A year ago, Amazon MGM Studios announced yet another video game adaptation: Mass Effect. The popular games series follows a soldier in the 22nd century who battles aliens and machines; the game lends itself to articles like Polygon‘s “To all the Krogans I’ve killed before.” It is one of those alarming games where your choices determine the story. As an anxious person, I have not played it, but I am quite intrigued that some very brilliantwriters have penned novels set in its universe.
A few months ago, Amazon MGM Studios announced the adaptation would have as showrunner Doug Jung, known for writing Star Trek Beyond and The Cloverfield Paradox; he joined previously announced writer Daniel Casey, one of the people responsible for sending Dominic Toretto’s friends to space in F9: The Fast Saga.
But nothing has been said about the series’ plot, timeframe, story, or … any details, really. Today, for N7 Day (a fan celebration named for protagonist Commander Shepard’s military rank), Mass Effect executive producer Mike Gamble announced a key detail on the BioWare blog:
The writers room is going strong, and we’ve got a lot figured out about how it fits within the Mass Effect canon, and where it sits in respect to the new game. The show will explore a brand-new story within the universe’s timeline, and will be set after the original trilogy. It won’t be a retread of Commander Shepard’s story – because after all … that’s YOUR story, isn’t it?
This is a smart choice for an adaptation of a game series that relies on player choices; there’s no way to retell the games’ story without rejecting some of those choices. But stretching off into the future (as they did for the fourth game, Mass Effect: Andromeda) allows the writers and showrunner to work in the same sandbox without stepping on too many toes. (Some toes always get stepped on where adaptations are concerned.)
According to IGN, “Back in August, Amazon was spotted as having listed a Q4 2026 production date for the series—meaning that it is still a year away from shooting.” So it’ll likely be a minute before many more details are revealed.[end-mark]
Batterier i smartphones är på väg att nå en ny milstolpe genom en femsiffrig kapacitet, närmare bestämt 10 000 mAh: dubbelt så många milliamperetimmar som Galaxy S25 Ultra. Att dylika monsterbatterier är på gång och förväntas landa i början av 2026 var känt sedan tidigare.
Nu har en certifiering indikerat att Honor Power 2 kommer bli en av de första mobilerna med 10 000 mAh. En normalstor mainstream-mobil har aldrig erbjudit så mycket energi tidigare. Trots den enorma kapaciteten förväntas telefonen vara 8 millimeter tunn.
In an interview with Screen Rant, Star Trek: Strange New Worlds co-showrunner Akiva Goldsman said that the series’ final two seasons will focus a bit more on wrapping up the show and less on the kind of one-off concept episodes that have gradually become a bigger part of the story.
“We’re making season 5 now, we’re trending towards that, which is probably the center line of Star Trek, right?” Goldsman said. “We’re trending now, and beginning with season 4 and through season 5, to a much more singular sci-fi, action-adventure, emotional storytelling. And you know, the outliers are getting less and less, as we kind of focus on saying goodbye to each other and the fans.”
As we have previously discussed, Strange New Worlds’ third season offered significantly more one-off concept episodes to… mixed results. While some (many, one could argue) of those episodes were quite good in their own right, they began to eat into the show’s meager ten-episode seasons. Character arcs and longer plotlines were often shelved during those episodes, which contributed to the previous season’s generally disjointed nature.
Yet, you shouldn’t expect Strange New Worlds‘ final seasons to completely abandon such episodes or the creative spirit behind them. We already know that we’re due for a “puppet” episode of the series, and co-showrunner Henry Alonso Myers explains that the crew want to keep the spirit of those one-off adventures alive throughout the series.
“The thing I will say about season 4 is, it’s in line with what we have done with the previous seasons, in the sense that we look at this like, ‘this could be our last season.’ So we treat it that way,” said Myers. “What’s something that we want to try to do, that [we] have never done before? What is something we want to try to do a version of, that [past shows] have done before, but never in this way. So that’s what we do in season 4.”
The comment about treating the upcoming season like the show’s last season is particularly interesting given that it seemed like there really wasn’t a guarantee that the show would get its final (abbreviated) fifth season. Yet, as Myers says, the showrunners have spiritually been treating the series like it could go away at any moment. That would help explain the “go for broke” nature of the show getting so many ideas out there in such a short period of time.
Star Trek: Strange New Worlds Season 4 is expected to premiere sometime in 2026. [end-mark]
Antingen har Galaxy Watch-ägare automagiskt börjat sova bättre eller så har Samsung ändrat hur klockorna beräknar sömnpoäng. Enligt Reddit-inlägg har flera personer som sover med en Galaxy Watch på handleden plötsligt fått mycket högre resultat.
