Apple is finally ready to show more than a brief glimpse of Ted Lasso's next chapter. The company has shared its first full trailer for the Apple TV+ show's third season, and it's clear the new episodes will illustrate both highs and lows as AFC Richmond returns to the Premier League. The team's quest for redemption and the showdown with Nate (now working for West Ham United) remain the main arcs, but it's evident drama off the field is as important as before.

The trailer suggests Nate has mixed feelings about his defection, and that the new season will dive further into the relationship between Keeley and Roy. It's also clear we'll see more attention spent on Jamie, and Ted's son makes an appearance. Roy's role as assistant coach is already known to factor into the plot, as is Rebecca's rivalry with her ex Rupert.

Ted Lasso returns on March 15th, with new episodes arriving each week. It's unclear if there will be more seasons beyond this. However, it's safe to say Apple isn't leaning on the series as much as it did before. Well-received productions like Slow Horses and Severance have helped bolster the catalog, even if it's still considerably smaller than what you'd find at rivals like Amazon Prime Video and Netflix.

If you read Engadget regularly, you probably know how we feel about the final season of Star Trek: Picard. In short, it’s not worth your time. But if you must see the show for yourself, or can’t resist the chance to see the Enterprise-D crew one last time, Paramount is offering a free way to watch the first episode of season three. Provided you live in the US, you can catch “The Next Generation” (no, not that Next Generation) on YouTube for a limited time (via Gizmodo). And if you don't live in the US, you can probably find a way to transport yourself for an hour, can't you?  

The debut episode sees Jean-Luc Picard return from retirement (yet again) after his friend and former first officer Will Riker receives a warning from Dr. Beverly Crusher. Engadget Senior Editor Daniel Cooper had the chance to watch the first six episodes of season three before it began streaming earlier this month on Paramount+. In his view, the final season is dull and joyless, with a plot that is far too obvious. But don't let that stop you from making your own decision.

The following article contains spoilers for earlier Star Trek properties but doesn’t reveal specific spoilers about Star Trek: Picard season three, not that you should be watching it anyway.

It’s 2034 and Warner Bros. decides it needs to wring more cash out of Friends, the decade defining cultural juggernaut and sitcom behemoth. Imagine what that show would be like; A warm and cozy three-decades-later check-in on characters you know intimately well. After all, you probably spent your formative years watching them mature from young single New Yorkers to a series of families. Maybe it’ll tickle those nostalgia glands, reminding you of when you watched the show with your own family as a kid.

Unfortunately, the hotshot creator of the age decided they want to go in a different direction this time. This needs to be a dark and gritty miserycore grief orgy that better reflects our more rough-and-tumble times. After all, TV these days can’t be gentle or comforting, offer escapism or posit a better world, not since Trump, Brexit, Bolonosaro, January 6th and Ukraine. The creative team have got that quote on a poster in their office, the one about thetriumph of evil, and they’re not going to sit idly by, they’re taking a stand.

In the sequel, Rachel’s famous for her wellness TikTok that often makes allusions to “reclaiming” the US as a white ethnostate. Joey lost an arm while filming a movie and is now in prison after a failed heist to pay off his life-ruining medical debt. Monica’s got a crippling adderall addiction and slips away most nights to murder the neighborhood cats and dogs. Everything’s shot in ultra gloomy vision, and there’s no laugh track, jokes or a studio audience, just unrelenting misery.

This revival is dense with references to the Friends backstory as well as the broader Friends universe. Remember that Lisa Kudrow played Phoebe’s twin sister Ursula on Mad About You, right? If not, you better get yourself to Wikipedia to study up. I mean, it won’t be relevant to the plot, but it’s something you remember, so clap, go on, clap.

You might be wondering why such a project would be allowed to happen, given that it wouldn’t be fun for fans of the original series. Times change, characters age, but you can’t turn a cozy sitcom into Breaking Bad overnight and expect that to be satisfying. You’d hardly think it’d be a big pull for newbie viewers either, who’d probably steer clear if they weren’t already familiar with 236 episodes of intricate backstory. Nostalgia revivals don’t need to be slavish to their source material, but it’s hard to see the appeal for something so grim and unpleasant.

