The first season opened with the murder of Juliette’s lover, George (Ferdinand Kingsley), who collected forbidden historical artifacts, which silo sheriff Holston Becker (David Oyelowo) investigated at Juliette’s request. When he chose to go outside, he named Juliette as his successor, and she took on George’s case as well as the murder of silo mayor Ruth Jahns (Geraldine James). Many twists ensued, including the existence of a secret group dedicated to remembering the past whose members were being systemically killed. Juliette also began to suspect that the desolate landscape seen through the silo’s camera system was a lie and there was actually a lush green landscape outside.
In the season finale, Juliette made a deal with Holland: She would choose to go outside in exchange for the truth about what happened to George and the continued safety of her friends in Mechanical. The final twist: Juliette survived her outside excursion and realized that the dystopian hellscape was the reality, and the lush green Eden was the lie. And she learned that their silo was one of many, with a ruined city visible in the background.
The official S2 trailer picks up there but doesn’t provide many additional details. We see Juliette in her protective suit walking across the desolate terrain toward the other silos, human skulls and bones crunching under her feet. When Juliette’s oxygen runs out, she finds shelter and survives, and we later see her trying to enter a silo—whether it’s her original home or another one is unclear. Meanwhile, Holland gives an impassioned speech to his silo residents, declaring her a hero for sacrificing herself. But rumors swirl that she is alive, and rebellion is clearly brewing, with Juliette becoming a symbol for the movement.
The second season of Silo debuts on Apple TV+ on November 15, 2024. Ferguson has said that there are plans for third and fourth seasons to wrap up the story, which will hopefully be filmed at the same time.
And in the end, the ratings just weren’t strong enough, especially for a Star Wars project. The Acolyte garnered 11.1 million views over its first five days (and 488 million minutes viewed)—not bad, but below Ahsoka‘s 14 million views over the same period. But those numbers declined sharply over the ensuing weeks, with the finale earning the dubious distinction of posting the lowest minutes viewed (335 million) for any Star Wars series finale.
Writing at Forbes, Caroline Reid noted thatThe Acolyte was hampered from the start by a challenging post-pandemic financial environment at Disney. It was greenlit in 2021 along with many other quite costly series to boost subscriber numbers for Disney+, contributing to $11.4 billion losses in that division. Then Bob Iger returned as CEO and prioritized cutting costs. The Acolyte‘s heavy VFX needs and star casting (most notably Carrie Ann Moss and Squid Game‘s Lee Jung-jae) made it a pricey proposition, with ratings expectations to match. And apparently the show didn’t generate as much merchandising revenue as expected.
As the folks at Slash Film pointed out, The Acolyte‘s bloated production costs aren’t particularly eye-popping compared to, say, Prime Video’s The Rings of Power, which costs a whopping $58 million per episode, or Marvel’s Secret Invasion (about $35 million per episode). But it’s pricey for a Star Wars series; The Mandalorian racked up around $15 million per episode, on par with Game of Thrones. So given the flagging ratings and lukewarm reviews, the higher costs proved to be “the final nail in the coffin” for the series in the eyes of Disney, per Reid.
Kathryn Hahn reprises her WandaVision role as Agatha Harkness in the spinoff series Agatha All Along.
Disney introduced the poster and first full trailer for Agatha All Along during its annual D23 Expo earlier this month. And now Marvel Studios has dropped a one-minute teaser that has fans wildly speculating about the possible true identity of one character in particular, who might just be a future Young Avenger.
As previously reported, the nine-episode series, starring Kathryn Hahn, is one of the TV series in the MCU’s Phase Five, coming on the heels of Secret Invasion, Loki S2, What If…? S2, and Echo. Agatha All Along has been in the works since 2021, officially announced in November of that year, inspired by Hahn’s breakout performance in WandaVision as nosy neighbor Agnes—but secretly a powerful witch named Agatha Harkness who was conspiring to steal Wanda’s power. The plot twist even inspired a meta-jingle that went viral. WandaVision ended with Wanda victorious (of course) and Agatha robbed of all her powers, trapped in her nosy neighbor persona. This new series picks up where WandaVision left Agatha, and apparently we can expect a few more catchy tunes. Per the official premise:
The infamous Agatha Harkness finds herself down and out of power after a suspicious goth teen helps break her free from a distorted spell. Her interest is piqued when he begs her to take him on the legendary Witches’ Road, a magical gauntlet of trials that, if survived, rewards a witch with what they’re missing. Together, Agatha and this mysterious teen pull together a desperate coven, and set off down, down, down The Road…
In addition to Hahn, the cast includes Aubrey Plaza as warrior witch Rio Vidal; Joe Locke as Billy, a teenaged familiar; Patti LuPone as a 450-year-old Sicilian witch named Lilia Calderu; Sasheer Zamata as sorceress Jennifer Kale; Ali Ahn as a witch named Alice; and Miles Gutierrez-Riley as Billy’s boyfriend. Debra Jo Rupp reprises her WandaVision role as Sharon Davis (“Mrs. Hart” in the meta-sitcom), here becoming a member of Agatha’s coven. Also reprising their WandaVision roles: Emma Caulfield Ford as Sarah Proctor (aka “Dottie Jones”); David Payton as John Collins (“Herb”); David Lengel as Harold Proctor (“Phil Jones”); Asif Ali as Abilash Tandon (“Norm”); Amos Glick (pizza delivery man “Dennis”); Kate Forbes as Agatha’s mother, Evanora; and Brian Brightman as the Eastview, New Jersey, sheriff.
This latest teaser opens with Billy fanboying over Agatha, newly released from her spell, admitting that he knows “an egregious amount about you”—ever since he discovered her history during “the Salem days.” WandaVision fans will recall that’s when Agatha absorbed all the power in her then-coven, killing them in the process—including her own mother. Billy admires the fact that Agatha is the only witch to have ever survived the Witches’ Road. But when she asks him who he is, a magical script covers his mouth and garbles his answer. Naturally Agatha finds this intriguing.