Samsung analyserar användarens sömn och delar ut en poäng som representerar kvaliteten. I tråden rapporterar flera att de fått betydligt högre siffror än tidigare, närmare 100 poäng natt efter natt. Klockorna hävdar att användarna sovit så bra som de aldrig gjort tidigare.
Om skillnaden inte beror på en ändring av algoritmen kan det handla om en bugg. Är det några som upplever att Galaxy Watch har delat ut högre sömnpoäng senaste tiden?
Regeringens utredare rekommenderar att det ska bli straffart att se illegal ip-tv. Ett eventuellt förbud gör att hundratusentals svenska tittare riskerar att bötfällas. Enligt Mediavision prenumererade 580 000 svenska hushåll på en illegal ip-tv-tjänst förra året.
För hela Norden är siffran 1,3 miljoner hushåll. All ip-tv är inte olovlig. Vad som gör ip-tv illegal är när filmer, serier, sport och annat innehåll sänds utan tillstånd. Många utnyttjar illegal ip-tv till att få billig tillgång till dyrt sportutbud.
The general feeling toward Strange New Worlds’ third season has certainly been more tepid than the previous two. And while everyone rushes to give their opinion as to why, there’s a common theme developing that concerns me. Namely, a lot of blame is being placed on the more comedic episodes of this season, to the extent that it’s possible the series showrunners felt need to provide some reassurance. An interview over at Cinemablend has co-showrunner Henry Alonso Myers promising the season four will be the show’s “best work,” but also that—
“I think that we’re probably a little more serious in four[…]”
Mr. Myers, say it ain’t so.
In fairness, the majority of the interview reasserts that “genre-hopping” will still occur, and that the showrunners themselves thought any unevenness in the current season could be attributed to the various Hollywood strikes occurring while they were attempting to get season three made. But that interests me far less than how quick viewers were to jump on comedy being the culprit in Strange New Worlds’ series woes.
We’ve come back to this old fight, I see.
It’s no secret that plenty of fans don’t like it when Star Trek gets “goofy.” In many minds, a science fiction series that takes itself seriously has no business engaging in shenanigans (or hijinks, as T’Pring would have it) of any kind. When Trek goes off the rails or jumps that shark, their socialist utopian future is giving up a little of its hard-won pedigree, as it were.
I’m no big fan of pedigree in general, but I would like to point out that this take is flagrantly subjective and equally “goofy.” Many of Trek’s most famous and beloved episodes are among its silliest, and it’s not reasonable to expect a series that used to run 22-plus episode seasons to have morality plays and deep thoughts aplenty every single episode. Pretending that comedy brings Star Trek down is akin to claiming that a key spice is ruining the flavor of a dish; you may not like the amount of said spice, the flavor balance overall, but you cannot make the soup without it.
Image: Paramount
Volume would seem to be part of the complaint on many-a-viewer’s lips—the Cinemablend piece linked above specifically notes that season three contains three lighter-leaning episodes, making up nearly a third of the season’s ten-episode run. Too many, it would seem. But I’ll cry foul on this one: To start, that was the same number as last season (“Charades,” “Those Old Scientists,” and “Subspace Rhapsody”). So if you enjoyed season two, you’re misplacing your ire.
But when we get into successful Star Trek seasons in general, “more than a quarter, less than a third” is a good rule on lighter episodes. For example, take the Original Series itself, and its highly successful second season. Of a 26-episode run, I count at least seven comedic/lighter stories (sorry, “Catspaw” counts, it’s a flipping Halloween episode). That’s 26.9%, or 27% rounded up. Only a few points shy of Strange New Worlds’ 30%, notably. And, perhaps even more relevant, the third season of the Original Series is counted as dismal fare overall by even the most devoted Trek fans. You know how many comedic episodes that season had? Zero.
Unless we’re counting “Spock’s Brain” as intentionally comedic. Which… we can if we must, I suppose.
The truth of the trouble is, there are several points working against Strange New Worlds in its basic construction, and these problems were always bound to creep up as time wore on. The first and most egregious culprit: It simply doesn’t have enough episodes.
