NBC has shared the first trailer for Frogger. As expected, the show is a mix of Takeshi’s Castle and Wipeout. The clip offers a look at some of the whimsical sets contestants will need to traverse in order to claim a grand prize of $100,000. 

When NBC announced it was adapting Konami’s seminal 1981 video game into a Peacock series, it said the initial season would feature 13 hour long episodes and 12 different obstacle courses. One unexpected treat is that Damon Wayans Jr. of Happy Endings is on co-hosting duties.

Frogger will debut on September 9th, with new episodes to follow every Thursday. While we wait, you can play Frogger in Toy Town, the latest game in the series, on Apple Arcade.

Apple has renewed Carpool Karaoke for a fifth season and plans to move the series over to its TV+ service, according to Deadline. The show predates the streaming platform by several years and has been available through Apple Music and the TV app since the company first premiered the project back in 2017.

Both the series and The Late Late Showwith James Corden skit it’s based on have been on hiatus since the start of the pandemic. Once season five gets underway, you’ll find the previous four seasons on Apple TV+ as well. The change should make it easier to find the series since it will live alongside the company’s other original programming.

The following contains some spoilers for the second season premiere of ‘Star Trek: Lower Decks.’

The first season of Lower Decks was a pleasant surprise to many in the Star Trek fandom. What a lot of people had written off as Family Guy- or Rick and Morty-Trek ended up being a wholesome love letter to the history of the franchise. It was filled with plenty of low-brow humor, sure, but it also showcased characters who genuinely cared about each other and what they do. Thankfully, season two is more of the same.

Lower Decks takes its name from a season-seven The Next Generation episode that revolved around the lives of four ensigns, and the parts they played in a mission that only the bridge crew really understood the full scope of. It’s generally considered one of the best episodes of the franchise, which meant that anything that even vaguely referenced it had a lot to live up to. Luckily, Lower Decks creator and executive producer Mike McMahan was a big fan with deep knowledge of Trek. He is also the creator of the @TNG_S8 parody Twitter account, as well as a veteran of animated shows like South Park, Axe Cop and, yes, Rick and Morty.

CBS

The conceit of a Lower Decks series was that the stories would focus on a core group of four ensigns on the USS Cerritos: Beckett Mariner, Brad Boimler, D’Vana Tendi and Sam Rutherford, also known as “beta shift.” There was a bridge crew, voiced by stars such as Jerry O’Connell and Dawnn Lewis, but their storylines would always be what’s going on in the background, and the ensigns wouldn’t always be privy to what’s happening with the ship.

Unlike the TNG episode, however, even the audience has been kept out of the loop on many occasions, with the ensigns even being forced to testify on their commanders’ behalf in an unexplained trial. (It turned out to be a party in honor of the senior officers, which confused our protagonists even more.)

CBS

It’s a pretty great idea for a show, one that’s yielded hilarious results. But Star Trek doesn’t have a good track record of sticking to a concept. The majority of shows since TNG have started out as one thing and become something else over the course of their runs. All shows evolve, but the changes in Trek have been obvious and purposeful. Deep Space Nine was intended to be a “frontier outpost” type of show, showing the long-term relationship between the Starfleet and one of the planets it encountered, Bajor. By season three they were given a warship, and season four brought in TNG-veteran Worf and a war with the Klingon Empire.

Star Trek: Voyager operated on the premise of “what if a Starfleet ship was lost far from home?” And it stuck with that, sure, but it also continued to operate like any other Starfleet vessel over seven seasons, and the ship remained in surprisingly good condition despite the lack of spacedocks for repair — something that frustrated writer Ronald D. Moore and later spurred him to create the Battlestar Galactica reboot (the title ship was a wreck by the finale). They also ended up re-establishing contact with the Federation in later seasons, which dampened the whole “alone in a strange quadrant” theme.

Enterprise wasn’t even called Star Trek until its third season. But still, though it was a show that promised to show us the early origins of Starfleet and the Federation, the first two seasons got bogged down in a “Temporal Cold War” and later episodes brought in 24th-century-era baddies like the Borg and Ferengi.

