‘Star Trek: Strange New Worlds’ season 2 premieres June 15th

You now know when you can continue following the adventures of Captain Christopher Pike. Paramount+ has revealed that the second season of Star Trek: Strange New Worlds will premiere June 15th, with new episodes appearing each Thursday. While the streaming service isn't saying much about the plot apart from a Star Trek: Lower Decks crossover, it's promising a 10-episode run and has already renewed the show for a third season.

Animation fans in the US, meanwhile, can expect Lower Decks season four in August and a fifth season in the pipeline. The new episodes have the crew of the USS Ceritos dodging "malevolent computers," getting trapped in caves and running into aliens from across the galaxy.

The second season of kids' animated series Star Trek: Prodigy is now slated to debut this winter. The fifth and final season of Star Trek: Discovery was already poised to arrive in early 2024.

The two confirmed renewals aren't surprising. While Paramount+ is now popular for more than Star Trek, the sci-fi franchise remain one of the service's main attractions. Strange New Worlds and Lower Decks in particular have enjoyed a strong reception. With Picard winding down this April, the remaining productions will have to carry extra weight.

This article originally appeared on Engadget at https://www.engadget.com/star-trek-strange-new-worlds-season-2-premieres-june-15th-210101079.html?src=rss

‘Star Trek: Strange New Worlds’ season 2 premieres June 15th

You now know when you can continue following the adventures of Captain Christopher Pike. Paramount+ has revealed that the second season of Star Trek: Strange New Worlds will premiere June 15th, with new episodes appearing each Thursday. While the streaming service isn't saying much about the plot apart from a Star Trek: Lower Decks crossover, it's promising a 10-episode run and has already renewed the show for a third season.

Animation fans in the US, meanwhile, can expect Lower Decks season four in August and a fifth season in the pipeline. The new episodes have the crew of the USS Ceritos dodging "malevolent computers," getting trapped in caves and running into aliens from across the galaxy.

The second season of kids' animated series Star Trek: Prodigy is now slated to debut this winter. The fifth and final season of Star Trek: Discovery was already poised to arrive in early 2024.

The two confirmed renewals aren't surprising. While Paramount+ is now popular for more than Star Trek, the sci-fi franchise remain one of the service's main attractions. Strange New Worlds and Lower Decks in particular have enjoyed a strong reception. With Picard winding down this April, the remaining productions will have to carry extra weight.

This article originally appeared on Engadget at https://www.engadget.com/star-trek-strange-new-worlds-season-2-premieres-june-15th-210101079.html?src=rss

‘The Last of Us’ creators won’t restrict ‘Part II’ to one season of the HBO show

The first season of HBO’s The Last of Us wrapped up on Sunday night, and the show's creators are already looking ahead to the challenge of adapting the second game. HBO swiftly greenlit a second season after the show became an immediate success, but that won't be enough to contain the events of The Last of Us Part II, as Craig Mazin and Neil Druckmann confirmed.

"No. No way," Mazin said when GQ asked if the second season would explore the entire story of Part II (the interview contains spoilers for the season one finale). "It’s more than one season," Druckmann added, though Mazin declined to say whether they'd need two or three seasons to cover the events of Naughty Dog's sequel. In any case, The Last of Us is only officially renewed for season two, not a third or fourth one as yet.

As if the task of adapting the long, ambitious Part II didn’t already seem daunting enough, Mazin and Druckmann have an enormous new audience to appease. The show has been a huge hit so far. HBO said last week that almost 30 million viewers have watched the first five episodes across all platforms. We'll have to wait and see if those folks stick around after [spoiler] in the chalet basement, but the show's creators aren't too concerned.

"I don't care. How they react is how they react, that is completely outside of our control," Druckmann told GQ in response to a question about the TV audience's reaction to the events of Part II. "So how do we make the best TV show version of that story? That's the problem that we wrestle with every day." Mazin added that he'd rather viewers have a strong emotional response than an indifferent one.

Meanwhile (and here's where we'll get into some mild spoilers), the pivotal opening scene of the finale was originally conceived as part of an animated short, which didn't come to pass. According to The Verge, Druckmann said he then spoke with an external studio about making a separate game focusing on Ellie's mother, Anna, but that fell through as well. The show gave him a chance to revisit that part of the story, which features Ashley Johnson (who stars as Ellie in the games) as Anna.