Apropos of nothing, let’s talk about the third and final season of Star Trek: Picard.

Trae Patton / Paramount+

Season three was sold as something of a course correction for Picard after its first two deeply unpopular runs. It ditched all but Raffi from the roster of original characters created for it, and instead pulled in the stars from Star Trek: The Next Generation. As well as the returning Jonathan Frakes, Marina Sirtis and Brent Spiner, we’ll see LeVar Burton, Gates McFadden and Michael Dorn back in action. And, in the six of ten episodes I’ve been permitted to watch under strict embargo, I’d say only one of them feels like the character we know and love.

Unfortunately, while we have the other TNG stars, the creative team of Executive Producer Alex Kurtzman and showrunner Terry Matalas didn’t bother to grab any of that show’s lightness of tone. Picard remains a grimdark slog, shot on perpetually underlit sets and featuring a succession of increasingly-bleak setpieces. The plot is stretched so thin that the first four episodes turn out to be little more than an extended prologue for the rest. A prologue that could, I should add, have been an efficient, and possibly more enjoyable, hour. The story is so obvious, too, that you’ll be ahead of the characters pretty much non-stop as they stumble from one idiot plot to the next.

It’s maddening that we can see how much of the plot is blocking itself to ensure things can’t move forward too quickly. There’s a whole episode of gosh-isn’t-this-tense tension that could have been eliminated if anyone in Starfleet pulled out a tricorder and used it as God intended. In this utopian future, where science and technology really are advanced enough to look like magic, why does nobody employ the tools hanging from their waistband? Mostly because Paramount ordered ten episodes, and ten episodes is what we’re going to give them. Another episode has a time-filling punch fight runaround because it’s now somehow impossible for a serving officer to use a Federation ship’s intercom system to call the bridge and warn them of impending danger.

Picard is one of those series where you often find yourself shouting at the screen as the next stupid moment unfolds in front of you. Even worse is that the show’s creative team seem to think that it’s us, the audience, who are deficient in the thinking department. There is scene after scene in which characters repeat the same lines back to each other because the crew assume we’re not paying attention. Because of the limits on spoilers, I’ve re-written a scene to match the sentiment, if not the words verbatim, so you can get a sense of what to expect:

CREW 1: The ship is being pulled closer to the black hole’s gravity well.

CREW 2: We do not have enough power to pull ourselves away, sir.

RIKER: Are you saying that we’re dead in the water?

CREW 1: We will be passing the black hole’s event horizon in 17 minutes.

RIKER: We’re dead in the water and we’re sinking.

PICARD: We’re going to be dead in 17 minutes, Will, unless we can find a way to solve this.

RIKER: We’re sinking into quicksand, and there’s no time to grab a helping hand.

The irony is that this run is so thicket-dense with references that the show basically assumes that you’ve already seen pretty much everything produced during Trek’s gold, silver and bronze ages. But, to make sure nobody’s left behind, everyone has to speak in exposition so hamfisted that, now that this is over, I think Michelle Hurd deserves personal injury compensation. Raffi gets saddled with so many cringe-inducing lines where she states, and restates and re-restates the obvious that I started grasping fistfuls of my own hair to relieve some of my discomfort.

And as for the storyline, what can I say? It’s clear that Alex Kurtzman is only comfortable writing in a single register. His go-to is usually a militaristic, testosterone-fuelled paranoid Reaganite fantasy in which the real villain was our own government all along. He did it in Into Darkness, Discovery season two and even the first season of Picard – to the point where Starfleet is now so lousy with double agents that all of their schemes fail because the saboteurs are all too busy sabotaging each other’s plans instead of that of the wider Federation.

