The following article discusses spoilers for “Hegemony” and Star Trek more generally.

1. Bloody hell. I’ve repeatedly said that Strange New Worlds exudes a special sort of confidence this season. The cast and crew are working as a seamless whole, knowing that the conviction at which you sell is just as important as the quality of what’s being sold. The team has raised their floor and ceiling in equal measure, and even the worst episode was bad because of what it said, not because of how it said it. “Hegemony,” is a finale that, aided by the early commission of season three, acts as one part victory lap and one part set up for what follows.

2. The powers that be at Paramount didn’t signal ahead of time that this episode would end on a cliffhanger. In fact, Henry Alonso Myers’ screenplay is a brilliant feint, suggesting the episode will wrap up on a satisfactory, if brisk, ending before the rug pull in its final moment. You’d be forgiven for not noticing the different transporter energy when the survivors were beamed away on your first watch. Myers’ script and Maja Vrvilo’s direction is permeated with a low-level feeling of dread that suits the needs of both the Alien-esque horror and the raised-stakes of a finale.

3.Strange New Worlds has been smarter about setting up and paying off its threads than you might expect. “Among the Lotus Eaters” saw Ortegas feeling sidelined after getting bumped from an away team which forced her to accept her role as the ship’s pilot. Here, she finally gets her wish to go on a mission, but her initial enthusiasm is sapped when she realizes she’s more or less out of her depth. Her scene with Dr. M'Benga, where she admits she’s leaving the role of action hero to the captain, underscores this. The fact she’s one of the crewmembers taken by the Gorn at the end adds a darker weight to her finally getting her wish granted.

Michael Gibson/Paramount+

4. Montgomery Scott’s voice-only cameo in last season’s finale was a neat hat-tip to fans with a basic fluency for Star Trek. I guess it was just too tempting not to follow up on that this time, with Martin Quinn as the young engineer. It’s gratifying to see an actual, Paisley-born Scot playing the role, and an amusing fact that he’s the second actor – after Simon Pegg – who has paid their dues playing roles in various British comedy shows. If Quinn hangs around, I can’t wait for Trek completionists to watch Limmy’s Show and Derry Girls to watch his early work, much like when I watched Brent Spiner on Cheers and Night Court.

5. I don’t want to harp on about the limitations a prequel imposes, because we all know the score now. It may bend the edges of Trek’s established narrative but Strange New Worlds can never escape its eventual destination. Young Kirk, Young Spock, Young Uhura, Young Chapel, Young Scotty and Young Dr. M’Benga will all be here, around and alive, to turn into their 1966 counterparts. You can’t put any of those characters in jeopardy, or base your episode around asking that question, because we already know who is safe.

That’s why the emotional beats of Spock’s dramatic rescue of Chapel worked perfectly, but asking the question of her survival did not. The show was smart enough to only leave the issue lingering for the first act before we saw Chapel working to stay alive. (Notice she also gets to do an EVA in a proper spacesuit after her emergency leap in “The Broken Circle.”) But I can only speak as a “fan” so maybe it worked better for those mainstream viewers who have made Strange New Worlds one of the biggest shows on streaming TV.

Michael Gibson/Paramount+

6. Back in the ‘60s, Pike and Kirk were the same character with the serial numbers filed off, both drawn from the same template of rugged mid ‘60s masculinity. Two-fisted thinking men of action as comfortable on the back of a horse as they were quoting poetry or discussing naval history. This lack of distinction wasn’t really an issue back then, or even now, until Strange New Worlds made the conscious decision to let Kirk lurk on the periphery of Pike’s narrative.

It meant the production team needed to retrofit Pike as different from his successor, helped by Anson Mount’s gravitas and easy charm. And the first season finale made it clear that Pike’s reluctance to shoot first and ask questions later was his tragic flaw. One that Kirk didn’t have, which made him a better leader to take the Enterprise on its next set of missions. But Anson Mount’s paternity leave and reduced shooting schedule meant there wasn’t time to examine the fallout from “A Quality of Mercy” in any detail.

After all, he now knows his desire to find a peaceful solution single-handedly started a war that wiped out the Federation. He also knows he has to remain true to his principles or else he could pollute the timeline and not be in the right place to save future Spock’s life. The fact he’s unable to make a decision in the cliffhanger is entirely congruent with the journey Pike has been on, but it’s clear the steps leading to this moment would have been explored far more had Mount been available.

