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Dropping in on 'Da Vinci's Demons' season 3 ahead of NYCC

As Da Vinci’s Demons prepares to descend on New York Comic Con on Saturday, I’m ready to spill some of the discussions I had with the cast and crew when I visited the set of the Starz show in August.

Starring Tom Riley as Leonardo da Vinci and coming from writer-producer David S. Goyer (Batman Begins, Man of Steel), Da Vinci’s Demons introduces a new showrunner in season 3: John Shiban, whose impressive credits range from The X-Files and Vampire Diaries to Supernatural, Breaking Bad, and more.

Of course, if you haven’t seen season 2, turn back now—massive spoilers ahead.

What I saw on set—particularly the filming of portions of scenes from episode 4—while visiting the show’s studio in Swansea, Wales, I just can’t talk about now/yet/possibly ever. I can promise that, from a production perspective, the quality fans have come to expect from the series remains.

While we eagerly await season 3 revelations out of NYCC, here are a few Q&As from the August 26 set visit—with spoilers strategically excised. (Is it 2015 yet?)

TOM RILEY, Leonardo da Vinci

DaVinci’s Demons 2014ENTERTAINMENT WEEKLY COMMUNITY: Last we spoke, season 3 was just announced, and you were talking about the transition of your character from season 1 to season 2 and the dimension you were able to add to him. I was just wondering where it goes from season 2 to season 3 now that you’re in it.
TOM RILEY: It’s been the hardest yet, the hardest work, and the hardest on Da Vinci—and me, at the same time. They very much wanted to deal with everything that he had done up to this point. The writers thought, What would be the most interesting thing to do to this kind of impenetrable hero, as he began? He began sort of being the guy who could do anything and complete anything and was always the smartest, coolest, cleverest man in the room. But he didn’t earn it, necessarily—he was just riding on his brain, you know, just on his wits alone. So that kind of hubris has slightly taken him into a darker place, and he’s caused all sorts of trouble, as we can see—the sort of mess and deaths he left behind in season 2—and the cliffhanger he’s found himself in at the end of season 2 has to be resolved somehow.

We’re only four episodes in [at the time of the interview], and it’s going like a rocket—and it’s going to continue to.

I was told that episode 4 allowed them to completely change the dynamic of some of your characters’ relationships.
It’s going to be a very cool reveal at the top when you first see it … Will Pascoe, who wrote it—who wrote [Hugo-nominated Orphan Black episode “Variations Under Domestication”] … he was just determined to make this beautiful, self-contained story, and it really is—it’s heartbreaking. And also what it allows us to do—and this is something else the writers were very keen on doing—is shedding some light on the Book of Leaves. That’s what season 3 will do.

Thank god.
Yeah. It’s going to be less kind of ephemeral—”Oh, this book. This is this mysterious book. We have to get it.” “Why?” “I don’t know; we just do.” This season … not necessarily are we going to say what it is, but we’re going to say, “This is why it matters.”

LAURA HADDOCK, Lucrezia Donati

In season 1, I was so in awe of your character, and then in season 2, she got beaten down by life.
LAURA HADDOCK: I think for the first two seasons, Lucrezia was just a puppet, and she was just being told to do this and to do that: “Even if you don’t like it, still do it. You might feel terrible, but I still need you to do this for me. Not for you—for me.” And now this feeling in this episode—particularly in episode 4—I feel like it’s mine.

I think Leonardo is my truth, though … Lucrezia’s truth. That relationship and that feeling that she has when she’s with him is just completely real and honest, and it’s not fabricated like maybe other relationships she’s had with other people … he woke something up in her. Her whole life has been about avenging her sister’s death and doing what her father tells her to do.

At the end of season 2, I think I was so disappointed because the love between the two characters—
I know: Why isn’t that enough?

I was like, That’s lame: Why is she leaving him? Why does she have to make that choice?
She needs to prove to herself and to him that she’s worthy of being with him … She needs to press reset and discover who she is before she’s able to give herself to him—because she’s still caught up in all the lies. And she’s done some terrible things. And I don’t know if you can start a relationship as intense as theirs with all of that stuff behind you. I think she wants to go and cleanse herself, do something good, and then come back and say, “I’ve done this,” and then he’ll see someone who’s good.

In season 3, are we going to see a little bit of a return to form?
We get to see her go through all the motions that someone who’s done something they feel guilty about goes through: denial, beating herself up for it, trying to rectify it, literally trying to purify her body … and searching for the thing that she decides will cleanse her and would be a good thing to bring to Leonardo and say, “I know all the stuff that I did was so terrible, but I’ve done this thing for you, and I hope you can forgive me for—erm—destroying Florence.”

