Teen Wolf season 3, episode 18, “Riddled,” just finished airing. Read our recap and discuss the episode with fellow fans!

Teen Wolf season 3, episode 18, titled “Riddled,” begins with a phone call from Stiles to Scott, and we’re automatically thrown right into the situation at hand: Stiles doesn’t know where he is, he’s injured, and he can’t move. Scott and Isaac must rescue him.

Aiden and Lydia are in the school late at night, and she’s drawing him for her art class. Aiden has some notions of modeling nude for her, but before anything can ensue, Lydia hears Stiles’ voice coming out of the radio asking for help.

Kira is lying in bed doing homework. She reaches over to turn on her lamp, but the bulb is blown. However, when she goes to remove it, her hand sparks with electricity and the light bulb turns on and then explodes. Her mother comes in to change the bulb for her, and we see that the new light bulb also lights up when Mrs. Yukimura touches it.

Scott, Isaac, Lydia, and Aiden meet in Stiles’ bedroom. There are a pair of scissors embedded in the middle of the bed, with all the red yarn leading from the scissors up to his boards of unsolved cases. Lydia and Aiden stay behind to see if they can find any clues in Stiles’ room, while Scott and Isaac go tell Stiles’ dad that he’s missing.

Then, we get our first look at Stiles. He’s lying on the ground in a basement with his foot in a bear trap. A bandaged man is sitting in the corner, and he draws the symbol for “self” on the wall with chalk. But as soon as Stiles says it out loud, it disappears.

The sheriff is clearly upset, but he quickly gets his officers in crisis mode. They locate Stiles’ jeep, and find that it’s at the hospital. But it’s dead and Stiles is nowhere to be found. On the roof, Derek tells Scott that he can tell Stiles was up there and he was stressed as he struggled with himself.

Teen Wolf Season 3 Episode 18 Riddled Lydia 2

Lydia realizes that she can hear voices when she pulls on the red strings in Stiles’ bedroom. She finds out that Stiles is being held in the basement of the same mental asylum where William Barrow, the Shrapnel Bomber, was committed.

Back with the bandaged man, the creature tells Stiles he’s actually trying to save his life. Lydia, Scott, Aiden, and the sheriff show up at the basement of the mental asylum, but Stiles isn’t there. They leave, but the camera pans over to the wall, where we see scratches in the shape of the symbol for self.

If you’re wondering — no, we have no idea what’s going on either.

Melissa and Agent McCall team up to try to find Stiles. McCall thinks he’s still sleepwalking and that he only believes he’s in a basement. We get a little sneak peek of what their marriage was like, and it involved McCall having an apparent drinking problem. (Can you say hypocrite?)

Melissa and Agent McCall find Stiles in the coyote den, and he eventually wakes up screaming, obviously not knowing what’s going on.

Allison’s phone is turned off even though she didn’t do it herself. There’s a message on there in Japanese, and she and Isaac go to Mr. Yukimura to find out what it says. He translates it, saying that it’s a fake message about a Japanese internment camp.

Aiden tells Derek he thinks Stiles is the nogitsune. At first Derek thinks he’s being an idiot, but after a minute, it’s clear he thinks it could be a possibility. Back at the hospital, Stiles is fine, and Scott and Lydia go home because they have school the next day. Lydia hears some banging that no one else hears, but she ignores it.

Scott’s in a daze at school, and Derek shows up to tell Kira not to take it personally. Well, that, and to ask her what exactly happened at the power station. They go there so Kira can show him, and find Stiles’ bat is magnetized. Derek wants Kira to tell him everything she knows about foxfire.

Lydia is hypersensitive to sounds at school. Scott visits Stiles as he goes to do some tests. They’re looking for signs of frontotemporal dementia, which is what his mother died from. It’s when the areas of brain start to shrink. Scott is clearly upset, but he tells his best friend he’ll do anything he can to save him.

Derek figures out that Barrow used Kira’s foxfire to jump-start the nogitsune’s powers that was inside of Stiles. Derek relays this information to Scott, and also tells him that when he talked to his mother, Talia told him that the Hales not only lived in Beacon Hills, they protected it.

Teen Wolf Season 3 Episode 18 Riddled Scott Derek

Scott and Derek go back to the roof, realizing that Stiles was trying to protect everyone from what he was about to do. They find equipment that makes it obvious Stiles was going to do something very similar to what Barrow might have done. Meanwhile, Lydia continues to hear the banging sound, and we find out that it’s the MRI machine Stiles is going through. She screams when she can no longer take it.

Back at the hospital, parts of Stiles’ brain show signs of atrophy.

In the machine, Stiles closes his eyes and is again transported into the dream-like state with the bandaged man. The creature once again asks him, “Everyone has it, but no one can lose it.” He tells Stiles that if he can figure the riddle out, then maybe he won’t kill everyone he loves.

Under that kind of pressure, Stiles tells the creature the answer is a shadow. That’s when the bandaged man unwraps himself…and we see that it is Stiles.

Back in the real world, there’s a power surge in the hospital, and with that distraction, Stiles slips away. That’s when Mrs. Yukimura shows up and confronts Stiles, who seems to be fully possessed by the nogitsune now. She tells him that she will stop him, even if it means killing an innocent boy.

Mrs. Yukimura makes the oni appear, but Stiles isn’t afraid of them. That’s when Mrs. Yukimura threatens to pull out the big guns. Too bad we don’t know who that is just yet.

Our favorite ‘Teen Wolf’ season 3, episode 18 ‘Riddled’ quotes

“Don’t ask. It gets more confusing when you ask.” – Aiden

“Not who are you, Stiles. Who are we?” – The Bandaged Man

“In this town, there’s always something more.” – Derek

“I think we need to do some tests.” – Sheriff Stilinski

“Stiles, if you have it, we’ll do something. I’ll do something.” – Scott

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.”