The Magicians’ Hale Appleman spoke with Hypable about where Eliot’s relationships are headed after the season 2 premiere.

Anyone who is a fan of The Magicians knows there’s nothing else like it on TV.

Have you ever seen a main character recite the Patrick Swayze monologue from Dirty Dancing to prove they’re ready to become nobility? I’m going to guess not.

But that’s exactly what Hale Appleman had to do while portraying the flamboyant, iconic, dandy of our dreams, Eliot Waugh.

A new phase of Eliot’s journey began last week as season 2 of The Magicians premiered. We spoke with Appleman about about that premiere and where Eliot’s road may take him.

If things sort of follow the books we know that Eliot’s going to be taking on a leadership role in Fillory. And I keep thinking about how he and Margo have been kind of playing at royalty at Brakebills for years now. So would you say it might be a natural fit for him?

You might think of Eliot as the unofficial prince of Brakebills and Margo as his partner in crime. You might think that becoming the High King and Queen of Fillory would be a really easy fit but… it’s not! It’s really not. Eliot is at the top of his class in Brakebills. He’s ascended to a kind of superior role at school. And he’s recreated himself in the image of a lot of powerful, you know, dandies. Dandies from litterateur, Oscar Wilde, glam rockers, David Bowie. People who shook up the status quo. Eliot is redefining himself as, or in the image of, many of these incredibly powerful men. That’s what he wants to be perceived as. Now, the Brakebills bubble is finite. There’s an end to it and he’s reached it. He’s basically unstoppable at school.

Fillory on the other hand is an unknown frontier. In which he’s actually tasked to rule the entire kingdom and the people of this kingdom; whom he’s never met and has entirely zero experience with. So it’s an incredible challenge. Eliot can’t just get by on whimsy and the life that he used to live. So he’s having to redefine himself in Fillory. And it takes quite a long time — in the life of the show — it takes quite a few episodes before Elliot truly is able to acknowledge his responsibility and his moral compass, in terms of rulership. It’s not easy for him at all.

I’ve gotten to see a couple episodes of season 2 and the coronation scene in episode 1 really struck me. It was probably my favorite moment from the show so far. And there’s a lot going on for Eliot, well for everyone, but especially for Eliot in that scene. There’s a lot of layers and there’s a lot of vulnerability and forgiveness. So I was wondering if you could talk about filming that and Eliot’s relationships with the different characters. How it’s almost like a fresh start for them.

Yeah, I think it’s a real unburdening of their hearts in that scene. It’s a rare moment where each of those characters Quentin, Margo, Alice, and Eliot are able to be upfront and clear. Emotionally transparent with each other. I think it’s really beautiful and I think they wrote a really beautiful scene for us and I’m so happy that we got to play it and that it made the cut. I think it was one of my favorite scenes to do. It was particularly touching for Eliot in a lot of ways.

For one I think that male friendship is something that Eliot didn’t have a lot of growing up and I think that when Quentin acknowledges him — his true belief in him — it strikes a chord in [Eliot] that… I just don’t think that he’s ever heard that from another male figure in his life. He certainly didn’t have that kind of support growing up from his family. And I don’t think he had many friends. So I think that Quentin, particularly, starts it off with a real truly heartfelt moment. It connects Eliot to a sense of belonging that he never had before.

Yeah I can definitely see that. And I actually had a question about the relationship between Quentin and Eliot. Because it seems like apart from Margo, Quentin is the closest person that Eliot has ever been to. At least that’s how it reads, so it makes sense that that’s a very special friendship to him.

Yeah it really is. I think Eliot and Margo’s connection goes without saying. They’re not in a particularly dark place throughout that episode, there’s a little bit of distance, but I think we know that they’ll always bury the hatchet and carry on with their relationship. Eliot and Alice have a moment. I think it’s nice that Eliot is able to get over himself enough to acknowledge that he may have truly hurt Alice. In a way that was a real betrayal of their burgeoning friendship. I think that Eliot has a tremendous amount of respect for Alice as a magician and as a person. Her ideals — while he wouldn’t necessarily share — I think he sort of does appreciate those things about her. And that becomes clear when crowns her Alice the Wise. Someone who has some semblance of foresight and wisdom outside of her immediate sensory desires and needs.

For sure. That was a really interesting moment between them. I wouldn’t have necessarily seen it coming but as soon as it happened it felt right. It was really nice. Next I was going to ask about Margo and Eliot, their relationship and dynamic is the most interesting to me on the show so far. Just because it’s so unusual and so layered and just interesting. But their codependency, it also scares me a little bit? And I was wondering if that bond was going to either be a strength or a weakness in terms of ruling a kingdom.

That’s a really great question. Yeah, it’s true, they have quite a codependent bond. Which, I don’t think is healthy by any standard. In the sense that they are the only other person that they’ve had to rely on, in large part, in their adult lives. I think that perhaps it was a necessity at some point. For them to become as close as they did, in the way that they did, it was unavoidable. But their relationship might experience some growing pains this season as they uncover that they have slightly different styles of rulership. They don’t necessarily see the world the same way. They don’t have the same world view.

You think they would in one respect, but the more you get to know them, they really do look at things quite differently.

They’re very different people. They view the world very differently. Margo, she really shoots from the hip and she’s a straight talker and she says exactly what she means. She sometimes takes it a little far, but I think that she’s direct and she doesn’t question herself. And I think Eliot has very carefully constructed this persona. And so his way through the world is one in which he’s sort of wearing this mask. Margo’s mask is one of defiance and strength and a kind of cut throat way with words. You could say something similar about Eliot but I think he’s a bit more considered in his approach to the world around him.

There’s definitely a softness to Eliot that I rarely see in Margo, or that she rarely allows herself to feel. But yeah. I don’t know if they’re going to grow apart because of that or grow together. I’m just really interested in that dynamic.

Yeah, I think you watch them struggle with their own dynamic. In terms of power. In terms of ruling a kingdom. In terms of their own moral compasses.

On Page 2: Appleman on Eliot’s cravings for intimacy and… sex

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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?