Whoops.
Whoops. [laughs]

GREGG CHILLIN, Zoroaster

The last time we spoke, you said we were going to find out more about Zo in season 3.
GREGG CHILLIN: [Episodes] 1 and 2 of season 3 are like a two-hour war movie, and stuff happens on that journey where Zo kind of has to take charge of a situation that he’s never been in. And he kind of gets so emotionally charged that he reveals bits about his past—about his family. For me, it was like, “Oh my God! I’ve got a family! I’ve got a past!” And I think that’s what Shiban is doing this year, is really giving us all these amazing stories and pasts that have shaped our choices now, which is cool. It’s been really rewarding creatively thus far.

Emotionally, where is Zo in season 3?
[In season 1, he was] naïve and ignorant and not—just young, youthful, not particularly responsible for his actions, even though some of that moral compass stuff came into it … He has grown into a definitely different, maturer Zoroaster, which has been really nice … He’s kind of—not necessarily in a sad way, but downtrodden by life and his experiences, and because of that, he knows also who he is more. It must be so difficult to break free from someone like Da Vinci, who is so clearly intelligent and a genius and blah-bi-da, but Zo does, because he knows who he is and the sort of person he wants to be, and he doesn’t want to be taken for granted, and he has a life to lead and relationships to build.

What about his friendship with Nico?
I haven’t seen Nico yet, and we’re nearly halfway through the season … so that kind of Scooby-gang element—even though I know people like that, but we’ve all been on our total different worlds, and we’re all just about to, as I say, rekindle in Florence.

JOHN SHIBAN, executive producer

I’m a fan of the show, and I’m just wondering why the audience isn’t even bigger.
JOHN SHIBAN: What we realized is that true, hardcore fans even of genre work, but of TV—especially TV drama—come in for character, and they come in because they want to dig deeper into the character, not throw more things at the character. So we dug into everybody, but especially Leo. Leo has to face this season that his weapons and his ideas and his brain basically have been pillaged. And the bad guys have his weapons, have made them better—basically, he has to fight himself.

Did you say “fight” or “find”?
“Fight.” “Fight” and “find” in a way, because that’s kind of the struggle of us all to a certain extent: a battle with ourselves, more than external forces. So we started with that as the spine and that kind of applies honestly to all of our characters; they’re all struggling with who they are and how they fit in this crazy world and which side they’re going to be on, and will they fulfill their parents’ wishes or will they go their own way.

Is episode 1 set up so that people new to the show can just pick up from there?
Very much so … We’re using [the Ottoman] invasion as a way to bring everybody together, and that way new people will quickly understand what Riario was facing, what Lucrezia’s facing—because they’re all facing one giant event. It’s their Pearl Harbor. It’s their 9/11 … The war begins, and you’re meeting all these people in light of that.

ED THOMAS, production designer

It must be wonderful to have such a creative job.
ED THOMAS (while giving a tour of Bay Studios): For me, what’s amazing is that they let me look after the studio space as well, so it’s as much about the building for me as what we put in it—so it’s great.

We have three stages: We’ve got a 35,000-square-foot, a 55,000-square-foot, and then a 165,000-square-foot … but when we came here, it was just one big building with no electricity and no water, so we’ve had to work hard to get it into a usable state. The great ambition of this show is … to be able to create massive sets on this scale and only go back to them once or twice, because it really means that the show’s quite varied then in its vision.

British TV doesn’t get to this scale at all. There’s no show being made in Britain that’s this scale, apart from maybe Game of Thrones in Northern Ireland—and that’s an HBO show, so it’s really the American shows coming here, bringing the ambition … To be able to create a show with one vision—which means you can design everything and you can build everything and keep everything within the world rather than trying to piece stuff together—it’s such a privilege to be able to do that.

TOM HORTON, visual effects supervisor
[We also spoke in August, but Horton, Emmy-nominated in 2014 for his work on the show, kindly gave an update by phone on September 29.]

What’s in store for season 3?
TOM HORTON: In this season, with a lot of stuff being back to the solid drama and the core of the story in Europe, it’s a great chance for me to build out those worlds and to bring some magic to them in terms of CG. I’m hoping to do some really lovely environments this season, so that’s a big change, and of course, there’s still some epic stuff to come later in the series as well, so I’m sort of steeling myself for that.

