Y: The Last Man Canceled at FX as Its First Season Nearly Ends

Y: The Last Man Canceled by FX on Hulu

With three episodes left to go of Y’s first (and currently only) season, Clark insists that fans should continue to watch the remaining episodes. “They’re epic, I promise,” she tweeted, adding that viewers should tell their friends to watch the show to increase its chances of returning. With the hashtag of #YLivesOn, Clark wants to spur the audience the show has to keep it alive. It’s a tactic that’s worked in the past for shows shows cut down before their prime like Young Justice, the excellent Warrior, and The Expanse. Time will tell if she gets a second chance with her series, or if Yorick’s journey will end with an abrupt cliffhanger.

Y: The Last Man has three more episodes to go of its first and currently only season. The newest episode will premiere on Monday, October 18.


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Star Trek: Lower Deck’s Mike McMahan Breaks Down Season 2’s Themes and That Epic Finale

I came into Lower Decks with extreme skepticism, worried it was largely going to be an exercise in fan service. And there is a fair amount of that—but it’s wound up being my favorite of the current Star Trek shows in a walk, simply because it’s the most purely inventive, character-focused and fun of the three.

Star Trek shows usually take a few seasons to find their footing. If these were the shaky seasons, then we’re in for a real treat. Genuinely hyped to see what season three has in store.

Doctor Who’s Jodie Whittaker Has Filmed Her Goodbye, But Not Met the Next Doctor

Doctor Who’s Jodie Whittaker Filmed Regeneration, Not Met Replacement

One Doctor Who crew and an actor filming one side of a Doctor’s regeneration, and another with a new actor filming the other months later, is not uncommon in the sci-fi series history, especially when an actor’s exit coincides with a new showrunner and production team moving in. As Whittaker herself noted, her side of the regeneration from the 12th Doctor was shot well after Capaldi had shot his own sequence; a separate group from Steven Moffat’s production team came in to shoot Matt Smith’s first scene as the Doctor during David Tennant’s farewell. Quite infamously, Colin Baker’s dismissal as the Sixth Doctor lead to the actor refusing to return to film his regeneration in “Time and The Rani, leading to an… unconvincing disguise for incoming Doctor Sylvester McCoy.

So while it’s not unusual, it’s nevertheless the beginning of an end for Doctor Who’s current era. Doctor Who season 13, titled Doctor Who: Flux, will begin on October 30 on BBC One and BBC America—with the six-part series confirmed this week by the BBC to have been penned almost entirely by outgoing showrunner Chris Chibnall, with episode four co-written by “The Haunting of Villa Diodati” scribe Maxine Alderton. Returning director Jamie Magnus Stone and Azhur Saleem directed the series.


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Tucker to Antivax Rubes: No, Really, I’m One of You!

Tucker Carlson Reassures Anti-Vaxxers He Is ‘Not Pretending’

The truth isn’t much more flattering for the network, which regularly airs anti-vax propaganda. Fox is actually rolling out a stricter version of the Biden administration’s employer mandate—staff must be vaccinated or take daily coronavirus tests, whereas the feds are only requiring testing on a weekly basis for those who choose that route—and it already had a vaccine passport system in place. But sure, whatever.

Carlson added that the network was “alone among big media outlets” in defending “this country’s most basic civil liberties,” presumably referring to the right to maximize one’s chances of infecting others with a deadly disease.

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“To cynical authoritarians like Joe Biden and the ghouls around him, like Susan Rice, that just can’t be genuine,” Carlson added, referring to one of Biden’s domestic policy advisors. “They assume the people you see on Fox News must be pretending, pretending for money or prestige or ratings or something else… But they are wrong. We are not pretending at all. It’s real.”

There is, of course, ample evidence to doubt Carlson’s authenticity.

For example, Carlson regularly spins up wild narratives about vaccinations based on flimsy evidence, including stuff he no doubt knows is wildly inaccurate, such as his claims that the Centers for Disease Control and Prevention’s Vaccine Adverse Event Reporting System shows coronavirus vaccines are extremely dangerous (It shows the opposite—the thousands of deaths he keeps citing are probably mostly older people who died by sheer coincidence after getting vaccinated.) He won’t even clarify whether he’s received the vaccine himself.

