The following contains spoilers for season four, episodes eight and nine of 'Star Trek: Discovery' and season one of 'Star Trek: Prodigy.'

In the initial pitch for Star Trek, way back in 1964, the series was described as “Wagon Train to the Stars.” This was mostly in reference to its sense of exploration and discovery, but it also hints at something else that would become a hallmark of the series: the travel. Lots and lots of travel. It may take days, weeks or, in the case of shows like Voyager, years, for the crew to get to their destination and as such, it allows plenty of time for adventure and character growth. However, new technologies introduced in shows like Discovery and Prodigy have eliminated that travel time, fundamentally changing the nature of their plots.

That’s keenly on display in this week’s episode of Discovery, where the ship must continue their pursuit of Cleveland Booker and Ruon Tarka. Last week we discovered that the planet-killing Dark Matter Anomaly was basically a piece of mining equipment from an unknown species, and Book and Tarka’s desire to destroy it would make for a very unpleasant first contact, one that could potentially start a war. The pair had already stolen a prototype spore drive and fitted it into Book’s ship, meaning they now had access to the ability to leap across the galaxy in seconds. As the only other vessel in the fleet with a working spore drive, this meant the USS Discovery was now in the uncomfortable position of hunting down one of its own.

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Some of the episode is focused on the crew’s feelings about this; Admiral Vance can’t trust Michael to hunt down her boyfriend so he even assigns Commander Nhan to the mission to step in if things get messy. There’s even some dialogue between minor crew members like Nielsen and Rhys and how they feel about the whole thing. It’s nice to see them get some screen time, but it also shows how little we get to hear from them in a typical Discovery season.

Consider how many classic episodes of the franchise took place during, or were about a long trip between planets. It’s in the title of the original series’ “Journey to Babel,” where we meet Sarek for the first time and get to see the relationship between him and his son Spock. “Data’s Day” is a Next Generation episode about a typical day in the life of Commander Data, which also involves transporting a diplomat while there’s also a wedding on board the ship. This was the first appearance of Keiko O’Brien, a character who would later go on to play a large role in Deep Space Nine when her husband was part of the main cast.

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Meanwhile, the chances for our recurring characters to shine have been few and far between. Last week’s installment did have Owosekun kicking ass, but not in any way that really gave us deeper insight into her character, with her best development remaining “New Eden” back in season two. We haven’t even seen Jett Reno much this year, though that’s due to actress Tig Notaro avoiding travel during the pandemic. The background character that’s gotten the most development thus far is Airiam, who had an entire episode dedicated to her — because she was about to die.

The immediate travel time also makes itself felt with the main cast, who get to return to familiar locations on a regular basis. Starfleet Headquarters, Earth or any of the various planets the ship has visited before — nothing is off the table for a drop-in, which means that past storylines and characters like Admiral Vance can be readily revisited. That leaves even less time for the audience to get to know the rest of the crew.

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It’s an interesting contrast with Prodigy, which also features super-fast engine tech, the protostar engine. It’s not instantaneous like the spore drive, but it does cut a journey that would have taken Voyager 70 years down to mere days. It’s a natural outgrowth of all the technological development we saw during Voyager’s seven seasons, as opposed to the quantum leap that the spore drive represented to Discovery’s 23rd-century setting.

But even with faster travel times, Prodigy can still focus on character development due to simply having a smaller recurring cast to deal with. On the Protostar it’s just the six kids and their holographic Janeway, and a lot of their time is spent in transit by virtue of the plot — they were on the run from the Diviner and thus couldn’t stay in one place very long, and when the show returns from its hiatus they’ll be running from the flesh-and-blood Janeway. In my interview earlier this month with showrunners Dan and Kevin Hageman, they also said they didn’t want the vessel to just be zipping around, either; there will be limits to what the ship can do, which leaves plenty of time for even more character development. (Even Murf is due for a character arc.)