This article originally appeared on Engadget at https://www.engadget.com/the-last-of-us-creators-wont-restrict-part-ii-to-one-season-of-the-hbo-show-150530168.html?src=rss

Netflix comedy series ‘I Think You Should Leave’ comes back on May 30th

I Think You Should Leave With Tim Robinson finally has a premiere date, almost a year after Netflix announced that the show was coming back for a third season. The streaming giant has announced on Twitter that the six-episode comedy sketch series will be available for streaming on May 30th. The show was created by Saturday Night Live alum Tim Robinson, who also stars in it, and SNL producer Zach Kanin. They're not the only comics connected to the show, though: It's co-produced by The Lonely Island, the comedy trio composed of Andy Samberg, Akiva Schaffer and Jorma Taccone. 

Each episode of I Think You Should Leave is only around 16 to 18 minutes long, so you can finish a season in one sitting. There are multiple sketches per episode, mostly revolving around somebody doing something absurd in an everyday professional or social situation, as well as some pretty bizarre and over-the-top bits. Really, some parts are so weird, you don't know whether to cringe or laugh. 

The show's first season premiered on Netflix back in 2019, while the second season arrived in 2021. Alex Bach, one of the show's producers, previously told Variety that Robinson and Kanin write every single script and that they "wait for the sketches to come to them" so there have been "extended periods of time between seasons."

This article originally appeared on Engadget at https://www.engadget.com/netflix-i-think-you-should-leave-season-3-may-30th-130212884.html?src=rss

Netflix comedy series ‘I Think You Should Leave’ comes back on May 30th

I Think You Should Leave With Tim Robinson finally has a premiere date, almost a year after Netflix announced that the show was coming back for a third season. The streaming giant has announced on Twitter that the six-episode comedy sketch series will be available for streaming on May 30th. The show was created by Saturday Night Live alum Tim Robinson, who also stars in it, and SNL producer Zach Kanin. They're not the only comics connected to the show, though: It's co-produced by The Lonely Island, the comedy trio composed of Andy Samberg, Akiva Schaffer and Jorma Taccone. 

Each episode of I Think You Should Leave is only around 16 to 18 minutes long, so you can finish a season in one sitting. There are multiple sketches per episode, mostly revolving around somebody doing something absurd in an everyday professional or social situation, as well as some pretty bizarre and over-the-top bits. Really, some parts are so weird, you don't know whether to cringe or laugh. 

The show's first season premiered on Netflix back in 2019, while the second season arrived in 2021. Alex Bach, one of the show's producers, previously told Variety that Robinson and Kanin write every single script and that they "wait for the sketches to come to them" so there have been "extended periods of time between seasons."

This article originally appeared on Engadget at https://www.engadget.com/netflix-i-think-you-should-leave-season-3-may-30th-130212884.html?src=rss

‘Ted Lasso’ returns with a stronger, more focused third season

I’ve always found the major criticism against Ted Lasso, that it’s too saccharine, to be quite unfair. This is a series in the Frank Capra mold, where the sunny skies and primary colors sweeten the bitter pills being handed out. For every scene of wish fulfillment designed to get you pumping the air, there are meditations on suicide, betrayal and emotional neglect. It’s also funny – enough that Emmy voters gave it Best Comedy two years in a row. Now the third and, far as we know, final season of the show will return to Apple TV on March 15th.

It picks up after the summer break, in the run-up to Richmond’s return season in the Premier League (EPL) after winning promotion by the skin of its teeth last time around. It’s been a long while since the second season aired, the longer gap attributed to behind the scenes issues. Jason Sudekis, who became co-showrunner this time around, reportedly ordered a ground-up rewrite after becoming dissatisfied with the original direction this season was taking. On the basis of the first four episodes, which Apple made available ahead of broadcast, our patience has been well-rewarded.

Such is the nature of Apple’s restrictive covenant on spoilers that I can’t talk about many specifics about the third season. The first episode is the weakest of the bunch, taking time to re-establish where everyone is after their summer break. (Are placeholder episodes necessary given the nature of streaming these days?) Keeley is finding the rigors of running her own business to be harder than expected, while Rebecca has taken Ted’s pledge of winning the league to heart. Ted, meanwhile, is feeling just as emotionally stunted as he has been previously, moreso after spending a summer with Henry, clearly having not dealt with Nate’s betrayal, or the contrived reasons behind it.