The latest concept switcheroo was the premiere Paramount+ Trek show, Discovery. The producers touted it as the first series where the captain was not the main character, with the program focusing on Commander Michael Burnham instead. This sounded great in theory, as it could show us a different side of Starfleet. In practice, however, even if Burnham wasn’t the captain the entire universe seemed to revolve around her anyway: the mysterious “Red Angel〞of season two turned out to be her mother (and her). The show ended up jettisoning its 23rd century setting after that, traveling to the 32nd century to a galaxy with a Federation in tatters. As of the end of season three Burnham became the captain anyway. So much for any Lower Decks-esque perspective on that show.

CBS

Season two of Lower Decks starts off a bit shaky in that regard — after the events of the last few episodes, Mariner is now BFF with the captain (who is also her mother) and Boimler is a bridge officer on the USS Titan. Neither of them feel like the scrappy underdog anymore. At least Tendi and Rutherford are still pretty minor players, though Tendi is alarmed at sudden changes in Rutherford’s personality and worries she may be losing his friendship.

The premiere finds Mariner having the carte blanche to go on any side missions she wants, and in one of these authorized-unauthorized missions she accidentally turns first officer Jack Ransom into a god-like being set on taking over a planet. The latter event is, at least, a pretty standard plot contrivance for Star Trek. Where Lower Decks stands apart is that as Ransom is threatening the Cerritos and banging away at its shields, the camera cuts to Tendi attacking Rutherford in a corridor, afraid that his new personality traits mean he’s suffering a serious disease, or that he just doesn’t like her anymore. The larger existential threat is background color in this scene (literally, as you can see rainbow beams blasting outside the window) while the show chooses to focus on the individual struggles of these two characters.

CBS

By the end of the episode Rutherford and Tendi sort things out, and even Mariner gets put back in her place, with the partnership between her and her mother dissolved and Beckett back in the brig. The only missing piece of the fabulous four is Boimler and well, he’s not having a great time on the Titan, because maybe things are a bit too exciting up on the bridge. The lower decks of the USS Cerritos are the still place to be, with season two off to a solid start.

Marvel has often been taken to task for poor pacing on its shows. The Netflix programs were always said to be padded out, with more installments than they really needed per season. The Disney+ era has given us shows with fewerepisodes, but that hasn’t deterred complaints about slow pacing. What If…?, premiering this week on the service, has a different problem: It’s frantic and rushed, like a podcast episode played at 1.5x speed.

The concept behind What If…? is simple. Take a pivotal moment from the Marvel Cinematic Universe, change one thing, see what happens. In the premiere episode, set during the events of Captain America: The First Avenger, Peggy Carter chooses to stay in the room where Steve is receiving the super soldier serum. Steve gets shot, forcing Peggy to jump into the machine and get bulked up in his place.

You’d need to be intimately familiar with the original movie to spot the difference, which is why the omniscient narrator is there to point it out. It’s probably the only time the episode stops to catch its breath.

The problem is that this is a half-hour show attempting to present an alternate version of a two-hour movie. It isn’t even enough to just say that Captain Carter has super powers; they feel the need to show how the events of the entire movie play out, down to the final battle with the Red Skull. There isn’t a lot of time for character development, because they assume you already know the characters well from seeing them on the silver screen. (Also, why is she Captain Carter and not Captain Britain?)

Marvel Studios

It runs from plot point to plot point, a highlight reel of the film with some small and a lot of big changes. You’ll probably want to rewatch the original movie either before or after, just because there are so many winks and nudges to it that the episode simply cannot stand alone. It’s like a DVD extra and fan fiction had a baby — which, to be fair, is what the original comic felt like.

The difference here is that this is a version of What If...? that gets to play in the MCU sandbox, with the voices and likenesses to boot (except for Hugo Weaving, who is once again replaced by Ross Marquand as the Red Skull). Animation is the only way to pull it off, given that the cast and setting changes with every episode so a live action production would be prohibitively expensive.