“Hegemony,” then, is the show’s first real chance to look at how Pike has tried to grow into Kirk’s mold, despite how ill-fitting he finds it. In his first talk with Admiral April, he advocates a policy of shooting first, but not long after he’s thinking about trying to find a peaceful solution. It’s those two competing urges that paralyze Pike in the finale, knowing there are lives on the line whatever he does. But, again, you have to praise the production team for trusting the audience will keep up with what happened in the previous season.

7. It’s not great that Strange New Worlds can only do so much to put clear water between Pike and Kirk. You can’t make Pike look too old-fashioned or useless without alienating him from the audience, especially given his forthcoming ultimate sacrifice. But go too far the other way and you make Pike a dove in comparison with the more hawkish Kirk which, to me, feels like the wrong message to be sending.

Michael Gibson/Paramount+

8. It’s hard to know how long Strange New Worlds will run for, or what the plans are for its future. You could easily argue it never needs to end so much as just swap out characters until you’ve rebuilt the 1966 ensemble. Every generation of Paramount executives harbors a desire to get a do-over on Kirk and Spock in the hope their name recognition alone will carry a series.

But I’m curious if that’s something people would actually want? I’m not sure I do, but then my dream would be an original series set in Trek’s present with no legacy characters at all. And I know that’s something of a minority opinion compared to all those folks who want yet another run on the nostalgia treadmill set in the safety of Trek’s past. (If nothing else, at least Strange New Worlds has kept its fan service to a minimum and tried, as best as it can, to set out on its own path.)

9. At the end of my season one finale review, I wrote “Whisper it, friends, but Strange New Worlds might actually be good?” That was a fair line at the time, since the show took a while before clicking into a high gear. Since then, however, more or less every episode has improved upon the last to produce a second season with barely any weak notes. We don’t need to whisper anything now, Strange New Worlds is the best live-action Trek of the streaming era.

The following article contains spoilers for “Subspace Rhapsody.”

At some point in the ‘90s, it became law that all genre shows with a certain flexibility in their premise must do a musical episode. Xena, Ally McBeal, Buffy, Psych, Grey’s Anatomy and Scrubs have all done one, as has Supernatural, Once Upon a Time, 7th Heaven, Supergirl and The Flash. Now, it’s Strange New Worlds’ turn to make its characters spontaneously burst into song as it drops “Subspace Rhapsody” as the penultimate episode of its second season.

It’s clear from the start that Strange New Worlds was well-suited to do a musical given how broad its range is. In the last four weeks alone, we’ve had goofy comedy served up back to back with serious meditations on empathy and redemption. This is the first live action Trek of the streaming era to remember the franchise gets better when it allows itself to be goofy. The only surprise is that this is coming so early on its run; this is just the nineteenth episode of the series overall.

Musical episodes serve several purposes: It allows the cast to show off their hidden talents and lets the production crew indulge their latent musical theater nerd. They’re also, in many cases, a useful narrative crucible, forcing characters to reveal secrets they’d otherwise never let out. It’s an old trick to use the primary colors of a rousing number to drop something deep and dark on an audience. This comes in handy given the number of running storylines in the back of each episode, which get resolved more or less all in one go.

Michael Gibson/Paramount+

Uhura’s opening narration informs us the Enterprise has discovered a large subspace fissure. Spock believes it could be used to speed up communication over long distances, but despite several tries, he and Uhura can’t make it work. Not until Pelia suggests they test the system using music, so Uhura fires up Anything Goes and sends it into the ether. Before you can say that’s-a-good-macguffin, a large subspace wave hits the ship and sends everyone singing.

As this is happening, Pike and Batel – who I can’t believe Pike didn’t dump after arresting and prosecuting his first officer – argue about holiday destinations. Chapel has received word she’s been accepted for a prestigious fellowship with a high-profile academic. She’ll be away for a while but declines to share her news with Spock after the fraying of their relationship last week. And, to further complicate matters, James T. Kirk is back on board to shadow Una in preparation for his own promotion. But when they start spouting technobabble as lyrics and feeling the urge to dance, we’re straight into an acapella rendition of the theme tune.

I’ve pointed out, too frequently this year, the confidence Strange New Worlds has in its own execution. This is the second time in three weeks that it’s not just screwed with its format but also its packaging in the form of its opening credits. It’s evidence of a show that knows it has the patience from its audience to play around with its formatting.

