Related: ‘Summer House’ Season 10 Extended Reunion: What Viewers Missed
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The Real Message of Planet of the Apes Has Always Been Right in Front of Our Face
What makes us human? According to Stanley Kubrick‘s 2001: A Space Odyssey, it’s our ability to use tools that separate us from our simian ancestors. In his sci-fi epic, Kubrick boils down the entire story of humankind from its inception as apes, discovering how to utilize tools to overpower their natural enemies, all the way to humanity’s inevitable rebirth, deep into the space age. However, scientists have long since decided that this theory about the cornerstone of human civilization is false. In fact, many animals use tools, not just humans. Then what makes us humans unique? Perhaps surprisingly, the sci-fi film series that succeeds in getting the answer right is Planet of the Apes.
Since the original 1968 film, and the novel that inspired it, Planet of the Apes has been a powerful allegory for the human race’s treatment of “the other,” and our tendency to blow up the paradise we inhabit as a result. Therefore, what makes us human, when compared to our ancestral apes, is not our use of tools and weapons of mass destruction, but rather, our ability to develop such plans in the first place. In short, language is the cornerstone of our species. It’s notable that in the original film, Taylor (Charlton Heston) finds himself in a world where apes are well-spoken, but more importantly, humans are portrayed as mute and therefore primitive. Language is often how we take pride in our national and regional identities, but it’s also resulted in incessant conflict, as the recent reboot trilogy explores.
‘Rise of the Planet of the Apes’ Gives Apes the Gift of Language
2011’s Rise of the Planet of the Apes serves as both a prequel and a reboot to the original series of films. It changes certain details within the canon, but ultimately tells the story of how Earth became the ape-governed world discovered in the 1968 movie. The film focuses on Caesar (Andy Serkis), a chimpanzee born with an experimental cure for Alzheimer’s passed down from his test-subject mother. Caesar embarks on a startling evolution, becoming fluent in sign language thanks to his human guardian, Will (James Franco). The science-fiction premise that this film poses is essentially just Caesar’s linguistic journey.
Gifted with exceptional intelligence, Caesar is depicted as being just as conscious as humans. It’s not long before the cruelty of man, particularly against apes, leads Caesar to inspire a revolution, and it’s through language that Caesar not only forms his small army of apes, but it’s also how he declares to the humans that they refuse to be oppressed any longer. Caesar’s “No” in the face of cruelty from Dodge Landon (Tom Felton) remains one of the most bone-chilling moments of the franchise, and that is precisely why.
Set ten years after the events of the previous film, 2014’s Dawn of the Planet of the Apes establishes a world in turmoil. Caesar’s tribe of liberated apes continues to inhabit the Muir Woods near San Francisco, while the experimental Alzheimer’s cure has resulted in a virus that has eliminated countless humans. A small group of surviving humans led by Dreyfus (Gary Oldman) live in the city, and the film establishes an uneasy peace between them and the apes. It’s clear that both species have resorted to hunting and gathering to survive, and with fluent communication within both camps, apes and humans are on equal footing at last. The trouble begins when the humans wish to work on a dam within the apes’ territory, and it’s clear that neither side wishes for this to result in conflict.
Dawn of the Planet of the Apes is where the series gets to explore the true implications of language, and the burden of intelligence that comes with it. Among both camps are those willing to trust the other (Caesar and Jason Clarke‘s Malcolm) and those whose pride and pessimism risk peace in favor of victory (Dreyfus and Toby Kebbell‘s ape Koba). This film displays that, with complex language comes philosophy, and individual ideologies inevitably branch off. Caesar soon comes to the sobering realization that anyone equipped with the tools of language has the potential to make the same mistakes as humans. Going into the trilogy’s final installment, Caesar becomes a bitter ape, uncertain whether his species is any more worthy of that power than its predecessors.
‘War for the Planet of the Apes’ Takes Language Away from the Humans
More years have passed by the time we are reintroduced to this world in 2017’s War for the Planet of the Apes. When Caesar’s family is murdered by a rogue human army, we’re introduced to a version of Caesar far more cynical than we’ve ever known before. As per 1968’s Planet of the Apes, It’s revealed that the simian virus has evolved to deprive infected humans of their ability to speak, leaving them a primitive shell of their former selves. Disgusted by the idea of humans as the next generation’s speechless animals, an army Colonel (Woody Harrelson) urges his men to euthanize their infected loved ones and wage war on the apes.