Marvel Studios

But, despite being owned by one of the most famous animation studios in the world, Marvel Studios went with third-party animators. It’s a cel shaded style, which is more often used in video games and here looks a lot like rotoscoping. It’s sort of stiff and awkward, with more attention paid to making characters look like their actors instead of being more fluid or expressive. It’s a shame, given that Disney’s 2012 short film Paperman utilized a hybrid 2D/3D style which looks similar to this, but with a lot more personality.

Future episodes will explore other divergences from the MCU, like T’Challa becoming Star Lord or Tony Stark getting saved by Killmonger. So it’s likely some episodes will be far more enjoyable than others based on their conceit alone, though Captain Carter is still a solid start. But a good concept can’t completely overcome animation and pacing issues.

As an ‘80s and ‘90s kid, I have a special affinity for Disney Television’s animation lineup of the time, packaged as the “Disney Afternoon” on my local station (WPIX, aka PIX 11). My favorite was Gargoyles. I have a special place in my heart for TaleSpin, but DuckTales was the undisputed king of the lineup. One hundred episodes and a movie with plenty of race cars, lasers, airplanes, robots, super suits, caveducks and, of course, Scrooge’s Lucky Number One Dime.

Plenty of cartoons from the ‘80s have seen reboots in the past decade, but few have failed to outshine the original or gain a real fandom. So when a DuckTales reboot was announced, I was admittedly a bit wary, though the cast announcement certainly was enough to get my jaded self at least a little excited, with David Tennant as Scrooge McDuck and Beck Bennett as Launchpad McQuack.

The show debuted in July 2017 and I have to say they nailed it. It straddled the line between giving fans all the little in-jokes and callbacks to the original show they loved, but also introducing new characters (like tech mogul Mark Beaks) and plotlines to make the show feel fresh and modern. Huey, Dewey and Louie were given different color-coded outfit designs, distinct personalities and separate character arcs. Mrs. Beakley was upgraded from Scrooge’s housekeeper to also being a former secret agent he used to work with. And Webby was aged up and made more adventurous, so she could hold her own on any journey and even make a few friends along the way.

The show’s biggest strength was how heavily it drew from its source material, not just the original series but the original Carl Barks comics that inspired it in the first place. DuckTales (2017) marks the first animated appearance of Huey, Dewey and Louie’s mother (and Donald’s sister) Della. She was also modernized, made into an adventuring pilot with a short temper, not unlike her brother’s. The show also referenced other Disney Afternoon shows like TaleSpin, Chip ’N’ Dale’s Rescue Rangers and Goof Troop. It was truly a love letter to fans, but one with a solid plot and some wicked humor that today’s kids could still enjoy.

The show came to an end earlier this year, with the third season hitting Disney+ back in March. While the first season dealt with Magica DeSpell and season two was all about the Moon, season three pit Clan McDuck against the evil agency F.O.W.L. The creators knew this would be the last season, so it also pulls double duty on tying up stray plotlines and checking off their bucket list. That included bringing back Darkwing Duck and setting up a possible spinoff show, telling us the story of how Scrooge met Donald and Della, and even giving us a pseudo-sequel to TaleSpin.

Family was also a constant theme in the last season, with the show delving into Della’s newfound parenthood as well as where Webby ultimately sits within the family. I didn’t quite cry during the finale, but I came close. One thing that kept me going in the end was the knowledge that the story would continue in some form, not just in comics but in a weekly podcast featuring all the original voice actors. Seven episodes of This Duckburg Life are available (yes, it is a parody of Ira Glass), and a nice thing about the program is that it contains no spoilers for the cartoon so you can check it out even before you binge the show on Disney+. The episodes are fairly short, less than 15 minutes, which is fine because DuckTales has always been good at packing a lot of adventure into its 22-minute runtime.

DirecTV is now its own company again after AT&T closed the deal with private equity firm TPG, which it first announced back in February. Under their agreement, TPG would own 30 percent of the spinoff, while the mobile giant will retain a 70 percent ownership. As its own company, DirecTV will no longer operate under AT&T and will own and run the AT&T TV and U-verse video services under a single brand known as "DirecTV Stream" debuting later this month. The new spinoff says customers won't even feel the transition: The streaming services will continue being available and subscribers won't be blindsided by hidden fees.