Star Trek: Discovery, the initial salvo in Trek’s resurgence on television, started out with 15-episode seasons. This is a great sweet spot, one that sits between what we had in classic series, and what we’re currently getting. Lower Decks capped out at 13 episodes per season, which isn’t ideal, but still better than Strange New Worlds, and the more typical episode run in our age of streaming TV. Prodigy gave us whopping 20-episode seasons, and managed to do more in its limited run that most of the shows getting a “full” five seasons. (Bring us back to seven seasons, I beg you.)
Star Trek: Picard only had 10-episode seasons, and you could argue that it worked to the show’s detriment, particularly where its new characters were concerned. But even that’s not a fair comparison to what’s happening with Strange New Worlds—why? Because that series was focused on one of the most beloved characters in Star Trek’s history, a man with more narrative attached to his name than nearly any other, the eponymous Jean-Luc Picard. The show also worked under the auspices of arc-based television, meaning that those 10 episodes were intended to tell a complete story; not so with SNW’s episodic plots.
Image: CBS / Paramount+
By the time Strange New Worlds ends—don’t forget, the final season is set give audiences just six episodes—it will only truly have two seasons worth of episodes when comparing it to Trek as we knew it. An entire series comprised of 46 stories. There are only three shorter Trek series: Prodigy, unceremoniously cancelled before it could prove its mettle; the Animated Series, made to bank on audience fervor in the wake of TOS’ cancellation, and thought of by many as an extension of the Original Series itself; and Picard, which was never intended to be a full series, and only went on as long as its leading man was interested in going along for the ride. Is it any wonder that we’re feeling cheated already?
Season three of Strange New Worlds isn’t working for many fans because we’re being given mid-series story arcs without the amount of narrative needed to back those arcs up. Spock’s we’re-not-labelling-it romance with La’an? It’s adorable, but it does seem to spring out of nowhere, founded entirely on the actors’ incredible work in their dance sequences. Actors Ethan Peck and Christina Chong are forced to sell the relationship on chemistry alone with absolutely no buildup—audiences can fill in the gaps, but the gaps we got used to be far smaller than these. As a result, it makes Spock appear either confused or kinda fickle, and vaults right over the steps La’an needed to take in order to be ready for a relationship. (The woman who sang “How Would That Feel” literally five episodes previous is not there yet! It’s only been a few months since then!)
How about Pike and Batel’s partnership speedrun and tearful goodbye? Marie was never much of a fan favorite as a character (and some of the reasons here are complicated, but plenty of them are rooted in weird sexist ideas about who is the right match for Captain Papa Hair Wax), but the choice to have her essentially give up her life to be a time guardian against Ultimate Evil is… it’s just bad, y’all. Particularly when she argues that she never fit anywhere since she was saved from being a Gorn incubator, when she literally nabbed her dream job two episodes previous. And the lifetime-in-a-bottle sequence that we’re supposed to mourn over? Sorry, Farscape and The Magicians did it better—and plenty of other series besides, including TNG’s eternally famous “The Inner Light.”
You know what might have helped? Seeing this relationship bloom over three full seasons of television. It’s difficult to focus on the tragedy of Pike and Batel not getting their rote, highly abridged, extremely heteronormative lifetime—their daughter is gonna marry Admiral April’s son? really?? you had no other ideas?—when we’ve barely seen them together as a couple, and any depth to their partnership only got focus in this season.
Photo Credit: Marni Grossman / Paramount+
How about Erica Ortega’s difficulty adjusting back into her job after almost being murdered by a Gorn at the start of the season? Hate to say this, but it’s hard to care much about that arc when we don’t really have a full picture of Erica as a person. Melissa Navia is one of the most charming actors on the show, hands down, but what do we actually know about Erica? That she’s great at her job, likes pranks, and loves to razz people. That’s about it. (Oh, and that she’s a bit, uh, xenophobic when compared to her companions, which is awkward as hell, particularly when the show doesn’t address it much.) There’s plenty we can guess at, but again, when it comes to on-screen development, we’ve been given practically nothing. When we finally get something real juicy—like La’an killing Erica’s new Gorn friend, assuming her to be a threat to Erica’s life in a moment of split-second trauma-backed terror—the complexity of that pain is mentioned, but not truly explored.
Which brings us to another problem that Strange New Worlds is uniquely poised to drown under: It wants to be a show that plucks at that nostalgia harp every chance it gets, while also offering something sexy, bright, and new. The result is a lot of confusion around who should be getting focus in the series: while the show has a better female main character cast balance than nearly all Trek shows on record, it’s clear that there’s some fear around spending too much time with those characters in favor of Pike and Spock (and now Scotty and Kirk).