Urged on by Pike, stuck firmly in his eyebrow-raising sick-of-this-malarkey mode, the team find they’re trapped in a state of quantum uncertainty. They’re in a universe that follows the rules of a musical, so when emotions are high, people are likely to burst into song. That’s bad for La’an, who is struggling to contain her feelings with her alternate-history beau on board, especially since she’s prohibited from talking about it. Pike, too, starts to confess his misgivings about the holiday he and Captain Batel have been planning. La’an gets a solo about being emotionally shut off from the rest of the crew, followed soon after with a duet with Una talking about why it’s good to open up.

The improbability field starts to expand, encompassing more starships in the area and reaching Klingon territory. They soon dispatch a cruiser to shut it down, but the Enterprise crew discover that shooting the fissure will release enough energy to wipe out the quadrant. Uhura posits that, if they’re in a musical, their behavior might have to follow the tropes of the genre. Armed with a tricorder, she drags Spock to the bar where he bumps into Chapel, who then dumps him with a full-cast song-and-dance number about the importance of her career. He responds by singing his own solo in engineering in which he talks about his abandonment of logic and reason for love, a mistake he won’t make again.

La’an, who has spent more and more time with Kirk, decides to open up a little bit only to find her advances rebuffed. Not because he doesn’t feel similarly, but because he’s in an on-again, off-again relationship with a scientist called Carol. And that Carol is currently pregnant with Kirk’s child, who we might not get to see again until Kirk looks a lot more like William Shatner. (This episode has more than a few moments where it’s consciously drawing attention to its “evolution” into The Original Series.)

Spock’s judgment may be clouded but Uhura, whose awareness of musical tropes has been key all episode, spots the solution. In order to pop the uncertainty field, the whole crew needs to do a big full-cast finale, but not before Uhura gets her own solo. At Pike’s urging, Uhura gets on the ship’s PA and inspires the whole crew – complete with dancing redshirts and balletic starship dances to produce a showstopper climax. We even get a blast of the Original Series’ theme to underpin their victory, while Spock goes off to smooth things over with the Klingons and get over his split with another round of heavy drinking.

Much as the ending is ostensibly happy, with everyone learning the lesson to be more honest and authentic with each other, there’s trouble on the horizon. Batel has to cancel her holiday with Pike, she’s being sent on a top secret mission which, I’m sure, is our lead in to the finale. Spock’s nursing his grief, and the rest of his supersized emotions, while La’an has to deal with the ramifications of her not-quite-requited love.

Michael Gibson/Paramount+

It’s almost pointless to try and judge a musical episode by the standards of its peers given how different it is from the norm. The script, credited to Dana Horgan and Bill Wolkoff, efficiently and effectively works in the musical universe concept without a lot of setup. Demott Downs’ direction blends the closed nature of Strange New Worlds’ standing sets with the necessary scope a musical demands. And the songs, from Letters to Cleo’s Kay Hanley and Tom Polce, are perfectly fine. Musical lovers will have a greater appetite for enjoying each track on a loop, but as a casual enjoyer of the artform, I’m not sure how many would enter my regular Spotify rotation.

Obviously, much of the dramatic weight of the episode hangs on the shoulders of the cast members who can sing. Christina Chong, Jess Bush, Rebecca Romijn, Ethan Peck and Celia Rose Gooding all get showpiece numbers and boy, can they all sing. But that’s not to shade the names not on that list, especially those who are getting by with the help of autotune. It’s hard enough to sing and dance even if you’ve got years of experience behind you, let alone if you’re dropped into the deep end in an acting job. Now, onward to the finale!

The Primetime Emmys won’t take place on September 18th, according toVariety. The publication reported on Thursday that vendors scheduled to work the event have been told the ceremony is delayed because of the writers’ and actors’ strikes that have shut down all Hollywood productions and promotions. The TV Academy hasn’t yet announced a replacement date, but Variety previously reported that broadcast partner Fox tentatively wants to shoot for January 2024. HBO’s Successionleads this year’s field with 27 nominations, while The Last of Us made history with an impressive 24 nods for the video game adaptation.

Hollywood writers began striking in early May, while actors joined them earlier this month. Artificial intelligence figures prominently in both cases: Scribes and performers fear producers will increasingly use AI-generated content to diminish humans’ ability to make a living in the already-brutal show business industry. Perhaps the most startling revelation was the report that studios offered a “groundbreaking AI proposal” to pay performers for one day of work to use their digital likeness for eternity. As generative AI advances quicker than most people could have imagined, it now threatens to annihilate content creators’ careers inside and outside of Hollywood.