AT&T received $7.1 billion in cash for the sale, which is but a tiny fraction of the $49 billion it originally paid when it purchased DirecTV in 2015. Back then, former AT&T CEO Randall Stephenson said combining DirecTV with AT&T "is all about giving customers more choices for great video entertainment integrated with mobile and high-speed internet service." According to Los Angeles Times, AT&T has lost 40 percent of the DirecTV's original subscriber number since then, and in the second quarter of 2021, DirecTV reported having 15.4 million premium video subscribers.

The telecom giant has been trying to offload DirecTV since at least 2019, but it hasn't announced anything concrete until earlier this year. This deal doesn't include the HBO Max streaming service, which will be part of the company's separate WarnerMedia spinoff. In May, AT&T announced a $43 billion deal that would see its WarnerMedia division merge with Discovery. It's expected to close in mid-2022, four years after AT&T finalized its $85 billion acquisition of Time Warner. Both that deal and this DirecTV spinoff will help AT&T's debt reduction efforts. As Deadline notes, it has taken several steps, including selling off assets, over the past few years to reduce the debts it has acquired due to its massive multimedia acquisitions.

The BBC has announced that Chris Chibnall (pictured, center), Doctor Who’s executive producer, and its star, Jodie Whittaker (pictured, right), will leave the series in 2022. A trio of specials through next year would herald the pair’s departure from the long-running series. This, then, seems like an ideal time for Doctor Who to undergo the radical shakeup it so desperately needs. I don’t agree with The Guardian’s recent piece saying that the series needs to be off the air for a while, but it is very clearly time for the show to evolve again.

This is in part because Doctor Who under Chibnall has been such a waste: the showrunner’s work before taking the job, while popular and award-winning, had always left me cold. My initial apprehension was calmed, somewhat, by the news emerging from the production of the revived series’ 11th run. Chibnall also deserves credit for hiring the first two writers of color in the show’s nearly sixty year history. The fact that many of the episodes had an explicit focus on material social history suggested a bright new direction for the series. The Woman Who Fell To Earth, too, was a blisteringly confident debut and all seemed well.

And then, yeesh. As good as Chibnall is at birthing some truly inspired ideas, the quality of his execution is terrible. He struggled to flesh out the quartet of lead characters and failed to offer them real stakes to deal with. And for all of the era’s emphasis on diversity, the content of each episode seemed to be far more backward-looking. I’ve written before about Chibnall often appearing to make the argument opposite to the one he thinks he’s making. Unless he intended to say that polite protest is the only good protest, Amazon’s treatment of its staff is good, actually, and that we can all benefit from the spoils of colonialism.

Naturally, the casting of a woman in the central role encouraged the usual petulance from those corners of the internet. Sadly, I think that the actors involved have all performed miracles trying to make anything Chibnall writes remotely believable. And Whittaker’s departure before she could work with another executive producer will be yet another tragically wasted opportunity in this era. I hope that this bad-faith criticism doesn't force the production team to make a “safe” choice for the next Doctor.

The big secret to Doctor Who’s endurance is both the malleability of its premise and its knack for reinventing itself. Every few years, often as the show’s creative team changed, it would become an almost entirely different show. You could argue that this lack of sentimentality has been the case since the show’s first mission-switch, which happened in its fifth episode. The revived show has been using a version of the Buffy the Vampire Slayer template since 2005, and it’s starting to wear a bit thin.

It didn’t help that while Series 11 was designed to avoid any of the show’s dense backstory, Series 12 was at times incomprehensible to anyone but die hard fans. Chibnall, after all, devoted his series arc to validating a production gaffe in an episode that aired on January 24th, 1976. (And, in doing so, made the Doctor the Time Lord equivalent of Jesus, contradicting everything that we’d learned over the last six decades.) This was the worst kind of self-indulgent fan fiction, and hardly a bold new direction for a mainstream drama.

