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the-wheel-of-time-is-back-for-season-three,-and-so-are-our-weekly-recaps

The Wheel of Time is back for season three, and so are our weekly recaps

Andrew Cunningham and Lee Hutchinson have spent decades of their lives with Robert Jordan and Brandon Sanderson’s Wheel of Time books, and they previously brought that knowledge to bear as they recapped each first season episode and second season episode of Amazon’s WoT TV series. Now we’re back in the saddle for season three—along with insights, jokes, and the occasional wild theory.

These recaps won’t cover every element of every episode, but they will contain major spoilers for the show and the book series. We’ll do our best to not spoil major future events from the books, but there’s always the danger that something might slip out. If you want to stay completely unspoiled and haven’t read the books, these recaps aren’t for you.

New episodes of The Wheel of Time season three will be posted for Amazon Prime subscribers every Thursday. This write-up covers the entire three-episode season premiere, which was released on March 13.

Lee: Welcome back! Holy crap, has it only been 18 months since we left our broken and battered heroes standing in tableaux, with the sign of the Dragon flaming above Falme? Because it feels like it’s been about ten thousand years.

Andrew: Yeah, I’m not saying I want to return to the days when every drama on TV had 26 hour-long episodes per season, but when you’re doing one eight-episode run every year-and-a-half-to-two-years, you really feel those gaps. And maybe it’s just [waves arms vaguely at The World], but I am genuinely happy to have this show back.

This season’s premiere simply whips, balancing big action set-pieces and smaller character moments in between. But the whole production seems to be hitting a confident stride. The cast has gelled; they know what book stuff they’re choosing to adapt and what they’re going to skip. I’m sure there will still be grumbles, but the show does finally feel like it’s become its own thing.

Rosamund Pike returns as as Moiraine Damodred.

Credit: Courtesy of Prime/Amazon MGM Studios

Rosamund Pike returns as as Moiraine Damodred. Credit: Courtesy of Prime/Amazon MGM Studios

Lee: Oh yeah. The first episode hits the ground running, with explosions and blood and stolen ter’angreal. And we’ve got more than one episode to talk about—the gods of production at Amazon have given us a truly gigantic three-episode premiere, with each episode lasting more than an hour. Our content cup runneth over!

Trying to straight-up recap three hours of TV isn’t going to happen in the space we have available, so we’ll probably bounce around a bit. What I wanted to talk about first was exactly what you mentioned: unlike seasons one and two, this time, the show seems to have found itself and locked right in. To me, it feels kind of like Star Trek: The Next Generation’s third season versus its first two.

Andrew: That’s a good point of comparison. I feel like a lot of TV shows fall into one of two buckets: either it starts with a great first season and gradually falls off, or it gets off to a rocky start and finds itself over time. Fewer shows get to take the second path because a “show with a rocky start” often becomes a “canceled show,” but they can be more satisfying to watch.

The one Big Overarching Plot Thing to know for book readers is that they’re basically doing book 4 (The Shadow Rising) this season, with other odds and ends tucked in. So even if it gets canceled after this, at least they will have gotten to do what I think is probably the series’ high point.

Lee: Yep, we find out in our very first episode this season that we’re going to be heading to the Aiel Waste rather than the southern city of Tear, which is a significant re-ordering of events from the books. But unlike some of the previous seasons’ changes that feel like they were forced upon the show by outside factors (COVID, actors leaving, and so on), this one feels like it serves a genuine narrative purpose. Rand is reciting the Prophesies of the Dragon to himself and he knows he needs the “People of the Dragon” to guarantee success in Tear, and while he’s not exactly sure who the “People of the Dragon” might be, it’s obvious that Rand has no army as of yet. Maybe the Aiel can help?

Rand is doing all of this because both the angel and the devil on Rand’s shoulders—that’s the Aes Sedai Moiraine Damodred with cute blue angel wings and the Forsaken Lanfear in fancy black leather BDSM gear—want him wielding Callandor, The Sword That is Not a Sword (as poor Mat Cauthon explains in the Old Tongue). This powerful sa’angreal is located in the heart of the Stone of Tear (it’s the sword in the stone, get it?!), and its removal from the Stone is a major prophetic sign that the Dragon has indeed come again.

Book three is dedicated to showing how all that happens—but, like you said, we’re not in book three anymore. We’re gonna eat our book 4 dessert before our book 3 broccoli!

Natasha O’Keeffe as Lanfear.

Credit: Courtesy of Prime/Amazon MGM Studios

Natasha O’Keeffe as Lanfear. Credit: Courtesy of Prime/Amazon MGM Studios

Andrew: I like book 4 a lot (and I’d include 5 and 6 here too) because I think it’s when Robert Jordan was doing his best work balancing his worldbuilding and politicking with the early books’ action-adventure stuff, and including multiple character perspectives without spreading the story so thin that it could barely move forward. Book 3 was a stepping stone to this because the first two books had mainly been Rand’s, and we spend almost no time in Rand’s head in book 3. But you can’t do that in a TV show! So they’re mixing it up. Good! I am completely OK with this.

Lee:What did you think of Queen Morgase’s flashback introduction where we see how she won the Lion Throne of Andor (flanked by a pair of giant lions that I’m pretty sure came straight from Pier One Imports)? It certainly seemed a bit… evil.

Andrew: One of the bigger swerves that the show has taken with an established book character, I think! And well before she can claim to have been under the control of a Forsaken. (The other swerves I want to keep tabs on: Moiraine actively making frenemies with Lanfear to direct Rand, and Lan being the kind of guy who would ask Rand if he “wants to talk about it” when Rand is struggling emotionally. That one broke my brain, the books would be half as long as they are if men could openly talk to literally any other men about their states of mind.)

But I am totally willing to accept that Morgase change because the alternative is chapters and chapters of people yapping about consolidating political support and daes dae’mar and on and on. Bo-ring!

But speaking of Morgase and Forsaken, we’re starting to spend a little time with all the new baddies who got released at the end of last season. How do you feel about the ones we’ve met so far? I know we were generally supportive of the fact that the show is just choosing to have fewer of them in the first place.

Lee: Hah, I loved the contrast with Book Lan, who appears to only be capable of feeling stereotypically manly feelings (like rage, shame, or the German word for when duty is heavier than a mountain, which I’m pretty sure is something like “Bergpflichtenschwerengesellschaften”). It continues to feel like all of our main characters have grown up significantly from their portrayals on the page—they have sex, they use their words effectively, and they emotionally support each other like real people do in real life. I’m very much here for that particular change.

