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Author Metcalfe
The footage is amazing. It gives the audience a rare glimpse into an amazing fieldwork process. It lets us listen to the thoughts and reflections of fieldworkers and other researchers. We see the reconstruction of a naledi skeleton. The whole thing is at once exciting and sobering.
Briefly (tl;dr, as the kids would say), there is currently little evidence that the claimed pit burial is actually a pit, and there is little evidence that it is more than a jumble of bones. Of course it could be, but I am not convinced by the published data, and neither are many of my colleagues.
I sympathize with this mystical approach to archaeology to a certain extent, and am not immune to it myself. There are things I know in my heart about some of the sites on which I have worked, and that I will never be able to prove to someone else. I try to be careful to mark those things as speculation when I bring them up in any context, whether in class, in papers, or at a wine and cheese reception.
They were talking about a period of over 30,000 years and there has been water in that cave for all that time as evidenced by the stalagmites. Hominids who are trapped in a cave may die in a fetal position trying to keep warm and be covered over with time. And the time was over 30K years. PLENTY of time.
All good and valid questions. As you point out, the access to the cave might have been different, but also, it could have been just as dangerous and difficult at the time than it is now, which some have suggested could explain that there are bodies down there.
The episode (8/7c, Fox) features the recently reunited Booth (David Boreanaz) and Brennan (Emily Deschanel) revisiting the work of dead serial killer Pelant (Andrew Leeds), when a new set of remains bears striking resemblance to Pelant's M.O. But as the gang searches for a possible copycat/protg killer, Angela (Michaela Conlin) and Hodgins (TJ Thyne) make preparations for their move to Paris while Booth and Brennan also think long and hard about their own future.
However, the finale you will see on Thursday night was not what was originally intended. "We had actually planned a completely different end to the season, that of a far more traditional cliff-hanger and a situation that would get us into Season 11," executive producer Stephen Nathan says. "But the pickup, which we always expected, didn't come for numerous reasons that were out of our control. We were then told, 'This could be a series-ender,' we realized we can't disappoint or dismiss the audience and the fans who have been so important to us for a decade ... and compromise on an episode that very possible could be the last episode ever. So, we had to actually write a series finale that hopefully contained a vibe of a continuum. But the reality is this was the ending at this point in time."Indeed, expect plenty of reflections on the relationships that have been built over the course of the show as well as some tearful goodbyes. But, perhaps fittingly for an ending that isn't actually the end, the finale serves as a rumination on the larger idea of closure.
"We all talk about endings and you get a certain kind of finality, but in life, there's only one ending that's final, and that's death. Apart from that, it's just change," Nathan says. "What Brennan has always said is, 'There is no such thing as closure.' Everybody wants to wrap something up in a nice neat ribbon and say, 'OK, that's done. This will now begin.' Life doesn't work that way, and Booth and Brennan have pretty much proven that's the case."
But it is the specter of Pelant and his seemingly endless haunting of Booth and Brennan that forces the couple to really examine their position on the matter. "The issue of Pelant is somehow the most incomplete end to a character who has been so important to the show," Nathan says. "Do [Booth and Brennan] stay around for the next chapter of Pelant? What is something big enough for them to stay? Is there a loose end that will force them to change their plans? That is what we wanted to examine."
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The good news, of course, is that Booth and Brennan are riding off into their (temporary) sunset together after a prolonged separation earlier in the season due to Booth's gambling relapse. "It was important for us to treat this story honestly," Nathan says. "We had to see how these characters would really respond this very, very challenging situation. What we really did in the second half of the season is deal with the trauma of the past couple of years. Booth is always so strong and seemingly invulnerable, and while the audience might expect that, our expectations aren't always met. So, we wanted to see that he was a human that was strong, but also someone who was vulnerable -- somebody who had to meet a challenge greater than any he's had before in a way because his relationship with Brennan means everything to him."
But through the process, Nathan says Brennan also learned a lot about herself -- and that note is one befitting an end for the character. "The logic and rationale that has ruled her life for most of her life is now tempered with a love and acknowledgement that her feelings are often as important as her intellectual acumen," Nathan says. "We've seen her this year synthesize those two sides, one that's very new to her. If this occurred five years ago, she would quite logically and objectively say, 'This is not a good situation for me to be in. I need to have a guarantee that my life will not be destructed again.' But now Brennan realizes there are no guarantees. Everything is change, and she has to find another way to salvage this relationship.