For the record, I’m not one of the fans who gets annoyed every time dear ol’ Jim shows up—I think he should, much in the same way Doctor McCoy is constantly on the bridge of the Enterprise when he has absolutely no reason to be. I want to watch Kirk and Spock flirt bond at every available opportunity, and have enjoyed most of the choices SNW makes in filling in the edges of well-known and beloved characters. But this confusion means that I’m not getting enough of either the newer characters or the legacy ones. It results in a lot of uncomfortable storytelling choices; ones where characters make decisions too quickly to understand their motivations or changes of heart; ones where female characters get plenty of screentime, but none of the depth that their male counterparts receive; ones where bioessentialism paints entire species with crude brushes without a second thought.
And again, the answer is simple: Give us more.
I know more about Deanna Troi than I may ever know about Una Chin-Riley because despite being far less central to Next Generation’s overall narrative, I’ve spent days, weeks even, with the counselor. That’s how much narrative space she takes up. Television has forgotten that much of our love of the medium was born of time, plain and endless. The glimmer of prestige led streamers to copy television formats with powerful arcs and singular narratives when most of the allure TV used to provide was company.
What Strange New Worlds has accidentally proven is that you can’t have “episodic” TV without a whole lot of episodes. It would be nice if someone holding the cash at Paramount realized it, and finally gave us back what we’ve all been missing.[end-mark]
The finale for season three of Star Trek: Strange New Worlds is now out in the world, and that episode, like others before it from this season, is getting mixed reactions from viewers. That noise appears to have reached the ears of co-showrunner Akiva Goldsman. In a recent interview with Cinema Blend, he said that the third season “was a very challenging season for us.”
“We had the strike, and we had the loss of folks, and we didn’t quite get as strong a breath between,” he added. “We’d stop and start, and folks who are really part of an episode then aren’t there, and so it, in some ways, [was] a little more peripatetic than is typical for us. Season four, I think, is our best work. [Co-showrunner Henry Alonso Myers] doesn’t like it when I say that, but it felt very much in hand. We were always chasing a little bit on [season] three. Four felt, in the best possible way, quite deliberate and fun.”
This promise will likely make Trekkies eager for a new frontier of episodes. What those episodes hold is largely unknown, though we know season four has already been shot, that one of the episodes will involve puppets, and that Rebecca Romijn calls it “my favorite season yet.” Co-showrunner Henry Alonso Myers also shared that things will be “probably a little bit more serious” next season, but also confirmed that the series works “in various genres,” which is similar to what Romijn had said previously.
No news yet on when season four will premiere on Paramount+. The first three seasons are currently streaming there, and we also know we have a fifth and final season headed our way as well. [end-mark]
Gmail har fått en ny kategori som listar leveranser och köp. Alla aktiva leveranser visas överst, följt av köpbekräftelser och kvitton. På så vis kan användare få en bättre översikt över paket som är på väg och alla köp.
Nyheten är på väg ut globalt med start idag till personliga Google-konton. Kategorin ”Kampanjer” har samtidigt förbättrats: det går att sortera mejlen utifrån relevans, så att avsändare du interagerat med mest visas överst. Gmail kommer även belysa utvalda erbjudanden automatiskt.
SG-1 was about to attain the loftiest of broadcast heights – its 200th episode – and we wanted to do something special. Something unique. Something everyone on the production would enjoy as much as the longtime fans watching at home. The initial idea pitched was something called “Remember When…”, a trip down memory lane in which our characters’ reflections would form the frames of the varied flashbacks to outrageous missions. While everyone loved the idea of the outrageous missions, the premise of the episode felt too diffuse. We wanted an actual story that would form the heart of the episode. After much discussion, we elected to pay tribute to the franchise by referencing our last milestone – episode 100 – and bringing back Martin Lloyd and the show within a show, Wormhole X-Treme. But the fun we poked at the franchise through that spoof production was nothing compared to what we had in store for 200…
WE FINALLY GOT TO MEET THE FURLINGS!
Sort of. Even though it never really happened and we end up getting them killed in the end.
Back in the show’s fourth season, not long after joining the production, I was summoned to Exec. Producer Robert Cooper’s office. He was doing his pass on our first script, Scorched Earth, and needed something from me: the name of an alien race. When pressed, he admitted naming alien races was not his forte and, as evidence, offered up “the Furlings”. I have to admit that whenever I heard the name, I always imagined a cosmic version of the Care Bears, giggling and snuggling their way through various adventures. As evidently, did everyone else on the production. The fans, however, were all sorts of curious and nary a week would go by without a fan posting a message board request for a glimpse of the elusive beings. Time wore on and those requests continued so, at one point, Brad suggested an episode in which we actually did get to meet them: a race of gaunt, towering, hairless, grey-skinned creatures. But that idea was quashed and the production went on its merry way, choosing to keep the race a mystery. But with 200 came the opportunity to honor those fan requests, and the viewers at home finally got to see those lovable furry creatures who turned out to be a cross between an ewok and a deranged koala.