But yes, the Forsaken. We know from season two that we’re going to be seeing fewer than in the books—I believe we’ve got eight of them to deal with, and we meet almost all of them in our three-episode opening blast. I’m very much enjoying Moghedien’s portrayal by Laia Costa, but of course Lanfear is stealing the show and chewing all the scenery. It will be fascinating to see how the show lets the others loose—we know from the books that every one of the Forsaken has a role to play (including one specific Forsaken whose existence has yet to be confirmed but who figures heavily into Rand learning more about how the One Power works), and while some of those roles can be dropped without impacting the story, several definitely cannot.

And although Elaida isn’t exactly a Forsaken, it was awesome to see Shohreh Aghdashloo bombing around the White Tower looking fabulous as hell. Chrisjen Avasarala would be proud.

The boys, communicating and using their words like grown-ups.

Credit: Courtesy of Prime/Amazon MGM Studios

The boys, communicating and using their words like grown-ups. Credit: Courtesy of Prime/Amazon MGM Studios

Andrew: Maybe I’m exaggerating but I think Shohreh Aghdashloo’s actual voice goes deeper than Hammed Animashaun’s lowered-in-post-production voice for Loial. It’s an incredible instrument.

Meeting Morgase in these early episodes means we also meet Gaebril, and the show only fakes viewers out for a few scenes before revealing what book-readers know: that he’s the Forsaken Rahvin. But I really love how these scenes play, particularly his with Elayne. After one weird, brief look, they fall into a completely convincing chummy, comfortable stepdad-stepdaughter relationship, and right after that, you find out that, oops, nope, he’s been there for like 15 minutes and has successfully One Power’d everyone into believing he’s been in their lives for decades.

It’s something that we’re mostly told-not-shown in the books, and it really sells how powerful and amoral and manipulative all these characters are. Trust is extremely hard to come by in Randland, and this is why.

Lee: I very much liked the way Gaebril’s/Rahvin’s crazy compulsion comes off, and I also like the way Nuno Lopes is playing Gaebril. He seems perhaps a little bumbling, and perhaps a little self-effacing—truly, a lovable uncle kind of guy. The kind of guy who would say “thank you” to a servant and smile at children playing. All while, you know, plotting the downfall of the kingdom. In what is becoming a refrain, it’s a fun change from the books.

And along the lines of unassuming folks, we get our first look at a Gray Man and the hella creepy mechanism by which they’re created. I can’t recall in the books if Moghedien is explicitly mentioned as being able to fashion the things, but she definitely can in the show! (And it looks uncomfortable as hell. “Never accept an agreement that involves the forcible removal of one’s soul” is an axiom I try to live by.)

Olivia Williams as Queen Morgase Trakand and Shohreh Aghdashloo as Elaida do Avriny a’Roihan.

Credit: Courtesy of Prime/Amazon MGM Studios

Olivia Williams as Queen Morgase Trakand and Shohreh Aghdashloo as Elaida do Avriny a’Roihan. Credit: Courtesy of Prime/Amazon MGM Studios

Andrew: It’s just one of quite a few book things that these first few episodes speedrun. Mat has weird voices in his head and speaks in tongues! Egwene and Elayne pass the Accepted test! (Having spent most of an episode on Nynaeve’s Accepted test last season, the show yada-yadas this a bit, showing us just a snippet of Egwene’s Rand-related trials and none of Elayne’s test at all.) Elayne’s brothers Gawyn and Galad show up, and everyone thinks they’re very hot, and Mat kicks their asses! The Black Ajah reveals itself in explosive fashion, and Siuan can only trust Elayne and Nynaeve to try and root them out! Min is here! Elayne and Aviendha kiss, making more of the books’ homosexual subtext into actual text! But for the rest of the season, we split the party in basically three ways: Rand, Egwene, Moiraine and company head with Aviendha to the Waste, so that Rand can make allies of the Aiel. Perrin and a few companions head home to the Two Rivers and find that things are not as they left them. Nynaeve and Elayne are both dealing with White Tower intrigue. There are other threads, but I think this sets up most of what we’ll be paying attention to this season.

As we try to wind down this talk about three very busy episodes, is there anything you aren’t currently vibing with? I feel like Josha Stradowski’s Rand is getting lost in the shuffle a bit, despite this nominally being his story.

Lee: I agree about Rand—but, hey, the same de-centering of Rand happened in the books, so at least there is symmetry. I think the things I’m not vibing with are at this point just personal dislikes. The sets still feel cheap. The costumes are great, but the Great Serpent rings are still ludicrously large and impractical.

I’m overjoyed the show is unafraid to shine a spotlight on queer characters, and I’m also desperately glad that we aren’t being held hostage by Robert Jordan’s kinks—like, we haven’t seen a single Novice or Accepted get spanked, women don’t peel off their tops in private meetings to prove that they’re women, and rather than titillation or weirdly uncomfortable innuendo, these characters are just straight-up screwing. (The Amyrlin even notes that she’s not sure the Novices “will ever recover” after Gawyn and Galad come to—and all over—town.)

If I had to pick a moment that I enjoyed the most out of the premiere, it would probably be the entire first episode—which in spite of its length kept me riveted the entire time. I love the momentum, the feeling of finally getting the show that I’d always hoped we might get rather than the feeling of having to settle.

How about you? Dislikes? Loves?

Ceara Coveney as Elayne Trakand and Ayoola Smart as Aviendha, and they’re thinking about exactly what you think they’re thinking about.

Credit: Courtesy of Prime/Amazon MGM Studios

Ceara Coveney as Elayne Trakand and Ayoola Smart as Aviendha, and they’re thinking about exactly what you think they’re thinking about. Credit: Courtesy of Prime/Amazon MGM Studios

Andrew: Not a ton of dislikes, I am pretty in the tank for this at this point. But I do agree that some of the prop work is weird. The Horn of Valere in particular looks less like a legendary artifact and more like a decorative pitcher from a Crate & Barrel.

There were two particular scenes/moments that I really enjoyed. Rand and Perrin and Mat just hang out, as friends, for a while in the first episode, and it’s very charming. We’re told in the books constantly that these three boys are lifelong pals, but (to the point about Unavailable Men we were talking about earlier) we almost never get to see actual evidence of this, either because they’re physically split up or because they’re so wrapped up in their own stuff that they barely want to speak to each other.

I also really liked that brief moment in the first episode where a Black Ajah Aes Sedai’s Warder dies, and she’s like, “hell yeah, this feels awesome, this is making me horny because of how evil I am.” Sometimes you don’t want shades of gray—sometimes you just need some cartoonishly unambiguous villainy.

