Bones Season 7 Spoilers: Brennan & Booth Really Having a Baby

Bones Finale Post Mortem: ‘It Was Not a Dream’

[Warning: If you have yet to watch Thursday’s season finale of Bones, run — don’t walk — to the nearest emergency exit. Everyone else, onward and downward….]

Tonight’s Bones season finale solved two major mysteries that had been looming over the series in recent weeks: Yes, Booth (David Boreanaz) and Brennan (Emily Deschanel) did engage in comfort sex in last week’s episode. And yes, Deschanel’s real-life pregnancy will be incorporated into the show.

Plus, viewers got an answer to the biggest cliffhanger hanging over the entire series: After six years of will-they or won’t-they foreplay, Booth and Brennan are heading into next season as both a full-fledged couple and expectant parents. Put in TV business terms, the show’s producers not only blew off that pesky (and outdated) Moonlighting curse, but they kicked it in the groin. And we kind of love them for it.

That’s not to say, however, that we don’t still have questions. Because we do. Luckily, exec producer Stephen Nathan agreed to jump on the phone this evening for a quick post mortem and a preview of what’s to come.

TVLINE | First, please assure me that this isn’t going to be some kind of bait and switch. Brennan is really carrying Booth’s child, right?
It was not a dream. There is no alternate reality. What you see is what you get. They are having a baby. She is pregnant with his child. She [slept with] him in the previous episode and this was the outcome.

TVLINE | What impact did Emily’s pregnancy have on this story? Would you have gone this route regardless?
Emily being pregnant certainly figured into it to a certain extent. But [series creator] Hart [Hanson] and I were leaning toward this independently of that. The biggest problem we faced going into Season 7 was how to get these two people together while keeping the integrity of Brennan and Booth’s characters in tact. By going this route, we didn’t have to have them go through the traditional love-dovey stage where everything was wonderful and they understood each other and they got past their differences. That’s never going to be the case. They now are together but are essentially the same exact characters. They’re going to disagree on everything they disagreed about before, including how to approach their lives together, religion, family and now how to approach having a child. So we lose nothing but gain a huge amount with the reality that they are now together sharing the biggest thing in their lives.

TVLINE | So this isn’t just two co-workers having a baby together after a one-night stand. This is a full-fledged couple starting a family?
They are as much of a full-fledged couple as two unique and difficult people can be. Brennan is not a fan of marriage. Booth is somebody who’s always wanted to get married. These issues still remain. The tension that has existed in their relationship up to this point will continue. They’re now sharing something and they’re committed to each other in a way they always wanted and there’s no way to avoid that. They have to deal with the reality that they’ve gotten what they secretly wished for.

TVLINE | Will they move in together?
That will be addressed in Season 7. When we open in Season 7, it’s not Ozzie and Harriet. It’s not a perfect little domestic family situation. They haven’t figured out where they’re living, how they’re living and what their future is. They just know that they’re together.

TVLINE | How much time will have passed?
That’s something we’re still deciding. We will probably pick up a couple of months down the line.

TVLINE | This is a very unconventional path to take. I mean, these two haven’t been on a real date together and now they’re having a baby.
The reality is, Booth has been with Brennan more than he ever was with [a real girlfriend like] Hannah. Which is always the case when people work together in a high-pressure job. [By making Brennan pregnant] we avoid all of the [trappings] that people commonly associate with the Moonlighting curse, which is, “Oh, now they have to date,” or “Oh, now they have to hug each other and kiss and share desserts.” They never have to share dessert. [Laughs]

TVLINE | When you and Hart concocted this story, did you go to Emily and tell her that if she’s ever thinking of having a baby with husband David Hornsby now would be the time?
[Laughs] Not really. Because we still have the [prosthetic baby bump] that we used on Angela. We already bought that. We could easily re-use it.

TVLINE | How did Emily and David react when you told them this was the direction you were going in?
They were very, very happy. It allowed them to take a big step forward as actors with their characters. And it allows us to keep them precisely who they’ve been for the past six years, and yet move them forward without getting into the stuff where you kind of go, “Eww, now they like each other; there’s no point in watching the show.” Nobody really wants that happy domesticity. And I can’t foresee that ever happening with the two of them. Their feelings for each other are clear. Everybody’s known it for years, even though Booth and Brennan haven’t always copped to it.

TVLINE | Any concern about embarking on another season-long baby story on the heels of the Angela-Hodgins pregnancy plot?
We did have thoughts about that. But then we realized it can be an advantage, because this is really what happens to most people. Friends have a baby, and then they have a baby, and then you hear from the friends about how they raised the baby, then you want to kill those friends because now they’re know-it-alls. So the idea of them sharing the experience of having a baby could actually help the show, because they are not going to raise their children in the same way. And then we’ll also have other characters weighing in on it. We have Max around, who we think would probably be a very good nanny. [Laughs]

TVLINE | You pointed out that Brennan isn’t the marrying kind. Are you ruling out a Booth and Brennan wedding?
No. Not at all. That will be addressed and not resolved in the season premiere.