Unfortunately, the media landscape has changed, and competition has intensified beyond all belief. The BBC no longer has a monopoly on the conversation as it did — at least here in the UK — and is dwarfed by the streaming giants. Netflix, Amazon, Disney and others also have the wealth to offer the sort of creative freedom that once made the non-commercial BBC stand out among the crowd.

The knee-jerk reaction, I’m sure, will be to demand Doctor Who jumps on the bandwagon driven by Marvel’s recent streaming shows. That would be a mistake, because Who is at its best when it pushes away from whatever genre show is cresting into the mainstream that year. Financially, the BBC can’t compete with these mega-franchises, but the quality of its writing and its unique sensibilities, can. The one thing that the series could learn from those shows, however, is how to build every episode into an event.

This could mean that the show becomes a run of occasional specials with a longer running time, like a glorified movie of the week. Or it could, like the COVID-influenced 2021 season, be a shorter run of tightly-interconnected episodes. Chibnall may indeed stumble onto the template that helps revitalize the show going forward, but I’m personally hoping for something more radical.

For instance, if Doctor Who can’t succeed as a glossy, hour-long standalone drama, then why not go back to being a series of short serials? Netflix’s Russian Doll and the BBC’s I May Destroy You are both examples of (excellent) half-hour dramas that offer a break from the current prestige-drama template. It helps, too, that Doctor Who was run in this format for 25 of its first 26 seasons, and offers new — or at least different — methods for structuring a story.

It may also make it easier to binge during its long second life on a streaming platform. Think about it: how many times have you ducked watching a long episode of The Crown because it’s too much time to invest out of your day, but you’ll happily burn through four episodes of Brooklyn Nine-Nine without complaint. You could even get Michaela Coel to write it, although at this point I’ll settle for anyone who isn’t named Chris Chibnall.

Hawkeye, the next live-action Marvel Cinematic Universe series, will debut on Disney+ on November 24th, with new episodes to follow every Wednesday thereafter. Disney shared the news in an interview Entertainment Weekly published with series star Jeremy Renner. The article also includes a first-look screencap (below) showing Renner opposite co-star Hailee Steinfeld, who plays Hawkeye’s protégé Kate Bishop in the series.

Marvel Studios / Disney

With Hawkeye, Disney looks to continue the recent success it’s had with Marvel content. In June, Loki had Disney+’s most-watched premiere, beating out an already impressive debut showing from The Falcon and the Winter Soldier earlier in the year. At the start of July, Black Widow brought in more than $60 million in revenue solely from people willing to pay $30 each to watch the film from the comfort of their homes.

TikTok wants to encourage more livestreams, and that now includes creating a friendlier environment for the hosts. The social video giant is rolling out a string of new features that include tools to promote kindness. For a start, TikTok will now pop up an alert if you're about to post a comment the company deems "potentially unkind or harmful." You can press forward if you're determined, but TikTok clearly hopes you'll reconsider any personal attacks.

Accordingly, the hosts will have more power as well. You can assign a trusted moderator before you start a stream, letting you focus on the show instead of blocking and muting trolls. You can now add up to 200 entries to the keyword filter. In the "coming weeks," you'll also have ways for both hosts and viewers to both delete comments and temporarily mute viewers. Someone who committed a minor offense can have a shot at redemption, in other words.

There's also a focus on improved discovery. An addition rolling out "soon" will improve your ability to find livestreams from the For You and Following pages, not to mention provider quicker access to top and recommended live videos. TikTok also recently launched a scheduling tool for hosts, picture-in-picture viewing and a "Go Live Together" feature that lets two people start broadcasting at the same time.

The focus on livestreams doesn't come as a shock. TikTok noted that the number of people hosting and watching live video had "doubled" over the past year, and some of its biggest events have involved livestreams. The Weeknd played a concert through the platform, for instance. While looping videos remain TikTok's core, the company is more than a little eager to challenge Facebook, Instagram and other services where live video is also growing in popularity.