As part of Lasso’s evolution from a sitcom to a comedy drama, the runtimes of each episode are now firmly measured in hours, rather than half hours. The narrative has broadened out to cover the personal lives of many of the main footballers, as well as giving Keeley a whole new team to work with. We even get our first proper glimpse of Michelle and Henry back home in Kansas, not to mention the storylines featuring Sam and, of course, the dreaded Nate. That’s a lot for a show to handle, especially one that – similarly unfairly – was described as unfocused and messy in its second season. (Blame must go to Apple for that one, given its late-in-the-day request to add a further two episodes to the order.)

There are more threads in the storyline, but Ted Lasso has refocused its episodic structure around the Premier League season. And two parallel narratives come to the fore: Ted’s struggle to access his emotions in a healthy way, and the battle over Nate’s soul. Rupert, played with evil relish by Anthony Head, is the devil lurking on the wonder kid’s shoulder, dangling temptation before him at every turn. I probably can’t talk about [ACTOR] playing [CHARACTER], either, a condensed version of every mono-named prima-donna footballer that is often idolized and hated in equal measure.

I was interested to see how the show’s newfound embrace by the footballestablishment would alter its customary lack of grounding in reality. This season sees plenty of filming at some big name stadiums, even down to the retention of the sponsor walls for post-match interviews. But don’t go in expecting a new-found commitment to footballing verisimilitude, with the opposition teams all played by actors with little resemblance to their real-world counterparts. Just remember that this is still Ted’s world, we’re just lucky enough to spend a little time watching it.

This article originally appeared on Engadget at https://www.engadget.com/ted-lasso-season-three-preview-080056592.html?src=rss

‘Ted Lasso’ returns with a stronger, more focused third season

I’ve always found the major criticism against Ted Lasso, that it’s too saccharine, to be quite unfair. This is a series in the Frank Capra mold, where the sunny skies and primary colors sweeten the bitter pills being handed out. For every scene of wish fulfillment designed to get you pumping the air, there are meditations on suicide, betrayal and emotional neglect. It’s also funny – enough that Emmy voters gave it Best Comedy two years in a row. Now the third and, far as we know, final season of the show will return to Apple TV on March 15th.

It picks up after the summer break, in the run-up to Richmond’s return season in the Premier League (EPL) after winning promotion by the skin of its teeth last time around. It’s been a long while since the second season aired, the longer gap attributed to behind the scenes issues. Jason Sudekis, who became co-showrunner this time around, reportedly ordered a ground-up rewrite after becoming dissatisfied with the original direction this season was taking. On the basis of the first four episodes, which Apple made available ahead of broadcast, our patience has been well-rewarded.

Such is the nature of Apple’s restrictive covenant on spoilers that I can’t talk about many specifics about the third season. The first episode is the weakest of the bunch, taking time to re-establish where everyone is after their summer break. (Are placeholder episodes necessary given the nature of streaming these days?) Keeley is finding the rigors of running her own business to be harder than expected, while Rebecca has taken Ted’s pledge of winning the league to heart. Ted, meanwhile, is feeling just as emotionally stunted as he has been previously, moreso after spending a summer with Henry, clearly having not dealt with Nate’s betrayal, or the contrived reasons behind it.

As part of Lasso’s evolution from a sitcom to a comedy drama, the runtimes of each episode are now firmly measured in hours, rather than half hours. The narrative has broadened out to cover the personal lives of many of the main footballers, as well as giving Keeley a whole new team to work with. We even get our first proper glimpse of Michelle and Henry back home in Kansas, not to mention the storylines featuring Sam and, of course, the dreaded Nate. That’s a lot for a show to handle, especially one that – similarly unfairly – was described as unfocused and messy in its second season. (Blame must go to Apple for that one, given its late-in-the-day request to add a further two episodes to the order.)

There are more threads in the storyline, but Ted Lasso has refocused its episodic structure around the Premier League season. And two parallel narratives come to the fore: Ted’s struggle to access his emotions in a healthy way, and the battle over Nate’s soul. Rupert, played with evil relish by Anthony Head, is the devil lurking on the wonder kid’s shoulder, dangling temptation before him at every turn. I probably can’t talk about [ACTOR] playing [CHARACTER], either, a condensed version of every mono-named prima-donna footballer that is often idolized and hated in equal measure.