If Picard is nothing else, it’s nearly pornographic in its use and misuse of franchise iconography. I always felt that Jeff Russo’s Picard theme sounded more like the library music for a corporate advert than the makes-your-heart-soar theme a Star Trek deserves. And here, it’s been ditched in favor of Jerry Goldsmith’s sumptuous, nectar-for-the-ears score for First Contact. The first title card is a direct pull from Wrath of Khan, and pretty much every element therein is an elbow to the ribs, reminding you of older, better Star Trek movies and TV series.

An early scene has a character “hijacking a starship” under false pretenses while it’s in spacedock. You know, the mushroom-shaped megastation orbiting Earth from The Search for Spock onwards. And because we’re already going beat-for-beat for a sequence xeroxed from 1984, said starship even jumps to warp as soon as it’s past the exit doors. Despite the fact that the sort of hardcore Trek fans who would spot the reference would also note that you’re not meant to jump to warp while inside a solar system when there’s no urgent need to do so.

I’ll admit, this is postgraduate degree-level Star Trek nerdery, but you can’t have it both ways: If you’re trying to placate hostile viewers with the excessive fan service, you can’t then complain when they point out that you’re doing it all wrong.

The show’s teaser trailer already revealed we’re getting an overstuffed roster of villains to round out the run. Amanda Plummer’s captain of an enemy ship that shares a design with the Narada from Star Trek ‘09. Then there’s Daniel Davis’ holographic Professor Moriarty, as well as Data’s evil twin brother Lore. Both of these sorta make sense in the context, but there’s a hell of a lot of narrative scaffolding to explain away the fact that Brent Spiner is now 74 years old. (The dude looks good for it, but it’s hard to play an ageless android when time marches on and the de-aging CGI budget is spent on smoothing out Patrick Stewart’s face for a single flashback and the pointless needle-drops that open every episode.)

Now, before you scurry off to Memory Alpha to confirm that Moriartywas locked away in a holobox at the end of “Ship in a Bottle,” and Lorewas disassembled at the end of “Descent Part 2,” yes, they were. Try to remember that showrunner Terry Matalas and executive producer Alex Kurtzman treat Star Trek’s continuity less as something which informs storytelling and more as a series of shiny objects to keep us all amused when the plot sags or anyone has any time to think about what’s going on.

I’ll also add that the trailers and promotional material have very intentionally kept a lot of material back. There are more classic-era heroes and villains crowbarring their way into the story in the way that, if it were fanfiction, would seem excessive. But, if I’m honest, the second or third time someone, or something, familiar popped up, I wasn’t whooping and cheering, I was sighing. The Star Trek universe is vast and broad and deep, but Picard makes it feel like a puddle where everyone knows each other, and everyone under the age of 30 has grown up watching The Next Generation. If you’re serving in the US Navy, for instance, how likely is it that you’d know the ins and outs of every exploit of even the most well-traveled combat vessel?

Now, I don’t have the language or experience to discuss this properly, and I’m aware of others who do feel differently. This is just my opinion, but I think the depiction of drug and alcohol use in Picard has always felt off. And since I can’t talk about the third season, I’ll talk about the first, where something very similar happened and is just as vexing here as it was back then. Raffi deals with her son’s rejection by relapsing, but then mere hours later, she’s back at her station and advancing the plot. I don’t recall a sense that her use clouded her judgment and I don’t think it was discussed subsequently – so despite the portentiousness in the build-up, it was depicted almost like someone just having a bad day and knocking back some drinks. I’m not saying that’s a bad thing, because there are plenty of people who use drugs and it doesn’t impact their professional lives at all. (Read any Making-Of book about The Original Series and you'll notice how more than a few references to the production team's drug use.) But if you’re going to write a plot where scenes hang on the will-she-or-won’t-she tension of relapse, but it all turns out to be hunky dory straight after, what was the point of depicting any of this in the first place?

