#Chris Fedak

[vintagewarhol]

[brightmalcolm]

So what's your theory on what JT's real name is? Insane we never got to know. True madness honestly

literally like fuck if martin lives or dies THIS is the real mystery....I hope it's like. jimothy tarmel

[coldasyou]

screaming at this

[sofiart22]

No one is just one person, you, for example, are both cain and abel

Prodigal Son s01ep07 (dir.dir. Chris Fedak and Sam Sklaver) // Mirror Traps (Hera Lindsay Bird)

[afaims100arrowversefavs]

My 250 Favorite Arrowverse Episodes: Part 10: 25-1

Taken from „Arrow“, „The Flash“, „Supergirl“, „Legends of Tomorrow“, „Constantine“, „Black Lightning“, „Batwoman“, „Stargirl“ and Season 1-3 of „Superman & Lois“:

In honor of Seaosn 4 of "Superman & Lois" being the end of the Arrrowverse, the end of DCTV like we knew it and the end of The CW like we knew it, a final time before the final season all Seasons ends of all the 250 best Arrowverse Episodes (according to me):

I did include "Stargirl" this time, since it has as much connection as "Superman & Lois" to the rest of the Arrowverse, but One Hit Shows like "Gotham Knights" and "Naomi" (anyone still remember this one?) are not on this list, neither are Arrowverse unrelated DC shows:

25. Haunted (Arrow 4x5)

The One in which: John Constantine gives Sara her soul back.

74, Written by: Brian Ford Sullivan, Oscar Balderrama, Directed by: John Badham

 24. Kapishon (Arrow 5x17)

The One in which: Adrian breaks Oliver.

109, Written By: Brian Ford Sullivan, Emilo Ortega Aldrich,Directed By: Kevin Tancharoen

23. WVRDR_Error_100 Not Found (Legends of Tomorrow 7x3)

The One in which: Gideon’s memory is corrupted.

100, Written by: Phil Klemmer, Matthew Maala, Directed by: Caity Lotz

22. The Bottle Episode (Supergirl 5x10)

The One in which: There are multiple Brainys.

97, Written by: Derek Simon, Directed by: Tawnia McKiernan

21. Welcome to Earth-2/Escape from Earth-2 (The Flash 2x13-14)

The Ones in which: Barry and Cisco go to Earth-2.

36-37, 36: Written By: Greg Berlanti, Andrew Kreisberg, Katherine Walczak, Directed By: Millicent Shelton, 37: Written By: Aaron Helbing, Todd Helbing, David Kob, Directed By: J. J. Makaro

20. Out of Time (The Flash 1x15)

The One in which: A tidal wave hits.

15, Written By: Aaron Helbing, Todd Helbing, Directed By: Thor Freudenthal

19. Bizarros in a Bizarro World (Superman & Lois 2x10)

The One in which: We see what the other half lives like.

25, Written by: Brent Fletcher, Todd Helbing, Directed by: Louis Milito

18.  Starling City (Arrow 8x1)

The One in which: Oliver is back in Starling City.

161, Written by: Beth Schwartz und Marc Guggenheim, Directed by: James Bamford

17. Flash VS Arrow (The Flash 1x8)

The One in which: Oliver comes to Central City just in time for Barry to break bad.

8, Written By: Ben Sokoloswki,m Brooke Eikmeier, Greg Berlanti, Andrew Kreisberg, Directed By: Glen Winter

 16. Worlds Finest (Supergirl 1x18)

The One in which: The Flash lands on Supergirl’s earth.

18, Written by: Greg Berlanti, Andrew Kreisberg, Michael Grassi, Directed by: Nick Gomez

15. Myriad/Better Angles (Supergirl 1x19-20)

The Ones in which: Maxwell, Cat and Kara team up.

19/20, Written By: Yahling Chang, Caitlin Parrish; Ali Adler, Andrew Kreisberg, Robert Rovner, Jessica Queller Directed By: Adam Kane; Larry Teng

14. Camelot 3000 (Legends of Tomorrow 2x12)

The One in which: Ray becomes a knight of the round table.