"Brennan has clearly not lost any love for Booth and I think that's an odd thing to her, Nathan continues. "Logically, you would think, 'This man has betrayed me. This man has done something that I would never have expected him to do. Therefore, he does not merit my time anymore [and] I should not love him.' But here she is still loving him even though he did this terrible thing. We see Brennan being something somewhat un-Brennan like, but something we all want her to be."
And as a result, Nathan, who is handing off showrunning duties on Bones next season, says the couple will be stronger than ever in Season 11 -- no matter what they'll be getting into next.
When it comes to TV, we can't get enough of the Deschanel sisters. While Zooey starred on the Fox comedy series New Girl for seven seasons, her sister, Emily, had a successful run on the crime procedural Bones for 12 years.
The thriller is based off a book of the same name by Daria Polatin, which follows a psychiatrist named Dr. Suzanne Mathis, who brings a girl named Mae into her home. However, when Mae starts modeling herself after the doctor's 15-year-old daughter, Jules, things start to get twisted, and the family realizes they may have gotten themselves into a situation they can't handle. (Oh, and did we mention it's based off of a true story?)
The series was ordered for eight 45-minute episodes. Along with Deschanel, it will feature stars like Sam Jaeger (Parenthood), Gerardo Celasco (Passions), Madeleine Arthur (Big Eyes), Xaria Dotson (American Vandal), Alisha Newton (Heartland) and Naomi Tan (Are You Afraid of the Dark?).
Polatin, who wrote the novel, will be adapting her work for the screen. She will also act as an executive producer and showrunner for the series. She has previously written for shows like Jack Ryan, Castle Rock and Heels. Rachel Miller and Andrew Wilder will executive produce alongside her.
From entirely new plots to a big twist ending, Season 2 of Netflix's Shadow and Bone takes great liberties with its source material: the Grishaverse novels by Leigh Bardugo. These liberties will come as no surprise to fans of Season 1, which combined the plots of Bardugo's Shadow and Bone trilogy and her Six of Crows duology with several big changes of its own. Those Season 1 changes build on each other in Season 2, taking us in surprising directions that are reminiscent of Bardugo's novels but remain very much their own entity.
As the season begins, we pick up with Sun Summoner Alina Starkov (Jessie Mei Li) and her best friend Mal Oretsev (Archie Renaux). They're tracking the mythical creatures that will amplify Alina's power so she can finally defeat General Kirigan (Ben Barnes) and destroy the Shadow Fold. Kirigan, otherwise known as the Darkling, has created an army of shadow monsters to do his bidding. Alina must make allies of her own to survive, like Prince (and privateer) Nikolai Lantsov (Patrick Gibson), and warrior twins Tolya and Tamar (Lewis Tan and Anna Leong Brophy).
That's already a lot of ground to cover, and we haven't even gotten to the heists, marriage proposals, and horrifying sacrifices we'll experience before the season's done. We're going to dive into how each of these events and more differ from Bardugo's books below, but beware: Spoiler warning is in full effect for the show, the Shadow and Bone trilogy, the Six of Crows duology, and even the following King of Scars duology. Without further ado, here are 10 major ways Shadow and Bone Season 2 is different from the Grishaverse novels.
Since Netflix's Shadow and Bone adapts multiple series, I'll tackle the changes between each individual series before looking at what happens when the show brings them together. First, up: the Shadow and Bone book trilogy.
Season 1 of Shadow and Bone only adapted the events of the first book in Bardugo's trilogy. This season takes on the events of books two and three, Siege and Storm and Ruin and Rising. The two books do feature some similar plot points, such as an early imprisonment of Alina and ambushes by the Darkling. By melding the two books together and eliminating some of these redundancies, the second season of the show is able to keep a propulsive pace until the end.
Many of the beats here are the same, except for the crucial "chapel scene": In the book, Alina pretends to join the Darkling before taking control of the power they share through their bond. She creates nichevo'ya creatures of her own and nearly kills herself and the Darkling in the process, but her allies help her escape before she can finish the job. The show contains a stand-off between Alina and the Darkling in the Spinning Wheel, but there's no such fight for power.
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