Lee: I thought the Black Ajah getting excited over death was just the right mix of of cartoonishness and actual-for-real creepiness, yeah. These people have sold their eternal souls to the Shadow, and it probably takes a certain type. (Though, as book readers know, there are some surprising Black Ajah reveals yet to be had!)

We close out our three-episode extravaganza with Mat having his famous stick fight with Zoolander-esque male models Gawyn and Galad, Liandrin and the Black Ajah setting up shop (and tying off some loose ends) in Tanchico, Perrin meeting Faile and Lord Luc in the Two Rivers, and Rand in the Aiel Waste, preparing to do—well, something important, one can be sure.

We’ll leave things here for now. Expect us back next Friday to talk about episode four, which, based on the preview trailers already showing up online, will involve a certain city in the desert, wherein deep secrets will be revealed.

Mia dovienya nesodhin soende, Andrew!

Andrew: The Wheel weaves as the Wheel wills.

Credit: WoT Wiki

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HBO drops The Last of Us S2 trailer

Pedro Pascal returns as Joel in The Last of Us S2.

HBO released a one-minute teaser of the hotly anticipated second season of The Last of Us—based on Naughty Dog’s hugely popular video game franchise—during CES in January. We now have a full trailer, unveiled at SXSW after the footage leaked over the weekend, chock-full of Easter eggs for gaming fans of The Last of Us Part II.

(Spoilers for S1 below.)

The series takes place in the 20-year aftermath of a deadly outbreak of mutant fungus (Cordyceps) that turns humans into monstrous zombie-like creatures (the Infected, or Clickers). The world has become a series of separate totalitarian quarantine zones and independent settlements, with a thriving black market and a rebel militia known as the Fireflies making life complicated for the survivors. Joel (Pedro Pascal) is a hardened smuggler tasked with escorting the teenage Ellie (Bella Ramsay) across the devastated US, battling hostile forces and hordes of zombies, to a Fireflies unit outside the quarantine zone. Ellie is special: She is immune to the deadly fungus, and the hope is that her immunity holds the key to beating the disease.

S2 is set five years after the events of the first season and finds the bond beginning to fray between plucky survivors Joel and Ellie. That’s the inevitable outcome of S1’s shocking finale, when they finally arrived at their destination, only to discover the secret to her immunity to the Cordyceps fungus meant Ellie would have to die to find a cure. Ellie was willing to sacrifice herself, but once she was under anesthesia, Joel went berserk and killed all the hospital staff to save her life—and lied to Ellie about it, claiming the staff were killed by raiders.

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Review: Mickey 17’s dark comedic antics make for a wild cinematic ride

Mickey settles into his expendable role on the four-year journey, dying and being reprinted several times, and even finds love with security agent Nasha (Naomi Ackie). The mission finally reaches Niflheim, and he’s soon on Version 17—thanks to being used to detect a deadly airborne virus, with multiple versions dying in the quest to develop a vaccine. As the colonists explore this cold new world, Mickey 17 falls into a deep fissure inhabited by native life forms that resemble macroscale tardigrades, dubbed “creepers.” Timo leaves Mickey for dead,  assuming they’ll just eat him, but the creepers (who seem to share a hive mind) instead save Mickey’s life, returning him to the surface.

Mickey Barnes (Robert Pattinson) failed to read the fine print when he signed up as an “expendable.” Warner Bros.

When Mickey gets back to his quarters, he finds his replacement, Mickey 18, is already there. The problem goes beyond Nasha’s opportunistic desire for an awkward threesome with the two Mickeys. Multiples are simply not allowed. The controversial reprinting technology isn’t even legal on Earth and was only allowed on the colonization mission with the understanding that any multiples would be killed immediately and their consciousness backup wiped—i.e., a permanent death.

A tale of two Mickeys

It’s Pattinson’s impressive dual performance as Mickey 17 and Mickey 18 that anchors the film. They might be clones with identical physical traits and memories, but we learn there are subtle differences in all the printings. Mickey 17 is more laid-back, meekly suffering abuse in the name of progress, while Mickey 18 is more rebellious and frankly has some anger issues. Pattinson adopted two different accents to differentiate between the two. Mickey and Nasha’s love story is the movie’s heart; she loves him in all his incarnations, through death after death. The scene where she dons a hazmat suit to hold Mickey 14—or is it 15?—in his isolation chamber as he dies (yet again) from the airborne virus is among the film’s most touching.

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andor-s2-featurette-teases-canonical-tragic-event

Andor S2 featurette teases canonical tragic event

Most of the main S1 cast is returning for S2, with the exception of Shaw. Forest Whitaker once again reprises his Rogue One role as Clone Wars veteran Saw Gerrera, joined by fellow Rogue One alums Ben Mendelsohn and Alan Tudyk as Orson Krennic and K-2SO, respectively. Benjamin Bratt has also been cast in an as-yet-undisclosed role.

The behind-the-scenes look opens with footage of a desperate emergency broadcast calling for help because Imperial ships were landing, filled with storm troopers intent on quashing any protesters or nascent rebels against the Empire who might be lurking about. “Revolutionary movements are spontaneously happening all over the galaxy,” series creator Tony Gilroy explains. “How those come together is the stuff of our story.” While S1 focused a great deal on political intrigue, Genevieve O’Reilly, who plays Mon Mothma, describes S2 as a “juggernaut,” with a size and scope to match.

The footage shown—some new, some shown in the last week’s teaser—confirms that assessment. There are glimpses of Gerrera, Krennic, and K-2SO, as well as Mothma’s home world, Chandrila. And are all those protesters chanting on the planet of Ghorman? That means we’re likely to see the infamous Ghorman Massacre, a brutal event that resulted in Mothma resigning from the Senate in protest against Emperor Palpatine. The massacre was so horrifying that it eventually served to mobilize and unite rebel forces across the galaxy in the Star Wars canon.

The first three (of 12) episodes of Andor S2 premiere on April 22, 2025, on Disney+. Subsequent three-episode chapters will drop weekly for the next three weeks after that.

poster art for Andor S2

Credit: LucasFilm/Disney+

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Netflix drops trailer for the Russo brothers’ The Electric State

Millie Bobby Brown and Chris Pratt star in the Netflix original film The Electric State.

Anthony and Joe Russo have their hands full these days with the Marvel films Avengers: Doomsday and Avengers: Secret War, slated for 2026 and 2027 releases, respectively. But we’ll get a chance to see another, smaller film from the directors this month on Netflix: The Electric State, adapted from the graphic novel by Swedish artist/designer Simon Stålenhag.