That’s exciting—but I don’t think I could possibly ask anything about that that you could tell me.
Well, I’m not sure I actually know yet, so there you go. It’s all top-secret and a mystery. We have hints of what might go on. But look, we started with such an epic scale; I’m sure we’ll go out that way as well. I’m looking forward to it. The great thing is that we have made a big investment at the end of season 2—certainly into Otranto and then 120 ships—and received an Emmy nomination for it, which was exciting … so I’m sure we’ll get the most out of that world in season 3.

Speaking of the Emmy nomination, what went through your mind when you found out you were nominated?
I was totally thrilled and blown away and honored. Initially I thought, Well, I haven’t got a chance—I’m going to be up against some amazing people, and I was. But it was interesting: As I got closer to the Emmys and talking to lots of people, I did think, Aw, we really are in with a shot, because I thought we did do some pretty cool stuff in season 2 … When I didn’t win, my team and I were totally gutted. We were absolutely “gold-statue envy” all night. We were just saying, confidently, “We’re going to come back next year, and we’re going to win that.” We left with that in mind, and we’re really going for it this season … It was great motivation for us all to kind of run into this season [with]. It was super-exciting. Took my mum.

Da Vinci’s Demons returns to Starz in 2015.

TV Families | EW.com
Mark Harris
February 23, 1990 AT 05:00 AM EST

The Bradys are back, with a passel of 90’s hassles. Do they represent the typical American Family? Did they ever? Who does? Stare and compare!

Kind Of Family
TheBradyBunch 1969-74: Blended
The Bradys 1990-: Enormous
Married…With Children 1987-: Postnuclear
Thirtysomething 1987-: Extended
The Flintstones 1960-66: Modern Stone Age

Family Pet
The Brady Bunch: Tiger
The Bradys: Alice
Married…With Children: Buck
Thirtysomething: Grendel
The Flintstones: Dino

Typical Guest Star
The Brady Bunch: Davey Jones
The Bradys: There’s no room
Married…With Children: Sam Kinison
Thirtysomething: Carly Simon
The Flintstones: Ann Margrock

Expression Of Joy
The Brady Bunch: Groovy!
The Bradys: Ritual hugging
Married…With Children: ”Oh, great.”
Thirtysomething: ”Of course I’m happy for you. Really. But what about me? Why does it always have to be about you?
The Flintstones: ”Yabba-dabba doo

Expression Of Rage

The Brady Bunch: ”Hmmm…”
The Bradys: ”If you back away from something you really want, then you’re a quitter!” (the angriest any Brady has ever been)
Married…With Children: ”Aaagh, God, take me from this miserable life!”
Thirtysomething: ”I’m not angry, OK?”
The Flintstones: ”Willllmaaaa!”

Typical Problem
The Brady Bunch: Marcia and her rival both want to be the prom queen.
The Bradys: Bobby gets paralyzed.
Married…With Children: Al doesn’t buy his family Christmas presents.
Thirtysomething: Nancy gets cancer.
The Flintstones: Fred and Barney are staying out too late.

Typical Solution
The Brady Bunch: The prom committee decides to have two queens.
The Bradys: Bobby gets married.
Married…With Children: They hate him.
Thirtysomething: If only we knew…
The Flintstones: Wilma and Betty decide to follow them.

House Style
The Brady Bunch: Conservative but mod, circa ’69
The Bradys: Conservative but mod, circa ’90
Married…With Children: Roach motel
Thirtysomething: Enviable
The Flintstones: Suburban cave

Clothing Style
The Brady Bunch: Early Osmonds
The Bradys: Made in the USA
Married…With Children: Flammable fabrics
Thirtysomething: Eclectic earth tones; nice ties
The Flintstones: One-piece

Most Annoying Character
The Brady Bunch: Alice’s cousin Emma, the substitute housekeeper (too strict)
The Bradys: Marcia’s husband, Wally (chronically unemployable)
Married…With Children: Steve (supercilious)
Thirtysomething: Ellyn (goes through Hope’s drawers, babbles, changes hairstyle every other week, generally mistreats her friends)
The Flintstones: Mr. Slate (bossy)

Attitude Toward Sex
The Brady Bunch: Never heard of it
The Bradys: Omigod — even Cindy does it!
Married…With Children: Peg: Yes. Al: No.
Thirtysomething: They didn’t get all those kids by accident.
The Flintstones: Prehistoric

How Spouses Fight
The Brady Bunch: They don’t.
The Bradys: Infrequently, but it happens
Married…With Children: Tooth and nail
Thirtysomething: They stop talking
The Flintstones: Fred and Barney go bowling while Wilma and Betty max out their charge cards.

