To think, when the final season of Yellowstone aired, some felt that its time had rightly come to an end and it was due to be sent off to the farm upstate. And yet, what’s this? Two Taylor Sheridan spin-offs later, and the Dutton family have never been hotter? Color us completely unsurprised. The flagship series may well have ended, but the franchise has not exactly ridden quietly into the sunset. Between Dutton Ranch and Marshals, Paramount’s Western empire is still riding high.

But how, you ask? Well, the Yellowstone franchise hit a new Top 10 milestone this week, with its two spin-off series charting at the same time for the first time. Dutton Ranch climbed to No. 4 on the Originals chart, up from No. 5 the previous week, and also entered the overall streaming rankings at No. 10 with 736 million minutes watched following the release of its third episode on Paramount+.

Meanwhile, Marshals made its own Top 10 debut after wrapping its first season on CBS. The fellow Yellowstone spin-off landed at No. 10 on the Acquired chart with 528 million minutes watched. Combined, the two shows pulled in more than 1.2 billion minutes. Oh, so people aren’t quite sick of the Duttons yet, then?

The cast of Dutton Ranch includes Kelly Reilly (Yellowstone) as Beth Dutton, Cole Hauser (Good Will Hunting) as Rip Wheeler, Finn Little (Those Who Wish Me Dead) as Carter, Annette Bening (American Beauty) as Beulah, Ed Harris (Westworld) as Everett McKinney, and Jai Courtney (Dangerous Animals) as Rob-Will. Marshals stars Luke Grimes (Yellowstone) as Kayce Dutton.

What are ‘Dutton Ranch’ and ‘Marshals’ About?

Dutton Ranch follows Rip, Beth and Carter on their new adventure down in Rio Paloma, Texas, where they attempt to start their own ranch, but end up finding trouble where they should have most expected it — the neighboring ranch which is a dynasty overseen by the imperious Beulah Jackson. The Jacksons know where all the bodies are buried, but Rip’s no stranger to digging holes and taking souls, either.

Marshals, meanwhile shifted the franchise toward Kayce Dutton’s next chapter after Yellowstone. Reeling from a tragic loss, Kayce takes up a position with the U.S. Marshals and keeps Montana tidy, for all intents and purposes, in a procedural series on CBS. Gil Birmingham and Mo Brings Plenty reprise their Yellowstone roles.

Dutton Ranch and Marshals are on Paramount+.

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Release Date

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May 15, 2026

Network

Paramount Network, Paramount+

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Showrunner

Chad Feehan

Directors

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Christina Alexandra Voros

Writers

Jacob Forman, Hilary Bettis, Chad Feehan, Hayley Tibbenham, J. Todd Scott, K.C. Scott

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There’s little doubt that Star Trek: The Next Generation saved the franchise, bringing Gene Roddenberry’s creation to “the next generation.” With a bigger production budget and a focus on what’s happening with the crew – their beliefs, relationships, and decisions – as opposed to what’s happening to them, the series was markedly different from Star Trek: The Original Series, yet retained Roddenberry’s optimistic vision of a hopeful, inclusive future.

And sparking the eternal Kirk vs. Picard argument. But one episode in the first season of Star Trek: The Next Generation is so far removed from that vision that it’s cited by cast member Michael Dorn as “the worst episode of Star Trek ever filmed.” And he’s not alone.

‘Star Trek: The Next Generation’s “Code of Honor” Sees Tasha Yar Fight for Her Life

In the episode, the Enterprise heads to Ligon II, a planet that produces a vaccine needed by the denizens of Styris IV, in the throes of an Achilles fever outbreak. The crew knows little about Ligonian culture, other than that men rule society, while women control the land. Ligonian leader Lutan (Jessie Lawrence Ferguson) arrives on the Enterprise to provide a vaccine sample, and is fascinated by head of security Lt. Tasha Yar (Denise Crosby), a woman. Further impressed by her combat skills, Lutan and his party of Ligonians abduct Yar and return to the planet’s surface.

The act enrages Captain Picard (Patrick Stewart), who demands that Lutan return Yar immediately, but receives no response. He tries a more tactful approach, which does elicit a response from Lutan, who grants Picard and his crew permission to beam down to the planet, promising to return Yar following a banquet in his honor.