28, Written by: Anderson Mackenzie, Directed by: Antonio Negret

13. Meet the Legends (Legends of Tomorrow 5x1)

The One in which: There is a documentary about the Legends.

69, Written by: Grainne Godfree, James Eagan, Directed by: Kevin Mock

12. Invasion! (Arrow 5x8)

The One in which: Every dream comes true.

100, Written by: Greg Berlanti, Marc Guggenheim, Wendy Mericle, Directed by: James Bamford

11. Raiders of the Lost Art (Legends of Tomorrow 2x9)

The One in which: Phil is very confused.

25, Written by: Keto Shimizu, Chris Fedak, Directed by: Dermott Downs

10. Beebo the God of War (Legends of Tomorrow 3x9)

The One in which: The blue god is hungry.

42, Written by: Grainne Goodfree und James Eagan, Directed by: Kevin Mock

9. Elseworlds 1-3

The Ones in which: Oliver and Barry switch idenities and meet Batwoman.

Part 1: The Flash Episode 5.9/101, Written By: Eric Wallace und Sam Chalsen, Directed By: Kevin Tancharoen und Tom Cavanagh, Part 2: Arrow Episode 7.9/147,  Written by: Marc Guggenheim und Caroline Dries, Directed by: James Bamford, Part 3: Supergirl Episode 4.9/74, Written by: Mac Guggenheim, Derek Simon und Rob Rovner, Directed by: Jesse Warn

8. Legends of To-Meow-Meow (Legends of Tomorrow 4x8)

The One in which: John and Charlie break time. More than once.

59, Written by: James Eagan und Ray Utarnachitt, Directed by: Ben Bray

7. The Scientist/Three Ghosts (Arrow 2x8-9)

The Ones in which: Barry Allen comes to Starling City.

31/32 Written by: Greg Berlanti, Andrew Kreisberg, Geoff Johns, Ben Sokolowski, Directed by: Michael Schultz, John Behring

6. Resist/Nevertheless she Persisted (Supergirl 2.21-22)

The Ones in which: Cat returns just in time for an invasion.

41/42, Written by: Derek Simon, Jessica Queller, Andrew Kreisberg, Robert Rovner, Caitlin Parrish, Directed by: Milicent Shelton, Glen Winter

5. Reset (Arrow 8x6)

The One in which: Oliver has to watch Quentin die a lot.

166, Written by: Onalee Hunter Hughes und Maya Houston, Directed by: David Ramsey

4. Fast Enough (The Flash 1x23)

The One in which: Barry makes a decision.

23, Written By: Greg Berlanti, Andrew Kreisberg, Gabrielle Stanton, Directed By: Dermott Downs

3. The Faithful (Supergirl 3x4)

The One in which: Supergirl learns there is cult that sees her as a goodess.

46, Written By: Paula Yoo, Katie Rose Rogers, Directed by: Jesse Warn

2. Duet (The Flash 3x17)

The One in which: There is a Crossover Muscial.

63, Written By: Aaron Helbing, Todd Helbing, Greg Berlani, Andrew Kreisberg, Directed By: Dermott Daniels Downs

The One Where We're trapped on TV (Legends of Tomorrow 5x13)

The One in which: Charlie put the Legends in our TV.

81, Written by: Grainne Godfree, James Eagan, Directed by: Marc Guggenheim

[cookiecrumbconundrum]

i remember everything || god i wish i didn't

currently dealing with the end of year bringing up everything i have both gained and lost this year and found myself crying over relationships that were lost. next year will be new and better, but there is a part of me that wishes i could go back and grab hold of the "before", but i can't do that. i respect myself. i know my worth. and life goes on.

lily chatterjee | roberto ferri | miss missing you, fall out boy | prodigal son (s01ep14), chris fedak and sam sklaver) | i know the end, phoebe bridgers | the drawings, franz kafka | my tears ricochet, taylor swift | abandoned, jakub schikaneder | “a questionnaire for bernard chaet”, rosanna warren | call me by your name, luca guadagnino | richard silken

[chuckvsthemovie2-blog]

Inside Chuck Season 2: Behind the Action. Dude In Distress!

