So people always ask me if I read what’s written about the show and the answer is a) of course and b) anyone who says they don’t is a liar and c) even the bad stuff but also d) not all of it and e) especially if it goes on and on and definitely not f) if it includes sample scenes and dialogue designed to show me where I’ve gone wrong.

Which is my way of saying that yes, I hear you. Mostly.

And what I hear is y’all sounding a little stressed. Stressed about the ratings, stressed about the marketing, stressed about the creative direction of the show, stressed that I lost Summer Glau’s phone number and forgot to invite her to the set for the back nine. I’m not sure I can put all your worries at rest but if I am this show’s horse then I’ll at least open my mouth:

THE RATINGS (aka things I know very little about)

FOX moves us to Friday night. For two months everyone predicts our ratings will go down. And they have. Too far down? Just the right amount of down? How down is down? Honestly guys, I don’t have a clue. Our second week was essentially the same as our first. Is flat the new up or the new down? Who knows? McCain was up before he was down and Obama down before he was up. We haven’t seen a DVR number yet and even then I couldn’t tell you how they’ll factor in the decision to keep us around. Almost every show is down and a 1.3 may be last year’s 2.0. Only the ratings gods know for sure.

Here’s how I get through the uncertainty: every day early in the morning I drive my car to the Warner Bros lot. I approach the security guard and hold out my employee ID. He runs the scanner over it. If I hear the beep and the gate opens I say to myself: “So far so good” and go to my office. I will continue to do this until the gate does not open and I suggest you do the same. The show is on until it is off and while that could be next week, next season, or years from now, try to enjoy it while you can (assuming you enjoy it).

MARKETING/ADVERTISING (aka things I have no control over)

Please understand this: I do not control how the show is marketed and advertised. If you liked the Grindhouse ad, thought it was tongue-in-cheek, I’m glad for you. If you felt it was inappropriate for the show, misrepresented it or made false promises, I also feel your pain. This is not an easy show to advertise— I’m a fascist when it comes to revealing spoilers and while I’ve loosened up over the season I still submit a “Do Not Reveal” list a page long for every episode. Sometimes they reveal, sometimes they don’t. I’m happy when they try something different even if it’s not what I would do.

CREATIVE DIRECTION (aka my shit)

Monday is the last day of production for Season 2. It is our tenth day of shooting for the finale— ten being two days longer than we usually have on our episodes (Samson and Delilah was ten if I remember correctly…). Tomorrow we will be attempting the most complicated, dangerous and largest stunt/effects sequence in the 31 episodes of this show. I have been thinking about the sequence since September and we have been planning it since before Christmas. I have no idea if it will work. Which is to say two things: first, despite your many suggestions for the show, that horse has left the barn; and second, we’re blowing up the frakking barn.

A note about the recent/current episodes: some months ago I determined to steer the show towards its title, towards Sarah Connor. I wanted to explore not simply the idea of chasing Skynet and all that that entails, but also the psychological effects of doing so. It wasn’t enough to just hunt/fight/protect; I wanted to see what was going on inside her head, especially when those around her doubted her. Now some of you find that interesting, some of you don’t, some of you probably would but don’t think I’ve done a good job depicting it. And most of you are just pissed there’s not enough Cameron.

Is it difficult starting up with dark, psychological episodes after being gone for two months? Seems that’s the case. People are worked up about the Friday night thing and the ratings and I probably underestimated that microscope in my desire to explore Sarah and her demons. To be completely honest, the network warned me not to do it but I felt (and still feel) these stories (and I consider the upcoming Some Must Sleep… as the third part of the Sarah triptych) were/are vital parts of the show. But that’s coming from the guy who believes that if you enjoy watching Weaver slaughter thirty people in one episode you’re obligated to go to their funeral in the next.

All that said…

I get the sense that you want answers. You’ve got enough plant, you’re looking for payoff. I get that. And so will you.

So here are my campaign promises. And because I’ve already shot the episodes, I know they’re promises I’ll be keeping… by the end of the season you will see/know:

–the resolution of the Riley story
–the resolution of the Jesse story
–a future story about Jesse’s Terminator–piloted nuclear submarine explaining how Jesse got to be how she got to be and how it relates to John Connor’s present and future
–the return of Cameron’s glitch in new and deadly ways
–much more Jameron (for those of you who like it)
–not too much Jameron (for those of you who don’t)
–an explanation of the three-dots
–Catherine Weaver’s backstory/origin story
–Savannah in mortal danger
–the revelation of Catherine Weaver’s exact mission
–a fight between Catherine Weaver and another Terminator
–a faceoff between Sarah Connor and Catherine Weaver
–a deadly attack on the Connors by agents of Skynet
–the death of a loved one
–the death of a loved one
–the death of a loved one

And some big things I won’t reveal. Hate spoilers.

Thanks for reading, thanks for watching, thanks for caring, thanks for hating.

Discuss.

Josh Friedman