Given that the squiggly script resembles an ornate “M,” (or possibly a “W” and “V”) fans are speculating that Billy is connected to Wanda Maximoff—possibly a young Billy Kaplan, who goes on to become Wiccan of the Young Avengers, one of Wanda and Vision’s twin sons. Those sons technically ceased to exist when Wanda ended her reality-warping spell in WandaVision‘s finale. But does anybody ever really cease to exist in the MCU? (The twins were eventually reborn in the comics, with Tommy becoming Speed.)
The first two episodes of Agatha All Along drop on September 18, 2024, on Disney+, with episodes airing weekly after that through November 6. It looks like dark, spooky fun, just in time for the Halloween season.
Enlarge/Cursed Gold: A Shipwreck Scandal documents the spectacular rise and fall of treasure hunter Tommy Thompson.
Recovery Limited Partnership Liquidating Trust
Many people dream of finding lost or hidden treasure, but sometimes realizing that dream turns out to be a nightmare. Such was the case for Tommy Thompson, an American treasure hunter who famously beat the odds to discover the location of the SS Central America shipwreck in 1988. It had been dubbed the “Ship of Gold” since it sank in 1857 laden with 30,000 pounds of gold bars and coins—collectively worth enough money to have some impact on the Panic of 1857 financial crisis.
Thompson and his team recovered significant amounts of gold and artifacts to great fanfare, with experts at the time suggesting the trove could be worth as much as $400 million. The euphoria proved short-lived. Thirty-nine insurance companies filed lawsuits, claiming the gold was rightfully theirs since the companies had paid damages for the lost gold back in the mid-19th century. Thompson eventually prevailed in 1996, when courts awarded him and his discovery team 92 percent of the gold they’d recovered.
But actually realizing profits from the gold proved challenging; In the end, Thompson sold the gold for just $52 million, almost all of which went to pay off the massive debt the project had accumulated over the ensuing years. So naturally, there were more lawsuits, this time from the investors who had financed Thompson’s expedition, accusing him of fraud. Thompson didn’t help his case when he went on the run in 2012 with his assistant, living off some $4 million in assets stashed in an offshore account.
Thompson was finally captured by US marshals in 2015 to face his investors in court. A jury awarded the investors substantial compensatory damages, and the court ordered Thompson to hand over 500 commemorative gold coins that had been minted out of some of the Central America gold to meet that judgment. Thompson claimed he had forgotten where he’d stashed them and was jailed for contempt of court until the coins had been recovered and handed over. He’s still in prison as of this writing, and the gold coins have yet to be found.
It’s quite a tale, so small wonder that National Geographic has made a riveting three-part documentary about Thompson’s spectacular rise and fall: Cursed Gold: A Shipwreck Scandal, based on the 1998 book by Gary Kinder entitled Ship of Gold in the Deep Blue Sea. Cursed Gold director Sam Benstead read Kinder’s book and was instantly hooked on the story. “Not only was it a hugely exciting story with many twists and turns, but it was also an emotional story, which left you pulling for Tommy and his crew,” he told Ars. “Tommy came through as an extraordinary character: eccentric, brilliant, someone willing to try things no one else had. When I discovered all the things that had happened after the book, I knew it was a story I had to tell.”
Ship of Gold
Engraving by J. Childs of the 1857 sinking of the SS Central America.
Public domain/National Maritime Museum, London
Sonar expert Mike Williamson hard at work during production of Cursed Gold.
National Geographic
John Moore is a lead designer of deep-sea robot Nemo.
National Geographic
Dramatic reconstruction of crew members looking at monitors in the ship’s control room.
National Geographic
Dramatic reconstruction of a crew member looking at computer screens in the ship’s control room.
National Geographic
Dramatic reconstruction of sonar operator John Lettow navigating Nemo from the ship’s control room.
National Geographic
Dramatic reconstruction showing Nemo descending to the seabed off the coast of North Carolina.
National Geographic
Gold bars and coins on the bottom of the sea bed off the coast of North Carolina.
Recovery Limited Partnership Liquidating Trust
Robotic machine recovers gold bars on the bottom of the seabed.
Recovery Limited Partnership Liquidating Trust
Crew members ogle gold bars on deck after being brought up from the sea floor.
Recovery Limited Partnership Liquidating Trust
Crew members looking at gold bars retrieved from the ocean floor.
Recovery Limited Partnership Liquidating Trust
Journalist Dylan Taylor-Lehman looks through case files.
National Geographic
Veteran US Marshal Mark Stroh lifting box of files in a dramatic reconstruction.
National Geographic
Lawyer Quintin Lindsmith works on case files.
Gold bars and coins on the bottom of the sea bed off the cost of North Carolina.
US Marshal Christopher Crotty waits in his car in a dramatic reconstruction.
National Geographic
A case displaying the missing 500 commemorative gold coins.
Recovery Limited Partnership Liquidating Trust
A lot has happened to Thompson since Kinder’s book was published in 1998. Benstead and his production team combed through more than 600 hours of archival footage from the original expedition, as well as over 700 pages of court transcripts. “We also consulted multiple figures who we didn’t film with but who helped inform the story,” said Benstead. “In the editing process, National Geographic’s research department, together with our team, worked diligently to do their best to bottom out every fact, every claim. In a story that is so contested, this really helped us feel confident in standing behind the resulting films.”
“One of the main challenges was in condensing an incredibly complex 30-year saga into three films,” Benstead continued. “There were many legal cases and side stories that we had to exclude or could only touch on. And there were areas of the story that were strongly disputed by different sides. Sometimes we had to make choices that didn’t fully satisfy either camp, but we did our best to remain fair to the plurality of viewpoints, while also telling a powerful story.”
The director remains in awe of the original discovery, however badly the adventure turned out. “For the guys on the boat, almost without exception, this period was one of the best times of their lives,” he said. “It was a privilege to relive their struggles and final triumph in finding the gold. I still find it remarkable that they found the SS Central America in almost two miles of water with the resources they had in the 1980s.”