TVLINE | Did Fox freak out about this storyline?
As a matter of fact, no. They were fabulous. They were great. Everybody realized the [challenge] of getting them together. And we had to do it in a way that hadn’t been done before. And I do want to say that Bones is still going to be Bones. There are still going to be dead bodies and revolting remains. And [Booth and Brennan] are still going to be solving crimes. It’s not going to turn into a soap. They’re [personal] lives will be ongoing and we will focus on that, but we’re still a crime-odey.

Supernatual Season 6 Finale Spoilers: “Let it Bleed” — Character Deaths

Supernatural Boss on Finale: “Characters That People Like Will Be Killed”

Jared Padalecki

Supernatural‘s war in Heaven is upon us as the series airs its two-part finale on Friday (8/7c on The CW), and showrunner Sera Gamble promises some deaths, Sam’s long-awaited breakdown and “a lot of Castiel” in both episodes.

Gamble wrote the night’s first episode, “Let It Bleed,” which introduces a new player — at least historically — into the series. Apparently, the late, real-life horror writer H.P. Lovecraft is somehow mixed up in the Winchesters’ battle to keep Purgatory at bay. Anyone familiar with his Chthulu mythos will recognize that his terrifying creations fit right in with the Supernatural world.

Supernatural: Castiel bends time and truth

In the second episode, “The Man Who Knew Too Much,” we see the culmination of what’s going on with Castiel and his season-long quest to oppose Raphael.

Check out what Gamble has to say about Season 6’s finale event:

What can you tease about the episode you wrote, “Let It Bleed”?
Sera Gamble: One of the big arcs we played this season for Dean, when we had first seen Dean (Jensen Ackles) this season, he had been retired for an entire year and was living with Lisa and Ben. He left them to resume hunting and be with Sam. While we’re glad he did that because we want to watch him on the show and this in many ways is clearly the right choice for everyone, I think there’s a part that he left behind with them. More to the point, just having been in their lives put them in danger. He has had this fear that something bad might happen to them. In Episode 21, basically long-story-short, that comes to pass. They are unexpectedly taken and he has to deal with that. He has to deal with the repercussions of having been in their lives. It’s basically Dean’s worst nightmare.

How does this part pair with the second half of the finale, “The Man Who Knew Too Much”?
Gamble: We have so many mythologies going on that when we heard that we were going to air Episode 21 and 22 on the same night, we talked about breaking it as one huge, two-hour episode with a short cliff-hanger in the middle, but what ended up happening was two distinct episodes. Episode 21 deals with a lot of Dean stuff, and Episode 22 deals with a lot of Sam (Jared Padalecki) stuff. That’s just the way it worked out. Both guys are very active in both episodes. There’s a lot of Dean in Episode 22 and there’s a lot of Sam in Episode 21. And there’s a lot of Bobby (Jim Beaver), a lot of Castiel (Mischa Collins) in both. But it kind of ended up being Dean-heavy in 21 and Sam-heavy in 22.

What is the Sam-heavy episode going to deal with?
Gamble: This season we structured it with a lot of mysteries and twists and turns, it’s kind of like this noir-style thing, so there’s like a couple of big bombshells. Here’s something definite I can say about Episode 22 that’s probably helpful. When Sam got his soul back, Death put this wall up in his mind. Behind the wall are all of his memories of hell, which are incredibly dangerous to him. We know that that wall could crack, and we know that that wall could break. We’ve been kind of threatening this all season. So Episode 22 deals with that, his amnesia, the wall breaking. We promised it all season.

What can we expect from Castiel now that he’s on his own without the Winchesters?
Gamble: The war in heaven becomes a more urgent, heavy thing for Castiel. That will come to the fore at the end of the season. You’ll see Castiel and Raphael face off as well. We have a lot to juggle.

TV Guide Magazine exclusive video: Behind the scenes with the Supernatural stars

In an interview, director Robert Singer had hinted that “everyone is not what they appear.” What kind of surprises can we expect along those lines?
Gamble: I think hopefully if we’ve done our job right, there will be a couple of gasps in the last few episodes. Not everyone is who they appear to be on the surface. But it’s not like anyone’s going to rip their face off and be somebody else underneath though. We’re really not that show. In certain ways we’ve always told those kinds of stories. We always have a thread of darkness and Sam and Dean worrying who they can trust. Their world has always been shaky in that way. We’ve derived a lot of interesting and kind of fun stories in a dark way because of that.