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Carlson has openly admitted he lies on TV. Politifact’s fact checkers have found that 87% of contested statements by him they reviewed were “Mostly False,” “False,” or “Pants on Fire,” for all that matters. While trash-talking the rest of the media serves as his daily meat and gristle, he’s well-known as one of the biggest gossips to media reporters.

The question of whether Carlson is really as ignorant as he pretends to be on TV is somewhat irrelevant, as vaccines are safe and effective, and the vast majority of people being hospitalized or dying of the novel coronavirus these days have not received one.

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J. Michael Straczynski Explains Why Babylon 5 Had to Be Rebooted

J. Michael Straczynski Explains Babylon 5 CW Reboot

“Heraclitus wrote ‘You cannot step in the same river twice, for the river has changed, and you have changed.’ In the years since B5, I’ve done a ton of other TV shows and movies, adding an equal number of tools to my toolbox, all of which I can bring to bear on one singular question,” Stracynzski tweeted. “If I were creating Babylon 5 today, for the first time, knowing what I now know as a writer, what would it look like? How would it use all the storytelling tools and technological resources available in 2021 that were not on hand then?”

But another appeal the writer found in specifically telling a new iteration of Babylon 5 for the 21st century is to build on what the original show already pioneered. At the time it aired, Babylon 5‘s five-year overarching plot, laid out from the get-go, was unprecedented as a style of long-form television storytelling. Now, in the age of mega franchises dominating TV—perhaps inspired by the likes of Babylon 5‘s initial approach—it’s normal. Not only that, the series’ dark sci-fi storytelling commenting on the state of the world in the mid-’90s needs to evolve, Straczynski argued, so that a new Babylon 5 could be more than just relevant to our current time, but try to imagine a future beyond it as well. “How can it be used to reflect the world in which we live, and the questions we are asking and confronting every day?” Straczynski continued. “Fans regularly point out how prescient the show was and is of our current world; it would be fun to take a shot at looking further down the road.”

Combined with the fact that much of Babylon 5‘s original, beloved cast are now “stubbornly on the other side of the Rim,” as Straczynski put it, making the new Babylon 5 a complete reboot makes complete sense. A continuation would have to compromise on who from the original series still remained, the constraints of its storytelling from decades ago, and push back on Straczynski’s own desire to make a Babylon 5 truer to our current moment rather than the past. And if anything, the writer is excited by the challenge.

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“Let me conclude by just saying how supportive and enthusiastic everyone at the CW has been and is being with this project,” Straczynski added. “They understand the unique position Babylon 5 occupies both in television and with its legions of fans, and are doing everything they can to ensure the maximum in creative freedom, a new story that will bring in new viewers while honoring all that has come before. Onward!”


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The Mandalorian’s Emmy Win Means Another Amazing VFX Reel for You

Star Wars The Mandalorian VFX: New Reel From Lucasfilm

That’s the show’s Visual Effects Supervisor Richard Bluff giving the tour. While VFX reels like this can be hit or miss, The Mandalorian’s videos never disappoint. There’s always something that surprises me, whether things I assumed were CG turned out to be real, or things that looked real were CG, or things that were physically made and then scanned into CG anyway. But I mostly love that the Trash-ATs are stop-motion puppets for what seems to be no discernable reason. The show’s ability to work with all these processes and VFX, rather than just designing everything on a computer as the prequel movies did, is a huge part of the reason why The Mandalorian looks so good and feels so authentically Star Wars.

The Mandalorian also won 2021 Emmys for Outstanding Prosthetic Makeup, Outstanding Musical Composition for a Series (Original Dramatic Score), Outstanding Sound Mixing for a Comedy or Drama (One-Hour), Outstanding Stunt Coordination, Outstanding Stunt Performance, and Outstanding Cinematography for a Single-Camera Series (Half-Hour), for a total of seven.