The experience also instilled “a real respect for the people who shared their story with us, especially Tommy’s family members, who have had so much written about them over the years,” said Benstead. “They didn’t trust us easily, and I feel very fortunate that they took part. Whenever people share the deepest, most affecting parts of their lives with you, you walk away carrying a big responsibility. I hope that they feel we have done their side of the story justice.”
Did Benstead come to his own conclusions about whether or not Thompson committed fraud? “Different people have different viewpoints on Tommy, even amongst those on the boat, investors, lawyers, and law enforcement,” he said. “We felt it was very important to allow the series to reflect this diversity and to allow the audience to make up their own mind. My own view is that Tommy isn’t a con man, and to be in prison for approaching nine years for contempt of court feels like a sad reflection on the US justice system. But it is also the case that, albeit under immense pressure, he made certain choices (like going on the run), which contributed to his own downfall. I hope that in the coming years his achievements, which have been obscured by the legal circus, are given the recognition that they deserve.”
Cursed Gold: A Shipwreck Scandal is now streaming on Disney+ and Hulu.
Enlarge/ We have doubts that any amount of Force powers will bring the show back.
YouTube/Disney+
In news that will delight some and disappoint others, Disney has canceled Star Wars series The Acolyte after just one season, Deadline Hollywood reports. The eight-episode series got off to a fairly strong start, with mostly positive reviews and solid ratings, albeit lower than prior Star Wars series. But it couldn’t maintain and build upon that early momentum, and given the production costs, it’s not especially surprising that Disney pulled the plug.
The Acolyte arguably wrapped up its major narrative arc pretty neatly in the season finale, but it also took pains to set the stage for a possible sophomore season. In this streaming age, no series is ever guaranteed renewal. Still, it would have been nice to see what showrunner Leslye Headland had planned; when given the chance, many shows hit their stride on those second-season outings.
(Spoilers for the series below. We’ll give you another heads-up when we get to major spoilers.)
As I’ve written previously, The Acolyte is set at the end of the High Republic Era, about a century before the events of The Phantom Menace. In this period, the Jedi aren’t the underdog rebels battling the evil Galactic Empire. They are at the height of their power and represent the dominant mainstream institution—not necessarily a benevolent one, depending on one’s perspective. That’s a significant departure from most Star Wars media and perhaps one reason why the show was so divisive among fans. (The show had its issues, but I dismiss the profoundly unserious lamentations of those who objected to the female-centric storyline and presence of people of color by dubbing it “The Wokelyte” and launching a review-bombing campaign.)
The Acolyte opened on the planet Ueda, where a mysterious masked woman wielding daggers attacked the Jedi Master Indara (Carrie-Anne Moss) and killed her. The assassin was quickly identified as Osha Aniseya (Amandla Stenberg), a former padawan now working as a meknek, making repairs on spaceships. Osha was arrested by her former classmate, Yord Fandar (Charlie Barnett), but claimed she was innocent. Her twin sister, Mae, died in a fire on their home planet of Brendok when they were both young. Osha concluded that Mae was still alive and had killed Indara. Osha’s former Jedi master, Sol (Lee Jung-jae), believed her, and subsequent events proved Osha right.
Mae’s targets were not random. She was out to kill the four Jedi she blamed for the fire on Brendok: Indara, Sol, Torbin (Dean-Charles Chapman), and a Jedi Wookiee named Kelnacca (Joonas Suotamo). The quartet had arrived on Brendok to demand they be allowed to test the twins as potential Jedi.
The twins had been raised by a coven of “Force witches” there, led by Mother Aniseya (Jodie Turner-Smith), who believed the Jedi were misusing the Force. While Mae was keen to follow in their mother’s footsteps, Osha wanted to train with the Jedi. When the fire broke out, both Mae and Osha believed the other twin had been killed along with the rest of the coven. How the fire really started, and the identity of Mae’s mysterious Master who trained her in the dark side of the Force, were the primary mysteries that played out over the course of the season.
(WARNING: Major spoilers below. Stop reading now if you haven’t finished watching the series.)
Enlarge/ The camera moved on a single axis for the wuxia-inspired fight scenes.
Lucasfilm/Disney+
From the start, The Acolyte was a bit of a departure from a typical Star Wars series, weaving in elements from wuxia films and detective stories while remaining true to the established Star Wars aesthetic and design. That alone made it an intriguing effort, with fresh characters and new takes on classic Star Wars lore. And the martial arts-inspired fight choreography was clever and fun to watch—especially in the shocking, action-packed fifth episode (“Night”).
But there were some obvious shortcomings as well, most notably the clunky dialogue—although that’s kind of a long-standing attribute of the Star Wars franchise. (Alec Guinness notoriously hated his dialogue as Obi-Wan Kenobi in A New Hope.) The pacing lagged at times, and there was a surprisingly high body count among the central characters.
Enlarge/ A high body count: All of these Jedi are dead.
Lucasfilm/Disney+
That alone might have made a second season challenging. I mean, they killed off Moss’ Jedi master in the first 10 minutes (although she reappeared in flashbacks), with Torbin and Kelnacca meeting the same fate over the next few episodes. By the time the final credits rolled, almost all the Jedi lead characters were dead. And senior leader Vernestra (Rebecca Henderson) opted to blame the murders on Sol (RIP) rather than Mae’s master, who turned out to be Vernestra’s former apprentice, Qimir (a scene-stealing Manny Jacinto)—now apprentice to Sith lord Darth Plagueis. (This was strongly implied in the finale and subsequently confirmed by Headland.)
Ultimately, however, it all came down to the ratings. Per Deadline, The Acolyte garnered 11.1 million views over its first five days (and 488 million minutes viewed)—not bad, but below Ahsoka‘s 14 million views over the same period. But those numbers declined sharply over the ensuing weeks, with the finale earning the dubious distinction of posting the lowest minutes viewed (335 million) for any Star Wars series finale. That simply didn’t meet Disney’s threshold for renewal, so we won’t get to learn more about the Qimir/Darth Plagueis connection.
