As of late, there has been some controversy concerning season 3, episode 11’s scene between Lydia Martin and Peter Hale concerning the latter character’s past abusive behavior.

First of all, a run down:

In season 1, episode 5 shows Lydia’s first encounter with Peter when he breaks through the window of a video store in his werewolf form where she is clearly frightened and is then heavily drugged.

In season 1, episode 11 we see Lydia’s second encounter. On the night of the winter formal, Peter brutally attacks Lydia, and she is hospitalized as a result.

In season 2, episodes 1, 7, 9, and possibly others, after Lydia has recovered from her (werewolf-inflicted) wounds, she is plagued by visions of a teenage Peter as well as a deceased, adult Peter (after being slashed in the throat by nephew Derek in the last episode of Season 1) trying to interact with her from beyond the grave. He eventually succeeded by somehow controlling her to perform a ritual to resurrect him.

Fast forward to season 3, episode 11 where we see Lydia meet Peter for what looks to be the first time since said resurrection took place. The only dialogue shared between them was:

Lydia: “You.”
Peter: “Me.”
Lydia: “You.”
Peter: “Me.”

While it was established that Peter and Lydia would, in fact, share a scene at some point in the first part of season 3, it was eventually revealed before episode 11 was aired that Jeff hadn’t initially written the aforementioned Lydia/Peter scene at all until Holland Roden and Ian Bohen inquired about the lack of attention their previously abusive relationship was receiving. Roden is quoted as saying:

Ian and I have a scene coming up and…our past abusive relationship was never addressed in the scene how it was written! And so Ian and I walk in and we’re like: “really? Really? What’s going on?” And so, poor Jeff, he’s got a million things on his plate, and he’s like “yeah, oh…yeah” You know, I mean, it was fun though because it allowed us to make a decision as actors, you know? It’s been fun when you play a character for almost four years now…how would you react? There’s, like, a natural instinct there.


It comes as no surprise to hear that Jeff Davis does have a lot on his plate where his schedule and job are concerned. He is the one with the task of writing a sufficient and entertaining episode to be shown every week for fans ALL OVER THE WORLD, he has a deadline to write said episodes and, to add to that, there are time constraints so scenes will undeniably be edited out or, if not included in the initial script (like the Lydia/Peter scene from what I gathered from Jeff in Roden’s quote), might not be included at all because of the time each episode has already been given.

It’s safe to say it was Jeff’s aim to make this season’s plot as suspenseful, intricate and entertaining as possible. Sure, this might have been have been a little too ambitious and was the cause for him to forget about Lydia and Peter’s past history, but he is entitled to act forgetful every so often because we, as people, do that; we shouldn’t forget the motivation behind taking on such a task in the first place. It’s been noted before that he experiences sleepless nights trying to write and finish each script so that it can go into production as fast as possible, thus allowing it to be delivered to our screens.

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While the scene in question was invariably and unnecessarily brief (believe me, I, as did so many others, wanted to witness a scene between Lydia and Peter where he got his comeuppance in some shape or form), Jeff has proven that he has the ability to write both impressively and effectively for Teen Wolf and other shows like Criminal Minds (which was created when he sold his own script to CBS, eventually leading to the conception of the hit series it’s known as and currently watched by millions).

It’s worth noting that we are currently just finishing the first of TWO parts to this season, so Jeff has ample opportunity to redeem himself with this minor indiscretion with regard to these two characters.

Lastly, some food for thought: The fact that people seem to have this idea that Jeff cannot make certain mistakes with the show here and there is, quite frankly, nonsensical. No show is, by any means, perfectly written or executed every time. Everything has its cons no matter the amount of outweighing pros it may possess.

While we as viewers of the show are perfectly entitled to our own opinions concerning certain aspects of the production, it is by no means helpful to say Jeff “isn’t a good writer” or that you’ll “never give Jeff credit for anything. Ever. EVER,” because that is plain disrespectful when you consider what he does for the Teen Wolf fandom on a daily basis and what is expected of him in his line of work. The provided quotes are just a couple of examples of the counterproductive nature present in some messages written by people.

Some people seem to forget the positive aspects of the show that make it what it is: the female characters are depicted more realistically as independent, strong, skillful and intelligent figures and leaders who can be forces to be reckoned with if not treated properly; the fact that sexuality is just another facet of someone’s personality – plain and simple; and it’s clear Jeff and the TW team do a considerable amount of research with regard to etymology for each individual character and mythological aspect of the show (having said himself, more than once, the names the characters are assigned pertain to the current story being told at the time); and the mythos attached to each season is clearly researched and rightly so in order to allow the story to progress, allowing to be more and more engaging.

There are more positive attributes to the show than negative, so don’t lose hope so soon!

After all that talk of inclusivity, Star Trek Beyond falls into the Hollywood trap of implied sexuality.

Mild spoilers for Star Trek Beyond.

Star Trek Beyond, already a wildly anticipated movie, made headlines ahead of its release because of the franchise’s decision to introduce the first openly LGBT character: Mr Sulu, played by John Cho.

While this decision was certainly met with excitement, there was disappointment, too. The original Mr Sulu, George Takei, openly voiced his opinion that they should have introduced a new LGBT character rather than expand on original canon (as they have been the whole trilogy), while Simon Pegg beautifully argued that there was power in using an established character who wouldn’t be defined by his sexuality.