Disney / Lucasfilm

Although The Last of Us marked a milestone for gaming adaptations (including acting nominations for Pedro Pascal and Bella Ramsey), season three of Disney’s The Mandalorian received an impressive nine nominations. At the same time, Andor picked up eight nods — including Outstanding Drama Series. It recounts the journey of spy Cassian Andor (Diego Luna), one of the fallen heroes of 2016’s Rogue One, in the period building up to the Rebel Alliance’s rise against the Galactic Empire. Obi-Wan Kenobi, also on Disney+, received five more nominations, including Best Limited or Anthology Series.

In addition to The Last of Us and Andor, Outstanding Drama Series nominees include Better Call Saul, House of the Dragon, Succession, The White Lotus and Yellowjackets.

Apple

Apple TV+ also fared well in nominations, with 52. Ted Lasso is up for Best Comedy Series among its 21 nominations, which also include Best Actor in a Comedy Series for lead Jason Sudeikis, Best Supporting Actress in a Comedy for Hannah Waddingham and Best Supporting Actor in a Comedy for Phil Dunster. Apple’s mesmerizing sci-fi adaptationSilo debuted too late for consideration this year, but don’t be shocked if it features prominently in the 2024 list.

Elsewhere, Amazon’s colossally ambitious The Lord of the Rings: The Rings of Power received six nods (mostly in technical categories). Netflix’s Stranger Things picked up six, Peacock’s Poker Face nabbed four and Star Trek: Picard got two makeup nominations. HBO led all platforms with 127 nods, while Netflix led streaming-only networks with 103, followed by Apple (52) and Amazon (46).

The following contains spoilers for “Under the Cloak of War.”

“Some things break in a way that can never be repaired, only managed.” It’s the final line in a powerhouse episode of Star Trek: Strange New Worlds. “Under the Cloak of War” lays out a host of questions about memory, grief and redemption – reiterating the key obsessions of this season – none of which it could possibly answer. For some shows, this would be a bad thing, but Strange New Worlds is becoming increasingly comfortable living with ambiguity. Much as I may be flush with recency bias, I already feel it may be the standout of the season.

The Enterprise has been asked to carry Dak'Rah (An unrecognizable Robert Wisdom), a successful, but deeply controversial, Federation ambassador to the Prospero system. Controversial because he’s a Klingon who defected during the recent war, who is also known as the “Butcher of J’Gal.” Not just because of the orders he gave, including massacring his own civilians, but because he killed all of his generals just before he defected. Dak'Rah is embraced by Pike, Una and Uhura as a beacon of hope for a more peaceful future. But Ortegas, who fought in the war, and M’Benga and Chapel, who actually served in a field hospital on J’Gal, can’t get over the past, or their own pain. 

We flash back to Chapel’s arrival on J’Gal, where she’s greeted by Trek good luck charm Clint Howard’s commanding officer. Her orientation lasts for all of a minute before she’s picking up casualties from the transporter pad and trying to save them without key medical tech. One soldier gets loaded into the pattern buffer to keep him alive until rescue arrives, while others get operated on the old-fashioned way. M’Benga and Chapel quickly bond over their rough time in the medical trenches, and develop a shorthand to help each other along.

Paramount+

In the present, Pike asks all three to quell their objections and come to dinner with Dak'Rah, who is trying to hold court over the captain’s table. None of them are able to make nice for too long, and Ortegas quickly leaves, with Chapel following behind. Pike notices that while M’Benga remains, he’s gripping the arms of his seat so tightly that he’s about to rip them off, and asks him to go look after the absent pair. But not before Ra, knowing that M’Benga loves martial arts, asks to set up a session between the two with an arm grip that’s a little too aggressive.

Back on J’Gal, M’Benga treats a wounded soldier who wonders what the point of this battle really is. The doctor gives a rousing speech, bringing to mind the “you want me on that wall” speech from Aaron Sorkin’s A Few Good Men. He says the risk of Klingon expansionism is too great, and that Starfleet fights so that others can live their lives in peace. But while the speech is effective, it’s delivered a little too convincingly, especially given we soon learn that M’Benga used to be the guy wielding the knife rather than the scalpel.

Soon after, a special forces commander asks M’Benga for some Protocol 12, the green steroids M’Benga and Chapel used in “The Broken Circle.” As annoyed as I was that M’Benga himself created it – I’m never a fan of secret origin stories where the same five characters are at the center of literally everything in the universe – I was pleased we didn’t get an over-explanation of its genesis. The doctor refuses, so the commander asks if M’Benga himself, under his old guise of “The Ghost” will join the team on its daring mission given how effective his murder skills are, or were.