How Kids Get Into Trouble
The Brady Bunch: Greg takes a puff of a cigarette.
The Bradys: Carol’s grandson steals her business cards and sticks them in the spokes of Bobby’s wheelchair.
Married…With Children: By committing felonies
Thirtysomething: Ethan plays with a forbidden toy rocket.
The Flintstones: They don’t.

How They’re Punished

The Brady Bunch: ”It’s not what you did, honey — it’s that you couldn’t come to us.”
The Bradys ”Next time, ask.”
Married…With Children: By the authorities
Thirtysomething: It blows up in his face.
The Flintstones: They’re not.

What Family Does For Fun
The Brady Bunch: Takes special three-part vacations to Hawaii and the Grand Canyon
The Bradys: Has flashbacks
Married…With Children: Exchanges insults
Thirtysomething: Talks
The Flintstones: Attends showings of The Monster at the Bedrock Drive-In

Unsolved Mysteries
The Brady Bunch: How exactly did Carol’s first husband and Mike’s first wife die?
The Bradys: What’s with Marcia’s new face and Bobby’s blonde hair
Married…With Children: What kind of hair spray does Peg use?
Thirtysomething: Why did Nancy take Elliot back? What do Gary and Susanna see in each other?
The Flintstones: How does Barney’s shirt stay on if he has no shoulders? Where do Fred and Wilma plug in their TV?

Worst Behavior
The Brady Bunch: The Brady children once made Alice feel under-appreciated.

The Bradys: Marcia’s son Mickey watches Bobby’s car-crash tape for fun.
Married…With Children: The Bundy’s kill their neighbor’s dog.
Thirtysomething: Elliot has an affair and talks about it.
The Flintstones: Characters don’t wear under-clothes.

Best Reason To Watch
The Brady Bunch: This is what life should be.
The Bradys: They’re all grown-ups now!
Married…With Children: Terry Rakolta hates it.
Thirtysomething (Tie) This is your life. This isn’t your life.
The Flintstones: This is what life might have been.

Best Reason Not To Watch
The Brady Bunch: Blurred vision from rerun overdoses.
The Bradys: You’re all grown-ups now.
Married…With Children: She has a point.
Thirtysomething: After a while, you think it’s real.
The Flintstones: The Simpsons

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class="article content body clearfix"> <div class="padded"> <h3 class="article__creative-work-title">000</h3> <dl id="article__creative-work-info" class="article__creative-work-info"> <dt>type</dt> <dd>Music</dd> <dt>Current Status</dt> <dd>In Season</dd> </dl> <div class="article__letter-grade"> <span class="article__letter-grade-shape channel__color--background-color"></span> <p aria-label="Letter grade">We gave it a <strong>B</strong></p> </div> <p>Being the Rolling Stones is a tough job, but someone’s gotta do it. Since the Stones themselves have turned into a joke, we’ll gladly take the Delta 72. Their earlier recordings were inspired by hard-driving ’60s soul, but now with <strong>000</strong> these Philly boys look back to the flamboyantly sweaty boogie Jagger & Co. played at their ’70s peak — and completely rejuvenate it. Though it doesn’t come close to the delirious energy of the band’s shows, <em>000</em> is a shot of put-your-hands-in-the-air party music. <strong>B</strong></p> </div> </div> <!-- Bottom Recirc --> <div class="bottom-recirc padded-mobile " data-tracking-zone="bottom-recirc" > <div class="component outbrain clearfix " data-action="outbrain-component" data-tracking-zone=outbrain-bottom> <div class="OUTBRAIN " data-src="http://ew.com//article/2000/04/14/000/" data-widget-id="AR_24" data-ob-template="ew" > </div> </div> <div id="ad-728x90_FT_td_1" class="ad ad-container ad-wrapper desktop-ad tablet-ad " data-dimensions="728x90" data-tgxtargeting="%7B%22ft%22%3A%221%22%7D" data-tgxlazy="200" > </div> <div id="ad-300x250_FT_m_1" class="ad ad-container ad-wrapper mobile-ad " data-dimensions="300x250" data-tgxtargeting="%7B%22ft%22%3A%221%22%7D" data-tgxupdatecorrelator="true" data-tgxlazy="200" > </div> <div class="component feed clearfix bottom-recirc" 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