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After the cursory hand-wringing Discovery jumps straight into the action, with a game of cat-and-mouse as Book and Tarka pursue the DMA and the USS Discovery pursues both the DMA and Book’s ship. It’s a bit exciting, though loaded with technobabble: They can’t outrun each other so the show needs to find sci-fi tricks to keep the chase interesting. But the bulk of the action is still focused solidly on Michael, Book and Tarka, pushing a lot of the usual teamwork and ensuring character interaction usually found in Star Trek shows to the background. It’s still an interesting story, to be sure — it’s just not one that serves its recurring characters very well.

Don't expect to watch HBO's The Last of Us series any time soon. Channel programming president Casey Bloys told The Hollywood Reporter in an interview that the adaptation of Naughty Dog's apocalyptic games won't air in 2022. Bloys didn't commit to a release date, but he noted filming was still underway in the western Canadian city of Calgary.

The series stars The Mandalorian and Narcos veteran Pedro Pascal as the grizzled survivor Joel, while Game of Thrones' Bella Ramsey plays the teen Ellie. The games' Merle Dandridge plays the resistance leader Marlene, while Gabriel Luna (True Detective) and Anna Torv (Fringe) respectively play Joel's brother Tommy and the smuggler Tess. Nick Offerman also has a guest role. The high-level plot largely mimics that of the first game — Joel is tasked with escorting Ellie to an organization searching for a cure to the brain infection that ravaged humanity, but the journey becomes far more complicated.

The timing will have HBO's The Last of Us debut long after the game's sequel. Expectations are already riding high, though. On top of the cast, the show is written and executive produced by Chernobyl's Craig Mazin and Naughty Dog's Neil Druckmann. In theory, the series will both buck the trend of so-so game adaptations and give Sony's PlayStation Productions studio some extra credibility.

Paramount+’s live-action Halo adaptation has yet to debut, but that’s not stopping the streamer from renewing the series ahead of its March 24th premiere. On Tuesday, ViacomCBS announced it will work with 343 Industries, Showtime and Steven Spielberg’s Amblin Television to produce a second season of the show. David Wiener, known for his work on Homecoming, The Killing and Brave New World, will serve as showrunner and executive producer on the sophomore season.

At the moment, those are the only details ViacomCBS has shared. The company didn’t say anything about a potential release date. “This second-season pickup reflects the confidence we have in the power of this epic series to attract and engage viewers,” said David Nevins, chief content officer of scripted originals at Paramount+.

The early renewal of a promising series isn’t that unusual for a streaming service like Paramount+. We saw Apple employ a similar strategy in the early days of TV+ with For All Mankind and The Morning Show to ensure there was a steady stream of original content making its way to the service. More than ever, the streaming market is highly competitive and companies like ViacomCBS see exclusive shows and movies as an important tool in attracting and retaining subscribers.

Spotify has been removing Joe Rogan Experience (JRE) episodes since Friday, and as of this writing, the service has pulled down a total of 113. When Gizmodo noticed that some of the podcast's episodes could no longer be found, only 70 had disappeared from the platform. Now, based on the website dedicated to monitoring which of the show's episodes aren't available on the service, an additional 40 had been removed. However, the episodes don't seem to be connected with the COVID-19 controversy surrounding the show and the service right now.

Several artists have exited Spotify recently because of Rogan's COVID-19-related episodes. An open letter addressed to the host from doctors and scientists pointed out that he had made several misleading claims about the virus in the past and promoted the use of ivermectin to treat it. They take the most issue with one specific episode in particular: Episode #1757 with guest Dr. Robert Malone, who claimed that people only believe COVID-19 vaccines are effective due to "mass formation psychosis." That episode is still available. 

Spotify doesn't seem to be deleting episodes in order, though the newest one in the bunch is #1458 with actor Chris D’Elia as guest. It's also unclear what policies the episodes broke to warrant being deleted. Spotify head of global communications Dustee Jenkins reportedly told employees on Slack before that a team reviewed multiple controversial JRE episodes and found that they didn't meet the threshold for removal. Jenkins also said that what Spotify hasn't done is share its policies externally, according to a report by The Verge, which also posted a copy of the service's pretty narrow COVID-19 guidelines. 