Stålenhag’s stunningly surreal neofuturistic art—featured in his narrative art books, 2014’s Tales from the Loop and 2016’s Things From the Flood—inspired the 2020 eight-episode series Tales From the Loop, in which residents of a rural town find themselves grappling with strange occurrences thanks to the presence of an underground particle accelerator. That adaptation captured the mood and tone of the art that inspired it and received Emmy nominations for cinematography and special visual effects.

The Electric State was Stålenhag’s third such book, published in 2018 and set in a similar dystopian, ravaged landscape. Paragraphs of text, accompanied by larger artworks, tell the story of a teen girl named Michelle who must travel across the country with her robot companion to find her long-lost brother, while being pursued by a federal agent. The Russo brothers acquired the rights early on and initially intended to make the film with Universal, but when the studio decided it would not be giving the film a theatrical release, Netflix bought the distribution rights.

It’s worth noting that the Russo brothers have made several major plot changes from the source material, a decision that did not please Stålenhag’s many fans, particularly since the first-look images revealed that the directors were also adopting more of a colorful 1990s aesthetic than the haunting art that originally inspired their film. Per the official premise:

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The revolution starts now with Andor S2 teaser

Diego Luna returns as Cassian in the forthcoming second season of Andor.

The first season of Andor, the Star Wars prequel series to Rogue One and A New Hope, earned critical raves for its gritty aesthetic and multilayered narrative rife with political intrigue. While ratings were a bit sluggish, they were good enough to win the series a second season, and Disney+ just dropped the first action-packed teaser trailer.

(Spoilers for S1 below.)

As previously reported, the story begins five years before the events of Rogue One, with the Empire’s destruction of Cassian Andor’s (Diego Luna) homeworld and follows his transformation from a “revolution-averse” cynic to a major player in the nascent rebellion who is willing to sacrifice himself to save the galaxy. S1 left off with Cassian returning to Ferrix for the funeral of his adoptive mother, Maarva (Fiona Shaw), rescuing a friend from prison, and dodging an assassination attempt. A post-credits scene showed prisoners assembling the firing dish of the now-under-construction Death Star.

According to the official longline, S2 “will see the characters and their relationships intensify as the horizon of war draws near and Cassian becomes a key player in the Rebel Alliance. Everyone will be tested and, as the stakes rise, the betrayals, sacrifices and conflicting agendas will become profound. “

In addition to Luna, most of the main cast from S1 is returning: Genevieve O’Reilly as Mon Mothma, a senator of the Republic who helped found the Rebel Alliance; Adria Arjona as mechanic and black market dealer Bix Caleen; James McArdle as Caleen’s boyfriend, Timm Karlo; Kyle Soller as Syril Karn, deputy inspector for the Preox-Morlana Authority; Stellan Skarsgård as Luthen Rael, an antiques dealer who is secretly part of the Rebel Alliance; Denise Gough as Dedra Meero, supervisor for the Imperial Security Bureau; Faye Marsay as Vel Sartha, a Rebel leader on the planet Aldhani; Varada Sethu as Cinta Kaz, another Aldhani Rebel; Elizabeth Dulau as Luthen’s assistant Kleya; and Muhannad Bhaier as Wilmon, who runs the Repaak Salyard.

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After 50 years, Ars staffers pick their favorite Saturday Night Live sketches


“Do not taunt Happy Fun Ball.”

American musician Stevie Wonder (left) appears on an episode of ‘Saturday Night Live’ with comedian and actor Eddie Murphy, New York, New York, May 6, 1983. Credit: Anthony Barboza/Getty Images

American musician Stevie Wonder (left) appears on an episode of ‘Saturday Night Live’ with comedian and actor Eddie Murphy, New York, New York, May 6, 1983. Credit: Anthony Barboza/Getty Images

The venerable late-night sketch comedy show Saturday Night Live is celebrating its 50th anniversary season this year. NBC will air a special on Sunday evening featuring current and former cast members.

I’ve long been a big fan of the show, since I was a kid in the late 1980s watching cast members such as Phil Hartman, Dana Carvey, and Jan Hooks. By then, the show was more than a decade old. It had already spawned huge Hollywood stars like Chevy Chase and Eddie Murphy and had gone through some near-death experiences as it struggled to find its footing.

The show most definitely does not appeal to some people. When I asked the Ars editorial team to share their favorite sketches, a few writers told me they had never found Saturday Night Live funny, hadn’t watched it in decades, or just did not get the premise of the show. Others, of course, love the show’s ability to poke fun at the cultural and political zeitgeist of the moment.

With the rise of the Internet, Saturday Night Live has become much more accessible. If you don’t care to watch live on Saturday night or record the show, its sketches are available on YouTube within a day or two. Not all of the show’s 10,000-odd sketches from the last five decades are available online, but many of them are.

With that said, here are some of our favorites!

Celebrity Hot Tub Party (Season 9)

Saturday Night Live has a thing for hot tubs, and it starts here, with the greatest of all hot tub parties.

Should you get in the water? Will it make you sweat?

Good god!

Celebrity Hot Tub.

—Ken Fisher

Papyrus (Season 43)

Some of SNL’s best skits satirize cultural touchstones that seem like they’d be way too niche but actually resonate broadly with its audience—like Font Snobs, i.e., those people who sneer at fonts like Comic-Sans (you know who you are) in favor of more serious options like the all-time favorite Helvetica. (Seriously, Helvetica has its own documentary.)

In “Papyrus,” host Ryan Gosling played Steven, a man who becomes obsessed with the fact that the person who designed the Avatar logo chose to use Papyrus. “Was it laziness? Was it cruelty?” Why would any self-respecting graphic designer select the same font one sees all over in “hookah bars, Shakira merch, [and] off-brand teas”? The skit is played straight as a tense psychological thriller and ends with a frustrated Steven screaming, “I know what you did!” in front of the graphic designer’s house while the designer smirks in triumph.

There was even a sequel last year in which Gosling’s Steven is in a support group and seems to have recovered from the trauma of seeing the hated font everywhere—as long as he avoids triggers. Then he learns that the font for Avatar: The Way of Water is just Papyrus in bold.

So begins an elaborate plot to infiltrate a graphic designer awards event to confront his tormentor head-on. The twist: Steven achieves a personal epiphany instead and confronts the root of his trauma: the fact that he was never able to understand his father, Jonathan WingDings. “My dad was so hard to read,” a weeping Steven laments as he finally gets some much-needed closure. Like most sequels, it doesn’t quite capture the magic of the original, but it’s still a charming addition to the archive.

Papyrus.