The military is planning to send a small unit to try and wipe out J’Gal’s leaders once and for all, while committing the bulk of its forces to a grand frontal assault as a distraction. The soldier M’Benga previously patched up is going back out there to get chopped up, everyone knowing ahead of time they’re being sent to the meat grinder. But the Klingons are ready for them, disabling the field hospital’s power generators, preventing them from saving the casualties as they pile up. Chapel gets a transporter online, but can’t activate it without wiping the soldier who was kept in the pattern buffer earlier, something M’Benga does with little hesitation.

Back on the ship, M’Benga and Dak'Rah start their sparring session, with Dak'Rah doing his best to try and make nice with the doctor. He talks about how good the symbolism of two former enemies, quite literally on the opposite sides of the same battle, standing side-by-side would be. But M’Benga can’t bring himself to be friends, just allies, and soon starts to ask Dak'Rah which of his generals fought the hardest during his final day on J’Gal. Dak'Rah can’t answer, because it wasn’t Dak'Rah that killed them, but M’Benga, hopped up on his own fury steroids and looking for revenge.

The Enterprise takes a shortcut to get their unwanted Klingon off the ship before someone gets hurt, but not before Dak'Rah once again goes to M’Benga. The Doctor is looking at his little personal effects case, which includes a D’k tahg he kept as a reminder from J’Gal. They discuss the fallout from their prior discussion, with M’Benga angry that Dak'Rah has used the deaths M’Benga caused to launder his own reputation. We cut, then, to the other side of the doctor’s office, through partially-opaque glass, as the pair scuffle, before cutting back to Dak'Rahdead on the floor with a dagger in his chest.

Chapel provides cover for M’Benga, saying Dak'Rah caused the fight, which M’Benga agrees to, despite Pike pressing him for an off-the-record admission of guilt. He tells his captain he’s not responsible, but he’s glad his old enemy is he kept as a reminder from J’Gal. They discuss the fallout from their prior discussion, with M’Benga angry that Dak'Rah has used the deaths M’Benga caused to launder his own reputation. We cut, then, to the other side of the doctor’s office, through partially-opaque glass, as the pair scuffle, before cutting back to Dak'Rah dead on the floor with a dagger in his chest.

Michael Gibson/Paramount+

If there’s one thing that Star Trek (both back in the day and now) can sometimes forget, it’s that history doesn’t just happen to other people. As much as it focuses on the great people of history making soliloquies on the bridge of their starships, that’s the start of things, not the end. Despite its apparent progressivism, it rarely engages with the material concerns of the ordinary people living and serving in Starfleet on that sort of level. That’s why the fact we got to see the Klingon war from something approaching the ground is a refreshing change.

And at the start of the season, I talked about how confident Strange New Worlds’ storytelling had become. Bursting out of the gate, even its weaker episodes were elevated by a production team pulling their hardest in the same direction. With a strong script, credited to writer/producer Davy Perez and directed by Jeff W. Boyd, there’s not much that can go wrong. It helps, too, that Strange New Worlds this year has restrained its urge to explain, and over-explain, every facet of what’s going on. But what really makes this episode is the towering, blockbuster performance by Babs Olusanmokun as Dr. M’Benga who, once again, demonstrates he’s this series secret weapon.

It’s Olusanmokun who holds the broad tangle of ideas in this script together, including the key issues around memory, grief and forgiveness. There’s a clear dichotomy between those in the crew who are motivated for revenge and those who are looking toward a better future. I’m sure that particular conflict can be mapped over several real-world fault lines, for better or worse. The episode, wisely, doesn’t necessarily take one side over the other, although the fact M’Benga and Chapel are our POV characters this week means we’re already on side.

It’s a shame that there’s less emphasis on making Dak'Rah as fully rounded-out a character as he could, or should be. He’s not given space to justify Pike’s faith in him, and it’s clear pretty much as soon as he arrives that he’s ever so slightly phony. Much of this can be attributed to our old enemy running time, and the fact that Strange New Worlds’ storytelling is that much more ambitious this time out. But I’m never going to criticize a series for having too many ideas and not enough time to explore all of them in enough detail.