The company's CEO admitted that its content policy should've been public before now when he reported Spotify's earnings for the fourth quarter of 2021. As for Rogan, he apologized for the backlash and said he'll do his best "best to try to balance out these more controversial viewpoints."

The following contains minor spoilers for episode ten of 'Star Trek: Prodigy.'

One thing that’s become increasingly common among genre shows is the idea of the “mid-season finale,” where a program goes on hiatus for a bit, but not before shaking things up for the rest of the year. Even children’s shows like Star Trek: Prodigy can’t escape from this phenomenon, as the Paramount+ cartoon takes a break (again) after a huge two-parter with big changes for the characters and central conflict.

The first season has so far been a long chase between the escaped prisoners aboard the USS Protostar and their former captor, the Diviner. Last week’s cliffhanger forced the crew to surrender their ship to the Diviner in exchange for the lives of their fellow prisoners from the prison colony Tars Lamora, leaving them stranded on the Diviner’s sabotaged ship, the REV-12. But it turned out that our erstwhile teens had a plan to take their ship back, and this week’s installment sees that plan come to fruition. It’s an enjoyable, though largely unsurprising, adventure.

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Where the show upends things is when it comes to our villain, whose mission is finally revealed to his daughter Gwyn and thus, the audience. And yes, it involves time travel. Most interesting of all is that the Diviner’s storyline is backburnered if not completely scuttled now, with the Protostar crew instead focused on getting to the Federation. And it was intended that way all along — these episodes were written over two years ago, before the pandemic started. In fact, showrunners Kevin and Dan Hageman revealed this week in an interview with Engadget that they just wrote episodes 39 and 40. That would be the end of season two, which was only announced back in November.

The long lead time is due to the lengthy animation process, though it also has the knock-on effect of making the show unresponsive to fan concerns, which is exactly how the Hagemans prefer it. The lengthy production time keeps them beholden to the writer’s room and not a vocal online minority, a phenomenon that has derailed other franchises (most notably Star Wars). For the Hagemans, their most important audience is kids, but not in a way that talks down to children. The decision to set the series so far from explored Federation space is part of keeping it accessible to newcomers, while also freeing it from any constraints imposed by any of the concurrently running Trek programs on Paramount+ like Picard.

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But even as it remains kid friendly, the Hagemans told Engadget that they want to create the kind of moments that “[stick] to your bones,” like seeing “ET dead on the table.” They want the show to have an impact, and this week’s scene with Zero is hopefully one of those.

Another inspiration for this season of Prodigy comes from a less sci-fi, more action-oriented source: the 1993 film The Fugitive. Not so much in the idea that we’ll see a lot of train explosions, but more in the sense that there’s no real villain in the central conflict. The plot arc will involve Starfleet trying to get the Protostar back, and the kids having to keep it away due to what happened in this week’s episode. It’s just two well-meaning groups with different goals, something I’ve personally noticed in a lot of media lately and a premise that the Hagemans believe it’s important for kids to see.

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It’s also important to them to see the kids grow and adapt to their situation, especially as they’re being tasked with situations that even Starfleet-trained officers would struggle with: “You see kids dealing with a lot of emotions; a lot of things are coming at them, and there’s times when you feel crippled, and that’s something you see in adolescence.” We’ve already seen some significant character growth for Rok-Tahk, and the Hagemans promise that the characters will age for whatever number of seasons the show gets. And even Murf gets a plot arc, one that “is not about what Murf is … more like where does Murf go; what does Murf become?”

Murf fans only have to wait for the next 10 episodes, at least. The rest of the season will see the crew finding out what the Diviner did to their ship, and how it puts the Federation out of reach. I’ve previously noted how the series showcases its technology by focusing on the have-nots, something on display this week as the prisoners of Tars Lamora finally get access to the universal translator tech that so impressed the Protostar crew early on. And, while the ship has seemed a bit overpowered compared to the other 24th century tech we’ve seen in other shows, the Hagemans promise it will still be limited in some ways, and the ship won’t be “zapping around at their will.” 2383 technology may have proved life-changing for Prodigy’s crew, but going forward the program can now showcase how it can also be fun.