And then SG-1 went and got their planet blown up.
Of course, we quickly reveal that the incident never actually happened and it was part of a pitch for a revival of the defunct Wormhole X-Treme t.v. series, a show that lasted an inglorious three episodes before being cancelled. But thanks to an impressive second life on dvd (following in the footsteps of Family Guy and Futurama) the show is being revived – and General O’Neill, in a desire to maintain a cover of plausible deniability for the Stargate program (and, let’s face it, screw with his old teammates) charges SG-1 with the task of creatively contributing to the production.
MITCHELL TAKES ON THE LIVING DEAD!
Every once in a while, actor Ben Browder would drop by the offices to pitch out an action sequence for his character – so I thought it appropriate that, given the opportunity, his character would pitch out an action sequence for – uh – his character. And, really, nothing says action like zombie hordes. Just ask fans of The Walking Dead. This sequence also allowed us the rare opportunity of witnessing Walter/Norman getting his head eaten. Double bonus!
Mitchell’s idea is shot down and Martin gets on the phone with a representative of the studio. He is clearly frustrated and Mitchell asks: “Studio executives, huh?” Martin responds: “What? Oh, no Charlie? He’s a great guy. He’s the only one I trust.” This was a reference to longtime MGM President of Television and Stargate supporter Charles Cohen, one of the smartest, kindest studios executives I’ve ever had the pleasure to work with. As much as he was a fan of the show, we at the production were fans of Charlie.
Martin is outraged because they lost their lead. How, he wonders, can they do the show without their lead. “You just bring in a character to replace him,”suggests Mitchell – an obvious reference to the introduction of Cam Mitchell which followed soon after the departure of longtime SG-1 lead Jack O’Neill. Carter then throws out some alternate ideas for keeping the lead alive: “Well, you could have the other characters refer to him all the time. Maybe, get him on the phone once in a while.” Yep. Been there; done that during SG-1’s seventh and eighth seasons. And then, someone references that time O’Neill was invisible…
THE ADVENTURES OF INVISIBLE O’NEILL!
The idea of doing an Invisible O’Neill segment was actually a joke I threw out…That ended up making the script. That happened a lot in this episode. As with all the segments, we went off and wrote them individually, and then everyone weighed in and they were tweaked. I always found the scene of O’Neill spying on Carter in the shower a tad creepy.
Anyway, the Invisible O’Neill idea was embraced because we wanted Richard Dean Anderson to come back and do a cameo on this all-important episode, but didn’t know if he’d be able to work in an appearance. So, we figured we’d get the next best thing: his voice. As it turned out, he was able to swing the appearance, making 200 all that more special.
THE GETAWAY
Martin then pitches out a tale of high adventure, placing our heroes (SG-1) in an impossible position – and then simply cutting to them escaping through the gate. This was a tip of the hat to the many fans outraged by a similar scenario in a past episode (don’t remember the name) in which our heroes (SG-1) are surrounded by Lucian Alliance soldiers only to effect some miraculous unseen escape. During the ensuing argument over the merits of the pitch, Martin attempts to come up with a reasonable window of time for the team to reach the gate and dial. Ten seconds is too short and thirty seconds is too round a number. He decides on 38! Which, coincidentally, is the same number (of minutes) a stargate can stay open.
Timing is, of course, everything, and nothing says action like a ticking clock. Which prompts the following gem from Martin: “Trust me, jeopardy plus ticking clock is box office. It’s the E equals M C squared of the entertainment world. Ask any executive.” Indeed. If there were two notes we received more than any other during Stargate’s long run, they were: “More jeopardy!” and “We need a ticking clock!”. Having a character race a timer to defuse a bomb? Didn’t get much better than that.
THEY’RE OFF TO SEE THE WIZARD!
Next to The Simpsons, The Wizard of Oz was probably the most referenced piece of pop culture over SG-1’s decade-long run. The fans certainly took notice and resulted in one particularly memorable piece of artwork being sent to studio depicting the original team as the cinematic classic’s adventurous foursome. So, I suppose, it made perfect sense to reference the constant references by including a little Wizard of Oz sequence in the episode as well.
