By Joshua Tyler
| Published 1 hour ago

Paramount has announced that Star Trek: Starfleet Academy will be cancelled after airing its second season sometime next year. That’s welcome news, but for most Trekkies, it doesn’t go far enough.

The problem with this announcement is that Paramount still plans to air the show’s second season. They completed filming it several months ago, and since they’ve already got the footage, you can see why they might think it makes sense to dump whatever they’ve got online, as long as they’ve got it.

It doesn’t have to be that way, though. There is another path. Paramount could Batgirl Starfleet Academy.

Batgirling – The act of a studio permanently shelving a completed or near-completed film or series because it is deemed unreleasable, choosing instead to claim a financial loss through a tax write-off rather than risk public exposure or reputational damage.

The Batgirl Precedent

In 2022, Warner Bros. Discovery made an unusual decision: it canceled an upcoming Batgirl movie after filming had already wrapped and the film had entered post-production. The superhero outing, starring Leslie Grace and featuring Michael Keaton’s return as Batman, had a reported budget of around $90 million and was originally planned for release on HBO Max.

Instead of finishing and releasing the movie, the studio chose to shelve it and treat the production cost as a financial loss. This allowed Warner Bros. Discovery to reduce its taxable income through a write-down, a legal accounting strategy tied to its post-merger restructuring. Batgirl has never been released and never will be.

Why Batgirling Starfleet Academy Makes Sense

Starfleet Academy has the lowest viewer rating of almost anything on television. According to some reports, the show performed 20% worse than even Paramount’s most pessimistic projections predicted. It didn’t just fail; it tainted the brand in a way Star Trek may not recover from.

In that context, why would any for-profit company want to release more of it? There’s basically no value in releasing it, because no one will watch it. Meanwhile, there’s huge potential value in not releasing it, because doing so protects your brand from further reputational harm.

Most importantly, fans don’t want it. We asked Trekkies on X if they’d like to see Starfleet Academy’s second season released. Nearly 85% of respondents voted for Batgirling it.

There’s currently a petition running on Change.org asking Paramount to Batgirl Starfleet Academy season 2. If you’re part of that 85%, consider signing it to send Paramount a message. Maybe it’s time Star Trek fans were heard.

By Jonathan Klotz
| Updated 21 seconds ago

Harry Potter is coming back. If it were in POG form, everyone might be more excited. Warner Bros. dropped the first trailer for the upcoming HBO Max series, Harry Potter and the Philosopher’s Stone, which has touched off a fresh round of debates over whether or not the series should be boycotted due to J.K. Rowling’s beliefs and who even wanted this series in the first place.

Here’s the trailer…

No matter how you feel about the Boy Who Lived or the rich and famous author who created the most poorly designed sport in literature, it might be some solace to know Warner Bros. is going to fail spectacularly, and it has nothing to do with anyone’s opinions. It’s about money. A lot of money. So much in fact, that it’s impossible enough people will watch the new streaming series to break even, and don’t even think of turning a profit. 

The Most Expensive Entertainment Project In History

The 2001 adaptation of Harry Potter and the Philosopher’s Stone made a billion dollars on a budget of $125 million. By way of comparison, the HBO Max series has an estimated budget of $100 million. Per episode.

That’s before the marketing blitz that you won’t be able to get away from, even if you close your eyes while sitting in your tiny room underneath the stairwell. To put this in perspective, Warner Bros. is spending more money on the upcoming streaming series than any studio has ever spent on a single piece of entertainment. Series, movie, The Eras Tour, Dinotopia, doesn’t matter, nothing will come close to the sheer amount of money Warner Bros is setting on fire.  

If you watch the initial trailer, it feels like a version of the movie fell out of an alternate universe. Everything looks similar to the original film, but it’s slightly off.

The cast looks like their movie counterparts. The one very notable exception is Snape, who’s also the single worst character in the series to race swap if you worry about things such as why everyone’s suspicious of him for no real reason, or why James Potter bullies him. It’s a baffling choice in a trailer full of baffling choices. 

Yer A Remake Harry!

To its credit, the trailer does attempt to answer the question as to why the series is being made. With a single season covering each of the books, finally, the little details that Potterheads have obsessed over for generations will get to leave the page. From the large changes, Headless Nick’s birthday party, to the smaller, calm changes of the later novels, a book-accurate adaptation could only be done as a series. 