But at that banquet, things get really complicated, really fast, after Lutan announces that he intends to make Yar his “first one.” No one is more surprised than Yareena (Karole Selmon), his current “first one,” and she challenges Yar to a fight to the death to restake her claim. Yar will have little choice but to participate, as Lutan refuses to release more of the vaccine unless she does. The weapons used are coated with a lethal poison, meaning one scratch is certain death. But the combatants are equally skilled, and the intense match finally comes to an end when Yar lands a strike on Yareena.

At that, Yar orders the Enterprise to beam them both aboard the ship, where Dr. Crusher (Gates McFadden) can revive Yareena. They return to the surface, where Crusher explains to Lutan that Yareena was officially dead for a time, meaning Yar wins the match, thus breaking Yareena’s “first one” bond with Lutan. Free to choose a new mate, Yareena ditches Lutan, who achieved his power on the back of her wealth, and chooses bodyguard Hagon (James Louis Watkins) as her “second one.” Yar is free to go, and the Enterprise is given its full supply of vaccine.

‘Star Trek: The Next Generation’s “Code of Honor,” Ironically, Has Little of It

Before you say, “That doesn’t sound all that bad,” let’s add some context. The Ligonians, for one, are all depicted as one-note characters by Black actors, wearing non-specific African tribal culture garb, in a one-note, non-specific African tribal society. Lutan, a Black man – sorry, humanoid – kidnapping a blonde white woman whom he is creepily obsessed over, is problematic, to say the least. Originally, the episode called for a reptilian alien race with a culture akin to Kamakura-period Japanese samurai. But the African theme and casting of Black actors for the roles was the choice of director Russ Mayberry, a white man. That choice of casting all Black actors as members of an aggressive, primitive race did not sit well with Roddenberry, who fired Mayberry during production and never hired him to direct another episode again (per TrekMovie).

“Code of Honor” might have found a degree of redemption with a profound statement on gender roles. Only it drops the ball with that, too, with Yareena still yielding a position of power in society to her “second one,” instead of claiming it for her own, thus starting a new, gender-balanced societal path for the Ligonians. But the overwhelming amount of vitriol reserved for the episode is in its glaring racial insensitivity, particularly among the cast themselves.

Per TrekMovie, Jonathan Frakes is reported as calling it a “racist piece of s—,” Brent Spiner said he felt it was “racist” and the “worst of the series,” LeVar Burton assesses that the episode “stinks, without question,” and Tracy Torme, a writer for Season 1, said the episode was “offensive” and drew a parallel between it and 1950s sitcom Amos ‘n’ Andy, long decried for its negative depiction of Black Americans. Likewise, critics have cited “Code of Honor” as, in no particular order, “possibly the worst piece of Star Trek ever made,” “idiotic,” “pure trash,” and OkayAfrica, a website devoted to bringing African culture to a global audience, simply calls it “absurdly racist.” “Code of Honor” is a stark outlier in a franchise that once made bold, groundbreaking moves when it came to tearing down racial barriers.

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Release Date

1987 – 1994-00-00

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Network

Syndication

Showrunner

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Gene Roddenberry

Directors

Cliff Bole, Les Landau, Winrich Kolbe, Rob Bowman, Robert Scheerer, Jonathan Frakes, Robert Wiemer, Gabrielle Beaumont, Alexander Singer, David Carson, Paul Lynch, Corey Allen, Patrick Stewart, Chip Chalmers, Joseph L. Scanlan, James L. Conway, Robert Lederman, Tom Benko, Timothy Bond, Robert Legato, Adam Nimoy, Robert Becker, David Livingston, LeVar Burton

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Writers

René Echevarria, Maurice Hurley, Richard Manning, Melinda M. Snodgrass, Tracy Tormé, Hannah Louise Shearer, Stuart Charno, Ira Steven Behr, Sara B. Cooper, Peter Allan Fields, Herbert Wright, Frank Abatemarco, Burton Armus, Hilary Bader, Morgan Gendel, David Kemper, Michael I. Wagner, Philip LaZebnik, Robert McCullough, Susan Sackett, Nick Sagan, Fred Bronson, Robert Hewitt Wolfe, Sam Rolfe

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By Chris Snellgrove
| Published 1 hour ago

Right now, there’s plenty of buzz for Spider-Man: Brand New Day, the new Marvel movie swinging into theaters July 31. But you don’t have to wait that long to watch some superhero shenanigans on the big screen. Supergirl premieres on June 26, and fans are eagerly awaiting the latest film in James Gunn’s growing DCU. Still, skeptics can’t help but wonder if this film will be able to match the epic vibes of Superman (2025) or if DC’s latest girlpower blockbuster will be a dud like Wonder Woman 1984.