Kathryn Hahn seeks a new witchy coven in Agatha All Along.
Disney introduced the poster and first full trailer for Agatha All Along during its annual D23 Expo this weekend. The nine-episode series, starring Kathryn Hahn, is one of the TV series in the MCU’s Phase Five, coming on the heels of Secret Invasion, Loki S2, What If…? S2, and Echo.
As reported previously, Agatha All Along has been in the works since 2021, officially announced in November of that year, inspired by Hahn’s breakout performance in WandaVision as nosy neighbor Agnes—but secretly a powerful witch named Agatha Harkness who was conspiring to steal Wanda’s power. The plot twist even inspired a meta-jingle that went viral. That series ended with Wanda victorious and Agatha robbed of all her powers, trapped in her nosy neighbor persona.
Head writer Jac Schaeffer (who also created WandaVision) has said that the series would follow Agatha as she forms her own coven with “a disparate mixed bag of witches… defined by deception, treachery, villainy, and selfishness” who must learn to work together. And apparently we can expect a few more catchy tunes—one of which is front and center in the new trailer. This new series picks up where WandaVision left Agatha. Per the official premise:
The infamous Agatha Harkness finds herself down and out of power after a suspicious goth teen helps break her free from a distorted spell. Her interest is piqued when he begs her to take him on the legendary Witches’ Road, a magical gauntlet of trials that, if survived, rewards a witch with what they’re missing. Together, Agatha and this mysterious teen pull together a desperate coven, and set off down, down, down The Road…
In addition to Hahn, the cast includes Aubrey Plaza as warrior witch Rio Vidal; Joe Locke as Billy, a gay teenage familiar; Patti LuPone as a 450-year-old Sicilian witch named Lilia Calderu; Sasheer Zamata as sorceress Jennifer Kale; Ali Ahn as a witch named Alice; and Miles Gutierrez-Riley as Billy’s boyfriend.
Debra Jo Rupp reprises her WandaVision role as Sharon Davis (“Mrs. Hart” in the meta-sitcom), here becoming a member of Agatha’s coven. Also reprising their WandaVision roles: Emma Caulfield Ford as Sarah Proctor (aka “Dottie Jones”); David Payton as John Collins (“Herb”); David Lengel as Harold Proctor (“Phil Jones”); Asif Ali as Abilash Tandon (“Norm”); Amos Glick (pizza delivery man “Dennis”); Kate Forbes as Agatha’s mother, Evanora; and Brian Brightman as the Eastview, New Jersey, sheriff.
The first two episodes of Agatha All Along drop on September 18, 2024, on Disney+, with episodes airing weekly after that through November 6.
“Lower decks! Lower decks!” The fifth season of Star Trek: Lower Decks will be the animated series’ last (boo!).
Star Trek: Lower Decks is a particular favorite among Ars staffers; it’s arguably the best of the recent crop of Star Trek shows, along with Star Trek: Strange New Worlds. So we were disappointed when we learned that the animated series would be ending with its fifth season. Paramount+ debuted the first teaser for S5 during the Star Trek panel at San Diego Comic-Con over the weekend, along with a teaser for Star Trek: Section 31—a spinoff film from Star Trek: Discovery featuring Michelle Yeoh’s Philippa Georgiou—a clip from Strange New Worlds S3, and the latest news about Star Trek: Starfleet Academy.
The Lower Decks teaser opens with a suitably nostalgic recap of some of the highlights of the adventures of the plucky crew of the USS Cerritos, inviting viewers to join them for one last adventure. Cue Boimler (Jack Quaid) and Mariner (Tawny Newsome) in voiceover objecting to that description (“Yeah, right, we’re not done voyaging—we’ve hardly even cracked one quadrant yet”). Their S5 mission involves a “quantum fissure” that is causing “space potholes” to pop up all over the Alpha Quadrant (“boo interdimensional portals!”), and the Cerritos crew must close them—while navigating angry Klingons, an Orion war, and who knows what other crazy developments?
The final season of Lower Decks premieres on Paramount+ on October 24, 2024, and will run through December 19.
Newsome is already committed to her first post-Lower Decks project: co-writing the first live-action Star Trek comedy with franchise head honcho Alex Kurtzman. There’s no title yet, but Deadline Hollywood reports that the premise will involve “Federation outsiders serving a gleaming resort planet [who] find out their day-to-day exploits are being broadcast to the entire quadrant.” So, a Star Trek Truman Show? Color us intrigued.
Star Trek: Strange New Worlds S3
A first look at what’s coming in the third season of Star Trek: Strange New Worlds.
Strange New Worlds marked a welcome return to Star Trek’s original episodic structure. The franchise’s Comic-Con panel featured a special sneak peek at the upcoming first season. The clip is a callback to the S2 episode “Charades,” in which a higher-dimensional race, the Kerkohvians, accidentally reconfigured Spock’s half-human, half-Vulcan physiology to that of a full-blooded human—just before Spock was supposed to meet his Vulcan fiancee’s parents.
The S3 clip has the situation reversed: The human crew must make themselves Vulcan to succeed on a new mission. They succeed in record time but aren’t able to change back. The Vulcan versions of the Enterprise crew are hilariously on point, and a long-suffering Spock must endure repeated references to his inferior half-Vulcan status.
We also learned that Cillian O’Sullivan will join the recurring cast as Dr. Roger Korby. ToS fans will recognize that name; it’s a legacy character (originally played by Michael Strong). Korby was a renowned archaeologist in the field of medical archaeology, introduced in the episode “What Are Little Girls Made Of?‘ as Nurse Chapel’s long-missing fiancé. That’s bound to cause problems for SNW‘s Nurse Christine Chapel (Jess Bush), who is currently romantically involved with Spock. SNW S5 will premiere sometime in 2025, and the series has already been renewed for a fourth season
Speaking of Strange New Worlds, remember that fantastic S2 episode (“Substance Rhapsody”) in which a quantum probability field caused the entire crew to break into song? Executive producer Akira Goldman revealed during the panel that he is toying with the idea of a Star Trek stage musical, although he cautioned that “We’re in the very early stages of figuring out whether we can bring a version of [“Substance Rhapsody”] to the stage.”