Mitchell’s line: “Now, how can something work perfectly fine for ten years, then all of a sudden, it doesn’t work anymore?” was an in-story reference to the gate suddenly stopping operations – and, in hindsight, could have been interpreted as a comment on the the show’s cancellation.
DESTROYING STARGATE COMMAND
This also episode gave us the opportunity to do something we’ve always wanted to do: blow up Stargate Command. It’s part of the story Martin Lloyd pitches the team. Mitchell, however, points out a potential problem. They’re alive in the next scene. How is that possible. To which Martin replies: ” I’m thinking I can back-sell it and say you were beamed out at the last second.” Teal’c’s rejoinder neatly sums up the feelings of many on the production: “Is that not too convenient?”. Yep, nobody hated the Earth ship beaming technology more than I did – with possible exception of actor Ben Browder. In the original version of this scene, the fun we poked at ourselves was a little more pointed:
DANIEL: Beamed out.
MARTIN: By the Prometheus.
TEAL’C: Convenient.
MARTIN: True. But c’mon, you got Asgard technology, why not use it? As long as it doesn’t become a crutch.
DANIEL: Small problem. The Prometheus was destroyed.
MARTIN: Really? By who?
MITCHELL: Kind of a long story.
MARTIN: In battle?
MITCHELL: Yes.
MARTIN: Wow. So how’d you get out of that one?
Beat.
DANIEL: We, uh… we were beamed out.
Soon after, Martin fields yet another call, this one from the network. “So, trouble with Nora”assumes Mitchell, to which Martin replies: “No, Nora—she’s great.” A shout-out to the late Nora O’Brien who was our network point-person for many years before she moved on to another position with NBC. A sharp executive and just a lovely woman.
SG-1 DOES STAR TREK
We all grew up with the original Star Trek (except Rob Cooper who preferred The Six Million Dollar Man) so we (and by we I mean Brad) couldn’t resist the opportunity to do an SG-1 version of the television’s most famous SF series. Paul McGillion was originally supposed to do the one-line cameo of the ship’s beleaguered Scottish engineer, but when that fell through, series co-creator and Executive Producer (not to mention former stage actor) Brad Wright stepped into those shiny black boots.
THE YOUNGER, EDGIER TEAM
Look closely and you can catch the late Cory Monteith as one of the young and edgy team-members. “Young” and “edgy” were buzzwords we kept on hearing a lot of (and continue to hear a lot of in the business), so Rob Cooper served up his version of what a younger, edgier Stargate would look like complete with stylized shots and dreamy cast members.
Vala continues to pitch out ideas, offering up an SF version of Gilligan’s Island (“We were in a cloaked cargo ship on a simple, three-hour reconnaissance mission…”) that was one of the scenes we lost for time at the script stage…
VALA (VO): We were in a cloaked cargo ship, on a simple three hour reconnaissance mission…
TILT DOWN to reveal a planet.
VALA (V)): But on the way we encountered a severe electromagnetic storm and lost all power. We were forced down on an uncharted, deserted planet…
EXT. TROPICAL ISLAND — DAY
We see the cargo ship washed ashore on this deserted island, looking very much like the damaged S.S. Minnow.
VALA (VO): We washed ashore and were forced to survive for weeks in the most primitive of conditions. No phone, no lights, no motor cars. Not a single luxury.
EXT. ISLAND — DAY
Landry comes out of a hut, dressed like the Skipper.
VALA (V): General Landry was with us on the mission, and let me tell you, he was in a foul mood.
LANDRY: Mitchell!
Mitchell runs out, dressed like Gilligan.
MITCHELL: Yes, sir.
LANDRY: Where’s Carter? She was supposed to be done by now.
MITCHELL: Oh, uh…(looks around) She’s not here.
Landry whacks him with his cap.
LANDRY: I can see that.
DANIEL: Over here…
PAN TO Daniel (as the Professor) and Carter (as Mary Ann) carrying a large device out of another hut. Vala (as Ginger) trails behind them. The device looks like something constructed from bamboo and coconuts.
CARTER (to Landry): I think we may have something, sir.
VALA:Not a moment too soon. I must get out of this place. I have a photo shoot this afternoon.
Landry stares at the device.
LANDRY: What is this thing?
CARTER:Well, I managed to construct a basic subspace transmitter out of coconuts, bamboo and our old subspace transmitter.
DANIEL: A long shot, but it just might get us off this island.