Inside Chuck Season 2: Behind the Action. Dude In Distress! With Yvonne Strahovski, Zachary Levi, Adam Baldwin, Merritt Yohnka and Chris Fedak.

Support My Channel by Watching and Liking 👍 this Video and Subscribing to my YouTube Channel ‎@chuckvsthemovie1614 

Please Sign the Petition for a Chuck Movie

[audreyh002]

Chris Fedak actually talks about this in an interview. When casting they had to find a male lead who would look dorky next to Sarah but was also handsome, dynamic, and could hold his own/be a series lead. They ended up with Zachary Levi, and it’s safe to say he’s all of those things.

I’m rewatching NBC Chuck and I have a hard time believing Sarah is wayyyy out of Chuck’s league.

I mean, Chuck is fit (yeah, the Nerd Herd shirt doesn’t fit him, but anytime he wears something else, he’s really handsome), and he is absolutely adorable. He’s kind, intelligent, charming, compassionate…

Chuck is a catch and you can’t convince me otherwise.

[fuckyeahprodigalson]

(SPOILERS)

TVLINE | Even though this episode ends with a cliffhanger, it felt — to me, at least — like it also worked as a series finale. As you wrote and produced it, were you planning the episode as a potential series ender? FEDAK | No. We were approaching it as, “What’s the most exciting way to end Season 2?” We also feel, like you do, that it is not a series finale that doesn’t work because we’ve been cancelled. It still does work… This isn’t like ALF being captured by the government before they were cancelled. It’s still a good and exciting story. SKLAVER | What COVID taught us is that you’re never sure what tomorrow is going to bring. When we knew Fox had ordered 13 episodes, we needed each one to feel like a finale. If we were only able to produce 11 episodes, then it would end with Martin in Vivian’s car, and that would be cool. If it could only be 12, then it would end with Martin and Bright on a sea boat, and that seemed like a pretty great finale. We kept pushing the bar and putting ourselves in these crazier and crazier situations. The finale really feels like we’ve earned everything that happens in that moment, but it’s pretty crazy to know, in 13 episodes, we were able to tell this story. We found it very satisfying. We have a whole Season 3 story locked and loaded, and we don’t want to stop telling this story. But we’re feeling good about how this ended on Fox. FEDAK | If you’re a network out there looking for a story, we have one. It’s ready to go. Sam and Chris will get on the phone. I feel like a rug salesman. “Come on down to Crazy Chris’s!” SKLAVER | I know. The fans are working so hard to get our show renewed. I feel like I need to do my part, as well.

TVLINE | To that end, what can you say about what was in store for Season 3? SKLAVER | Without sharing too much, it was going to be the best season of television ever produced. FEDAK | That’s true. That’s true. SKLAVER | [Laughs] No, we have a really fun Season 3 pitch. We don’t want to give too much of it away because we’re still hopeful of being able to tell that story. But Bright stabbing Martin at the end wasn’t going to make anyone’s life easier, and I think our show flourishes when all of our characters face adversity. Bright and Dani just kissed, but they’re not going to be able to get past this. Gil and Jessica are in a good place. There’s so many places that we could jump off from the ending of this season, and that’s what’s so exciting for us. FEDAK | And on a technical level, our plan was to include Michael Sheen in Season 3, so that gives you a little bit of insight into where we were going. He was definitely going to be a part of the show.