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How One Doctor Who Fan Brought Color to the Show’s Classic Era

“I kept meeting younger Doctor Who fans that wouldn’t give the ‘60s era a go. I found this difficult to process because for me it’s the golden age of the show. Some people just don’t connect with black and white—so I thought I’d do something about it,” Tipple added, explaining why he started colorizing clips from the series. “As soon as you add color something magical happens. A clip you’ve seen a hundred times before suddenly feels new. It’s like watching something for the first time. It breathes new life into something familiar. Sometimes when you’re in the middle of things it’s hard to see the wood through the trees. Perhaps I’ve spent eight hours coloring a bronze button on the Doctor’s coat… when I zoom out and watch everything back I’m like, ‘hey, that works!’ It’s time consuming but that’s what makes it rewarding!”

Tipple’s passion for restoring classic Doctor Who is something he’s been able to spin into part of his career as well, helping the BBC’s home release of Doctor Who season eight—Jon Pertwee’s second season as the third incarnation of the Doctor. Although it wasn’t quite Tipple’s usual colorization work, building on original black-and-white material (Doctor Who debuted in color in 1970’s season seven, when Pertwee joined the series), it was still a chance to work on one of his favorite shows. “It was a huge honor to be involved in the season eight Blu-ray release. The BBC were encountering some issues with the color on a 1971 Jon Pertwee story called ‘The Dæmons.’ It’s a story that has had all manner of ingenious color recovery thrown at it, So I was building on top of some excellent color work but some scenes still required manual intervention. I worked with Gav Rymill, Anthony Lamb and Kieran Highman, so a real team effort! The whole process was amazing. I kept pinching myself. To use my colourisation skills to help restore ‘The Dæmons’ to how it looked when originally broadcast was thrilling.”

But beyond his chance to work on the show officially, Tipple has started sharing his passion for restoring Doctor Who online by painstakingly working on bringing clips from classic stories like “The Dalek Invasion of Earth” and others to life in color. Even working as just a single fan, it’s an arduous process. “You always start a colorization by looking for source material. Are there any behind the scenes color photos of the sets? Were any props reused during the color era? This stuff is vital as it allows you to pick the correct colors out,” Tipple said of the process. Being faithful to the original is just one step, but given Doctor Who’s shaky archival history in its earliest days, proof of costume colors or set decoration isn’t always going to be easy to find.

“Of course you’ll never get a reference for everything and you do have to use some artistic license. It’s important to be creative, and use a pallet that works tonally. The 1960s was a vivid, technicolor decade and I like that reflected in my work,” Tipple continued. “There’s an age-old debate about the TARDIS console too. It was painted green so that it would appear white on a monochrome television set. So at this point do you go with the authentic color of the prop, or go with what the production team wanted to achieve? I don’t think there’s a wrong answer but I’ve definitely favoured a subtle green coloring.”

Tipple sees his work, fan project or not, as something the BBC’s slowly been getting into lockstep with in recent years as it seeks to recover as much of Doctor Who’s lost early history as possible. It’s a way to celebrate the earliest era of a sci-fi legend, breathe new life into it for younger audiences, and preserve it as it was imagined to be seen by its cast and creators all those years ago. “I think as a community [Doctor Who fans] are so well looked after. I can’t think of another franchise, bar possibly Monty Python, that gets half the love and energy that Doctor Who releases get. The people that put this stuff together really care about the show. They go above and beyond. Even now, nearly 60 years since the first episode, people are still unearthing new information,” Tipple reflected. “It’s incredible. Some things are lost, and some will never come back, but the fans are keeping it alive. It’s brilliant to see the BBC animating things like ‘Evil of the Daleks’ and ‘Galaxy Four,’ two stories I never thought I’d have on my DVD shelf!”