Then came the movie itself, and while the introduction of gay Sulu is still a great thing, we’re left sorely disappointed by Beyond‘s decision to depict the LGBT relationship — or rather, hardly depict it at all.

As reported by our friends at The Mary Sue, the scene featuring Sulu and his husband Ben depicts a “lukewarm” relationship, although Sulu is very affectionate with the pair’s daughter.

This is, unfortunately, a common problem in Hollywood when an LGBT couple — almost impossibly — makes it into a big franchise film. They’re allowed to be there, but having any kind of physical interaction even remotely resembling what a heterosexual couple might have still seems to be off-limits.

Related: Hollywood is failing the LGBT community: GLAAD slams Disney, Paramount and Warner Bros.

And, according to John Cho, there was actually a kiss filmed. “There was a kiss that I think is not there anymore,” he told Collider. “It wasn’t like a make-out session. We’re at the airport with our daughter. It was a welcome-home kiss. I’m actually proud of that scene, because it was pretty tough.”

Cho points out that Ben was played by a non-actor, writer Doug Jung, and says, “Obviously, I just met the kid, and then Doug is not an actor. I just wanted that to look convincingly intimate. We’re two straight guys and had to get to a very loving, intimate place. It was hard to do on the fly. We had to open up. It came off well, in my view.”

And we wish we could have seen it. Introducing a major LGBT character in the Star Trek franchise is a fantastic first step, and depicting two POC actors raising a child together is a great statement — but, unfortunately, the decision to cut out their kiss (which was already chaste, by the sounds of it) is emblematic of Hollywood’s continuous phobia of depicting LGBT relationships and intimacy on the big screen.

As Screen Crush also points out, this exact same scenario played out in Independence Day: Resurgence, too. In Finding Dory, the lesbian couple are only implied, in a blink-and-you’ll-miss-it sequence.

LGBT representation (when present at all) is always so subtle, evidently in fear of offending straight audiences while not totally erasing non-straight sexualities. And, sadly, even that is considered a big step forward — but maybe it’s time we start depicting humanity as it is, and not what society wished it was 100 years ago.

Here’s looking at you, Star Wars.

Harry Potter and the Cursed Child reviews from theater critics are glowing, so when the hell can Americans get a chance to see the play in New York?

With just days to go until The Cursed Child script book is released around the world, The New York Post’s theater reporter has spoken to sources who say the play will be coming to Broadway sooner rather than later. Producers are currently holding discussions to bring the play to NY as early as 2017.

They haven’t yet announced a Broadway engagement for “Harry Potter and the Cursed Child,” but New York theater people say it’s only a matter of time. Word is that Friedman and Callender are in negotiations for a Shubert theater possibly for next season. They may hit Toronto first, however.

The idea of The Cursed Child hitting Broadway so soon (“next season” could mean around May 2017) will come as a relief to American Harry Potter fans who would rather not travel overseas to see “the eighth story” (though it’s a little more affordable to do so right now thanks to #Brexit). It also speaks to this important fact: It’s important to see The Cursed Child rather than reading it.

If the show does go to Toronto first as The New York Post suggests it might, a trip to Canada would also be easier for Americans. Sorry, people who don’t live in North America.

This writer saw the play in June and absolutely loved the characters and magic happening on stage. But the story is… not the best. I’m very eager to see what fans, myself included, think of the story after reading the script book this weekend.

For her part, Rowling has promised that fans around the world will get to see the play. Only time will tell if she’s hinting at a movie or a world tour:

If ‘Cursed Child’ comes to Broadway next year, will you try to see it ASAP?

The West End production currently has dates running into May 2017, but additional dates are expected to go on sale in early August.

Present day Han Solo may’ve left the main Star Wars series after the events of The Force Awakens, but the character’s time in movie theaters is far from over.

The new Han Solo film from Lucasfilm — scheduled to hit theaters in May 2018 — might turn into a trilogy for the reluctant hero, according to the New York Daily News.

The paper reports that star Alden Ehrenreich has signed a three-picture deal, suggesting that the studio intends to expand the Han Solo spinoff into a trilogy. “They feel that his character has the right potential to become a central figure in several movies,” a source told NY Daily News. “They’re keeping things under wraps at the moment, but the deal is that he has signed for at least three movies.”

This makes a lot of sense given the popularity of the character coupled with his absence in Episode 8 and beyond. We also know that Lucasfilm and Disney have many, many grand plans for Star Wars in the years ahead: The very first Star Wars theatrical spinoff, Rogue One, opens later this year. Episode 8 then hits theaters a year later (2017), followed by Han Solo’s own movie (2018). Next comes Episode 9 in 2019, followed by yet another spinoff reportedly focused on Boba Fett in 2020.

As for 2021 and beyond? Only time will tell, but we expect more movies set in the worlds of The Force Awakens, Rogue One, and now Han Solo.

The Han Solo spinoff will be directed by LEGO Movie helmers Phil Lord and Christopher Miller. They’re currently deep into pre-production, as this tweet from Lord this morning shows:

“This is the first film we’ve worked on that seems like a good idea to begin with,” the directors said last July. “We promise to take risks, to give the audience a fresh experience, and we pledge ourselves to be faithful stewards of these characters who mean so much to us. This is a dream come true for us. And not the kind of dream where you’re late for work and all your clothes are made of pudding, but the kind of dream where you get to make a film with some of the greatest characters ever, in a film franchise you’ve loved since before you can remember having dreams at all.”