—Jennifer Ouellette

Washington’s Dream (Season 49)

The only SNL skit known and loved by all my kids. Nate Bargatze is George Washington, who explains his dream of “liberty” to soldiers in his revolutionary army. Washington’s future America is heavy on bizarre weights, measures, and rules, though not quite so concerned about things like slavery.

Washington’s Dream.

—Nate Anderson

Commercial parodies

I’ve always been partial to SNL‘s commercial parodies, probably because I saw way too many similar (but earnest) commercials while watching terrestrial TV growing up.

The other good thing about the commercial format is that it’s hard to make them longer than about two minutes, so they don’t outstay their welcome like some other SNL sketches

It’s hard to pick just one, so I’ll give a trio, along with the bits I think about and/or quote regularly.

Old Glory Insurance: “I don’t even know why the scientists make them!” (Season 21)

Old Glory Insurance.

First Citywide Change Bank: “All the time, our customers ask us, ‘How do you make money doing this?’ The answer is simple: volume.” (Season 14)

First CityWide Change Bank.

Happy Fun Ball: “Do not taunt Happy Fun Ball” (Season 16)

Happy Fun Ball.

—Kyle Orland

Anything with Phil Hartman (Seasons 12 to 20)

Phil Hartman was a regular on Saturday Night Live throughout my high school and college years, and it was nice to know that on the rare Saturday night when I did not have a date or plans, he and the cast would be on television to provide entertainment. He was the “glue” guy during his time on the show, playing a variety of roles and holding the show together.

Here are some of his most memorable sketches, at least to me.

Anal Retentive Chef. Hartman acts as Gene, who is… well, anal retentive. He appeared in five different skits over the years. This is the first one. (Season 14)

The Anal Retentive Chef.

Hartman had incredible range. During his first year on the show, he played President Reagan, who at the time had acquired the reputation of becoming doddering and forgetful. However, as Hartman clearly shows us in this sketch, that is far from reality. (Season 12)

President Reagan, Mastermind.

And here he is a few years later, during the first year of President Clinton’s term in office. This skit also features Chris Farley, who was memorable in almost everything he appeared in. “Do you mind if I wash it down?” (Season 18)

President Bill Clinton at McDonald’s.

Kyle has noted commercial parodies above, and there are many good ones. Hartman often appeared in these because he did such a good job of playing the “straight man” character in comedy, the generally normal person in contrast to all of the wackiness happening in a scene. One of Hartman’s most famous commercials is for Colon Blow cereal. However, my favorite is this zany commercial for Jiffy Pop… Airbags. (Season 17)

Jiffy Pop Airbag.

—Eric Berger

Motherlover (Season 34)

The Lonely Island (an American comedy trio, formed by Andy Samberg, Jorma Taccone, and Akiva Schaffer, which wrote comedy music videos) had bigger, more viral hits, but nothing surpasses the subversiveness of “to me, you’re like a brother, so be my motherlover.”

Motherlover.

—Jacob May

More Cowbell (Season 25)

This classic sketch gets featured on almost all SNL “best of” lists; “more cowbell” even made it into the dictionary. It’s a sendup of VH1’s “Behind the Music,” focused on the recording of Blue Oyster Cult’s 1975 hit “Don’t Fear the Reaper,” which features a distinctive percussive cowbell in the background. Will Ferrell is perfection as fictional cowbell player Gene Frenkel, whose overly enthusiastic playing is a distraction to his bandmates. But Christopher Walken’s “legendary” (and fictional) producer Bruce Dickinson loves the cowbell, encouraging Gene to “really explore the studio space” with each successive take. “I gotta have more cowbell, baby!”

Things escalate as Gene’s playing first becomes too flamboyant, and then passive-aggressive, until the band works through its tensions and decides to embrace the cowbell after all. The comic timing is spot on, and the cast doesn’t let the joke run too long (a common flaw in lesser SNL skits). Ferrell’s physical antics and Walken’s brilliantly deadpan delivery—”I got a fever and the only prescription is more cowbell!”—has the cast on the verge of breaking character throughout. It deserves its place in the pantheon of SNL‘s best.

More Cowbell.

—Jennifer Ouellette

The Californians (Season 37-present day)

I was going to go with Old Glory Insurance as my favorite SNL skit, but since Kyle already grabbed that one, I have to fall back on some of my runners-up. And although the Microsoft Robots and Career Day and even good ol’ Jingleheimer Junction almost topped my list, ultimately, I have to give it up to the recurring SNL skit that has probably given me more joy than anything the show has done since John Belushi’s samurai librarian. I am speaking of The Californians.

This fake soap opera, featuring a cast of perpetually blonde, perpetually unfaithful, perpetually directions-obsessed California stereotypes hits me just right. The elements that get repeated in every skit (including and especially Fred Armisen’s inevitable “WHATAREYUUUUDUUUUUUUINGHERE” or the locally produced furniture that everyone makes a point of using in the second act) are the kind of absurdities that get funnier over time, and it’s awesome to see guest stars try on the hyper-SoCal accent that is mandatory for all characters in the Californians’ universe.

Special props to Kristen Wiig, too—she’s inevitably hilarious, but her incredulous line reading when Mick Jagger shows up as Stuart’s long-absent father (“STUART! You never told me you had a dad!”) can and will fully send me into doubled-over hysterics every single time.

The Californians.

—Lee Hutchinson

What’s the fuss about?

In more than 20 years of living in the United States, few things still remain as far outside my cultural frame of reference as SNL. Whenever someone makes an unintelligible joke in Slack (or IRC before it) and everyone laughs, it invariably turns out to be some SNL thing that anyone who grew up here instinctively understands.

To me, it was always just *crickets*.

—Jonathan Gitlin

Black Jeopardy (Season 42)

Kenan Thompson was the show’s first cast member born after SNL‘s premiere in 1975, and after joining the show in 2003, he has become its longest-running cast member. Whenever he is on screen, you know you’re about to see something hilarious. One of his best roles on SNL has become the “game show host,” with long-running bits on Family Feud and the absurdly hilarious Black Jeopardy. The most famous of these latter skits occurred in 2016, when Tom Hanks appeared. If you haven’t watched it, you really must.

Black Jeopardy.

—Eric Berger

Josh Acid (Season 15)

One of my favorite SNL sketches (and perhaps one of the most underrated) is an Old West send-up featuring a sheriff named “Josh Acid” (played by Mel Gibson during his hosting appearance in 1989), who keeps two bottles of acid in holsters instead of the standard six-shooter revolvers.