Then there’s the violence, and the casual way that it’s doled out, especially in the show’s numerous interrogation scenes. I’m not advocating for forced confessions, but given Starfleet’s advanced science, and the Federation has a planet of literal telepaths at its disposal, why are we always punching people in the nose with a butt of a phaser pistol? I mean, I know why: It’s a nerdy sci-fi show play acting as a muscular basic-cable drama, but that doesn’t mean it works. I’ve often theorized that many modern-day Star Trek creators would much rather be over the hall making their own Star War instead. Maybe I’m wrong, and the Picard crew is really nostalgic for the hamfisted Bush-era politics of 24.

Trae Patton / Paramount+

It was always going to be hard to pull Picard out of its creative slump that started back when the show was greenlit. If there was ever a character who we’d seen grow, change, mature and treat his own life with more kindness, it was Jean-Luc Picard. Some of TNG’s best episodes forced Picard to consider his own life, his history, his mortality, his motives, including the series’ grand finale. “All Good Things” isn’t just good Star Trek, it’s one of the best series finales ever made, encompassing the entire breadth and depth of The Next Generation in one glorious sweep. And between seven years of TV and four less essential but still important movies, he was done.

I wrote somewhere, I forget where, that a smarter idea would have been to center the action on a less-well served member of the Enterprise D crew. I’d have been second in line to watch a Geordi LaForge spin-off (behind uber fan Rihanna, of course), and there’s plenty to explore there. Or a Beverley Crusher spin-off, as she solves people’s problems as a simple country space doctor back on Earth or on some far-flung planet. Maybe a sci-fi version of In Treatment fronted by Marina Sirtis could have worked, and would have certainly cost less than this.

All of which would be preferable to what we got, which despite initially having a Pulitzer Prize-winning novelist at the helm, was two years of go-nowhere, do-nothing bore-a-thons. Its brief moments of cleverness drowned out by the baffling character decisions, tin-eared dialog and ligneous acting. And both had plots which would have struggled to fill a movie stretched out across a painfully slow ten hour runtime.

And that’s before we get to the moralizing, which had characters pointing at a bad thing and saying “thing bad.” I don’t think the second season’s 26 percent rating on Rotten Tomatoes is because the (inexplicably) conservative wing of Trek fandom was outraged that a show about happy space communists solving problems while remaining friends suddenly “got woke.” Good, old-fashioned Star Trek at least had the good grace to cloak its progressivism in allegory that could slide past the otherwise closed minds of some of its viewers. By comparison, Picard felt like the first draft of a high school theater production made the term after the teacher had explained agitprop.

Maybe that’s why I feel so annoyed by Picard, because all of the things that are wrong with the show, and its kin, are examples of amateurishness. Amateurish plotting, amateurish dialogue, a lack of thoughtfulness about the material, what it says, or what it’s doing. Just an endless parade of big, dumb, brash, po-faced melodrama used in place of some sort of maturity or integrity. I don’t expect Star Trek to be brilliant all the damn time, but I do expect a minimum standard of something to be upheld. And this falls so far below it, it’s hard to call it Star Trek. Some people will call that gatekeeping, but Star Trek can be anything it damn well wants to be, so long as it's competently made and halfway entertaining. 

The constant callbacks got me thinking about the period when Nicholas Meyer was, directly or indirectly, the major creative force behind Star Trek. It’s been 32 years since his 1991 swansong, The Undiscovered Country, and it remains a high-water mark of cinematic Trek. Drawing to a close the story of The Original Series crew, Meyer didn’t go for nostalgia, but savaged his characters, exposing their flaws, their bigotries, their failings. There was redemption, and heart, and it never needed Meyer to stage endless close-quarters phaser-fu fights in unlight rooms.

But that was a filmmaker with a clear vision, and the good graces to really drag his characters in the dirt before washing them clean. Imagine what would happen if Picard encountered any of the same level of subtext – they’d probably spend an hour running from it before beating it over the head with the butt of a phaser rifle and then spend the next hour feeling glum about it. If nothing else, I’d say don’t even watch Picard for ironic kicks, lest Paramount think it’s somehow a runaway hit and continue to produce crap like this.