Like Caesar, the Colonel’s greatest power is his ability to influence people through speech. The Colonel’s manipulation tactics even result in getting specific apes to work for him. Caesar’s mission this time is much darker than in previous stories, with hate in his heart for the Colonel. Caesar eventually realizes that killing the Colonel would only succeed in fulfilling the destiny that he fears so much. When the Colonel is infected by the virus, he recognizes just how much power he has lost by losing his speech. The Colonel decides to kill himself, rather than become a voiceless primate. This marks the official hand-off between humans and apes, with the planet of humans finally becoming the planet of the apes; not by apes killing humans, but rather, by the apes gaining language and humans losing their greatest tool as a species.
The Planet of the Apes Franchise Represents the Cyclical Nature of Life
With Kingdom of the Planet of the Apes attempting to further fill in the gaps between the original films and the prequel trilogy, the overall symbolism of the franchise begins to become clearer. Language represents power and intelligence; the ability to communicate effectively, whether through spoken language — or even gestures — is closely linked to characters’ social status throughout the entirety of the franchise. The films explore themes of oppression, hierarchy, and prejudice through the lens of language, highlighting how these linguistic differences can shape power dynamics.
Planet of the Apes fully succeeds in its symbolism because of its ability to tell this story naturally throughout several decades in-universe. Whereas a franchise like Star Wars has a tendency to box itself in — telling stories where audiences already know the beginning and ending points and often the fates of the characters themselves — Apes has a more ambiguous middle period to play with, and audiences get to watch the story unfold organically.
One of the most harrowing, but also familiar aspects of the franchise is the cyclical nature of its story. History tends to repeat itself, a lesson humans begrudgingly continue to learn. Through Planet of the Apes, audiences can watch humanity’s failures in real-time, equating them to the evolutionary cycle that has known Homo sapiens as the top of the food chain since their existence. From the 1968 original to the recent release of Kingdom of the Planet of the Apes, this franchise relies entirely on exploring language and how this difference between the apes and humans is integral to the new world they both find themselves in.
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It’s been more than two years since Kandi Burruss announced her exit from “The Real Housewives of Atlanta.” Since then, much has changed in her life, including adding to her Broadway resume and divorcing her longtime husband, Todd Tucker. Now she’s opening up about what led her to leave “RHOA.”
Burruss interview with RNB Philly in June 2026. In a clip from the full interview, the topic of “The Real Housewives of Atlanta” arose, with Burruss noting that her name had been mentioned multiple times during the show’s current season. This then led the host to ask when she knew it was time to leave.
She replied, “That season that the whole dungeon, when they said that I was taking people to a dungeon.” The Grammy winner then stated that she was “over it then” but decided to remain on the show for a few seasons afterward.
For context, she was referring to season 9 of “RHOA,” in which Phaedra Parks allegedly made up a rumor about Burruss wanting to take advantage of Porsha Williams sexually. Initially, Williams mentioned the rumor to Burruss but didn’t reveal where she heard it until the show’s dramatic reunion.
Kandi Says She Considered Leaving For Multiple Seasons
The former “RHOA” star continued discussing her exit from the show during her interview with RNB Philly. Specifically, she stated that she spent the next few years after the season 9 incident wondering if she should leave.
Burruss shared, “Probably the last three years of me being on the show, I kept saying to Todd, like, ‘Do you think we need to leave now? What do you think?’”
She continued, “If you do something for so long, it’s almost like a crutch. You’re kind of like scared to walk away from the crutch. It’s like, ‘Should I leave? Should I not?’” After that, Burruss shared her “only fear”: that fans might not support her other endeavors if she left the show.
‘RHOA’ Fans Are Reacting
Following Burruss’ most recent comments about leaving “RHOA,” fans are weighing in, with many noting that she remained on the show for six seasons following the season 9 drama. For context, the “No Scrubs” writer left ahead of season 16 of the show.
One person said, “But she stayed for several more seasons.” Someone else stated, “But filmed six whole seasons after that…” In support of Burruss, a different fan wrote, “Kandi made the right decision, and her fan base has still remained loyal.”
Lastly, another “RHOA” watcher chimed in, writing, “I’m really proud of Kandi! I know it was hard, but it is for the best. Please don’t let Phaketra hook you up with a date again. Listen to your mom and aunties. At the end of the day, your mom and aunts have your best interests at heart.”