The HBO Original Series Dune: Prophecy will premiere this November.
Fans of director Denis Villeneuve’s epic two-part film adaptation of Frank Herbert’s Dune have no doubt been curious about the upcoming HBO Max series, Dune: Prophecy. It’s a prequel series inspired by the novel Sisterhood of Dune, written by Brian Herbert and Kevin J. Anderson, exploring the origins of the Bene Gesserit. The studio just dropped a tantalizing teaser rife with political intrigue, ominous warnings, and a bit of hand-to-hand combat.
The series was first announced in 2019, with Villeneuve serving as an executive producer and Alison Schapker (Alias, Fringe, Altered Carbon) serving as showrunner. The first season will consist of six episodes, and it’s unclear how closely the series will adhere to the source material. Per the official premise:
Set 10,000 years before the ascension of Paul Atreides, Dune: Prophecy follows two Harkonnen sisters as they combat forces that threaten the future of humankind, and establish the fabled sect that will become known as the Bene Gesserit.
Emily Watson co-stars as Valya Harkonnen, leader of the Sisterhood, with Olivia Williams playing her sister, Tula Harkonnen. Mark Strong plays Emperor Javicco Corrino, described as “a man from a great line of war-time Emperors, who is called upon to govern the Imperium and manage a fragile peace,” while Jodhi May plays Empress Natalya, and Sarah-Sofie Boussnina plays Princess Ynez.
The cast also includes Shalom Brune-Franklin as Mikaela, a Fremen woman who serves the royal family; Travis Fimmel as Desmond Hart, described as “a charismatic soldier with an enigmatic past”; Chris Mason as swordsman Keiran Atreides; Josh Heuston as Constantine Corrino, the illegitimate son of Javicco; Edward Davis as rising politician Harrow Harkonnen; Tabu as Sister Francesca, the Emperor’s former lover; Jihae as Reverend Mother Kasha, the Emperor’s Truthsayer; Faoileann Cunningham as Sister Jen; Chloe Lea as Lila; Jade Anouka as Sister Theodosia; and Aoife Hinds as Sister Emeline, all acolytes at the Sisterhood School.
Power = control
A short teaser was shown in May during the Warner Bros. Discovery Upfront presentation in New York City. It was heavy on the exposition, with a voiceover describing the founding of a sisterhood assigned to the Great Houses “to help them sift truth from lies.” The result was a “network of influence throughout the Imperium… but power comes with a price.” They want to place a Sister on the throne and arrange a marriage to make it possible. Not all the Sisters were on board with the plan, however, with one warning that the Sisterhood was playing god “and we will be judged for it.”
This latest teaser opens with an admonition to acolytes of the Sisterhood: “You wish to serve the Great Houses and shape the flow of power; you must first exert power over yourself.” The emperor seems to be easily wooed by the “sorceresses,” much to his empress’s chagrin, but the more influence the Sisterhood wields, the more enemies it gains. Desmond Hart also has his suspicions about the Sisterhood, probably with good reason. “Our hands are poised on the levers of power but yet our grasp on it is still fragile,” Valya tells her sister Tula, assuring her that “I am trying to protect the Imperium”—and “sacrifices must be made.”
Enlarge / Dr. Ann Burgess helps the FBI catch serial killers in Hulu’s Mastermind: To Think Like a Killer.
YouTube/Hulu
Fans of the Netflix series Mindhunter might recall the character of Dr. Wendy Carr (Anna Torv), a psychologist who joins forces with FBI criminal profilers to study the unique psychology of serial killers in hopes of more effectively catching them. But they might not know about the inspiration for the character: Dr. Ann Wolbert Burgess, whose long distinguished career finally gets the attention it deserves in a new documentary from Hulu, Mastermind: To Think Like a Killer.
Burgess herself thought it was “fun” to see a fictional character based on her but noted that Hollywood did take some liberties. “They got it wrong,” she told Ars. “They made me a psychologist. I’m a nurse”—specifically, a forensic and psychiatric nurse who pioneered research on sex crimes, victimology, and criminal psychology.
Mastermind should go a long way toward setting things right. Hulu brought on Abby Fuller to direct, best known for her work on the Chef’s Table series for Netflix. Fuller might seem like a surprising choice for making a true crime documentary, but the streamer thought she would bring a fresh take to a well-worn genre. “I love the true crime aspects, but I thought we could do something more elevated and cinematic and really make this a character-driven piece about [Ann], with true crime elements,” Fuller told Ars.
There’s no doubt that the public has a rather morbid fascination with serial killers, and Burgess certainly has had concerns about the way media coverage and Hollywood films have turned murderers into celebrities. “Despite how obviously horrible these killers were, despite their utter brutality and the pain they inflicted upon their victims, they’d somehow become romanticized,” Burgess wrote in her memoir, A Killer by Design: Murderers, Mindhunters, and My Quest to Decipher the Criminal Mind. “All the inconvenient details that interfered with this narrative—the loss of life, issues of mental health, and the victims themselves—were simply ignored.”
Enlarge/ A re-creation of Dr. Ann Burgess listening to taped interviews of serial killers in Mastermind.
YouTube/Hulu
That said, it’s not like anyone who finds the twisted psychology of serial killers, or true crime in general, fascinating is a sociopath or murderer in the making. “I think we all grapple with light and dark and how we see it in the world,” said Fuller. “There’s an inherent fascination with what makes someone who they are, with human behavior. And if you’re interested in human behavior, a serial killer exhibits some of the more fascinating behavior that exists. Trying to grasp the darkest of the dark and understand it is a way to ensure we never become it.”
“I think it’s a human factor,” Burgess said. “I don’t see anything wrong with it. There is a fascination to try to understand why people commit these horrifying crimes. How can people do these things? But I also think people like to play detective a little bit. I think that’s normal. You don’t want to be fooled; you don’t want to become a victim. So what can you learn to avoid it?”