I was interested to see how the show’s newfound embrace by the footballestablishment would alter its customary lack of grounding in reality. This season sees plenty of filming at some big name stadiums, even down to the retention of the sponsor walls for post-match interviews. But don’t go in expecting a new-found commitment to footballing verisimilitude, with the opposition teams all played by actors with little resemblance to their real-world counterparts. Just remember that this is still Ted’s world, we’re just lucky enough to spend a little time watching it.

This article originally appeared on Engadget at https://www.engadget.com/ted-lasso-season-three-preview-080056592.html?src=rss

Amazon scoops up ‘Batman: Caped Crusader’ after HBO Max cancellation

Amazon has reportedly picked up Batman: Caped Crusader, the animated series Warner Bros. developed for HBO Max but scrapped last August to cut costs. Despite also drawing interest from Netflix, Apple and Hulu, the upcoming show will have a home on Amazon Prime.

First announced in May 2021, Batman: Caped Crusader sounds like a spiritual successor to Batman: The Animated Series, the beloved 1990s weekday afternoon staple. The upcoming show was created by executive producers JJ Abrams, Matt Reeves and Batman: The Animated Series developer Bruce Timm. In addition, celebrated comic-book writer Ed Brubaker is on the creative team for the 10-episode first season.

The Amazon sale was part of Warner Bros. Discovery’s plans to monetize content by selling it to third parties. The studio will now focus on the Batman IP as part of a 10-year DC Comics meta-story spanning film, TV, gaming and animated series. In addition, a sequel to Reeves’s 2022 film The Batman and spin-off series The Penguin on HBO Max are in the works.

“We are beyond excited to be working together to bring this character back, to tell engrossing new stories in Gotham City,” Abrams and Reeves said when Batman: Caped Crusader was announced. “The series will be thrilling, cinematic and evocative of Batman’s noir roots, while diving deeper into the psychology of these iconic characters. We cannot wait to share this new world.”

This article originally appeared on Engadget at https://www.engadget.com/amazon-scoops-up-batman-caped-crusader-after-hbo-max-cancellation-215511679.html?src=rss

Amazon scoops up ‘Batman: Caped Crusader’ after HBO Max cancellation

Amazon has reportedly picked up Batman: Caped Crusader, the animated series Warner Bros. developed for HBO Max but scrapped last August to cut costs. Despite also drawing interest from Netflix, Apple and Hulu, the upcoming show will have a home on Amazon Prime.

First announced in May 2021, Batman: Caped Crusader sounds like a spiritual successor to Batman: The Animated Series, the beloved 1990s weekday afternoon staple. The upcoming show was created by executive producers JJ Abrams, Matt Reeves and Batman: The Animated Series developer Bruce Timm. In addition, celebrated comic-book writer Ed Brubaker is on the creative team for the 10-episode first season.

The Amazon sale was part of Warner Bros. Discovery’s plans to monetize content by selling it to third parties. The studio will now focus on the Batman IP as part of a 10-year DC Comics meta-story spanning film, TV, gaming and animated series. In addition, a sequel to Reeves’s 2022 film The Batman and spin-off series The Penguin on HBO Max are in the works.

“We are beyond excited to be working together to bring this character back, to tell engrossing new stories in Gotham City,” Abrams and Reeves said when Batman: Caped Crusader was announced. “The series will be thrilling, cinematic and evocative of Batman’s noir roots, while diving deeper into the psychology of these iconic characters. We cannot wait to share this new world.”

This article originally appeared on Engadget at https://www.engadget.com/amazon-scoops-up-batman-caped-crusader-after-hbo-max-cancellation-215511679.html?src=rss

Don’t make me watch ‘Boba Fett’ to understand ‘The Mandalorian’ season three

Spoilers for The Mandalorian seasons 1-3 and The Book of Boba Fett below.

Somehow, Grogu has returned. At least, that's what many people will assume when they tune into the first episode of The Mandalorian's third season. When last we left our lone bounty hunter and cub, Grogu was heading off to Jedi training with a creepy de-aged Luke Skywalker. Mando took off his helmet and braced for solitude. We all shed a tear. (How did a show manage to make us care so much for a monosyllabic man in armor and a green puppet? Bless you, executive producers Jon Favreau and Dave Filoni.)