Warner Bros. certainly feels confident about the movie. So confident, in fact, that they lifted its social media embargo early, allowing critics and influencers who had watched the film to share their thoughts online. Thus far, the studio’s confidence seems justified: most of the reviewers have been absolutely raving about Supergirl. Unfortunately, that enthusiasm may not be able to save a film that seems doomed to a mediocre box office performance.

Rave Reviews

What are the early impressions of Supergirl looking like? According to Den of Geek, “Supergirl is the superhero movie I’ve missed: a straightforward, poignant story with lots of emotion, especially when we see Kara through little Ruthye’s eyes. Luckily, that’s every action scene. Milly Alcock absolutely owns the role and will change our idea of Supergirl forever.” This sentiment is echoed by Gizmodo, which noted that Supergirl “doesn’t quite have the resonance of Superman…it acts as both a perfect companion and follow-up to that movie with better characters and more complex relationships.” On top of that, “It’s also incredibly emotional, which makes the action hit even harder.” 

The emphasis on emotion makes it sound like the movie is a fitting follow-up to Superman, which proudly wore its heart on its sleeve. Despite similar themes and action scenes, though, it sounds like Supergirl is going to have an identity of its very own. According to Mike Ryan, the movie “is not at all what I was expecting. I, too, assumed ‘superhero space movie with needle drops’ would have a similar tone to [Guardians of the Galaxy] or even Superman. Instead, it looks and plays more like a Mad Max movie, with dirty worlds, gross villains, and a self-destructive hero.”

Killer Performances, Mediocre Box Office

One thing that almost everyone agrees on is that Milly Alcock does an amazing job as Supergirl. The same can be said of Jason Momoa, who is receiving nearly unanimous praise for his portrayal of the charismatic antihero Lobo. While this is a star-making turn for Alcock, not everyone thinks the film is worthy of her talents. This includes Discussion Film, who said that, “the film around her takes far too long to step into gear and never quite matches her energy.” These minor critiques aside, though, it seems like Supergirl is going to be a film with mass market appeal.

Does that mean its box office is going to go up, up and away? Sadly, no. Right now, the movie is projected to earn between $45 to $55 million in its opening weekend. That’s not an extremely low amount, but it’s still much, much lower than Superman’s $125 million, which went on to earn  $618 million worldwide. If Supergirl’s overall box office is correspondingly low, it could be bad news for the DCU. Deadline reports that the movie will need to make $315 million just to break even. Considering how disappointing the box office for Masters of the Universe and The Mandalorian and Grogu (both lighthearted sci-fi blockbusters, like Supergirl), the Woman of Steel’s feature film debut could be doomed.

Should Supergirl disappoint at the box office, Warner Bros. will have the cold comfort of knowing that it was very well-received by critics. These early impressions make the film sound like it will be an action-packed, emotional thrill ride that lets Milly Alcock and Jason Momoa really stretch their acting chops. With any luck, good word of mouth may (Obsession-style) drive the box office higher than anyone could estimate. Otherwise, though, this movie’s failure will be seen as a failure of the DCU as a whole, cementing Marvel as the dominant superhero cinematic universe, once and for all. We’ll find out together when Supergirl premieres on June 26.

Surviving the apocalypse is a hugely popular science fiction trope at this point. The key is doing it differently that everybody else. You can have wastelands, the undead, nuclear fallout, you name it — but these are overdone, right? You know what isn’t overdone? A talking cat in a tiara. That’s exactly what to expect from the cult science fiction series that’s heading straight for a new streaming service, from the twisted mind of Seth MacFarlane.

Dungeon Crawler Carl, the cult-favorite science fantasy book series from author Matt Dinniman, has been given a straight-to-series order. The series has been in development at Peacock and will be written for television by Chris Yost, whose work spans film, TV, and comic books. Dinniman will serve as a co-executive producer, while Yost executive produces alongside MacFarlane, Erica Huggins, and Rachel Hargreaves-Heald.

Dinniman confirmed the news on social media, writing, “Me, Chris Yost and Seth MacFarlane and his team at Fuzzy Door are all really excited to get to work.” He also teased that more details are on the way, including an upcoming Dungeon Crawler Carl panel at San Diego Comic-Con.

