP this season. What made you guys step up his role so much and where does he go from here?

When we talk about relationships in Teen Wolf, we like seeing good relationships. We like seeing helpful relationships. We were trying to build up Corey and Mason. We built [Corey] in his introduction as this character who really sort of gets taken advantage of and is weak. We wanted to see him come into his own, to find his own power. A lot of growing up in high school is finding your strength and going from an insecure person to someone secure with themselves. Not every character we introduce is a superhero and has control of their powers, like Lydia, or feels as though they can be the hero. So we like to see that growth and that was one of the things we wanted to do with Michael Johnson’s character this season. How does he find his power? How does he find his role and his place?

Will we be seeing much more of the Next Generation than the Original Generation, or is it still going to be a balance between Scott, Malia, Lydia, and Stiles, and then Liam, Mason, Corey, and Hayden?

There’s definitely a balance. We started with Scott’s character, and we really wanted to explore, “Who is Scott on the cusp of adulthood and about to leave Beacon Hills? What does that mean to him and can he ever truly leave?” So we started there.

Using flashbacks in this final season was such a stroke of genius because not only did it fit the storyline, but it allowed fans to look back on how far these characters have come. How difficult was it for you guys to choose which ones to use, and in many cases, what was the deciding factor for choosing the ones you did?

We look for the most meaningful moments. You might be surprised to know that sometimes it’s simply limited — nobody wants to think it’s for technical or contract reasons — but sometimes you’re limited by how many episodes you are going to flashback to in this episode and how much does that cost? So just like in Jaws, with Spielberg, you find creative freedom with your budgetary limitations. But we were really just looking for the most meaningful moments. Like 609, I was very heavily involved in that, and I knew the moment that was really important was when Scott reaches into that locker in his mindscape. What was he going to pull out? To me, it had to be the flare from the “Motel California” episodes. A lot of that was simply picking what are the moments, the writers and creatives behind TW, what are we the biggest fans of? What are some of our favorite moments? That’s how we choose, really.

Sweet/Vicicious just finished their freshman run on MTV. What advice would you give the creators of that show based on your experience from ‘Teen Wolf’?

Write characters you love. That’s all. The audience will fall in love with them, too. Always please yourself first, as a creative. That’s actually any piece of advice I would give any writer: Please yourself first as an audience member. Whenever you try to please other people, you just end up writing a piece of shit — and nobody’s pleased.

Teen Wolf‘ season 6 will return Summer 2017

Here are the 2017 Oscars winners and losers

8:25 pm EST, February 26, 2017

The 2017 Oscars took place Sunday night in Hollywood and found La La Land cleaning up with six wins. Here are the Academy Award winners!

ABC’s Jimmy Kimmel hosted the 2017 Oscars, which took place at the Dolby Theater. The event featured live performances of all five Oscar-nominated songs.

2017 Oscar winners list

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The 2017 Oscars took place Sunday night in Hollywood and found La La Land cleaning up with six wins. Here are the Academy Award winners!

ABC’s Jimmy Kimmel hosted the 2017 Oscars, which took place at the Dolby Theater. The event featured live performances of all five Oscar-nominated songs.

2017 Oscar winners list

Related: We asked our parents to describe the 2017 Oscar nominees

Below is a complete list of Oscar winner and losers.

2017 Oscar winner list

Note: The final winner of the night was originally announced to be La La Land, but the announcement was actually an error — Moonlight won Best Picture. Awkward.

Best Picture:
Arrival
Fences
Hacksaw Ridge
Hell or High Water
Hidden Figures
La La Land

Lion
Manchester By the Sea
Moonlight

Best Actress:
Isabelle Huppert – Elle
Ruth Negga – Loving
Natalie Portman – Jackie
Emma Stone – La La Land
Meryl Streep – Florence Foster Jenkins

Best Actor:
Casey Affleck – Manchester By the Sea
Andrew Garfield – Hacksaw Ridge
Ryan Gosling – La La Land
Viggo Mortensen – Captain Fantastic
Denzel Washington – Fences

Best Director:
Damien Chazelle – La La Land
Mel Gibson – Hacksaw Ridge
Barry Jenkins – Moonlight
Kenneth Lonergan – Manchester By the Sea
Denis Villeneuve – Arrival