There are, for the most part, two types of Disney Parks fans. There are those who see it as a nice thing to do with your family once in a while, and there are those who take it… a little more seriously. The upcoming Behind the Attraction, hitting Disney+ on July 21st, is a show that’s aimed at turning more of those casual tourists into dedicated fans, by explaining the backstory behind famous attractions like Star Tours, the Haunted Mansion and Space Mountain.

Each episode features lots of old footage, talking heads, conceptual art and snark. If you’re thinking that sounds like The Toys That Made Us, but for Disney Parks, you’d be absolutely correct. Behind the Attraction is produced and directed by Brian Volk-Weiss, the creative mind behind Netflix docuseries like TTTMU and The Movies That Made Us. He was specifically sought out by Disney+ for his style which, by his own description, is “focused more on fun” and doesn’t treat its subject like “the rise and fall of the Roman Empire.” He loves documentaries, but hates when they take silly topics too seriously.

Disney Parks

To wit, the series is narrated by comedy veteran Paget Brewster, an actress who has been in The Venture Bros., Community and Another Period. Disney fans will probably recognize her best as the voice of Della Duck on the 2017 DuckTales reboot. She adopts a light playful tone, as far from Morgan Freeman you can get. Also on board is executive producer Dwayne Johnson, who stars in Disney’s upcoming live action Jungle Cruise film. Is there an episode about the Jungle Cruise attraction? Of course there is.

Besides that, the other four episodes available this week focus on the Haunted Mansion, Star Tours, The Twilight Zone Tower of Terror and Space Mountain. (Episodes about things like the castles and transportation systems, as well as famous rides like “It’s a Small World” and Pirates of the Caribbean are being held for later in the year.) They trace the history and development of each individual attraction with clips from shows like 1955’s Disneyland and The Wonderful World of Disney, news segments, and a mix of new and old interviews. Anyone who watched the docuseries The Imagineering Story (also on Disney+) will recognize a lot of reused footage from there. Which of course begs the question, why did we need another behind-the-scenes show?

Disney Parks

The biggest difference between the two is that The Imagineering Story takes a strict chronological approach, starting with the origin story behind Walt Disney’s desire to build a theme park, progressing through the opening of Disneyland, Walt Disney World, Epcot and so on. The later episodes focus less on a historical outlook and more on “look at what cool technology we built for this new thing.” Which leads to a sort of unbalanced feel to the program, as well as a greater sense that it’s one big travel brochure for the Disney Parks.

Which isn’t to say that Behind the Attraction isn’t one big advertisement. I certainly want to visit Disney Shanghai after getting a look at the development of its Storybook Castle and TRON Lightcycle Power Run. But because the new show takes a more topical approach, it’s a lot more “snackable,” with episodes that can be watched in any order according to what interests you the most. 

Each episode still follows its individual subject chronologically, like how the Hall of Presidents episode goes into the development of the original “Great Moments with Mr. Lincoln” show at the 1964 World’s Fair to the installation of the attraction at Disneyland, the creation of the full Hall of Presidents at Walt Disney World to today’s animatronics like the ones used on Avengers Campus at California Adventure. The Imagineering Story talks about the development of the “Stuntronics” as well, but it’s Behind the Attraction that draws a straight line for the viewer from Abraham Lincoln giving a speech to Spider-Man doing somersaults in the air. You actually understand how tech created in 1964 can still shape something built in 2020.

Disney Parks

While it's unlikely that Behind the Attraction will ever delve into the various faceplants the company has taken over the years the way YouTube shows like Yesterworld and Defunctland do, the new show is at least capable of admitting when certain things didn’t work. The Haunted Mansion had to be completely rethought for Shanghai, while Japan got a different backstory for its Tower of Terror. And the original Jungle Cruise had no dad jokes!

Of course, there are no Splash Mountain or Captain EO episodes, so we don’t know yet how the show will deal with some of the more unsavory or embarrassing bits of Disney Park history. Which is fine, since Behind the Attraction isn’t intended to be a complete history of Disney, just a quick half-hour show that will have you going “did you know?” to all your friends and family the next time you visit the Magic Kingdom.