The character is a hero in his town, but when he throws acid on people, their skin melts, and they die a horrible, gruesome death. The townspeople witness one such death and say it’s “gross.” In response, the main character cites Jim Bowie using a Bowie knife and says, “I use acid because that’s my name.” At one point, Kevin Nealon, as the bartender, says the town is grateful he’s cleaned up the place, but “it’s just that we’re not sure which is worse: lawlessness, or having to watch people die horribly from acid.”

Later, when a woman asks Josh to choose between her or acid, he says, “Frida, I took a job, and that job’s not done until every criminal in this territory is either behind bars or melted down.”

The sketch is just absurdly ridiculous in a delightful way, and it gleefully subverts the stoic nobility of the stereotypical Western hero, which is a trope baby boomers grew up with on TV. If I were to stretch, I’d also say it works because it lampoons the idea that some methods of legally or rightfully killing someone are more honorable and socially acceptable than others.

It’s not on YouTube that I can find, but I found a copy on TikTok.

—Benj Edwards

Hidden Camera Commercials (Season 17)

For me—and, I suspect, most people—there are several “golden ages” of SNL. But if I had to pick just one, it would be the Chris Farley era. The crown jewel of Farley’s SNL tenure was certainly the Bob Odenkirk- penned “Van Down by the River.” Today, though, I’d like to highlight a deeper cut: a coffee commercial in which Farley’s character is told he is drinking decaf coffee instead of regular. Instead of being delighted that he can’t tell the difference in taste, he gets… ANGRY.

Farley’s incredulous “what?” and dawning rage at being deceived never fail to make me laugh.

Hidden Camera Commercials.

—Aaron Zimmerman

Wake Up and Smile (Season 21)

SNL loves to take a simple idea and repeat it—sometimes without enough progression. But “Wake Up and Smile” stands out by following its simple idea (perky morning show hosts are lost without their teleprompters) into an incredibly dark place. In six minutes, you can watch the polished veneer of civilization collapse into tribal violence, all within the absurdist confines of a vapid TV show. In the end, everyone wakes from their temporary dystopian dreamland. Well, except for the weatherman.

Wake Up and Smile

—Nate Anderson

Thanks, Nate, and everyone who contributed. Indeed, one of the joys of watching the show live is you never know when a sketch is going to dark or very, very dark.

Photo of Eric Berger

Eric Berger is the senior space editor at Ars Technica, covering everything from astronomy to private space to NASA policy, and author of two books: Liftoff, about the rise of SpaceX; and Reentry, on the development of the Falcon 9 rocket and Dragon. A certified meteorologist, Eric lives in Houston.

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Streaming used to make stuff networks wouldn’t. Now it wants safer bets.


Opinion: Streaming gets more cable-like with new focus on live events, mainstream content.

A scene from The OA. Credit: Netflix

There was a time when it felt like you needed a streaming subscription in order to contribute to watercooler conversations. Without Netflix, you couldn’t react to House of Cards’ latest twist. Without Hulu, you couldn’t comment on how realistic The Handmaid’s Tale felt, and you needed Prime Video to prefer The Boys over the latest Marvel movies. In the earlier days of streaming, when streaming providers were still tasked with convincing customers that streaming was viable, streaming companies strived to deliver original content that lured customers.

But today, the majority of streaming services are struggling with profitability, and the Peak TV era, a time when TV programming budgets kept exploding and led to iconic original series like Game of Thrones, is over. This year, streaming companies are pinching pennies. This means they’re trying harder to extract more money from current subscribers through ads and changes to programming strategies that put less emphasis on original content.

What does that mean for streaming subscribers, who are increasingly paying more? And what does it mean for watercooler chat and media culture when the future of TV increasingly looks like TV’s past, with a heightened focus on live events, mainstream content, and commercials?

Streaming offered new types of shows and movies—from the wonderfully weird to uniquely diverse stories—to anyone with a web connection and a few dollars a month. However, more conservative approaches to original content may cause subscribers to miss out on more unique, niche programs that speak to diverse audiences and broader viewers’ quirkier interests.

Streaming companies are getting more stingy

To be clear, streaming services are expected to spend more on content this year than last year. Ampere Analysis predicted in January that streaming services’ programming budgets will increase by 0.4 percent in 2025 to $248 billion. That’s slower growth than what occurred in 2024 (2 percent), which was fueled by major events, including the 2024 Summer Olympics and US presidential election. Ampere also expects streaming providers to spend more than linear TV channels will on content for the first time ever this year. But streaming firms are expected to change how they distribute their content budgets, too.

Peter Ingram, research manager at Ampere Analysis, expects that streaming services will spend about 35 percent on original scripted programming in 2025, down from 45 percent in 2022, per Ampere’s calculations.

Amazon Prime Video is reportedly “buying fewer film and TV projects than they have in the past,” according to a January report from The Information citing eight unnamed producers who are either working with or have worked with Amazon in the last two years. The streaming service has made some of the most expensive original series ever and is reportedly under pressure from Amazon CEO Andy Jassy to reach profitability by the end of 2025, The Information said, citing two unnamed sources. Prime Video will reportedly focus more on live sports events, which brings revenue from massive viewership and ads (that even subscribers to Prime Video’s ad-free tier will see).

Amazon has denied The Information’s reporting, with a spokesperson claiming that the number of Prime Video projects “grew from 2023 to 2024” and that Prime Video expects “the same level of growth” in 2025. But after expensive moves, like Amazon’s $8.5 billion MGM acquisition and projects with disproportionate initial returns, like Citadel, it’s not hard to see why Prime Video might want to reduce content spending, at least temporarily.

Prime Video joins other streaming services in the push for live sports to reach or improve profitability. Sports rights accounted for 4 percent of streaming services’ content spending in 2021, and Ampere expects that to reach 11 percent in 2025, Ingram told Ars:

These events offer services new sources of content that have pre-built fan followings, (helping to bring in new users to a platform) while also providing existing audiences with a steady stream of weekly content installments to help them remain engaged long-term.

Similarly, Disney, whose content budget includes theatrical releases and content for networks like The Disney Channel in addition to what’s on Disney+, has been decreasing content spending since 2022, when it spent $33 billion. In 2025, Disney plans to spend about $23 billion on content. Discussing the budget cut with investors earlier this month, CFO Hugh Johnston said Disney’s focused “on identifying opportunities where we’re spending money perhaps less efficiently and looking for opportunities to do it more efficiently.”

Further heightening the importance of strategic content spending for streaming businesses is the growing number of services competing for subscription dollars.