The Music Icon Previously Addressed Her Exit From The Show
Burruss announced her exit from “The Real Housewives of Atlanta” in February 2024. Following her initial statement, she spoke to Variety about her reasoning. At the time, she, in part, blamed the show’s extended hiatus between seasons 15 and 16 as the reason.
She said, “I already said it, so I’ll tell you. I decided I’m not coming back this year. It’s been 14 seasons, and they allowed us to sit around for a little too long, but during that time, I had started working on a lot of other things, and I got some nice big projects coming soon, so I’m super excited about those things.”
The mom of three continued, “But it’s not just that. It’s just like, after you really have time to think, and a friend of mine was like, ‘Why do you keep doing it?’ And I was like, ‘Well, I think because I’ve just been doing it for so long, it feels weird to think not to do it?’”
Burruss went on to imply that her exit wasn’t a permanent decision. According to her, “So I was just like, ‘You know what? I’m going to take a break, I’m going to take a moment… I’m not coming back this year.”
Kandi Settled Her Divorce From Todd In March
Burruss announced her separation from Tucker in November 2025 after 11 years of marriage. Following that, the two remained mostly respectful of each other in public, as they continued to co-parent their two young kids.
According to PEOPLE, they then settled their divorce in March 2026. Previously, Burruss stated publicly that she’d decided to divorce Tucker in July 2025.
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Gene Roddenberry’s Pre-‘Next Generation’ Android Is the Blueprint for Star Trek’s Data
Everybody remembers Lt. Data. Mention androids in Star Trek, and sooner or later, somebody starts talking about the pale guy trying to figure out why humans insist on making everything so complicated. What most people don’t realize is that Data wasn’t Gene Roddenberry‘s first android searching for answers. In 1974, Roddenberry handed the spotlight to an android named Questor and built an entire television movie around him. The similarities to Data are impossible to miss. The difference is that one character became a legend, while the other became one of science fiction’s most fascinating “What happened there?” stories.
Questor Was Asking Data’s Questions Years Earlier
The movie, The Questor Tapes, gets right to the point. The eponymous Questor (Robert Foxworth) knows a lot, but he doesn’t know himself. Huge pieces of his past are missing, leaving him with plenty of knowledge and very few answers. So he hits the road with scientist Jerry Robinson (Mike Farrell) and starts searching for the person who might finally explain who he is and why he exists.
It’s impossible to watch the pilot today without seeing pieces of what would eventually become Star Trek: The Next Generation’s Lt. Cmdr. Data (Brent Spiner). Not the yellow eyes or the Starfleet uniform, but the curiosity. The constant search for answers. The feeling that Questor is less interested in what he can do than in understanding where he belongs. Even people connected to the production noticed the connection. Director Richard Colla later described Data as a combination of Questor and Spock, which makes a lot of sense once you’ve seen the pilot. Data would eventually spend seven seasons learning about humanity, one awkward interaction at a time.
Questor was taking a similar journey years earlier. Instead of exploring strange new worlds, he was exploring people, hoping that somewhere along the way he might finally learn something about himself as well. The scenery may have changed from American highways to the final frontier, but the appeal was remarkably similar. Both characters were outsiders trying to make sense of the human race. The only real difference is that Data got seven seasons to figure it out, while Questor barely got out of the starting gate.
NBC Never Understood What Roddenberry Was Selling
If The Questor Tapes sounds like the beginning of a successful science-fiction series, that’s because it almost was. NBC reportedly ordered thirteen episodes, and for a brief moment, it looked as though Questor would become Roddenberry’s next major television project. Then the network got involved. That’s usually where these stories start getting interesting.
The executives understood the basic concept of an android. What they struggled with was everything else. Roddenberry had built an elaborate mythology around Questor and a hidden group of advanced artificial beings who had quietly guided humanity for centuries. To Roddenberry, it was just part of the story. To network executives, it raised questions they weren’t comfortable dealing with. Suddenly, there were concerns about religion, metaphysics, and whether audiences would accept a story suggesting that mysterious beings had been influencing human history.
Gene Roddenberry TV Movie ‘The Questor Tapes’ Coming to Blu-ray
The 1974 TV pilot inspired the character of Lt. Data on ‘Star Trek: The Next Generation.’