Oh, and I wanted to draw attention to Strange New Worlds’ excellent use of virtual stages both here and for much of the season. The world of J’Gal feels pretty believable, rendered as a living backdrop behind the field hospital in the flashback sequences. Given the cost and logistical demands of trying to set up a series of night shoots on rough terrain, I can understand why the team opted to shoot the scene in the studio. But while keen-eyed fans will be looking for the edges of the stage, the atmosphere feels a lot more real than if they were acting in front of a green screen.

It’s clear now that each season of Strange New Worlds conforms to a similar shape across its run. After a mission-setting premiere, you get three episodes exploring standard Trek tropes, with a focus on Una and La’an. Episode five is a Spock-heavy romantic comedy romp, followed by a heavy episode that emphasizes the season’s overall theme. Seven is a lighter episode, while eight is primarily focused on Dr. M’Benga, while nine is one of two big showcase episodes to cap the season. And I’m hoping I get some credit for clocking – last year – that we were going to see a musical episode, which is what we’re getting next week.

Star Trek musical parodies have been a thing since the Shatner days, but no official Star Trek musical has ever been released officially. That's about to change, though, as Star Trek: Strange New Worlds season 2 will feature the first ever Star Trek musical episode, Paramount announced. Called Subspace Rhapsody, it will be the ninth episode of the season and debut on Paramount Plus on August 3rd at 7PM ET.  

The news dropped at San Diego Comic-Con during the Star Trek Universe panel, along with a video (below, US only). It features 10 new songs composed by Kay Hanley and Tom Polce of the rock band Letters to Cleo.

Strange New Worlds has been a success with both critics (including Engadget's Daniel Cooper) and audiences since its debut, thanks in large part to the cast led by Anson Mount (Captain Pike), Rebecca Romjin (Number 1) and Ethan Peck (Spock). It also brought a lighter touch to the Star Trek universe following darker shows like Picard. As we detailed yesterday, the show dropped its Lower Decks crossover episode earlier than expected, and it's now available to stream. 

Musical TV episodes are nothing new, with some of the more noteworthy ones coming out of Buffy the Vampire Slayer, Scrubs and Xena, Warrior Princess (yep). Sometimes these are, well, unmotivated, with everyone suddenly breaking into song (Scrubs), or the musical is built as a bottle episode outside the reality of the main show (Xena). 

Subspace Rhapsody seems to be set in motion by plot events, though, with some kind of (insert your favorite Trek MacGuffin here) event bringing out the characters' inner theater kids. As shown in the trailer and retro-style poster, it's staged and performed as a full-blown musical, and looks like some silly fun. 

It was just another day in South Park. The kids were making fun of each other on the playground, while the parents were all doing their best to maintain their sanity in the small Colorado town. And then there was me, a tech journalist going door-to-door warning about the impending AI apocalypse. No, I wasn't actually guest starring on the long-running TV series — I was thrust into an episode entirely produced by the Showrunner AI model from The Simulation, the next iteration of the VR studio Fable.

All it took was some audio of my voice (recorded during a call with The Simulation's CEO Edward Saatchi), a picture and a two-sentence prompt to produce the episode. And while it wasn't the best South Park episode I've seen, I was shocked by how watchable it was. It begins with my AI character popping into Sharon and Randy Marsh's house in the morning, warning them about the AI uprising. Randy is intrigued, but Sharon is annoyed by my arrival (both of which were set up in one sentence of the initial prompt).

"They're [AI] infiltrating every aspect of our lives," my AI character says. "They're in our cars, our phones... even our toasters."

"Our toasters, really? I always knew that little bastard was up to something," Randy replies.

Sure, that's not exactly a tightly crafted joke, but it was enough to make me chuckle. And again, it didn't take much for Showrunner AI to piece that conversation together. Watching this episode made it clear that generative AI can actually produce watchable content (certainly more so than that AI Seinfeld project), but it also made me even more worried about the role of AI in media.

At this moment, writers in the WGA and performers in the SAG-AFTRA unions are striking for better residual pay and protections against potential AI exploitation. A tool like Showrunner AI, which can produce decent content without much effort, threatens creatives everywhere. The WGA strike and the fears around AI-generated content is also the main plot line in the demo South Park episode, "Westland Chronicles."

The Simulation

"Maybe it's a mistake to release it, I'm not sure," Saatchi said over email, when I asked if it's really the best time to launch Showrunner AI. "If our focus was becoming 'the AI TV studio' and gloating that we can make shows with no staff I'd feel very queasy — but we're trying to build a simulation and we need infinite story to make that work."