“There has been an overall contraction within the industry, including layoffs,” Dan Green, director of the Master of Entertainment Industry Management program at Carnegie Mellon University’s Heinz College & College of Fine Arts, told Ars. “Budgets are looked at more closely and have been reined in.”

Peacock, for example, has seen its biggest differentiator come not from original series (pop quiz: what’s your favorite Peacock original?) but from the Summer Olympics. A smaller streaming service compared to Netflix or Prime Video, Peacock’s spending on content went from tripling from 2021 to 2023 to an expected 12 percent growth rate this year and 3 percent next year, per S&P Global Market Intelligence. The research firm estimated last year that original content will represent less than 25 percent of Peacock’s programming budget over the next five years.

Tyler Aquilina, a media analyst at the Variety Intelligence Platform (VIP+) research firm, told me that smaller services are more likely to reduce original content spending but added:

Legacy media companies like Disney, NBCUniversal, Paramount, and Warner Bros. Discovery are, to a certain degree, in the same boat as Netflix: the costs of sports rights keep rising, so they will need to spend less on other content in order to keep their content budgets flat or trim them.

Streaming services are getting less original

Data from entertainment research firm Luminate’s 2024 Year-End Film & TV Report found a general decline in the number of drama series ordered by streaming services and linear channels between 2019 (304) and 2024 (285). The report also noted a 27 percent drop in the number of drama series episodes ordered from 2019 (3,393) to 2024 (2,492).

Beyond dramas, comedy series orders have been declining the past two years, per Luminate’s data. From 2019 to 2024, “the number of total series has declined by 39 percent, while the number of episodes/hours is down by 47 percent,” Luminate’s report says.

And animated series “have been pummeled over the past few years to an all-time low” with the volume of cartoons down 31 percent in 2024 compared to 2023, per the report.

The expected number of new series releases this year, per Luminate. Credit: Luminate Film & TV

Aquilina at VIP+, a Luminate sister company, said: “As far as appealing to customers, the reality is that the enormous output of the Peak TV era was not a successful business strategy; Luminate data has shown original series viewership on most platforms (other than Netflix) is often concentrated among a small handful of shows.” While Netflix is slightly increasing content spending from 2024 to 2025, it’s expected that “less money will be going toward scripted originals as the company spends more on sports rights and other live events,” the analyst said.

Streaming services struggle to make money with original content

The streaming industry is still young, meaning companies are still determining the best way to turn streaming subscriptions into successful businesses. The obvious formula of providing great content so that streamers get more subscribers and make more money isn’t as direct as it seems. One need only look at Apple TV+’s critically acclaimed $20 billion library that only earned 0.3 percent of US TV screen viewing time in June 2024, per Nielsen, to understand the complexities of making money off of quality content.

When it comes to what is being viewed on streaming services, the top hits are often things that came out years ago or are old network hits, such as Suits, a USA Network original series that ended in 2019 and was the most-streamed show in 2023, per Nielsen, or The Big Bang Theory, a CBS show that ended in 2019 and was the most binged show in 2024, per Nielsen, or Little House on the Prairie, which ended in 1983 and Nielsen said was streamed for 13.25 billion minutes on Peacock last year.

There’s also an argument for streaming services to make money off low-budget (often old) content streamed idly in the background. Perceived demand for background content is considered a driver for growing adoption of free ad-supported streaming TV (FAST) channels like Tubi and the generative AI movies that TCL’s pushing on its FAST channels.

Meanwhile, TVs aren’t watched the way they used to be. Social media and YouTube have gotten younger audiences accustomed to low-budget, short videos, including videos summarizing events from full-length original series and movies. Viral video culture has impacted streaming and TV viewing, with YouTube consistently dominating streaming viewing time in the US and revealing this week that TVs are the primary device used to watch YouTube. Companies looking to capitalize on these trends may find less interest in original, high-budget scripted productions.

The wonderfully weird at risk

Streaming opened the door for many shows and movies to thrive that would likely not have been made or had much visibility through traditional distribution means. From the wonderfully weird like The OA and Big Mouth, to experimental projects like Black Mirror: Bandersnatch, to shows from overseas, like Squid Game, and programs that didn’t survive on network TV, like Futurama, streaming led to more diverse content availability and surprise hits than what many found on broadcast TV.

If streaming services are more particular about original content, the result could be that subscribers miss out on more of the artistic, unique, and outlandish projects that helped make streaming feel so exciting at first. Paramount, for example, said in 2024 that a reduced programming budget would mean less local-language content in foreign markets and more focus on domestic hits with global appeal.

Carnegie Mellon University’s Green agreed that tighter budgets could potentially lead to “less diverse storytelling being available.”

“What will it take for a new, unproven storyteller (writer) to break through without as many opportunities available? Instead, there may be more emphasis on outside licensed content, and perhaps some creators will be drawn to bigger checks from some of the larger streamers,” he added.

Elizabeth Parks, president and CMO at Parks Associates, a research firm focused on IoT, consumer electronics, and entertainment, noted that “many platforms are shifting focus toward content creation rather than new curated, must-watch originals,” which could create a”more fragmented, less compelling viewer experience with diminishing differentiation between platforms.”

As streaming services more aggressively seek live events, like award shows and sporting events, and scripted content with broader appeal, they may increasingly mirror broadcast TV.

“The decision by studios to distribute their own content to competitors… shows how content is being monetized beyond just driving direct subscriptions,” Parks said. “This approach borrows from traditional TV syndication models and signals a shift toward maximizing content value over time, instead of exclusive content.”

Over the next couple of years, we can expect streaming services to be more cautious about content investments. Services will be less interested in providing a bounty of original exclusives and more focused on bottom lines. They will need “to ensure that spend does not outpace revenues, and platforms can maintain attractive profit margins,” Ampere’s Ingram explained. Original hit shows will still be important, but we’ll likely see fewer gambles and more concerted efforts toward safer bets at mainstream appeal.

For streaming customers who are fatigued with the number of services available and dissatisfied with content quality, it’s a critical time for streaming services to prove that they’re an improvement over other traditional TV and not just giving us the same ol’, same ol’.

“The streaming services that most appeal to customers host robust libraries of content that people want to watch, and as long as that’s the case, they’ll continue to do so. That’s why Netflix and Disney are still the top streamers,” Ingram said.

Photo of Scharon Harding

Scharon is a Senior Technology Reporter at Ars Technica writing news, reviews, and analysis on consumer gadgets and services. She’s been reporting on technology for over 10 years, with bylines at Tom’s Hardware, Channelnomics, and CRN UK.