For one night only, Disney’s breakout Star Wars series is coming to cable TV. Ahead of the premiere of the third season of The Mandalorian on March 1st, Disney announced today it would air the show’s debut episode, “Chapter 1: The Mandalorian,” on February 24th. If you somehow haven’t seen the series before, you can catch the episode that started it all on ABC, Freeform or FX. All three stations will air the 41-minute debut at 8PM ET/PT.

If you’ve managed to avoid spoilers for The Mandalorian until now, first of all, great job; it couldn’t have been easy. Second, we won’t ruin the surprise, but the debut episode is a great taste of what made the first season of the series feel so special. It has a bit of everything that people came to love about The Mandalorian, including witty dialogue, fun action set pieces and, of course, a certain cute alien.

This isn’t the first time Disney has brought a Disney+ exclusive to TV. The company previously aired two episodes of Andor on ABC, Freeform and FX when it seemed that series was struggling to find an audience. Considering the company recently lost $1.5 billion on its streaming services, bringing The Mandalorian to broadcast TV makes a lot of sense as an effort to attract subscribers to Disney+.

Fans of HBO's The Last of Us who are also into football were facing a bit of a quandary this weekend: catch the latest episode live and avoid the risk of spoilers, or tune into the Super Bowl? Thankfully, HBO Max is making that decision much easier. The fifth episode of the excellent adaptation of Naughty Dog's game will hit the streaming service and HBO On Demand two days early.

You'll be able to stream the episode starting at 9PM ET this Friday. It will still air in its usual 9PM ET timeslot on HBO's cable channel on Sunday, but many fans may opt to watch the titanic tussle between the Kansas City Chiefs and the Philadelphia Eagles instead.

This is a smart, one-off move from HBO as The Last of Us is already a massive hit, with viewership figures that have grown from week to week. The linear airing of the next episode is likely to get hammered in the ratings by the Super Bowl, but this could help HBO maintain the show's momentum and distance the TLOU discourse from football this weekend. 

Paramount+ has reportedly joined the trend of streaming platforms removing original shows to cut costs. The Real World: Homecoming, which reunites casts of the original 1990s MTV reality series, got the boot along with six other shows.

Jordan Peele’s The Twilight Zone reboot, which ran from 2019 to 2020, was also a casualty. In addition, the streamer axed true-crime drama Interrogation, the animated series The Harper House, the comedy No Activity, the crime drama Coyote and the dark comedy Guilty Party. Parent company Paramount Global hasn’t announced whether they will land somewhere else after their removal.

The cuts follow similar removals from sister company Showtime, which Paramount will fold into Paramount+ later this year. (It will then take on the unfortunate rebranding, “Paramount+ With Showtime.”) Rival streamer HBO Max recently pulledWestworld, Raised by Wolves, The Time Traveler’s Wife and The Nevers. They will begin appearing this month with ads on a Roku and Tubi channel creatively titled “WB TV Series.”

Get ready for more clickers, quips from Ellie and perhaps a trip to a decaying Seattle: HBO has renewed The Last of Us for a second season. That's not exactly a surprise, as the adaptation of Naughty Dog's games is already a huge hit for the network. Some 22 million people have now watched the first episode, five times the number of people who tuned in on the premiere night 12 days ago. The show also saw the largest second-week jump in audience figures of any original HBO drama series.

If you haven't caught The Last of Us yet and are curious what all the hullabaloo is about, there's some good news. You can now watch the first episode for free on HBO Max.

The streaming service often offers free tasters of certain shows in the hopes of getting viewers hooked and prompting them to subscribe. The first episode of Game of Thrones spin-off House of the Dragon, another major success for the platform, is free to watch on both HBO Max and YouTube.

For the uninitiated, The Last of Us is based on a PlayStation 3 (and PS4 and PS5) game of the same name. It's often held up as one of the finest examples of storytelling in video games. It tales the tale of a smuggler who reluctantly escorts a teenage girl across the US after the world has been ravaged by a fungus that turns people into terrifying, mutated creatures.