For Burgess, it has always been about the victims. She co-founded one of the first crisis counseling programs at Boston City Hospital in the 1970s with Boston College sociologist Lynda Lytle Holmstrom. The duo conducted research on the emotional and traumatic effects of sexual violence, interviewing nearly 150 rape victims in the process. They were the first to realize that rape was about power and control rather than sex, and coined the term “rape trauma syndrome” to describe the psychological after-effects.
(WARNING: Some graphic details about violent crimes below.)
Enlarge/ Dr. Ann Burgess research helped legitimize the FBI’s Behavioral Sciences Unit.
Hulu
Their work caught the attention of Roy Hazelwood of the FBI, who invited Burgess to the FBI Academy in Quantico, Virginia, to give lectures to agents in the fledgling Behavioral Sciences Unit (BSU) on victimology and violent sex crimes. Thus began a decades-long collaboration that established criminal profiling as a legitimate practice in law enforcement.
Kathryn Hahn reprises her WandaVision role as Agatha Harkness in the spinoff series Agatha All Along.
The true identity of nosy next-door neighbor Agatha—played to perfection by Kathryn Hahn—was the big reveal of 2021’s WandaVision, even inspiring a meta-jingle that went viral. Now Hahn is bringing the character back for her own standalone adventure with Agatha All Along. Based on the first trailer, it looks like a lot of dark, spooky fun, just in time for the Halloween season. The nine-episode series is one of the TV series in the MCU’s Phase Five, coming on the heels of Secret Invasion, Loki S2, What If…? S2, and Echo.
WandaVision was set immediately after the events of Avengers: Endgame (but before Spider-Man: Far From Home), with newlyweds Wanda and Vision starting their married life in the town of Westview, New Jersey. Wacky hijinks ensued as the couple tried to lead a normal life while hiding their superpowers from their neighbors—especially Hahn’s nosy Agnes. Each episode was shot in the style of a particular era of sitcom television, from the 1950s through the 2000s. The couple noticed more and more jarring elements—a full-color drone, a voice calling out to Wanda over the radio, neighbors briefly breaking character—hinting that this seemingly idyllic suburban existence might not be what it seemed.
We learned that a grief-stricken Wanda had inadvertently locked the entire town in a reality-warping Hex, with the residents forced to play their sitcom “roles” and adhere to Wanda’s “script,” creating the happily ever after ending she never got with Vision. But the hijinks weren’t all due to Wanda’s powers. Agnes turned out to be a powerful witch named Agatha Harkness, who had studied magic for centuries and was just dying to learn the source of Wanda’s incredible power. Wanda’s natural abilities were magnified by the Mind Stone, but Agatha realized that Wanda was a wielder of “chaos magic.” She was, in fact, the Scarlet Witch. In the finale, Wanda trapped Agatha in her nosy neighbor persona while releasing the rest of the town.
Agatha All Along has been in the works since 2021, officially announced in November of that year. There were numerous title changes, culminating this May with my personal goofy favorite: Agatha: The Lying Witch with Great Wardrobe (a nod to C.S. Lewis). It briefly appeared on the Marvel Twitter account before being taken down, and Disney soon revealed that the various name changes were “orchestrated by [Harkness] as a way of messing with Marvel fans.” Head writer Jac Schaeffer (who also created WandaVision) has said that the series would follow Agatha as she forms her own coven with “a disparate mixed bag of witches… defined by deception, treachery, villainy, and selfishness” who must learn to work together. And apparently we can expect a few more catchy tunes.
Enlarge/ Ncuti Gatwa wrapped his first full season as the Fifteenth Doctor and proved more than up to the challenge.
YouTube/BBC
Doctor Who is now in its 61st year featuring a host of gifted British actors each taking on the iconic role in turn. So Ncuti Gatwa had some very big shoes to fill when he took on playing the Fifteenth Doctor. Now the season has concluded and the verdict is in: Gatwa is more than up to the challenge, bringing sparkling energy, charisma, and a superb sense of style to the role. He sings and dances, too, as does winsome new companion Ruby Sunday (Millie Gibson). They have terrific onscreen chemistry and Davies is in top storytelling form. In short, the new season mostly feels as fresh and energetic as ever and I’m already looking forward to more.
(Spoilers below.)
Here’s a brief summation for the benefit of those who may not have kept up with the more recent seasons. This is Russell T. Davies’ second stint as showrunner, having revived the series in 2005. He lost no time introducing a few new twists after signing back on as show runner. When it came time for Jodie Whittaker’s Thirteenth Doctor to regenerate, fans had expected Gatwa to be introduced. Instead, the new Fourteenth Doctor was played by former Tenth Doctor David Tennant, reuniting with former companion Donna Noble (Catherine Tate) for three specials.
The third special was called “The Giggle.” During the climactic battle, the Doctor was shot. But instead of the usual regeneration, the Fourteenth Doctor “bigenerated” instead, resulting in both a Fourteenth Doctor and Gatwa’s Fifteenth Doctor, a separate physical entity. Tennant’s incarnation settled into a comfy retirement with Donna and her family, while Gatwa’s newly regenerated Doctor headed off for a fresh set of adventures.
In the Christmas special, “The Church on Ruby Road,” Gatwa’s Doctor picked up a new companion: Ruby Sunday, a young woman abandoned at a church on Christmas Eve and raised by her foster mother. Goblins kidnapped the new foster baby, Lulubelle, to feed her to the Goblin King in a ritual sacrifice involving a rather silly goblin song. Ruby and the Doctor joined forces to save her. Naturally Ruby decided to join him for a few more adventures in the TARDIS. (You can read our interview with Davies, Gatwa, and Gibson here.)
The Doctor and Ruby kicked things off by rescuing a group of talking “space babies’ on an abandoned baby farm space station who were being terrorized by a monstrous Bogeyman (made, as it turns out, from actual “bogies” aka snot). It’s a clever standalone concept that never quite gels, despite the charm of seeing babies in motorized strollers operating Rube-Goldberg-like systems to perform basic tasks on board the ship. But it works well as an appetizer for what’s to come.