He added: "Now is the moment, in the biggest strike in 60 years, before AI has achieved takeoff, to negotiate the most aggressive protections possible for writers and actors from producers' use of AI — negotiations now so that these tools are in the hands of artists and creators only and not the hands of producers trying to become Griffin Mill Robert Altman's The Player."

(That character famously said, "I was just thinking what an interesting concept it is to eliminate the writer from the artistic process. If we could just get rid of these actors and directors, maybe we've got something here.")

The idea of building intelligent characters isn't new for Saatchi. In 2018, we discussed Fable Studio's VR adaptation of Neil Gaiman's The Wolves in the Wall, which centered on an interactive character named Lucy. Even then, he thought AI-powered beings were more intriguing than the notion of VR storytelling. Now, thanks to the proliferation of generative AI models, he can finally make that happen.

The Simulation

His goal with The Simulation is right there in the name: He wants to create simulations of characters living their lives in specific environments, similar to The Truman Show. That content could be cut down into episodic summaries with Showrunner AI. Like so many in the AI field, Saatchi eventually wants to build AGI, or Artificial General Intelligence, "an AI that reaches and surpasses human intelligence and is, ultimately, a new lifeform."

While many AI experts remain skeptical about the viability of AGI, Showrunner could still end up being a powerful tool. But of course, like any tool, it could end up being used for good or evil. Saatchi envisions it being helpful for creators to build their own shows without a huge budget, but he also admits it could be used by studios to "undermine artistic expression."

The Simulation

After watching myself starring in a South Park episode, though, I'm more worried than hopeful. The tech isn't perfect yet — my voice sometimes sounds overly robotic, and characters pronounce my name differently almost every time — but it's close enough. Saatchi and his team, including the AI research Philipp Maas, who developed the South Park simulation, still preview every episode to ensure they make sense. But with no end in strike for the Hollywood union strikes, it's hard not to imagine some studio looking at this tool as a potential savior.

“We aren’t releasing the Showrunner commercially and aren’t in talks with the South Park people (though we are with several studios about their IP, as well as creators to make original IP) but we used South Park only so that people have a comparison point between a super high quality human show and an AI show," Saatchi said. "If the showrunner was ever released with the permission of an IP (letting fans create their own episodes) we believe all the revenue should go to the IP holders — these are just remixes after all!"

Currently, The Simulation is developing showrunners around other animated concepts, like a space exploration series, and a Silicon Valley satire dubbed "Exit Valley." The technology can't produce live action content yet. The company is also releasing a research paper explaining how its showrunner AI technology works, with the hopes of encouraging more AI workers to build on it.

The most striking thing about my South Park episode is that it actually feels like an episode of the show. Over the course of five minutes, I visited the local school, where all of the kids proceeded to make fun of me. One wisely lectured me about overhyping claims about the AI apocalypse, while I was also warning them to watch out for clickbait. By the end, I was eager to see more. And that was the most worrying thing of all.

The Academy of Television Arts and Sciences has announced this year's Emmy nominations and there's lots of good news for the team behind The Last of Us. HBO's massively successful series scored 24 nominations, more than any other show this year except Succession (27). The White Lotus (23) and Apple TV+ comedy Ted Lasso (21) followed closely behind.

The Last of Us is the first live-action video game adaptation for film or TV to make a serious dent at a major awards ceremony (League of Legends series Arcanewon the Emmy for Outstanding Animated Program last year). It's up for Outstanding Drama Series alongside Andor, Better Call Saul, House of the Dragon, Succession, The White Lotus and Yellowjackets.

Pedro Pascal (who has three nods in total this year) and Bella Ramsay picked up nominations for their lead roles in The Last of Us. So did guest stars Melanie Lynskey, Storm Reid, Anna Torv, Murray Bartlett, Lamar Johnson, Nick Offerman and Keivonn Montreal Woodard. Craig Mazin, the show's co-creator, and Peter Hoar are, respectively, nominated for writing and directing the show's stellar third episode, "Long, Long Time."

Elsewhere, reigning champ Ted Lasso will compete against Abbott Elementary, Barry, The Bear, Jury Duty, The Marvelous Mrs. Maisel, Only Murders In The Building and Wednesday in the Outstanding Comedy Series category. On the Star Wars front, Andor scooped up eight nominations and The Mandalorian got nine. Obi-Wan Kenobi snagged five, including one for Outstanding Limited or Anthology Series.