But at the start of this season, Mando (AKA Din Djarin) and Grogu are paired up once again, saving people from gigantic monsters, fighting space pirates and generally being adorable. To a casual viewer, it's like that dramatic season two finale was Jedi mind-tricked away. It turns out if you wanted to get the full story – which also explains why Din is flying a Phantom Menace-era ship, or why Grogu is becoming a more adept force user — you had to watch the final few episodes of The Book of Boba Fett.

Din Djarin holding Grogu in The Mandalorian Season 3
Lucasfilm

If I wasn't already a hopeless Star Wars fan, I'd be pretty confused and annoyed. How are normal people supposed to know that The Book of Boba Fett basically served as a stop-gap between Mandalorian seasons? Disney didn't promote the connection between the shows much, so if you weren't reading geeky news sites, or talking to nerdy friends, it was easy to miss.

The first few episodes of Boba Fett made it seem like a far less ambitious series – did we really need to learn the specifics of how he survived the Sarlacc pit? And who cares about his future as Jabba the Hutt replacement? I've talked to several Star Wars fans who tapped out early on, only to catch up once they heard Mando and Grogu popped up. (Honestly, it almost seemed like Favreau and crew got tired of the Boba Fett story – so did we.)

It's not like I'm against the idea of narratives shifting between different shows and films. Everything Marvel's done since Iron Man has practically trained us to consume pop culture this way, with the rise of the Avengers initiative to the ultimate smackdown with Thanos in Endgame. The geeky side of me is overjoyed when I discover connections between films I love. (You should have seen me in the theater at the end of M. Night Shyamalan's Split.) But the idea that viewers have to keep tabs on everything is beginning to feel like homework, and it's particularly frustrating when one piece of media is inexplicably crucial to something that comes later.

It doesn't help that The Mandalorian barely referenced The Book of Boba Fett during its introductory episode. Even a bit of a nudge during the "previously on" opening section would help. Instead, the premiere episode just wants to get us back to normal, with Mando on a video game-like quest and Grogu having fun along the way. It's a shame, since the end of season 2 made it seem like The Mandalorian would actually change things up moving forward.

Grogu in The Mandalorian Season 3

Speaking to The Hollywood Reporter, creator and executive producer Favreau said he appreciated being able to check in on characters between shows. “I knew that I didn’t want to dedicate a lot of screen time within The Mandalorian to a period of time where there wasn’t a lot of character progression," he said. "Both [Din and Grogu] were kind of stuck, as far as character progression goes, until they were reunited. So, my feeling was that it would allow me to do both of those things and freed me up now two years later to have a whole new context for these two characters to have a relationship and move forward.”

But what Favreau saw as a problem, I see as an opportunity. In Book of Boba Fett, Din and Grogu's time apart is handled briskly. Neither can fully let each other go. That stalls Grogu's Jedi training, as that's mostly focused on detaching yourself from the world and emotional connections. (Did that really work so well for Anakin Skywalker? Come on, Luke.) Din, meanwhile, acts like an empty nester who's lost his life's purpose. This is all good material for drama, but Favreau cuts through it as quickly as possible on a spinoff show. What a waste.

I may be particularly annoyed by The Mandalorian's disjointed narrative after seeing how Marvel handled its latest big bad, Kang the Conqueror, in Ant-Man and the Wasp: Quantumania. In that film, Kang is introduced as a castaway, someone banished to the Quantum Realm because of his penchant for, well, conquering. But we never got a sense of his true motivation, his powers or what he's actually trying to accomplish.Perhaps that's because the folks behind Quantumania assumed you saw Kang's brief introduction at the end of the Loki streaming series, where he's presented as more of a trickster and vague threat.

Din Djarin holding Grogu in The Mandalorian Season 3
Lucasfilm

If you didn't watch Loki and were confused by Quantumania, it's almost like Marvel is saying that's your own fault. To me, that's simply irresponsible storytelling.

Coming off of Andor, Tony Gilroy’s self-contained and trenchant exploration of the Star Wars universe, the simplistic and confusing nature of The Mandalorian feels like a letdown. The show was always a pulpy and almost video game-like romp. But after the end of season two, there was potential for something much greater. Instead, Favreau took the easy way out to deliver more of the same.

This article originally appeared on Engadget at https://www.engadget.com/dont-make-me-watch-boba-fett-to-understand-the-mandalorian-season-three-203004802.html?src=rss