By contrast, “The Devil’s Chord” is a classic Whovian adventure, in which the Doctor and Ruby must save the world from a powerful being called Maestro (Jinkx Monsoon), child of the Toymaker (arch-villain of “The Giggle”). Unwittingly summoned by a piano teacher playing the “devil’s chord” in 1925, Maestro has been robbing the universe of music, intent on leaving nothing but Aeolian tones. So when the Doctor and Ruby crash a Beatles recording session in 1963, they are dismayed to hear the Fab Four play a decidedly uninspired tune about Paul McCartney’s dog rather than one of their future hits. Everything works in this episode, from Monsoon’s maniacal cackle to the fabulous outfits and sly visual callback to the Abbey Road album cover (not to mention the famous keyboard scene in Big). Bonus points for the big musical number at the end, taking advantage of Gatwa’s and Gibson’s natural talents.
Enlarge/ Jinkx Monsoon as Maestro, who is robbing the universe of all music.
BBC/Disney+
The Bridgerton references run wild in the delightful “Rogue,” as the Doctor and Ruby travel to Regency England and discover a group of “cosplaying” shapeshifter aliens have crashed the same gathering. (The Chuldurs kill whomever they want to “play” and take over their identities.) They are aided by a futuristic bounty hunter named Rogue (Jonathan Groff), with whom the Doctor enjoys a romantic interlude—only for Rogue to sacrifice himself to save Ruby, banished to an unknown alternate dimension with the Chuldurs.
“Boom” takes the duo to a war-torn planet in which the casualties are strictly controlled by a corporate algorithm, while in “Dot and Bubble,” the Doctor and Ruby try to save an off-planet community of rich young white people from carnivorous slugs—which the youngsters don’t notice because they live their lives literally shrouded in an online bubble. Is the metaphor a bit heavy-handed? Yes it is, but it’s amusing to watch Lindy Pepper-Bean (Callie Cooke) try to navigate the outside world without the aid of a helpful virtual arrow telling her where to step.
(WARNING: Major spoilers for “73 Yards” and the final two episodes below. )
Enlarge/ Sparks fly between the Doctor and a futuristic bounty hunter named Rogue in Regency England.
BBC/Disney+
Gatwa’s Doctor Who debut overlapped a bit with shooting the final season of Sex Education, so two of the episodes constitute what Davies calls “Doctor-Lite” because Gatwa has much less screen time: “Dot and Bubble” and the Ruby-centric “73 Yards”—actually the first episode Gatwa filmed, and among the most inventive Doctor Who episodes in recent years. Davies drew on Welsh folk horror for this haunting ghost story, bringing a smidgen of fantasy to the sci-fi series. The Doctor and Ruby arrive on the Welsh coast, where he accidentally steps on a fairy circle and mysteriously vanishes, just as Ruby notices a mysterious old woman standing on a distant bluff, gesticulating and saying something that Ruby cannot hear.
The apparition follows a confused Ruby into town, always staying 73 yards away. Others can see the woman but whenever Ruby asks them to go talk to her to find out what’s going on, we see their faces change, they look at Rudy, then run away in horror, insisting they never want anything to do with Ruby again. This goes on for decades. The TARDIS remains abandoned on that Welsh cliff with no sign of the Doctor. Ruby lives out her entire life with this apparition haunting her, estranging her from anyone she asks for help (including her own foster mother and UNIT). She does figure out how to use the apparition to avert nuclear catastrophe, however. On her deathbed, the ghostly woman finally appears right in front to Ruby—at which point Ruby is transported back to that first day on the Welsh clifftop and sees her younger self with the Doctor. This time, Young Ruby is able to warn the Doctor and stop him from breaking the fairy circle, and everything returns to normal.
Enlarge/ A mysterious woman in the distance haunts Ruby in “73 Yards”
BBC/Disney+
To say that some fans were flummoxed and unsettled by this episode would be an understatement. Davies is content to leave all the major questions unanswered. Who is the woman? What is she saying? We never find out for sure, although I interpreted the ghostly apparition to be Old Ruby traveling back through time at the end of her life to warn her younger self and the Doctor not to disturb the fairy circle, thereby setting things right. But it’s left deliberately ambiguous (Old Ruby and the apparition are played by different actresses) and that’s part of this episode’s lasting power.
All Davies has said is that “something profane” occurred when the Doctor disturbed the circle and Ruby “had to spend a life of penitence” and do something good in order to bring everything full circle. He said he would never reveal what the woman was saying, since this was the source of the horror. “It’s kind of up to you to sit there and think, ‘Well, what could someone say that make a mother run away from her daughter forever?'” he said. “Once you start to do that, you enter the real horror story, the dreadful things that are being said there.” As for the 73 yards, that’s the distance where a figure in the distance appears as “a blur but not a blur.” It’s also the distance of the perception filter around the TARDIS.
We do get an answer to the mystery of Ruby’s parentage, however, in the final two episodes, as well as a trip down Whovian memory lane. Throughout the season, strange phenomena have been manifesting around Ruby—usually it starts snowing, like it was the night she was abandoned as a baby, and sometimes we hear “Carol of the Bells” playing. The Doctor turns to UNIT for help analyzing the grainy VHS security footage of that night. This leads to the emergence of The One Who Waits (mentioned in “The Giggle”), aka Sutekh, the God of Death. Sutekh was the arch-villain defeated by the Fourth Doctor in 1975’s Pyramids of Mars storyline.
Enlarge/ The Doctor reunites with former companion Mel Bush (Bonnie Langford) in the season finale.
BBC/Disney+
In “Empire of Death,” we learn that Sutekh actually attached himself to the TARDIS and his been tagging along on the Doctor’s travels through time ever since, through every incarnation. He releases his dust of death to kill everyone all through time, sparing only the Doctor, Ruby, and (initially) former companion Mel Bush (Bonnie Langford), who traveled with the Sixth and Seventh Doctors—mostly because Sutekh wants to know Ruby’s parentage too, convinced that her birth mother held the key to defeating him.