TVLINE | To what degree are conversations happening about bringing the show somewhere else? FEDAK | It’s not really Sam and I having those discussions. Those conversations are being had. I can’t speak to them, because it’s more of a studio thing. The one thing we’ll say is Warner Bros. has been an incredible advocate for the show. They’ve been great to us, and they’ve been very supportive, and they love the show. And Fox loves the show, too. The executives that bought the show and championed the show were all advocates and all gutted by the situation we’ve found ourselves in. So we’re hopeful, but it’s a studio thing now.

TVLINE | Assuming this episode does stand as the series finale, is there an interpretation of that final scene you want fans to have? Like, should we assume Martin dies in those woods? FEDAK | I like open-ended finales, but then again, I know there’s Chuck fans that still want to kill me. [Laughs] SKLAVER | Chris and I are both pleasers, as a personality trait. I would just like fans to be very happy with this finale. However they want Martin to be at the end — I know how I imagine Martin being in the end, but I don’t want to say something that makes someone less happy, you know what I mean? [Laughs] FEDAK | What a wimp. SKLAVER | No! I just want people to be happy when a son stabs his father in the gut. I hope that sparks joy for someone. [Laughs] I guess it is an open-ended finale, but I’m very happy with it, and I hope people are happy with it, as well.

TVLINE | So much of this finale centers on Martin’s capacity to change. Did either of you believe he truly could? Or did he simply want to believe he could change? SKLAVER | I’ll just say it: Even if Martin can change, he killed 23 people. And he can’t be in this world. That’s not up for debate. While the son in Bright wants to believe his father doesn’t have this darkness in him anymore, the profiler and the FBI agent knows, like Bright says, that Martin isn’t for this world. It’s not up to them to decide if Martin is allowed to be out. FEDAK | I totally disagree with Sam. [Laughs] I’d like to advocate for the serial killer in this version of the story. Can Martin change? I think the answer is kind of yes, maybe. But he is a psychopath. Michael [Sheen] had a very interesting take on this, even from the beginning of the show, which is that he can make the world what he wants it to be. It’s not like he feels tied to those 23 murders. He’s made a decision over time to say, “I’m not this person anymore.” But that doesn’t mean he can actually control it totally.

TVLINE | And a few scenes earlier, we see Martin come out of that cabin, having hurt The Woodsman, and he looks exhilarated by what he’s just done. Is that the moment when Bright realizes, “This is a lost cause”? SKLAVER | The scene before that is, in my opinion, one of the most interesting scenes we’ve ever done on our show, where Bright has to convince his father to hurt someone, when all Martin is telling us is that he doesn’t want to do that. It’s akin to forcing someone in recovery to take a drink. That scene is as consequential as what happens afterward. I’m not sure if Martin walks out of there exhilarated, in my mind, although he is in a place. He’s under a spell. But it’s a spell that, in some ways, Bright pushed him toward. There’s the reading you had, which is very valid, that this man will never change. But there’s also the reading of, “This man is in this space because I pushed him there,” and how that could affect Bright going forward is a very interesting story to me. FEDAK | You could look at that final confrontation, and Martin is so upset with his son, not only for calling the police but for getting him to hurt somebody. And you kind of understand why he’s mad! In a way, he’s been betrayed. SKLAVER | Bright wasn’t the best son. He was the best profiler. He found Jeannie Larkin and saved the girl. And that’s the problem with Bright: He’s always been a son and a profiler. And the need to save a life caused him to be a bad son, for sure.

TVLINE | Looking back on this season, was there anything else — a scene, a storyline — that you’d hoped to explore but didn’t get the chance? FEDAK | At the beginning of the season, we had a JT story that was part of our first episode, which touched upon the Black Lives Matter movement and racism inside the police force. What happened was, COVID affected the show, and whenever something would happen in regards to [production changes], we’d have to change the story, we’d have to make moves. There were parts of that story that we weren’t able to address in Season 2 that we’d hoped to get to. It was something that we had to address in a different way, with the hope that in Season 3, we’d be able to come back and give that more air and time to breathe. SKLAVER | The other thing is, toward the end of this season, we started to really love Martin out in the world — in the finale, but even in that beach house with Vivian. We’ve done a lot of episodes with Michael, and he’s always in Claremont or he’s in flashbacks. He’s always on our stage. Once we could put him out in the world — I think Michael felt it, too — it was just another version of Martin Whitly, and it’s a version that I loved. Take what you will from this, but it was something we were very interested in pushing further in Season 3, just getting Martin out of Claremont more and giving this complex character even more dimensions.