Best Adapted Screenplay:
Arrival – Eric Heisserer
Fences – August Wilson
Hidden Figures – Allison Schroeder, Theodore Melfi
Lion – Luke Davies
Moonlight – Barry Jenkins

Best Original Screenplay:
20th Century Women – Mike Mills
Hell or High Water – Taylor Sheridan
La La Land – Damien Chazelle
The Lobster – Yorgos Lanthimos, Efthymis Filippou
Manchester By the Sea – Kenneth Lonergan

Best Original Song:
“Audition” – La La Land
“Can’t Stop the Feeling” – Trolls
“City of Stars” – La La Land
“The Empty Chair” – Jim: The James Foley Story
“How Far I’ll Go” – Moana

Best Score:
Jackie
La La Land
Lion
Moonlight
Passengers

Best Cinematography:
Bradford Young – Arrival
Linus Sandgren – La La Land
Grieg Fraser – Lion
James Laxton – Moonlight
Rodrigo Prieto – Silence

Best Live Action Short Film
Timecode
Sing
Silent Nights
Ennemis Interieurs
La Femme et le TGV

Best Documentary, Short Subject:
4.1 Miles
Extremis
Joe’s Violin
Watani: My Homeland
The White Helmets

Best Editing:
Arrival
Hacksaw Ridge
Hell or High Water
La La Land
Moonlight

Best Visual Effects:
Deepwater Horizon
Doctor Strange
The Jungle Book
Kubo and the Two Strings
Rogue One: A Star Wars Story

Best Production Design:
Arrival
Hail, Caesar!
La La Land
Passengers
Fantastic Beasts and Where to Find Them

Best Animated Feature:
Kubo and the Two Strings
Moana
My Life as a Zucchini
The Red Turtle
Zootopia

Best Animated Short:
Blind Vaysha
Borrowed Time
Pear Cider and Cigarettes
Pearl
Piper

Best Foreign Language Film:
Land of Mine, Denmark
The Salesman, Iran
A Man Called Ove, Sweden
Tanna, Australia
Toni Erdmann, Germany

Best Supporting Actress:
Viola Davis – Fences
Naomie Harris – Moonlight
Nicole Kidman – Lion
Octavia Spencer – Hidden Figures
Michelle Williams – Manchester By the Sea

Best Sound Mixing:
Arrival
Hacksaw Ridge
La La Land
Rogue One: A Star Wars Story
13 Hours

Best Sound Editing:
Arrival
Deepwater Horizon
Hacksaw Ridge
La La Land
Sully

Best Documentary Feature:
Fire at Sea
I Am Not Your Negro
Life Animated
O.J.: Made in America
13th

Best Costume Design:
Allied
Fantastic Beasts and Where to Find Them
Florence Foster Jenkins
Jackie
La La Land

Best Makeup and Hairstyling
Star Trek Beyond
Suicide Squad
A Man Called Ove

Best Supporting Actor:
Mahershala Ali – Moonlight
Jeff Bridges – Hell or High Water
Lucas Hedges – Manchester by the Sea
Dev Patel – Lion
Michael Shannon – Nocturnal Animals

Tags: 2017 Oscars

Arrival has been nominated for Best Picture in this year’s Oscars, but it’s Jóhann Jóhannsson’s exceptional score that might earn it a win.

Stepping off from the common trope of ‘aliens arriving on Earth,’ Arrival takes all our human expectations, examines them closely, and then subverts them with remarkable simplicity. Ultimately, it’s a story about choice: the choice to make sacrifices, to trust, to stand united.

It’s an important subject, and a timely one. Amy Adams’ portrayal of Louise Banks, a linguist called to do the ultimate translation job, is breathtaking in its realism and its vulnerability. The cinematography is stunning, and the pacing of the story takes us on a journey that, although walking the much-treaded road of sci-fi, manages to make us feel as if we are exploring entirely new territory.

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Arrival has been nominated for Best Picture in this year’s Oscars, but it’s Jóhann Jóhannsson’s exceptional score that might earn it a win.