So far, HBO's terrific adaptation has largely followed the same story with some smart deviations and changes. Critics have hailed the third episode, which airs this Sunday, as the best installment of the season. It focuses on a side story that's primarily told through a note players find in the game. 

Poker Face isn’t the sort of show that can be spoiled, but have a warning anyway.

I always think there’s been a gulf between production-line TV and its prestige brethren, but that the internet helped demarcate its edges. NCIS was the most-watched drama series in the US from 2009 onwards, but you don’t see The Ringer giving an essay-length breakdown to every episode. These days, prestige drama in the peak-TV mold is pored over and chewed around by the internet sausage machine. Everything else is deemed disposable, despite the obvious and sustained success of the stuff most people are actually watching on broadcast networks. There’s a lot of snobbery there, but also I suspect the The Rookie audience isn’t too fussed about reading a 2,000-word breakdown by an underemployed Yale grad about last night’s Nathan Fillion fights crime action.

Poker Face, then, is an attempt by what I’ll only-slightly-sarcastically call “prestige TV people” into making production-line TV. Like when a stuffy gourmet chef wants to burnish their “down with the kids” credentials by making the sort of dirty burger you can only appreciate at 3am. Interesting then that, despite the fact its co-creator and star are both poster children for Netflix’s revolution, that the show was set up at Peacock. Created by Rian Johnson, fresh from the success of Glass Onion: A Benoit Blanc Mystery, and Russian Doll’s Natasha Lyonne, Poker Face is an unashamed homage to a lost age of TV. Or, you know, lost if you’re not paying attention to whatever CBS is showing on Thursday and Sunday nights.

Lyonne stars as Charlie Cale, a woman with a troubled past who has developed the miraculous ability to tell when someone is lying. After attempting to use her talent to get rich quickly on a lazy poker tour across the US, she’s caught by a Reno casino magnate. He offers her a hostess job, in exchange for not murdering her to death, making her promise not to use her talent again. When he retires, and his grabby son takes over, he opts to use her talent rather than keep it hidden, embroiling both of them in a murder mystery. Which eventually leads her taking a road trip in her Plymouth Barracuda, solving murders wherever she goes.

And, certainly, the show has leant into the idea that Poker Face is probably the closest thing we’re going to get to a millennial Columbo remake. Certainly, the creative team haven’t been shy about drawing the parallels between the ‘70s classic (and, uh 80/90s less classic) and this. It uses the same Inverted Detective Story structure, with the lead character absent in the first act while we see how the murder was committed and the attempts to build a watertight alibi. Not to mention the choice to title the show with boldface yellow text, complete with copyright date under the title card, and its overall ethos. You’ve got a streetwise, rough-around-the-edges New Yorker with a knack for solving crimes and a classic car. And, much like in its inspiration, Lyonne is going up against a series of A- and B-list guest stars, since the most famous guest star (or stars) is the one that did the murder.

NBC Universal

The differences are mostly down to packaging, since Columbo was conceived as a series of movies-of-the-month. (Columbo was originally 90 minutes, but many episodes were “supersized” to two full hours, very commonly to their detriment.) Poker Face is set up as an “episodic” case-of-the-week show, with streaming’s runtime freedom meaning that some episodes run between 80 minutes and just 50 minutes, when the plot is slender enough to justify the trim. That’s good, because it rarely feels like any episode overstays its welcome, and they often skip along at a breezy old clip.

But this efficiency also robs us of one of the highlights that made classic Columbo as it could often be. Watching a short, scrappy, working-class cop square off against higher status opposition was always a delight. And the show would build up to these confrontations, parceling them out along the way toward the eventual denouement. Star Peter Falk was a great, if difficult, actor, and he would often be squaring off against one of his real-life friends, each one a superstar. And they would load each confrontation with depth, nuance and tension as Lt. Columbo sliced apart their “watertight” alibi with a razor blade. Watching Falk against John Cassavetes, Patrick McGoohan, Robert Culp or the amazing Jack Cassidy was electrifying television. And all of this is cast aside, because Charlie is apparently a human lie detector that knows whenever the guest star lies in her presence. (This is rather unsubtly demonstrated most of the time by Charlie reflexively coughing a naughty word describing male cow poops that we’re no longer allowed to write here.)