[brightly-returning]

Lou Diamond Philips Directs - Season 2

[brightmalcolm]

People pointing out that detective Shannon is the only canonically queer character 😭 also why this is included on the prodigal son TV tropes page

[coldasyou]

prodigal son brainrot on another level I'm reading california civil court documents bc the creators of the show are being sued for copyright infringement 😭😭😭

[sofiart22]

How do we forgive our Fathers?

Origin Story (Desireé Dallagiacomo) // Prodigal Son s01ep07 (dir. Chris Fedak and Sam Sklaver) // A Hymn to Childhood (Li-Young Lee)

[afaims100arrowversefavs]

My 250 Favorite Arrowverse Episodes: Part 2: 225-201

Taken from „Arrow“, „The Flash“, „Supergirl“, „Legends of Tomorrow“, „Constantine“, „Black Lightning“, „Batwoman“, „Stargirl“ and Season 1-3 of „Superman & Lois“:

In honor of Seaosn 4 of "Superman & Lois" being the end of the Arrrowverse, the end of DCTV like we knew it and the end of The CW like we knew it, a final time before the final season all Seasons ends of all the 250 best Arrowverse Episodes (according to me):

I did include "Stargirl" this time, since it has as much connection as "Superman & Lois" to the rest of the Arrowverse, but One Hit Shows like "Gotham Knights" and "Naomi" (anyone still remember this one?) are not on this list, neither are Arrowverse unrelated DC shows:

225. Tender is the Nate (Legends of Tomorrow 4x6)

The One in which: A Minotaur gets a lullybye.

57, Written by: Phil Klemmer, Matthew Maala, Directed by: Dean Choe

224. Through the Looking Glass (Batwoman 1x16)

The One in which: A family buries a body together.

16, Written by: Nancy Kiu, Directed by: Sudz Sutherland

223. Homecoming (Supergirl 2x14)

The One in which: Jeremiah is back and not everyone is thrilled about that.

34, Written by: Caitlin Parrish, Derek Simon, Directed by: Larry Teng

222. City of Blood (Arrow2 x21)

The One in which: Oliver wants to go all in, but Slade does it first.

44, Written by: Holly Harold, Directed by: Michael Schultz

221. Grodd Lives (The Flash 1x21)

The One in which: Eddie is tied up and Grodd makes himself known.

21, Written by: Grainne Godfree, Kai Yu Wu, Directed by: Dermott Downs

220. The Justice Society of America (Legends of Tomorrow 2x2)

The One in which: The Legends meet real heroes and are totally not jealous.

18, Written by: Chris Fedak, Sarah Nicole Jones, Directed by: Michael Grossman

219. What We Leave Behind (Arrow 5x9)

The One in which: Curtis gets beaten up and we return to Season 1.

101, Written by: Wendy Mercile, Beth Schwartz, Directed by: Antionio Negret

218. The Monsters (Stargirl 3x9)

The One in which: A heartattack stops a greater tragedy from happening.

40, Written by: Geoff Johns, Andi Armaganian

217. Haywire (Superman & Lois 1x4)

The One in which: Lois tries to bring down Morgan Edge while Jonathan’s world has shifted.

4, Written by: Michael Narducci, Directed by: James Bamford

216. Dancing Queen (Legends of Tomorrow 4x3)

The One in which: Ray goes undercover in a punk band.

54, Written by: James Eagan, Morgan Faust, Directed by: Kristin Windell

215. The Martian Chronicles (Supergirl 2x11)

The One in which: There is shapeshifter in the DEO.