Stepping off from the common trope of ‘aliens arriving on Earth,’ Arrival takes all our human expectations, examines them closely, and then subverts them with remarkable simplicity. Ultimately, it’s a story about choice: the choice to make sacrifices, to trust, to stand united.

It’s an important subject, and a timely one. Amy Adams’ portrayal of Louise Banks, a linguist called to do the ultimate translation job, is breathtaking in its realism and its vulnerability. The cinematography is stunning, and the pacing of the story takes us on a journey that, although walking the much-treaded road of sci-fi, manages to make us feel as if we are exploring entirely new territory.

It should come as no surprise that Arrival is being considered for Best Picture in the upcoming Academy Awards. Director Denis Villeneuve has made a name for himself with movies such as Prisoners and Sicario, known for combining raw humanity with breakneck intensity. But although Villeneuve is an extremely talented director, and is accompanied by an excellent cast, it’s Arrival’s score that succeeds in bringing all the delicate pieces of the film together in one cohesive whole… and drawing the audience in.

Jóhann Jóhannsson is an Icelandic composer that has collaborated with Villeneuve repeatedly, and received Academy Award nominations for his work on movies such as The Theory of Everything and Sicario. Unfortunately, Arrival’s score, although arguably his best work yet, is not eligible for nomination this year. In an exclusive report, Variety explained:

“The Academy’s music branch ruled unanimously that voters would be influenced by the use of borrowed material in determining the value of Johann Jóhannsson’s original contributions to Denis Villeneuve’s alien invasion psychodrama.

“Per Rule 15 II E of the Academy’s rules and eligibility guidelines, a score ‘shall not be eligible if it has been diluted by the use of pre-existing music, or it has been diminished in impact by the predominant use of songs or any music not composed specifically for the film by the submitting composer’”

With the director choosing to place Max Richter’s “On the Nature of Daylight” in the beginning and ending sequences of the film (a song which was also a part of Shutter Island’s score), Jóhannsson’s work sadly lost its chance at an Oscar nomination. According to Variety, “it was determined that there would be no way for the audience to distinguish those cues, which bookend the film, from Jóhannsson’s score cues.”

In an interview with Slash Film, Jóhannsson said that he initially wrote his own alternative to the track, while knowing that Villaneuve was considering “On the Nature of Daylight” as well, although it was very different, as he didn’t “really want to do a knock-off of the music.” Ultimately, Jóhannsson says that he supports the choice, because it “works beautifully and it supplies a very strong contrast to the rest of the score.” But it’s a pity that artistic decisions like this one can cost an exceptional composer an Oscar.

For Arrival, his ability to grip the listener with only a few sounds and rhythms, gradually building up to something of massive proportions, was perfectly harnessed once again to create something truly new. The composer told the Guardian: “People are hungry for new sounds, and for the experience of listening to unfamiliar music that you don’t hear on commercials and in every TV show.”

Composers for sci-fi movies tend to favor epic soundtracks to draw audiences into the scene and make them feel the full blow of the story’s emotions. Jóhannsson, however, entirely avoided using orchestras and sounds in the way that we’re familiar with. His quiet buildup is much more powerful. The track “First Encounter,” for example, is mysterious, ominous, and ultimately overwhelming when the sound suddenly comes to life.

“In mainstream cinema, there’s usually too much music,” he said. “In Arrival, the use of space and silence is extremely important. When music is needed, it’s really there and it serves a purpose.”

The music fits in so well that it becomes hard to know when you’re listening to the score, and when you’re listening to the scene. Both elements mesh so well together that they become nearly indistinguishable. And the quietness that is the underlying current of most tracks is a marvelous replica of human emotion — in the case of First Encounter, of what a mind in shock feels like when faced with an experience it can’t understand.

To achieve the unfamiliar sounds that surround Arrival’s alien ships and their mysterious passengers, Jóhannsson brought together vocalists and choirs, to experiment with what could be done with voices, and combining them with cellos, horns, and wood sounds. He explained to Slash Film:

“The reason I wanted voices was really motivated by the script and the story. It’s a story about communication. It’s a story about language. It’s a story about communicating with an alien species. How do we communicate with an intelligent species with who we have no common point of reference? It was this anthropological aspect, this linguistic aspect, that really influences my choice of orchestration and instrumentation.”