It wouldn’t be a Supernatural finale without some casualties …
Gamble: We definitely kill people. Characters will be killed and transformed. It’s safe to say that characters that people like will be killed. I find that usually when we kill somebody there’s a certain amount of blowback because they’re always characters that people likes. I usually don’t get thank-you notes for the people that we kill. But we have that small group of characters that we go back to because they’re precious. The reason we go back to them again and again and again is because they were cool.

Is there a possibility of seeing John Winchester (Jeffrey Dean Morgan) in these last episodes?
Gamble: You won’t see John Winchester in Season 6, I’m sorry;. There’s always a chance we’ll bring him back at some point in show. It’s a combination of the right story and Jeffrey Dean being available at that time because he’s a busy and popular actor, which we’re super-happy about for him.

Who do you think will die in the finale?

The Mentalist Season 4 Spoilers: Patrick Jane on Trial

Spoiler Alert: Simon Baker Talks About The Mentalist‘s Shocking Season Finale

Simon Baker, The Mentalist

Did CBS cancel The Mentalist and forget to tell us? The smash-hit crime drama just wrapped its third season with Patrick Jane (Simon Baker) shooting and killing serial slayer Red John (Bradley Whitford) in the crowded food court of a shopping mall. But wasn’t Jane’s vengeful pursuit of Red John his raison d’être and the very point of this series? How could the plot wrap up so soon? Then again, did Jane kill the real Red John? Whether he did or he didn’t, he’s in deep doo-doo. “Patrick has just murdered a man in cold blood in front of hundreds of people and next season he will be tried in court,” creator Bruno Heller tells us. “We won’t dodge any issues. Patrick won’t wake up and discover it was all a dream. There will be consequences.” TV Guide Magazine spoke with Baker to get his take on the daring cliffhanger and where his show is headed from here. Will that impish little devil Patrick Jane ever be able to charm us again?

TV Guide Magazine: Those who follow The Mentalist might well be shocked by what Jane has done, but they can’t claim to be surprised, right?
Exactly! My character has always said, very coldly and matter-of-factly, that he would kill Red John if he ever got the chance. That was always his modus. And he’s told that to Agent Lisbon [Robin Tunney] many times. Of course there will be repercussions, but Patrick clearly doesn’t give a damn about that.

TV Guide Magazine: How will this murder change him? Is this closure? Can he get on with his life now, even if that life is spent in prison?
I think he feels great about finally getting revenge. But you never know. This could be the false bottom to the suitcase. Maybe this isn’t the bottom.

TV Guide Magazine: Meaning what? That Jane killed the wrong man? He certainly thought he had the right guy once Red John described how Jane’s wife and daughter smelled at the time of their murders — the exact soaps and shampoos they used. But, theoretically, the real Red John could have passed that information to Bradley Whitford’s character, no?
There’s a lot to play around with. I think it was a brilliant choice to have the murder happen in such a public place. Bang! Bang! Bang! Then Jane’s totally calm. People are running around in a panic. Jane just sits down and has his cup of tea. It’s done. He’s finally done what he needed to do. After this season, you’re going to have the lead character on a network TV series being a cold-blooded, vengeance-killing murderer. That’s heavy.

TV Guide Magazine: He certainly can’t claim to have killed in self defense.
And how do you get around that? There are too many witnesses who saw him go after Red John. I had some issues with the way the killing was originally written, which had Red John getting up and walking away and my character shooting him in the back three times. That wouldn’t have been fulfilling enough for Jane. The whole idea of vengeance is the fulfillment factor! Patrick had already said in a really powerful scene in Season 1, “When I find him I’m going to cut him open and watch him die.” A big part of the show — and the fan speculation — has always been whether or not Patrick really has what it takes to carry out that threat. Does he actually have it in him? So we played around with the scene. My idea was that Red John talks about how the wife and child smelled and it just cripples Jane. You see him go from this guy who’s this close to having his vengeance, having his closure, and he just crumbles into a bit of a paralyzed mess. Then Red John walks away. Jane says, “Please, wait.” Almost like he needs to hear more detail. I’ve always played the murders as still being so raw, so present, despite Jane’s bravado. I like the perverseness of him needing to hear more, as macabre as it is. So Jane goes up to him and looks like he’s shattered, then when he gets this close to Red John, the need for cold revenge kicks in. And he’s thinking, “Not only am I going to kill you, I am going to mind f–k you at the same time.” I wanted the audience to still think in that moment that, despite all Jane’s talk, he just can’t kill Red John. But then he does! It’s very operatic. Bruno loved the idea.