In its place, is the recurring twist (if it can be called that) that Charlie was actually present or somehow involved with the situation leading up to the murder. So while Lyonne is absent for the first act of the show, you then see an abbreviated version of those same events showing how Charlie came to be inveigled with the events (and has an emotional stake in solving the crime). In a way, you’ll start wondering how exactly we’ll see Charlie pop up and which scenes that we just saw was she lurking in the periphery of. It’s an elegant way of tying the character and the murder together without making her a shabby police officer in a beige raincoat.

But you don’t need to be a Columbo fan to enjoy Poker Face, and the ultimate litmus test was making my aggressively-Columbo-indifferent wife watch the screeners with me. She said that the show was fun, and it gives you the “joy of seeing how Charlie was there all along.” And that, much like another of her favorite detective shows, Jonathan Creek, you can play along at home, looking for the clues that will eventually point Charlie to solving the case. (The show does play fair, too, and gives you the chance to spot a clue that our hero won’t clock for another few minutes.)

NBC Universal

The benefit of the episodic nature of the series is that you can dip in and out of it as you feel like it. I watched the six (of ten) episodes Peacock made available for review in dribs and drabs, watching one, then taking a day off, then the next, in a way that felt similar to how it’s intended to be seen. The only issue for would-be dippers is that you may not quite understand why, at the end of half the episodes, a character I won’t name pops up to glower at Lyonne. This is something the show has borrowed from older shows, where our hero was always on the move in order to stay out of the clutches of the overarching villain and keep the story going. But you’d be a fool not to at least watch the pilot episode, which was written and directed by Johnson. (The second episode, where he just directs, sags a little as it opts to restate its premise for anyone who decided to watch TV like a psychopath and not just start at the beginning.)

Tonally, Poker Face is breezy, despite its rough-around-the-edges world, and there’s often one killer joke in every episode. As much as some episodes might draw from a darker palette, none are even close to being described as “heavy.” It’s not afraid to be a little silly, either, but I’d spoil the fun in explaining how or why it is, so you’ll have to discover that bit for yourself. In fact, most of the fun of the show is just in the watching, so I can’t imagine anyone will be racing to write 2,000-word essay-length breakdowns about how each episode unfolded. Just repeat to yourself: It’s just a show, I should really just relax.

Poker Face debuts on Peacock on January 26th, 2023, with the first four episodes streaming at launch. A new episode will debut every following Thursday for the next six weeks.

If you enjoyed HBO's take on The Last of Us, you're far from alone. WarnerMedia has revealed that the video game adaptation racked up 4.7 million viewers on conventional and streaming TV for its January 15th premiere, making it HBO's third largest debut of the streaming era. Only the Game of Thrones spinoff House of the Dragon rated higher with a crowd topping 9.9 million, and Boardwalk Empire's 4.81 million-viewer launch from 2010 (when HBO Go arrived) was only slightly stronger.

The Last of Us "nearly doubled" the audience for Euphoria's season two opener, WarnerMedia says. While it's not yet clear how well the game series will fare in the long term, the company notes that Sunday night viewing for an HBO show tends to account for 20 to 40 percent of the total gross viewership per episode.

The strong initial performance isn't surprising. On top of the long hype campaign, The Last of Us has well-known names (including Pedro Pascal, Bella Ramsey and Chernobyl creator Craig Mazin) as well as the benefit of an established fan base from Naughty Dog's game franchise. Include HBO Max availability and a good early critical response and there were many people willing to tune in.