Streaming used to make stuff networks wouldn’t. Now it wants safer bets. Read More »

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Wheel of Time S3 trailer tees us up for Last Battle

After defeating Ishamael, one of the most powerful of the Forsaken, at the end of Season Two, Rand reunites with his friends in the city of Falme and is declared the Dragon Reborn. But in Season Three, the threats against the Light are multiplying: the White Tower stands divided, the Black Ajah run free, old enemies return to the Two Rivers, and the remaining Forsaken are in hot pursuit of the Dragon… including Lanfear, whose relationship with Rand will mark a crucial choice between Light and Dark for them both.

Prime Video released a one-minute teaser for The Wheel of Time at CCXP24 in Sao Paulo, Brazil, in December. That teaser was notable for Moraine’s prediction concerning her and Rand’s intertwined fates: “In every future where I lived, Rand dies. And the only way he lives is if I don’t.”

The full trailer reiterates that prediction and gives us glimpses of a battle breaking out in the White Tower, the port city of Tanchico, and growing tension between Rand and Egwene (Madeleine Madden), who is troubled by Rand’s romantic entanglement with Lanfear (Natasha O’Keeffe), a powerful member of the Forsaken who hopes to seduce Rand to the Shadow. It’s all gearing up for Rand’s destiny to fight in the Last Battle.

The first three episodes of the third season of The Wheel of Time premiere on March 13, 2025, with episodes airing weekly after that through April 17.

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Apple TV+ crosses enemy lines, will be available as an Android app starting today

Apple is also adding the ability to subscribe to Apple TV+ through both the Android and Google TV apps using Google’s payment system, whereas the old Google TV app required subscribing on another device.

Apple TV+ is available for $9.99 a month, or $19.95 a month as part of an Apple One subscription that bundles 2TB of iCloud storage, Apple Music, and Apple Arcade support (a seven-day free trial of Apple TV+ is also available). MLS Season Pass is available as a totally separate $14.99 a month or $99 per season subscription, but people who subscribe to both Apple TV+ and MLS Season Pass can save $2 a month or $20 a year on the MLS subscription.

Apple TV+ has had a handful of critically acclaimed shows, including Ted Lasso, Slow Horses, and Severance. But so far, that hasn’t translated to huge subscriber numbers; as of last year, Apple had spent about $20 billion making original TV shows and movies for Apple TV+, but the service has only about 10 percent as many subscribers as Netflix. As Bloomberg put it last July, “Apple TV+ generates less viewing in one month than Netflix does in one day.”

Whether an Android app can help turn that around is anyone’s guess, but offering an Android app brings Apple closer to parity with other streaming services, which have all supported Apple’s devices and Android devices for many years now.

Apple TV+ crosses enemy lines, will be available as an Android app starting today Read More »

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Drones are now launching drones to attack other drones in Ukraine

Radio mast

The Ukrainian military is talking up a new ground drone called the Pliushch, which doesn’t carry a weapon but instead features a folded, 10-meter (32-foot) tall radio mast. The drone has a range of 40 km (25 miles), and once in position, it can raise the radio mast, which can be used either as a communications repeater or as a mobile electronic warfare station.

The future of drone combat

These examples are really just a partial list—it doesn’t even touch on the continually updated naval drones that Ukraine continues to deploy in the Black Sea—and for every new innovation, there will shortly be a counter-innovation. Case in point: electronic warfare has now saturated front-line combat areas in Ukraine and Russia and, in some places, is so bad that fiber optic drones are now used to avoid its effects. (These drones unspool miles of ultra-thin fiber-optic cable behind them as they fly, which provides a high-quality, unjammable video and control channel to the drone.)

Because fiber optic drones lack the electromagnetic transmissions that can make drones easy to pinpoint, new methods (including short-range radar systems) are now used to hunt them down, while quick-reaction units will use small attack drones to hit the fiber optic drone before it reaches its target.

Given the many kinds of drone hardware available, you might wonder why more assaults don’t rely on machines rather than humans. Now that ground drones are entering the fight in greater numbers, this does appear to be happening. For instance, local news reports from Ukraine in December described how the Khartia brigade of the Ukrainian National Guard attacked Russian positions using only a mix of machine gun ground drones, aerial attack drones, and mine-laying/clearing drones.

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The Severance writer and cast on corporate cults, sci-fi, and more

The following story contains light spoilers for season one of Severence but none for season 2.

The first season of Severance walked the line between science-fiction thriller and Office Space-like satire, using a clever conceit (characters can’t remember what happens at work while at home, and vice versa) to open up new storytelling possibilities.

It hinted at additional depths, but it’s really season 2’s expanded worldbuilding that begins to uncover additional themes and ideas.

After watching the first six episodes of season two and speaking with the series’ showrunner and lead writer, Dan Erickson, as well as a couple of members of the cast (Adam Scott and Patricia Arquette), I see a show that’s about more than critiquing corporate life. It’s about all sorts of social mechanisms of control. It’s also a show with a tremendous sense of style and deep influences in science fiction.

Corporation or cult?

When I started watching season 2, I had just finished watching two documentaries about cults—The Vow, about a multi-level marketing and training company that turned out to be a sex cult, and Love Has Won: The Cult of Mother God, about a small, Internet-based religious movement that believed its founder was the latest human form of God.

There were hints of cult influences in the Lumon corporate structure in season 1, but without spoiling anything, season 2 goes much deeper into them. As someone who has worked at a couple of very large media corporations, I enjoyed Severance’s send-up of corporate culture. And as someone who has worked in tech startups—both good and dysfunctional ones—and who grew up in a radical religious environment, I now enjoy its send-up of cult social dynamics and power plays.

Employees watch a corporate propaganda video

Lumon controls what information is presented to its employees to keep them in line. Credit: Apple

When I spoke with showrunner Dan Erickson and actor Patricia Arquette, I wasn’t surprised to learn that it wasn’t just me—the influence of stories about cults on season 2 was intentional.

Erickson explained:

I watched all the cult documentaries that I could find, as did the other writers, as did Ben, as did the actors. What we found as we were developing it is that there’s this weird crossover. There’s this weird gray zone between a cult and a company, or any system of power, especially one where there is sort of a charismatic personality at the top of it like Kier Eagan. You see that in companies that have sort of a reverence for their founder.

Arquette also did some research on cults. “Very early on when I got the pilot, I was pretty fascinated at that time with a lot of cult documentaries—Wild Wild Country, and I don’t know if you could call it a cult, but watching things about Scientology, but also different military schools—all kinds of things like that with that kind of structure, even certain religions,” she recalled.

The Severance writer and cast on corporate cults, sci-fi, and more Read More »