31, Written by: Gabrial Llanas, Anna Musky-Goldwyn, Directed by: David McWhirter

214. Seeing Red (Arrow 2x20)

The One in which: Slade stabs.

43, Written by: Wendy Mercile, Directed by: Doug Aaroniokoski

213. Rogue Air (The Flash 1x22)

The One in which: Barry asks Captain Cold for help and the Amell Cousins are in a scene together.

22, Written by: Todd and Aaron Helbing, Directed by: Doug Aarniokoski

212. Out of Time (Legends of Tomorrow 2x1)

The One in which: The Legends are time scattered.

17, Written by: Greg Berlanti, Chris Fedak, Phil Klemmer, Marc Guggenheim, Directed by: Dermott Downs

211. Call to Action (Supergirl 4x6)

The One in which: The Children of Liberty screw up Friendsgiving.

71, Written by: Gabriel Llanas, Daniel Beaty, Directed by: Antionio Negret

210. The Darkest Place (Supergirl 2x7)

The One in which:Cybory Superman turns up and Kara is in jail.

27, Written by: Robert Rovner, Paula Yoo, Directed by: Glen Winter

209. Birds of Prey (Arrow 2x17)

The One in which: Helena is back and Canary tries to handle her.

40, Written by: Mark Bemesderfer, A. C. Bradley, Directed by: John Behring

208. Crazy for you (The Flash 1x12)

The One in which: Barry and Caitlin do Karaoke and Shawna does jai breaking.

12, Written by: Todd and Aaron Helbing, Directed by: Rob Hardy

207. Abnominations (Legends of Tomorrow 2x4)

The One in which: Martin is afraid of Zombies.

20, Written by: Marc Guggenheim, Ray Utarnachitt, Directed by: Michael Allowitz

206. White Knights (Legends of Tomorrow 1x4)

The One in which: Leonard’s flirting saves the day and Sara makes a new friend.

4, Written by: Sarah Nicole Jones, Phil Klemmer, Directed by: Antionio Negret

205. The Sound and the Fury (The Flash 1x11)

The One in which: Hartley does revenge.

11, Written by: Alison Shapker, Brooke Eikmeier, Directed by: John Showalter

204. The Chicago Way (Legends of Tomorrow 2x8)

The One in which: Eliot Ness get imporsonated and Mick hallucinates.

24, Written by: Sarah Nicole Jones, Ray Utarnachitt, Directed by: Ralph Hemecker

203. City of Heroes (Arrow 2x1)

The One in which: Oliver returns home and everything is different.

24, Written by: Greg Berlanti, Marc Guggenheim, Andrew Kreisberg, Directed by: John Behring

202. Angels and Ministers of Grace (Constantine 1x12)

The One in which: Manny and Zed become friends.

12, Written by: Christine Boylan, Directed by: Sam Hill

201. Kara (Supergirl 6x20)

The One in which: There is a wedding, a lot of fighting and an interview.

126, Written by: Jessica Queller, Robert Rovner, Rob Wright, Derek Simon, Directed by: Jesse Warn

[butterflykisses86]

Some brightwell quotes from todays TCA panel:

1. “It wasn’t first to romance, it was first to friendship.”- Sam Sklaver, speaking on the Dani and Bright relationship.

2. #ChrisFedak talks about going into Bright’s subconscious in ep 6 & that there’s something their percolating, thinking about Dani & a relationship even if he doesn’t realize it.

3. @AuroraPerrineau says its fun to play someone who is learning about someone in an organic way (about the dream sequences)

4. How do you keep those two apart? They’re just so much fun onscreen,” Sklaver says of Dani/Malcolm. Fedak says they’re interested in exploring it.

“It’s been first to friendship…Bright is a weird guy to be friends with,” Sklaver adds.

“It’s been a really cool transition…as time progresses, you learn more about them and more about their characteristics,” Perrineau says.