It's too soon to say if The Last of Us will be the most popular game-based TV series to date. It has to compete with successes like Netflix's League of Legends series Arcane, among others. However, the initial viewing data suggests this bet on a lavish production has paid off for everyone involved. In that light, it's easy to see why Sony was willing to commit to TV shows for God of War and Horizon. As with rival shows like Halo, this is a chance to expand interest in a franchise to many more people.

Drive to Survive did wonders for Formula 1. The hit Netflix series has drawn fans to the sport through its (sometimes manufactured) drama and beautiful cinematography. What you likely don’t know is that Formula E has its version, albeit with shorter episodes and massively condensed storylines. Even still, Formula E Unplugged is a great primer for the new season whether you’ll be watching the EV racing series for the first time or you’re a veteran fan.

Season two of Unplugged, which chronicles 2022’s Season 8 of Formula E, hit some broadcasters just before Christmas and all six episodes have made the rounds a few times here in the US already (CBS Sports Network). That’s a big change from season one’s 15 episodes which weren’t widely distributed and now live on the Formula E YouTube channel. The other difference with this new season is the episodes are 30 minutes with commercials, slightly longer than the 10- to 15-minute entries in the previous installment. But even with some added time, many of the narratives are condensed to the point they’re hard to follow at times.

Simon Galloway/LAT Images

Episode one covers Mercedes-EQ in its final season (the team was purchased by McLaren). Eventual series winner Stoffel Vandorne has to contend with the fact his teammate is the defending champion. The second episode offers a biographical look at Jaguar TCS’ Mitch Evans, including interviews with his family, his disappointing end to Season 7 and the title push in Season 8 that goes down to the very end.

In episode three, Unplugged covers two teams: TAG Heuer Porsche and ROKiT Venturi Racing. While one banked an early 1-2 finish in Season 8, the other had to contend with drama during its home race. This is the first taste of anything close to Drive to Surive drama. The fourth episode is all about the rookies as Dan Ticktum tries to put his past behind him, Antonio Giovinazzi looks to move on from F1 and American Oliver Askew tries his hand at a global series with the aid of British teammate Jake Dennis.

“Formula E Unplugged presents a realistic picture of life inside the paddock and helps fans to understand more about what makes us tick and where we are coming from,” said Ticktum, who drives for NIO 333 Racing. “I can be pretty fiery, but I think the ‘behind the scenes’ nature of Unplugged will show that sometimes there is a lot more to what drivers are going through than can be seen during races or on social media.”

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More drama ensues in episode five when the series covers DS Techeetah, a team with two former Formula E champions in its garage. Things get heated on multiple occasions when both Jean-Éric Vergne and António Félix Da Costa have an equal desire to win. The final installment offers a look at the lead up to the final two rounds in South Korea. A four-way fight for the title, driver changes and a brief discussion of the Gen3 car round out the sixth episode.

There’s plenty to glean despite the compressed format. Even I learned new things as someone who follows the sport. However, Unplugged really focuses on the top four teams in the championship standings, with the exception of Porsche who looked strong at the outset and the episode about rookies. It would’ve been great to include Envision Racing’s Robin Frijns, who finished level on points in the driver’s standings with Di Grassi and Dennis. I can appreciate that Formula E likely has a limited budget for the show, which is why we only get a half dozen episodes, but it would’ve been nice to get to know the likes of Mahindra and Nissan eDAMS along the way (the latter is covered in S1). And there could’ve been an entire episode dedicated to the Gen3 car, especially when you consider how much more advanced it is (or eventually will be) over the Gen2 racer.

In the US, Formula E races are broadcast on CBS Sports Network and usually on a tape delay a few hours after the event. For example, the first race in Mexico City this weekend won’t air until 11:30PM ET Saturday night (race is at 2PM ET). Both practice sessions will stream on the Formula E YouTube channel (5:25PM ET Friday, 8:25AM ET Saturday). Qualifying, which is completed in a knockout-style format, is only viewable on CBSSports.com. If you’re outside of the States, select your country here for the broadcast info.