What is ‘Dungeon Crawler Carl’ About?

Based on Dinniman’s popular LitRPG book series, Dungeon Crawler Carl begins after an alien invasion wipes out most of humanity. The survivors are then forced into a sadistic intergalactic game show, where they have to fight monsters, aliens, artificial intelligence, and even each other to stay alive.

At the centre of the story is Carl, a Coast Guard veteran who finds himself trying to survive the end of the world with his ex-girlfriend’s award-winning show cat, Princess Donut the Queen Anne Chonk. Unfortunately for Carl, Princess Donut is not just a cat anymore. She can talk, she wears a tiara, and she has opinions. Lots of them.

The official synopsis reads: “Welcome to Dungeon Crawler World: Earth, where the apocalypse will be televised … and Coast Guard vet Carl finds himself stuck with his ex-girlfriend’s award-winning show cat, Princess Donut the Queen Anne Chonk, as they try to survive the end of the world, fighting monsters, aliens, an insane A.I. and even other survivors … all for the sake of good TV. Survival is optional. Entertainment is not.”

Stay tuned to Collider for more updates on the future of Dungeon Crawler Carl.

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2017 – 2022-00-00

Network

FOX

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By Chris Snellgrove
| Published 1 second ago

The X-Files is many things to many fans. For some, the show is a fun way to explore the possibilities of the unknown, probing for truths that have been hidden from us. For others, the show is a chance to bask in some utterly fantastic sci-fi and horror storytelling. Of course, for some people, the show is just a chance to stare at David Duchovny and Gillian Anderson, arguably the absolute hottest people to grace ‘90s television. While I enjoy all those things, my favorite aspect of The X-Files is the paranoia at its core. This is a show that constantly reminds us that it’s downright dangerous to trust the government and the military.

Weirdly enough, a forgotten episode of The X-Files connects this show to one of the strangest and most famous anti-war movies of all time. In the Season 2 episode “Firewalker,” Mulder encounters a brilliant researcher who has been driven crazy by his horrific surroundings. Writer Howard Gordon later confirmed that Mulder’s relationship with this man was inspired by the relationship between Marlow and Kurtz in the Joseph Conrad novel Heart of Darkness. Meanwhile, that book inspired one of the greatest movies ever made: the Francis Ford Coppola classic Apocalypse Now.

An Errand Boy, Sent By Grocery Clerks

“Firewalker” is a Season 2 X-Files episode about a volcanic research project gone wrong. A robot (the titular Firewalker) discovers evidence of a possible murder, and Mulder and Scully are sent to investigate. As it turns out, researchers on the project had discovered a creepy new form of silicon-based life that can infect and kill humans. Mulder spends some time with project leader Daniel Trepkos, a man who has been driven a little kooky by the horrors he has seen. At the end of the episodes, he chooses to stay behind and face almost certain death rather than return to civilization.

According to The Truth is Out There: The Official Guide to the X-Files, “Firewalker” writer Howard Gordon compared Mulder’s interactions with Trepkos to the Joseph Conrad novel Heart of Darkness. In that book, a man named Marlow is hired by a Belgian trading company to find Kurtz, who has been exporting Ivory from the Congo. Kurtz is reportedly a brilliant man with ideas about how to improve the lives of the natives. But when Marlow finds him, Kurtz has gone completely native and enslaved the locals to his cult-like will. Kurtz is also sick and, while being reluctantly brought back to civilization, dies en route.

The Horror, The Horror

You may or may not have read or even heard of Heart of Darkness. But chances are that you are very familiar with the film it inspired: Apocalypse Now. This Coppola movie changes some of the particulars. Instead of being a hired gun, the Marlow character is Captain Willard, a soldier in the Army. Kurtz is transformed into a Colonel who has gone rogue, sending an army of sycophants who worship him against foes like the Viet Cong. Willard’s mission is to terminate Kurtz’s command “with extreme prejudice.”

Now, X-Files writer Howard Gordon was clear that “Firewalker” was inspired more by Heart of Darkness than Apocalypse Now. Accordingly, Mulder has a more sympathetic relationship with Trepkos, someone who (like Kurtz) was a brilliant man driven mad by the insanity of his surroundings. He intended Trepkos to be a kind of cautionary tale for Mulder, one that explained how “the natural endpoint of this quest for the truth is madness.” Mulder is, of course, characterized by his relentless search for the truth. This episode shows that this crusade, regardless of whether or not it’s successful, might very well drive the FBI agent crazy.