MITCHELL: That’s great!
Mitchell eagerly moves in for a closer look, but trips,
falls and smashes the damn thing.Before Landry can whack him with his cap again —
TEAL’C emerges from the trees, dressed like Mr. Howell.
He casually puffs a pipe.
TEAL’C: Was I not traveling with a companion? A female by the name of… Lovey?
MARTIN: Alright, enough already.
FARGATE
I had really enjoyed Farscape and, with both Ben Browder and Claudia Black on the show, I couldn’t resist the opportunity to do a little tribute, SG-1 style. Originally, Ben was supposed to play the part of Crichton and Michael the part of Stark, but they suggested it might be more fun to switch up the roles.
SG-1 SUPERMARIONATION!
Brad Wright, Robert Cooper, Paul Mullie and Carl Binder are huge fans of Team America: World Police, so I suppose it should come as no surprise that they jumped at the chance to do their own, SG-1 version. As it turned out, years ago Paul and I had worked with The Chiodo Bros. who had created the puppets and effects for Team America (as well as work on a Davey and Goliath claymation parody for The Simpsons and the Willice and Crimbles parody segment on The Simpsons). We called them up and they ended up delivering kick-ass puppet versions of our team – and supporting players. So, okay. Fess up. Which one of you fans is now the proud owner of one of these?
In the writer’s draft of the script, yet another idea is pitched out…
MITCHELL: Death is always dramatic.
CUT TO:
INT. INFIRMARY — DAY
Daniel lies on the bed. Carter, Mitchell, Vala and Landry stand around him. Vala reaches out and touches his hand –
VALA: Goodbye, Daniel.
The heart monitor FLATLINES. The rest of the group can barely control their emotions.
Suddenly, a bright GLOW starts to emanate from under the sheets on the bed. Slowly, Daniel’s body TRANSFORMS into a glowing ribbon being like in Meridian. As it rises above the bed, the sheets collapse.
Amazement plays on the faces of everyone in the room. The glowing being hovers high above them for a moment then –
MARTIN: No, no, no.
BACK TO:
INT. BRIEFING ROOM — DAY
Martin shakes his head.
MARTIN: We did that twice in the series.
DANIEL: You only made three episodes.
How many times did we kill off Daniel again?
Whenever we offed guest stars, we would invariably send them off with the heartening: “This is science fiction. Nobody ever dies in science fiction!” And, many times on Stargate, that was proven true.
Then, someone pitches out the fishing segment. Martin’s response: “And what’s the twist…no fish?” is, of course, a reference to the twist at the end of Moebius I and II.
THE WEDDING
How couldn’t we? There was something there for the shippers – and something there for the slashers as well when O’Neill, waiting for Carter, turns to Daniel who utters the memorable: “You know, if she doesn’t show, people are gonna think that you and I –“. My favorite part of this segment is Jack referring to Carter as, well, Carter. Not Sam or Samantha but Carter. I guess old habits die hard.
Martin’s response to the pitch ” Yeah, right, if I want to torture the audience on purpose!” echoes a quote from a fan letter we received that was critical of the ship. A classic line.
The episode ends with a bunch of interviews teeming with inside jokes.
I mean, I know we did 10 years but, dammit, we were still on a roll!
Konsumentverket föreslår att telefonförsäljning ska förbjudas helt och hållet. I ett pressmeddelande skriver Konsumentverket att så gott som ingen uppskattar att få samtal från telefonförsäljare, samt att sex av tio låter bli att svara på samtal från okända nummer för att undvika eländet.
Myndighetens rapport ”Telefonförsäljning – en oönskad, olämplig och djupt problematisk affärsmetod” har lämnats in till regeringen idag. Konsumentverket rekommenderar först och främst ett allmänt förbud av telefonförsäljning. Om inte det går att genomföra föreslås ett opt-in-system som gör att endast konsumenter som aktivt valt att acceptera telefonförsäljning får bli uppringda.
Enligt Konsumentverket är telefonförsäljning fortfarande ett av de största konsumentproblemen, trots tidigare åtgärder likt Nix-register. In sin rapport fastställer myndigheten att telefonförsäljning är en ”oönskad, olämplig och djupt problematisk affärsmetod”.
Vad blir konsekvenserna när vi inte längre svarar i telefon av oro för att det är telefonförsäljare eller bedragare som ringer? Vi ser i undersökningen att människor missar viktiga samtal från till exempel sjukvården och polisen. Det är olyckligt för den enskilde och orsakar olika samhällsaktörer mycket merarbete.