As the BBC works to restore—and where it can’t, re-animate—classic stories lost to time (and space!), Tipple remains hopeful as a fan that there’s still more joy to be found in revisiting the series’ earliest days like this. “The future for the classic Doctor Who range is in safe hands and as a fan, I’m excited to see what the future brings. We’ve cleaned up old prints, we’ve restored the sound, we’ve vidfired the picture… as technology improves perhaps we’ll see Hartnell in HD! Maybe we’ll get the whole 1960s era in colour—who knows! Even today we’re seeing things that 10 years ago I wouldn’t have thought possible, so we really can’t rule anything out.”

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You can see more of Tipple’s restoration and colorization work on his Twitter account.


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Locke & Key’s First Season 2 Trailer Unlocks New Doors and Teases More Magic

Locke & Key Netflix: First Season 2 Trailer

Locke & Key’s co-showrunner Meredith Averill has teased that the show’s second season will see the Locke’s embracing their status as the latest Keepers of the Keys and also grappling with the reality that they’re all growing up and quickly approaching the age when they, like all adults, will forget about magic. The trailer’s dark tone, and the implication that Dodge means to kill many more people in their pursuit of evil, definitely points to the new season making good on Averill’s word, but what remains to be seen is whether the narrative changes to the story will hold up in the end.

Locke & Key also stars Darby Stanchfield, Aaron Ashmore, and Sherri Saum. The show’s second season hits Netflix on October 22.


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Star Trek: Picard’s New Season 2 Trailer Goes Full Back to the Future

Star Trek Picard Season 2 Trailer: Borg Queen, Time Travel

Wow. Q (John de Lancie) has traveled through time and created an evil alternate reality for Picard (Patrick Stewart), Seven of Nine (Jeri Ryan), and the rest of the heroes. That means Picard himself is going to have to time travel too, which leads him to revisit an old friend: the Borg Queen, recently announced as being played by Annie Wersching. And she is looking incredibly forbidding.

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So yes, Star Trek: Picard season two has some major Back to the Future Part II vibes with Picard and his crew traveling through time to save their reality that was shattered by a villain. It also happens to give co-showrunner and executive producer Akiva Goldsman license to film in and around what looks to be modern Los Angeles, which makes this also feel a lot like Star Trek: The Voyage Home with members of Starfleet running around a modern California city. But, as you well know, the Trek franchise is no stranger to time travel. Surely though, things are going to get twisty and turny… and very Borg-y.

While the first teaser for Star Trek: Picard posed some questions about this season, some of which are now answered, this new look just raises more and more uncertainties. Can Jean-Luc Picard save his reality like Marty McFly did? We’ll find out when Star Trek: Picard returns in February 2022. This season will also see Alison Pill, Isa Briones, Evan Evagora, Michelle Hurd, Santiago Cabrera, Orla Brady, and Brent Spiner return for the adventures in time (and space). What did you think of the latest Star Trek: Picard trailer? What’s your stand-out moment? Let us know below.


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Star Trek: Strange New Worlds Beams Up Its New Crew

Star Trek Strange New Worlds Cast Introduces Young Uhura, Nurse Chapel

Previously announced co-stars Celia Rose Gooding, Jess Bush, and Babs Olusanmokun will all play young versions of classic Star Trek characters. Gooding is Cadet Nyota Uhura, the legendary future comms officer of Kirk’s Enterprise crew, played by icon Nichelle Nichols in the original show. Bush, meanwhile, will embody the role given to Trek legend Majel Barret after Number One was cut from the original series pilot: Nurse Christine Chapel. Joining Bush in the sickbay will be Olusanmokun’s Dr. M’Benga, the physician who would become acting Chief Medical Officer aboard the Enterprise while Dr. McCoy was on away missions.

The entirely new characters for Strange New Worlds include Bruce Horak as Hemmer, from the albino Andorian subspecies called the Aenar; the previously-cast Christina Chong plays the very intriguingly named La’an Noonien-Singh (which will set alarm bells ringing considering she shares a family name with the Trek villain Khan); and Melissa Navia will play Lieutenant Erica Ortegas. Star Trek: Strange New Worlds is expected to hit Paramount+ sometime in 2022.


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