Disney+ film Hocus Pocus 2 (three nominations in total) and Roku's Weird: The Al Yankovic Story (eight nods overall) are up for Outstanding Television Movie. Amazon's big-budget The Lord Of The Rings: The Rings Of Power landed six nominations, mostly in technical categories. 

Stranger Things, which isn't eligible for top honors this year, also has six nods in down-the-line categories. Meanwhile, Peacock's Poker Face snagged four nominatons, Star Trek: Picard has two in makeup categories and Netflix's brilliant I Think You Should Leave With Tim Robinson snagged a pair of nods.

Perhaps unsurprisingly given how many nominations Succession, The Last of Us and The White Lotus racked up, HBO leads the pack this year with 127 nominations overall. According to Deadline's tally, Netflix has the most of any streaming-only network with 103, followed by Apple (52), Amazon (46 between Prime Video and Freevee), Hulu (42 or 64 if you include FX shows), Disney+ (40), Peacock (eight) and Paramount+ (seven). By contrast, broadcast networks earned 86 nods between them.

This year's Emmy Awards ceremony is scheduled to take place on September 18th. However, amid the WGA writers' strike and pending action by the actors' union, reports suggest it may be delayed until November or even January.

Late last month, Apple uploaded the debut episode of Silo to Twitter to promote the show's season one finale. Now it's doing the same with its other tentpole sci-fi series. Starting Monday, you can watch Foundation's first episode on YouTube ahead of season two'sJuly 14th premiere.

Apple's live-action adaptation of Issac Asimov's classic novel series of the same name premiered in 2021 following a pandemic-related production delay. As 9to5Mac notes, you can already watch the first episode of the series for free on Apple TV, but that requires access to the app and not everyone might want to install Apple's streaming service on their smart TV. Season two of Foundation sees some of season one's original cast, including Lee Pace and Jared Harris, return. Filming of season three is rumored to be already underway. In the meantime, you can watch the show's first episode on Monday at 2PM ET, followed by a live Q&A with showrunner David Goyer.

Apple is borrowing a marketing tactic from Twitter pirates. The company made the unusual move of uploading the entire first episode of its series Silo to the social platform, allowing anyone there to watch the opening installment for free. The gambit follows Twitter’s move to allow longer video uploads for subscribers. The free episode may be worth checking out: Engadget found the Apple TV+ original series to be “simply transcendent sci-fi TV.”

Silo is based on the science fiction novel Wool by American author Hugh Howey. It takes place on a post-apocalyptic version of Earth, where what remains of humanity is confined to the Silo, a 144-story underground bunker that serves as a self-sufficient underground community. The citizens are told that the world outside the Silo is perilous, but questions arise about what truly lies beyond. It’s a clever premise that allows showrunner Graham Yost to explore the book’s themes about truth vs. fiction and information as power. Apple has reportedly renewed the series for a second season.

Rebecca Ferguson (Dune) stars as Juliette Nichols, an engineer who uncovers a web of secrets after her lover, George (Ferdinand Kingsley), is murdered. The series also stars Rashida Jones, David Oyelowo, Common, Tim Robbins and Harriet Walter.

Episodes one through nine of Silo are available to stream now on Apple TV+. The season finale (titled “Outside”) premieres this Friday.

If you’re a Star Trek fan and haven’t watched Prodigy yet, you may want to do so before next week. According to The Hollywood Reporter (via io9), Paramount+ has canceled the series alongside a handful of other shows, including Grease: Rise of the Pink Ladies and The Game. Taking a page from Disney and Max owner Warner Bros. Discovery, Paramount Global is also removing Star Trek: Prodigy, and the other shows it canceled on Friday, from Paramount+ in exchange for a tax writeoff. Fans have until sometime next week to watch the series before its fate becomes uncertain.

“As we prepare to combine Paramount+ and Showtime later this month in the US, we are refining our content offering to deliver the best streaming experience for subscribers,” a Paramount+ spokesperson told The Hollywood Reporter. “This is consistent with our content strategy since launch and across our business, which ensures we make smart, efficient choices, informed by audience data and insights. We are removing select programming as we look to optimize Showtime’s robust slate of premium originals.”

The cancelation comes after Paramount+ previously greenlit a second season of Star Trek: Prodigy. The show could find another home. The Hollywood Reporter notes Prodigy producer CBS Studios plans to complete postproduction on season two and shop both seasons to a new streaming platform. The announcement won’t affect other Star Trek series, with Paramount+ set to remain the home of ongoing entries like Strange New Worlds.