This post contains spoilers for the sixth season of 'Billions.'

Peloton can't quite escape the publicity headaches from TV shows featuring its products. According to The New York Times and The Verge, the premiere episode of Billions season six includes a scene that, like the Sex and the City follow-up And Just Like That, paints Peloton's Bike in a less-than-flattering light — if not quite as dire as before.

The scene depicts Mike "Wags" Wagner (played by David Costabile) having a heart attack while riding his Peloton spin bike. Unlike the And Just Like That scene, however, Wagner survives — he even references the AJLT scene, telling staff that he's "not going out" like that character. Billions' executive producers told The Times the moment was filmed in spring 2021, months before AJLT's debut, and that the team overdubbed the reference to the other show in postproduction to reflect "what Wags would say."

Peloton stressed in a statement that it hadn't provided the Bike or otherwise greenlit the use of its brand for Billions. It even celebrated parts of the episode, noting that the show highlighted the "strong benefits" of a cardio workout. When the AJLT scene caused a panic, Peloton faulted the character's lifestyle and suggested the bike at least delayed the inevitable. It went on to create a promo to defend its products in response, although it pulled that ad soon after when the focus of the promo, actor Chris Noth, faced accusations of sexual assault.

The Billions scene isn't the biggest PR crisis Peloton has faced lately. The company's stock price plunged after a (since-denied) claim it halted production due to slowing sales. However, it does illustrate Peloton's odd position. While its fitness gear is still considered iconic, the company is no longer quite so revered by shoppers or the entertainment business.

Apple is nearly ready to release its tale of WeWork's tragic fall. The company has announced that its Apple TV+ limited series WeCrashed will premiere March 18th. The eight-episode drama stars Jared Leto as former WeWork CEO Adam Neumann, who wielded hype to earn a $47 billion valuation only to lose most of it (and his job) when the IPO process revealed ugly financials and leadership. Anne Hathaway plays Adam's wife Rebekah, who served as an executive (including the head of WeGrow) and whose relationship with Adam was "at the center of it all," according to Apple.

The trailer sets expectations quickly. The Neumanns portrayed by Leto and Hathaway are full of overly grand visions, portraying WeWork as nothing less than the future, a "movement" aiming to "elevate the world's consciousness." The clip also highlights the cult-like devotion to the company and its notoriously summer camp-like retreats. It's not certain how well the performances will hold up across a whole series, but Apple at least seems to understand how WeWork's reality was never going to match the buzz.

This isn't the first streaming take on WeWork's rise and sudden decline. Hulu's 2021 documentary was an imperfect but prominent take on the Neumann couple. Apple's effort clearly has star power, however, and the behind-the-camera talent has experience with well-received titles like Little America and This is Us. If nothing else, it's clear Apple hasn't given up its TV+ strategy of counting on big names to draw in viewers, even if the projects are slightly unusual.

A show that stars three actors who all identify as being on the autism spectrum will debut on Amazon Prime Video this week. Rick Glassman, Albert Rutecki and Sue Ann Pien play three 20-something roommates who are also on the spectrum in As We See It.

Creator Jason Katims is best known for his work on Friday Night Lights and Parenthood, which featured a character with Asperger’s syndrome. He said all of As We See It's “neurodiverse roles were cast with neurodiverse actors” and “two neurotypical roles were cast with neurodiverse actors," according to Disability Scoop. Some writers, editors and other crew members are neurodiverse too.

Katims said his son has autism, and their experience inspired As We See It. "I think the show affords us a window into the hearts and souls of three-dimensional, loving, beautiful, complicated human beings who happen to be on the autistic spectrum, played by actors who identify as being autistic," Katims said. "It shouldn’t be revolutionary. But it sort of is."