Still, the writer has effectively created a surprise link between The X-Files and Apocalypse Now. While both the show and the movie have offered some strident criticisms of the military and the government, most people have never clocked a real connection between these two very different projects. That connection is very fitting, though. After all, when I think about the X-Files revival, all I can do is utter the same iconic phrase Kurtz speaks in both the novel and the film: “the horror! The horror!”

Marvel Studios isn’t playing it safe with the long-awaited X-Men reboot.

Recent comments from writer Lee Sung Jin suggest that Marvel is aiming for a fresh start, one that won’t be tied down by the previous X-Men films and will instead embrace bold ideas and a new creative direction.

While discussing the project, Lee revealed that Marvel Studios President Kevin Feige is encouraging the team to think bigger than what has come before.

“Truthfully, it’s same parameters on this project, which is so exciting. I’d say there were actually more parameters on Thunderbolts because it was plugging into an existing arc and existing characters, whereas with X-Men, Kevin [Feige]just wants to take a big swing and start anew, not be beholden to any of the movies that have come before.”

That approach appears to fit perfectly with director Jake Schreier’s vision for the film. According to Lee, Schreier wants to focus on what made the classic X-Men comics resonate with fans in the first place.

“And Jake Schreier has such a clear vision in terms of wanting to get back to character first, and to what is exciting about those early Chris Claremont-run comics, which was all about team dynamics. There were a lot of soapy elements to those comics.”

The upcoming reboot is expected to serve as a true fresh start for Marvel’s mutants. Rather than recreating the Fox era, the studio appears focused on introducing a new generation of heroes while placing a stronger emphasis on character relationships and team chemistry.

Lee also spoke about how exciting it has been to help shape this new version of the franchise.

“I’m such a big fan of that IP of the comics. My dad and I, every Saturday morning, used to watch the show on television, so to be able to look around this Marvel conference room and have every X-Men character on the board and be able to spitball and freestyle on, ‘What about this person?’ it’s so emboldening, because you’re like, ‘Oh, wow, this isn’t going to be a safe movie. This is actually going to be a really exciting new take.’”

Before the reboot arrives, fans are expected to see familiar mutant faces return in Avengers: Doomsday, helping bridge Marvel’s past with its future. But when the MCU’s X-Men finally assemble, it sounds like audiences should expect something completely different.

If Lee Sung Jin’s comments are any indication, Marvel isn’t interested in playing it safe. The studio is taking a major creative swing, and that could make the MCU’s X-Men one of the franchise’s most exciting new chapters yet.

What a year it was in 2025 for Amy Madigan, who became one of the rare horror stars to take home an Oscar for Supporting Performance in Weapons. The critically acclaimed horror film earned scores of 93% from critics and 85% from audiences on the aggregate site Rotten Tomatoes on its way to grossing $270 million at the box office against a relatively modest $38 million budget. It has since been confirmed that a Weapons prequel focused on Madigan’s Gladys is in the works, and it’s even been set for release on September 8, 2028. After winning an Oscar on her first nomination, though, Madigan isn’t slowing down, and is still busy starring in some high-profile projects.

One of the projects in question is Bull Street, a new character-driven drama set in the south and focused on legacy, resilience, and generational conflict. Collider is thrilled to partner with the distributor of Bull Street, Buffalo 8, to exclusively preview the first official trailer for the film, and also share some exciting details. Bull Street is coming to VOD platforms such as Fandango at Home on July 17, but the film will be available for pre-order this weekend, on June 19. Starring alongside Madigan in the film is Loretta Divine, and additional cast members include Malynda Hale, Arielle Prepetit, and Gary Ray Moore. Lynn Dow directed the film.

What Is ‘Bull Street’ About?

Buffalo 8 has released an official synopsis for Bull Street, which reads as follows: “Bull Street follows LouEster Sadie Gibbs (Hale), a small-town lawyer raised by her formidable grandmother, Mrs. Big-Gal (Devine). When an Ivy League attorney (Prepetit) challenges the family’s longstanding claim to their home and land, LouEster is thrust into a high-stakes courtroom battle where privilege collides with legacy. Presiding over the case, Judge Motley (Madigan) must determine whether generations of history are enough to secure her birthright.” Weapons has become known as the biggest project of Amy Madigan’s career, but she does have experience acting opposite other famous stars such as Kevin Costner, whom she teamed up with all the way back in 1989 for Field of Dreams. Madigan is also known for her role as McCoy in Streets of Fire, the 1984 romantic action thriller written and directed by Walter Hill.