We finally have a trailer and release date for season two of Fallout, the Prime Video adaptation of the popular video game series that had a stellar season one.
The trailer, released today during the gaming convention, Gamescom, not only let us know when the season will start streaming, but also revealed new additions to the Fallout world.
Before we get to that, though, here’s a synopsis of the series for those in the dark about all things Fallout:
Fallout is the story of haves and have-nots in a world in which there’s almost nothing left to have. Two hundred years after the apocalypse, the gentle denizens of luxury fallout shelters are forced to return to the irradiated hellscape their ancestors left behind—and are shocked to discover an incredibly complex, gleefully weird, and highly violent universe waiting for them.
Season two will see Ella Purnell’s Lucy go with Walton Goggins’ Ghoul through the Mojave wasteland to the city of New Vegas, where Lucy hopes to find her father. The trailer released today teases that journey, including the reveal that Justin Theroux will be playing the evil Robert House (aka Mr. House). Video game fans also got to see the (very dark) TV version of one of Fallout’s most intense post-apocalyptic predators: the Deathclaw.
In addition to Purnell and Goggins, Fallout stars Aaron Moten (Emancipation, Father Stu), Kyle MacLachlan (Twin Peaks), Moisés Arias (The King of Staten Island), Frances Turner (The Boys), and Macaulay Culkin (Home Alone). The series is showrun by Geneva Robertson-Dworet and Graham Wagner, and has Jonathan Nolan, Lisa Joy, and Athena Wickham on board as executive producers.
Season two of Fallout will premiere on Prime Video on December 17, 2025, with the following seven episodes thankfully dropping weekly rather than all at once like season one. The season finale will air on February 4, 2026.
For decades now, the relationship between Xena: Warrior Princess co-leads Xena and Gabrielle has existed somewhere between “Will they, won’t they?” and “Are they, or aren’t they?” The chemistry between the characters (as well as actors Lucy Lawless and Renée O’Connor) is undeniable. The subtext has practically become text. And yet, through the years, those involved with the show have often hesitated to simply say that the characters are gay.
Mind you, there have been plenty of hints. Not only did Xena and Gabrielle become more physically intimate as the show went on, but you could argue that most have “adopted” the idea that Xena and Gabrielle were in love in the years since the show’s finale. Many involved with the series have expressed their acceptance of that interpretation, the Xena comic series overtly embraces that concept, and Lawless and O’Connor have even performed fan-written proposal scenes involving the two characters. If anything, it’s now unusual to believe that the two were anything less than lovers. In some ways, that shift in public consciousness has seemingly led to an official change in position.
“In the olden days, when people asked me if Xena and Gabrielle were gay, I used to say, ‘I’ll leave that up to the fans,'” says Xena executive producer and writer R.J. Stewart in an extensive oral history of the show conducted by Entertainment Weekly. “But 30 years later, the fans have spoken. They’re definitely gay now.”
As Stewart suggests, part of the reason why the cast and creative team have historically been so coy about the subject is simply because the show was born in a much different era of television. In that same interview, Xena co-creator Rob Tapert says that the studio executives wouldn’t even allow Xena and Gabrielle to be in the same frame of the title sequence out of fear that the mere implication of an intimate relationship would drive away advertisers and viewers. Yet, a combination of love and rebellion eventually inspired the show’s creative team to incorporate more overtly romantic and sexual plot points and scenes into the show.
Still, the winking nature of that dynamic wasn’t entirely due to the restrictions at the time. As Lawless states, part of what made the relationship so interesting was that it was more about these characters who loved each other than the desire to write around or towards a specific kind of relationship.
“I think Renée and I didn’t [anticipate the fan response] because we didn’t have our heads in that head space, but certainly the writers knew exactly what they were doing from the start,” says Lawless. “We never thought about sexuality or anything, but we did think about love, and it’s only about finding the love in the scene. When you don’t know what else to do, look for the love in the scene. And that was, I guess, the magic ingredient.”
And while Xena and Gabrielle have been more than friends in the minds of many for quite some time, Lawless hilariously recalls a far different time for the series when pockets of its massive audience remained entirely in the dark about even the implication of something more sexual.
“I think people who didn’t wanna see it, didn’t see it,” explains Lawless. “Like, Renée would go to Texas and she’d say something about the lesbian subtext and they’d go, ‘What lesbian subtext?’ Like if it’s not relevant to you, you won’t see it. If it’s relevant to you, it’ll be there in spades. It’s very clever.” [end-mark]