The joke’s on Sutekh (and on us), because Ruby turns out to the spawn of perfectly normal teenaged parents; Sutekh’s assumption that she was important is what made her significant, giving rise to all the mysterious phenomena. (Davies made that decision because he was frustrated with the Star Wars bait-and-switch concerning Rey’s parentage in the sequel trilogy—supposedly insignificant in The Last Jedi but revealed as Emperor Palpatine’s granddaughter in Rise of Skywalker.) The Doctor defeats Sutekh once again and everyone who turned to dust is magically restored. Ruby meets her birth mother and decides to search for her biological father while the Doctor continues on without her.
It’s a perfectly good Whovian finale to an excellent season that mostly sticks the landing. What’s next for Gatwa’s Doctor? We’ll have to wait to and see, but Gibson is expected to return next season—Davies has said her story is not yet finished—although we’ll also get a new companion, played by Varada Sethu. One might expect to see more of the Toymaker’s offspring going forward. And Ruby’s quirky neighbor, Mrs. Flood (Anita Dobson), is clearly not what she seems, breaking the fourth wall at finale’s end to tell us the Doctor’s story will end in “absolute terror.” So, business as usual then. We’re here for that.
All episodes of Doctor Who‘s fourteenth season are now streaming on Disney+.
Enlarge/ Ncuti Gatwa is the Fifteenth Doctor, and Millie Gibson is his new companion, Ruby Sunday, in new season of Doctor Who.
Disney+
A new season of Doctor Who is almost upon us, featuring Ncuti Gatwa’s first full run as the 15th Doctor, with a shiny new companion. It’s also the first time Doctor Who will stream on Disney+, after the platform acquired the international broadcasting rights. That could translate into a whole new generation of fans for this beloved British sci-fi series.
(Spoilers for “The Power of the Doctor,” “The Giggle,” and “The Church on Ruby Road” below.)
Here’s a brief summation for the benefit of those who may not have kept up with the more recent seasons. Russell T. Davies—who revived the series in 2005 with Christopher Eccleston as the Ninth Doctor—has returned as showrunner. Davies lost no time introducing a few new twists. When it came time for Jodie Whittaker’s Thirteenth Doctor to regenerate, fans had expected Gatwa to be introduced. Instead, the new Fourteenth Doctor was played by former Tenth Doctor David Tennant, reuniting with former companion Donna Noble (Catherine Tate) for three specials.
The third special was called “The Giggle.” During the climactic battle, the Doctor was shot. But instead of the usual regeneration, the Fourteenth Doctor “bigenerated” instead, resulting in both a Fourteenth Doctor and Gatwa’s Fifteenth Doctor, a separate physical entity. Tennant’s incarnation settled into a comfy retirement with Donna and her family, while Gatwa’s newly regenerated Doctor headed off for a fresh set of adventures. In the Christmas special, “The Church on Ruby Road,” he picked up a new companion: Ruby Sunday, played by Millie Gibson. The eight-episode new season kicks off this weekend with the Davies-penned “Space Babies” and “The Devil’s Chord.” Davies wrote six out of the eight episodes, in fact, closing out with “The Legend of Ruby Sunday” and the finale, “Empire of Death.”
Doctor Who is now in its 61st year, and this is Davies’ second stint as showrunner. Yet the new season feels as fresh and energetic as ever in terms of its storytelling. Davies attributes this to the format. “Because it is an anthology show, every week it’s a different show, a different script,” Davies told Ars. “Often it’s a different writer. He lands at a different place, a different time, a different planet. And very often he lands in a different genre. That demand means I can’t sit back. The audience wants a new punch. You want that cold open where you’re surprised and shocked and taken aback and thrilled and delighted to be going to meet The Beatles, or to find yourself under an alien dome, or to be racing through the streets of London in a thriller. All I have to do is meet the ambition of the show and keep running with it. That’s my job.”
Enlarge/ Davies: “All I have to do is meet the ambition of the show and keep running with it.”
Disney+
Furthermore, the sheer scope of the show pretty much guarantees a vast wellspring of new ideas. “You literally have the whole of time and space and within that you can tell so many different stories,” said Davies. “World War II is often a very evocative setting for Doctor Who. The Victorian era is very evocative. Somehow, it matches that wooden TARDIS in ineffable ways, so it’s been to certain locations more than once. But that’s so rich. You can think of a thousand World War II stories. You can think of a thousand Dickensian stories. And equally, Doctor Who can be completely unafraid of reinventing its own history. It’s actually seen the destruction of Atlantis three times. So, the territory always remains fertile.”
Gatwa had some very big shoes to fill when he took on this iconic character, and he pulls it off with great charisma and style. He credits the writers and production staff, as well as Gibson, with helping him craft his unique take on the Doctor. Gatwa told Ars that his greatest challenge was portraying the character’s wisdom. “I’ve always had a baby face,” he said—so much so that he was often told at drama school that he just couldn’t portray more mature characters. He found the answer in the Doctor’s regenerations. “He’s reborn each time,” said Gatwa. “He’s seeing things with new eyes, like [picking up a bowl of berries], ‘This is the best bowl of berries I’ve ever had!’ That youthful energy ended up being really helpful in terms of accessing other traits, like his wisdom.”
The elements Gatwa brings to the role also drive much of the writing, per Davies. “His skill and talent, it makes me run faster because all you ever want in life is a limitless actor and also a fearless actor,” he said. “There is nothing he can’t do. Milly, too; she has a kind of bounce and energy. It’s not just the depth of their emotions, it’s their technical comic skills. It’s my job to showcase that.” Davies also tried to make sure he challenged Gatwa and Gibson in some way on a daily basis by having them do something they’d never done before, whether it be a new stunt, an exciting confrontation with a villain, or a heartbreaking personal scene.