It makes for a truly fascinating combination of sounds. Jóhannsson somehow manages to make simple vocal exercises into music that can be anywhere between heartbreaking and heart-wrenchingly hopeful, turning vocal harmony into something almost tangible, and shedding a small ray of light into the mystery of achieving unity in diversity.

This isn’t a horror-movie score — it’s something transporting, yet ambiguous; a difficult task to achieve nowadays. With decades of listening to scores with similar patterns, it takes a lot to leave audience members in the dark about what is about to happen. We’ve become used to screeching violins meaning impending terror, to drums meaning action scenes, to lengthy orchestra pieces surrounding the climax of the film.

We’re used to hearing Hans Zimmer and John William’s epic orchestras, and while beloved and immortalized for their loveliness, they are no longer as revolutionary. We know the swelling sound of strings and the beating of drums, and we have learned to associate certain sounds with victory, and other sounds with fear.

With Jóhannsson, on the other hand, we don’t know what to expect — is the thrumming noise and the horns in the distance leading us to a scene of horror and destruction, or are we about to discover something beautiful? The score leads us into the ship itself, into the arrival, and poses the same questions with music that the movie does with words and breathtaking cinematography.

And yet, despite the unfamiliarity and ambiguity, the result is still something that feels inherently personal. It’s an emotional experience, even in the silences — a difficult task to achieve with such a minimalist style as Jóhannsson’s — and it’s marvelously memorable. It manages to do exactly what Arrival did for us as a film: draw us in with the promise of alien appearances on Earth, and then steal our hearts with the uniquely human experience of choice, trust, love and death.

Interstellar has tried to do this before — melding human vulnerability with world-defining stakes — but critics are split on whether or not it was a success. With Arrival, however, there’s no doubt that the balance between the intimate and the epic was perfectly reached; and it was because of Johann Jóhannsson.

Arrival has been nominated for Best Sound Mixing and Best Sound Mixing – the closest we’ll get to a soundtrack Academy Award — as well as Best Picture, and many others.

Jóhannsson is currently working on the score for Blade Runner 2049 (also directed by Villeneuve), which is expected to premiere this October.

Doctor Who season 10 finally has an air date and not only that, so does its spinoff, Class!

It’s time to celebrate because we finally know when we’ll see Peter Capaldi back in the T.A.R.D.I.S. as the Doctor! BBC America will premiere Doctor Who season 10 on Saturday, April 15 at 9/8c. Check out the brand new trailer promoting the series, narrated by the brand new companion, Bill:

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Doctor Who season 10 finally has an air date and not only that, so does its spinoff, Class!

It’s time to celebrate because we finally know when we’ll see Peter Capaldi back in the T.A.R.D.I.S. as the Doctor! BBC America will premiere Doctor Who season 10 on Saturday, April 15 at 9/8c. Check out the brand new trailer promoting the series, narrated by the brand new companion, Bill:

No word on if the U.K. will be seeing the same air date but it’s more than likely they will since it’s been like that in years past.

This will be Peter Capaldi’s last season as the Doctor, along with Steven Moffat’s last season running the show. After this we’ll be seeing Chris Chibnall taking the reins with a clean slate, and we’re so curious about how the series will go. How will the Doctor regenerate? Will this be Bill’s first and last season on the show as well? Who’s going to be the next Doctor? We’ve got so many questions! But they’ll all be answered in due time… we hope.

And that’s not all! Fans in the U.K. have already had the chance to enjoy the brand new spinoff series, Class, and after Doctor Who premieres on April 15 Americans will finally witness it as well.

Set to air directly after Doctor Who at 10/9c, Class is helmed by award-winning YA writer and executive producer, Patrick Ness. The series follows a group of students at Coal Hill School as they deal aliens, invasions and awkward social dilemmas.

Having seen Class in its entirety we can tell you that it’s got the perfect Doctor Who vibe and should fit in perfectly after you watch the season 10 premiere. Although not everyone loved the premiere, the series as whole definitely grows on you. You’ll just have to check it out for yourself!

Are you excited for ‘Doctor Who’ season 10?