Check out the official trailer for Bull Street above and stay tuned to Collider for more updates on the film and coverage of Amy Madigan’s future projects.

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Release Date

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June 7, 2024

Runtime

118 minutes

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Director

Lynn Dow

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Cast

• 

  Loretta Devine

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  Mrs. Big-Gal

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  Malynda Hale

  LouEster Gibbs

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  Arielle Prepetit

  Kendra Reed

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  Gary Ray Moore

  Mayor Bucky

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By Chris Snellgrove
| Published 31 seconds ago

One of the first signs that Star Trek: The Original Series had become a pop culture phenomenon was the success of its theme song. People who barely even knew what the show was about could hum its iconic opening tune. Equally famous was William Shatner’s monologue describing the mission of the starship Enterprise: to explore strange new worlds, to seek out new life and new civilizations. To boldly go where no man had gone before! The whole thing felt like pure television magic. It wasn’t magic, though: a lot of work went into this intro, including earlier attempts most fans have never seen.

Before the final version of the Original Series opening (“final” being relative, since it was tweaked slightly for Season 2 and again for Season 3), there was a completely different opening. This was attached to the version of “Where No One Has Gone Before” (Trek’s second pilot episode) that Gene Roddenberry showed to NBC executives. They were pleased with what they saw and gave this seminal sci-fi show the green light. Once they did, one of the first things Roddenberry set out to do was to create a new intro. That’s a good thing, because the intro that never made it to air is one of the worst things in the entire franchise!

An Intro Straight Out Of The Mirror Universe

When you watch this unaired Star Trek: The Original Series title sequence, the first thing you’ll notice is how spooky it is. The show did not yet have its iconic, soaring score that hinted at all the high adventure our heroes would encounter on the final frontier. Instead, we get a mostly muted score, one that makes way for William Shatner’s very different narration. The music only really comes to life when the words “Star Trek” pop up onscreen. Even then, it sounds less triumphant and more like something you’d hear when one of the Red Shirts was busy getting himself killed on an exotic alien planet.

This version of the show’s intro sequence is relatively short. Once the narration ends, we get the title of the show and the words “Starring William Shatner.” After that, it jumps right into the opening of the episode. The whole thing is just over a minute long, which is slightly longer than the final intro we ended up with (which lasts for about 49 seconds). Ironically, though, this unaired intro feels much longer because of the muted, ominous music and the somewhat plodding nature of Shatner’s narration.

William Shatner’s Narration Was Completely Different

What does Captain Kirk say in this unaired intro? “Enterprise log, Captain James Kirk commanding. We are leaving that vast cloud of stars and planets which we call our galaxy. Behind us, Earth, Mars, Venus, even our sun, are specks of dust,” he says. “The question: What is out there in the black void beyond? Until now, our mission has been that of space law regulation, contact with Earth colonies, and investigation of alien life. But now, a new task: A probe out into where no man has gone before.”

For Star Trek lorehounds, this is a lot to process. For one thing, this narration seems to conflate leaving the solar system with leaving the galaxy. While Star Trek has gotten fuzzy about things like galactic barriers and galactic centers, every single show and movie takes place firmly within our own galaxy, so that part of Shatner’s unused narration is pure nonsense. The rest of it is fascinating (as Spock might say) from a canon perspective because it implies that Starfleet has, up to this point, mostly played the role of space police who occasionally investigate aliens. Now, he says, they are tasked with exploring the final frontier.

Does This Intro Fit With The Current Canon?

Interestingly, this contradicts parts of later franchise lore while lining up with other parts. For example, Star Trek: Enterprise takes place about a century before The Original Series, and it portrays Captain Archer making first contact, discovering strange new life, and generally going where no man had gone before; all of this would contradict this original narration. But it does line up with Discovery emphasizing that Pike and other captains of Constitution-class ships were charged with deep space exploration, something Starfleet considered more important than staying home and playing cowboy.