TV Guide Magazine: You two seem to have a remarkably close, almost symbiotic relationship. A lot of exec producers in town would freak if an actor wanted this level of creative involvement.
Believe me, I know! [Laughs] I get such profound satisfaction working with Bruno, because he understands me and I understand him. It’s really pure luck we found each other. It’s very rare. I can be a real pain in the ass with the wrong types of people. The last thing I want to do is come to work each day and not be challenged. What’s the fun in taking it easy? Let’s push it! I’m very happy that Bruno and I have been able to juggle the procedural and the serialized aspects of the show without swinging too much either way. Bruno appreciates the genesis of the Patrick Jane character, what drives him, and that he comes from a very tragic place. And you can’t fluff it off. You have to honor that. That hasn’t been easy because sometimes there’s been a lot of pressure from CBS to avoid the dark stuff, because the lighter stuff is so much easier to swallow. But without the dark, the light isn’t as enjoyable. The light can’t exist without the dark.

TV Guide Magazine: William Blake!
Exactly! One hundred percent.

TV Guide Magazine: Word is, CBS has been a bit uneasy with this finale.
There have been so many little arm wrestles to get this stuff through, but in the end I think we have the confidence and the support of the studio and the network. With Bruno and me there has been a lot of, “We can do this! We can get away with this!” Because this isn’t cable where you can do what you please. In network TV, you have to present the box before you can step outside it. CBS has always wanted the fun procedural stuff, and that remains a big element of The Mentalist. But this show has a lot of different personalities. I think there’s a sense with the network that if it ain’t broke, don’t fix it. And I understand that because you can make some really bad mistakes that way. But we have to keep this show moving. I don’t ever want to mess up the experience for the audience. I want them to enjoy the show as much as they do, from the first episode to the very last. I don’t want to screw up that relationship at all. But at the same time, living and breathing this show every day, I have to challenge Bruno and he has to challenge me. In a way it’s so much easier to be subversive in cable: “Oh, look at us! We’re wacky! We’re daring! We say ‘f—k; a lot!” When you’re on a network, you have to slide the subversive in the back door. And you don’t have to be depressing in order to have gravity. A few episodes back we had Jane help the coroner kill himself. The guy had a terminal disease and the viewers were really touched and involved in that story. But it was all so subtle, I’m not sure they really realized what Patrick had done. And now we’ve moved on to total cold-blood vengeance. [Laughs] I know how this is going to play out. Trust me, this is a great setup for next season!

Grey’s Anatomy Season 8 Spoilers: Healing the Relationships

Grey’s Anatomy Postmortem: What’s Next for the Seattle Grace Docs?

Ellen Pompeo

[Warning: This story includes major spoilers from the season finale of Grey’s Anatomy]

Oh, Meredith Grey, you have really screwed up this time.

In the season finale of Grey’s Anatomy, Meredith’s (Ellen Pompeo) decision to tamper with the Alzheimer’s clinical trial was put front and center, as her actions fractured her marriage with Derek (Patrick Dempsey). As Derek sought refuge at the unfinished McMansion, Meredith was left alone to care for newly adopted baby Zola. Fortunately, this may open the door for more dark and twisty Meredith!

What did you think of the season finale? Read our recap and sound off

“It will give her and Derek some interesting stuff to play [next season],” Sarah Drew tells “They’ve been so happy for the last few seasons and there hasn’t been much drama between the two of them, and now this is a massive thing that’s come between them.”

Meredith will also have to deal with the fallout between her and Alex (Justin Chambers), who had revealed her misdeed to Owen (Kevin McKidd) in hopes it would pull her out of the running for Chief Resident. Unfortunately for Alex, he could not have foreseen that this would cause irrevocable damage to both their careers, as Owen elected April the Chief Resident in Alex’s place, and Meredith was suspended from the hospital.

“That’s going to be something the whole hospital will feel,” Drew continues. “There will be tension between the two of them, and the happy home of residents that Meredith created in her house is now kind of split and crumbling apart — and there’s going to be a baby crying in the background!”

Grey’s Anatomy‘s season finale: Meredith’s misdeed tears Seattle Grace apart

Meredith and Derek weren’t the only couple to reach an impasse. After Cristina (Sandra Oh) discovered she was pregnant, she decided to cut Owen out of the decision making and scheduled an abortion, prompting Owen to kick her out of the house. “I think there’s going to be a lot of movement towards healing and reparation,” Drew says of next season, “People really hurting each other and trying to get past it.”

As for the new hierarchy with April in charge, it’s one thing to be Chief Resident on paper and another to put the title into action. “I think she’s going to be amazing at creating protocols that work incredibly efficiently,” Drew says. “However, part of being Chief Resident is demanding respect so that people actually do what you say and follow the protocols you set in motion. The biggest thing for her is to really gain the respect of her peers.”

What do you hope to see next season?

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