Though Warner Bros is making it the largest entertainment project since the Romans erected the Colosseum, the first trailer can’t quite shake the nagging feeling that it’s destined to fail. Harry Potter and the Philosopher’s Stone is going to be seen by millions and millions of people around the world, but at a total price tag approaching $4 billion, it seems impossible for it to become a financial success, which, as we all know, is sadly the only type of success that matters to studios. 

Harry Potter and the Philosopher’s Stone is coming to HBO Max around Christmas 2026. 

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By Robert Scucci
| Published 20 seconds ago

NCIS is one of those ride-or-die franchises you’ll have a shaky relationship with for the rest of your life if you started watching at a certain age. I remember sitting with my parents watching the flagship series when it first came out, and over the years I’ve kept tabs on its many spinoffs. Now that NCIS: Los Angeles, New Orleans, and Hawai’i have run their course, and the one-off Tony & Ziva miniseries totally screwed the pooch, we’re back to just the flagship series and its prequel, NCIS: Origins.

Honestly, I’m okay with this. The original series still has its charm despite its many personnel changes, and NCIS: Origins allows for some great retconning and callbacks that are obvious enough for diehard fans, but not so granular that newcomers can’t jump in without doing homework. It’s a perfect show if you’re a fan of the franchise, and the best thing that’s been put out in years.

However, there’s one big problem that NCIS: Origins runs into, and it’s something unavoidable: there’s no suspense. Don’t get me wrong, there are plenty of thrills in the heat of the moment when the drama gets dialed up. There are also surprisingly strong action sequences for a series that belongs to a franchise that’s basically a procedural soap opera for boomers who just want to tune into their stories week after week.

One Specific Kind Of Suspense Is Missing

On an episode-to-episode basis, there are plenty of reasons to keep tuning into NCIS: Origins. We get to learn about the early days of Special Agent in Charge Leroy Jethro Gibbs, and how he cut his teeth working for NIS before it became the agency and franchise we all know and love. We see how his 91 rules came to be. We get more backstory on Special Agent Mike Franks, the best character in the series (and it’s not even close), and Kyle Schmid is a dead ringer for the older, somehow more cynical Franks from the original series (Muse Watson).

Even better, comic relief comes in the form of Randy Randolf (Caleb Foote), who, if it weren’t for Franks, would be the standout character. We also get the best kind of wise-cracking forensic nerd banter from Woody (Bobby Moynihan) and Philip (Ely Henry). I could go on, but the point is, NCIS: Origins is a beyond solid series, sans one thing.

There’s no real suspense.

Yes, people get hurt, and dangerous leads get chased, but that’s not the kind of suspense I’m talking about.

The kind of suspense the show is missing, which is par for the course when it comes to prequels, is the kind it could never have in the first place. The show stars Austin Stowell as a young and hungry Gibbs, but it’s still narrated by Mark Harmon. More importantly, we know Gibbs rises through the ranks and then has a 20-year tenure on NCIS. In other words, any time Gibbs finds himself in danger in NCIS: Origins, we know without a sliver of doubt that he’s going to be just fine.

The same can be said for Franks, and the rest of the gang to a certain degree. While I’m speculating here, I think we can guess Lala’s (Mariel Molino) fate as well. She’s never mentioned in the flagship series, yet she’s a constant presence in NCIS: Origins, the series that tells Gibbs’ entire backstory leading up to NCIS. I could be grasping at straws, but I have reason to believe something terrible happens to her that’s too painful to bring up later. The series has done an excellent job retconning the original series, so it’s surprising that they’d come up with a character who could have easily been one of the dozens of agents mentioned in the main series but never actually seen on screen or seen in passing. 

In other words, as much as I like her character, I’m not going to get too attached because she’ll probably meet a tragic end at some point.

Fortunately, We Don’t Need This Kind Of Suspense

Thankfully, NCIS: Origins is worth tuning into week after week, not for the suspense, which we’ve established doesn’t exist here for obvious reasons, but because it’s an excellent character study of one of cable’s most iconic, coffee-chugging curmudgeons. We’re currently watching Gibbs’ second marriage, which has yet to fall apart, and I can’t wait to see how that whole thing dissolves, along with his (checks notes) third and fourth marriages.

Lack of pure, adrenaline-pumping thrills aside, showrunners Gina Lucita Monreal and David J. North know what they’re doing with the lore. NCIS: Origins remains a great watch for old-timers and newcomers alike. But if you’re like me and find yourself asking your wife, “Do you think he’s going to make it?” for the thousandth time in an attempt to be funny (she doesn’t find it funny), you’ll be pleased to know that Gibbs does, in fact, make it out alive, and then goes on to star in another 435 episodes.

NCIS: Origins is streaming on Paramount+