Several other shows from recent years have featured characters with autism, including Netflix's Atypical, The Good Doctor, Prime Video series The A Word and even Sesame Street. However, it's rarer for a series to feature characters with autism played by performers who themselves are on the spectrum. As such, As We See It could bolster authentic on-screen representations of autism.

All eight episodes of As We See It's first season will hit Prime Video on Friday.

Doctors, health experts and scientists battle COVID-19 misinformation on daily basis. Platforms like Facebook and Twitter have adopted policies in an effort to curtail rampant false claims, but some don't have rules in place. A group of 270 doctors, nurses, scientists and educators have sent an open letter to Spotify following a recent episode of TheJoe Rogan Experience, calling for the streaming service to adopt a clear policy and to fulfill its "responsibility to mitigate the spread of misinformation." 

On the December 31st episode of his podcast, Joe Rogan interviewed Dr. Robert Malone, a virologist who says he's one of the creators of mRNA technology. It's unclear whether that's true. During the chat, Malone made baseless claims about COVID-19, including the idea that "mass formation psychosis" led people to believe the vaccines were effective and the notion that President Biden had withheld data that supported ivermectin as a valid treatment. The episode quickly went viral among both critics and fans as Rogan averages over 10 million listeners per episode. YouTube removed a video of the interview and Malone was recently banned from Twitter for violations of the platform's COVID-19 misinformation policy.

"By allowing the propagation of false and societally harmful assertions, Spotify is enabling its hosted media to damage public trust in scientific research and sow doubt in the credibility of data-driven guidance offered by medical professionals," the letter explains. "[The episode] is not the only transgression to occur on the Spotify platform, but a relevant example of the platform’s failure to mitigate the damage it is causing."

In April, The Verge reported that Spotify was okay with a Rogan episode on which he encouraged 21-year-olds to not get vaccinated. A company source indicated the message wasn't "outwardly anti-vaccine" and he didn't "make a call to action," The Verge's Ashley Carman wrote at the time. Spotify has taken down more explicit examples of vaccine misinformation, including a song from musician Ian Brown and a podcast from Pete Evans. The company has said in the past that it "prohibits content on the platform which promotes dangerous false, deceptive, or misleading content about COVID-19 that may cause offline harm and/or pose a direct threat to public health." And that when something violates those guidelines, it is removed.

However, as this open letter points out, Spotify doesn't have an official misinformation policy like Facebook, Twitter, YouTube and others. The group is asking for the platform to do just that, rather than to directly take action against Rogan or remove the episode in question. They want the company to create rules that would hold podcast creators accountable for the content of their shows.

Spotify paid a reported $100 million to lock down The Joe Rogan Experience as an exclusive podcast in 2020. The show was the most popular on the platform in 2021, both in the US and globally. When Rogan faced criticism over his choice of guests, including another example of pandemic misinformation in an episode with Alex Jones, Spotify CEO Daniel Ek said the platform didn't have editorial responsibility over podcasts.

"We have a lot of really well-paid rappers on Spotify too, that make tens of millions of dollars, if not more, each year from Spotify." Ek told Axios. "And we don't dictate what they're putting in their songs, either." 

Spotify didn't respond to Engadget's request for comment on both the open letter and the company's misinformation policies.

Star Trek: Discovery is taking an unscheduled break in the season after its next episode on December 30th, Gizmodo has reported. It'll be off for a month and a half until February 10th, essentially making way for the next season of the kids-oriented Star Trek Prodigy, set to return on January 6th. 

Discovery took a similar mid-season break in season one, but this time there's more content to fill the gap. After it returns in February and finishes its run, the second season of Picard should be about ready to launch. The idea of having enough Star Trek series to run them nearly continuously was Paramount's goal when Discoveryfirst launched in 2018. 

Discovery's fourth season has got off to a strong launch creatively, thanks in part to a more episodic format that will make it easier for casual fans to follow. From a content standpoint, however, the season started controversially when Paramount announced that the series would be pulled from Netflix in non-US territories. Season 4 is now streaming on Pluto TV in some countries in Europe, at least until Paramount+ can expand to those regions.