All of this makes the unaired intro to Star Trek: The Original Series a fascinating part of franchise history. It’s also, surprisingly enough, part of national history, as Gene Roddenberry was invited to submit this, Trek’s first pilot, and other production materials to the Smithsonian Air and Space Museum. He did so back in 1967 and, in prime Roddenberry tradition, made a big show of it to make himself and his new series look better. A bit of shameless self-promotion? Sure. But Roddenberry certainly deserved a victory lap for creating something that truly went where no TV show had gone before!

Kyle Cooke had “Summer House” fans convinced he was saying goodbye for good after posting an emotional message about the end of Season 10. 

The reality star’s heartfelt reflection on leaving the iconic Hamptons house sparked immediate panic among viewers, many of whom feared he was announcing his departure from the Bravo series. 

Although Cooke quickly clarified his comments, the confusion only fueled more questions about the future of the show and the cast following a season filled with major shakeups.

Kyle Cooke sparked widespread speculation on Thursday when he appeared to announce the end of his “Summer House” journey after a decade on the hit reality series.

Taking to Instagram, the Bravo star shared photos from the cast’s familiar Sag Harbor home and initially captioned the post with the words, “End of an era.”

His message quickly took on a sentimental tone as he reflected on wrapping another season. “I can’t tell how hard it was to muster up a smile in this photo with my producers,” he wrote per Page Six.

Cooke further noted, “Per usual I was the last to leave the house when we wrapped because I lug so much gear out. But this year was different. 10 seasons in the books. A new show on the way. And a heartbreaking way to end one helluva run.”.

Cooke Opens Up About Leaving The House For The Final Time

Kyle Cooke continued his emotional reflection by describing just how difficult it was to walk away from the house after filming concluded.

The 43-year-old admitted he became emotional while saying goodbye to a place that has been central to his life since the show premiered in 2017.

He explained that he was “tearing up” over leaving because “we truly become a family shooting this show and it was a gut wrenching way to leave this house for good.”

Cooke also thanked viewers for supporting the series over the past decade. 

“I think we can finally close this chapter (but don’t blame me if I post some throwbacks that are a lot happier than me driving home all by myself as we filmed the cross over). Finally, thank you to the fans for believing in this show and for all of your support over the last decade. xoxo,” he wrote.

Kyle Cooke Quickly Clarifies His Future On ‘Summer House’

As panic spread online, Cooke returned to Instagram and edited the caption to clear up the misunderstanding. The revised version offered a very different message.

“EDIT! End of Season 10 and a decade of filming this show as I know it,” the media personality wrote. He then directly addressed concerns about both the show’s future and his own status.

“The show isn’t cancelled and this is not me announcing I won’t return. I was feeling emo and always planned sharing the cover photo because it DID feel like the end of an era, which is why everyone else was so emotional saying their goodbyes on the finale. Sorry everyone!” Cooke shared. 

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The clarification helped settle some concerns, but many viewers remained confused about why the post sounded so final in the first place.

Cooke’s Message Leaves Viewers With More Questions

Even after the correction, fans flooded the comments section with reactions ranging from relief to total confusion. Many admitted they initially believed Cooke was leaving the show.

“Not Kyle breaking the internet then having to post an update,” one follower wrote, while another fan added, “Gosh dang it Kyle. You had me running down the halls at work announcing you were off and lamenting about it.”

Others pointed out Cooke’s significance on the show, noting that “Summer House” would not be the same without him. 

“Summer House is just not it without you. Go take a nap and come back,” one person wrote. Another shared, “There’s no Summer House without Kyle Cooke.”

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Kyle Cooke’s Post Comes Amid Major Changes For The Cast

Amid the misconception on social media, a representative for the show told Page Six that Cooke “meant it’s the end of a decade and being married on the show.”

That explanation comes after a turbulent period for the cast. Cooke’s longtime relationship with co-star Amanda Batula played out on camera for years before the two married. Earlier this year, however, the couple split.

The cast was rocked again in March when Batula and fellow cast member West Wilson revealed they had been secretly dating. 

The revelation reportedly stunned several members of the group, including Wilson’s former girlfriend and Batula’s one-time best friend, Ciara Miller.

The uncertainty surrounding the cast continued this week after reports surfaced that Wilson “was not picked up” for Season 11 following controversy tied to his relationship with Batula.

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However, sources connected to the series reportedly revealed that Wilson could still make a cameo appearance in the upcoming season.