One proposal would have removed Jerry Robinson from the series entirely. Another would have ignored much of the pilot’s ending and turned Questor into a fugitive constantly running from people trying to capture him. Instead of a story about discovery, identity, and human potential, the series started drifting toward a familiar chase formula that executives felt more comfortable selling. Not everyone agreed with the changes though. Mike Farrell couldn’t understand why anyone would want to break apart the partnership between Questor and Jerry. Roddenberry felt the same way. In his mind, the relationship between the android and the human was the entire point. Once that started disappearing, so did his enthusiasm.
Roddenberry had already lived through one long war over creative control. By the time the arguments over The Questor Tapes reached a boiling point, he decided he wasn’t signing up for a sequel. Instead of compromising further, he left the project behind. The funny part is that Roddenberry never really abandoned Questor. He just came back to him later, wearing different clothes. More than a decade after The Questor Tapes fizzled out, he introduced Data to the world, and suddenly millions of viewers were falling in love with an android asking some very familiar questions.
- Release Date
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January 23, 1974
- Runtime
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100 minutes
- Director
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Richard A. Colla
- Writers
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Gene Roddenberry, Gene L. Coon
- Producers
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Howie Horwitz
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Mike Farrell
Jerry Robinson
There’s a good reason—plenty of them, in fact—why fantasy has remained one of the most prolific and popular movie genres as the decades have passed. These tales of magic, mythical creatures, and wonderful fictional worlds lend themselves perfectly to enduring the passage of time, remaining beloved classics even over a century after their release. Over the course of the last six years, the world has received several fantasy movies that are bound to be remembered as timeless masterpieces by the time 2126 comes around.
But of course, though every year since 2021 has seen the release of at least a few exceptional fantasy films, every year has had a standout, one particular fantasy masterpiece that stands tall above all the rest. Whether it’s a family movie like Puss in Boots: The Last Wish or a heavy adult drama like All of Us Strangers, these are all films that have helped to define what the fantasy genre is capable of achieving in the modern day. Hailing from all across the world and made by filmmakers with various different kinds of thematic concerns, these films came out in tremendously stacked years for the fantasy genre and yet still managed to come out on top.
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2021: ‘The Green Knight’
It goes without saying that 2020 was an unprecedented low for the film industry as a whole, and by proxy, for cinephiles around the world. Going into 2021, the world was still right in the midst of the COVID-19 pandemic, but Hollywood began its slow process of recovery, and from that process rose many excellent fantasy films. Case in point: A24’s The Green Knight, one of the greatest cinematic adaptations of Arthurian legend in history. It’s one of the fantasy movies with the best world-building, and though it underperformed at the box office and doesn’t seem to receive nearly as much praise as it deserves nowadays, it’s nevertheless a 2020s fantasy icon.
From blockbusters like Shang-Chi and the Legend of the Ten Rings to indie darlings like Petite Maman, 2021 had some exceptional fantasy movies, but nothing was ever quite able to top the gold bar set by David Lowery in what may just be his best film to date. Wonderfully creative and imaginative, poetically paced, visually gorgeous, and bolstered by one of the best performances of Dev Patel‘s career, it’s proof of just how exceptional indie fantasy has been throughout the entirety of the 2020s. Arthurian movies are aplenty, but few are as powerful and thought-provoking as The Green Knight.
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2022: ‘Puss in Boots: The Last Wish’
By the time the 2020s rolled in, the Shrek franchise had been lying dormant for years. When it was announced that the film that would bring it back to life would be a sequel to Puss in Boots, fans didn’t exactly have high expectations. Plot twist: Puss in Boots: The Last Wish ended up being not only one of the greatest animated films of the last six years, but even some of the best work that DreamWorks Animation has ever produced. It’s like Red Dead Redemption 2 and Andrei Tarkovsky‘s Stalker had a love child, which is the biggest (and weirdest) compliment one could throw at a film like this.
Indeed, The Last Wish is one of the best fantasy movies of the last 10 years, equally engrossing for kids and for adult animation fans alike. The little ones of the family will be delighted by the eye-popping animation, the surprisingly effective sense of humor, and the many adrenaline-pumping action sequences, while grown-ups will be treated to a character study with shocking amounts of thematic and existentialist depth. Animated fantasy has been on a roll since 2021, and though 2022 also produced gems like The Northman and Guillermo del Toro’s Pinocchio, it doesn’t get better than this.
4
2023: ‘All of Us Strangers’
Many fantasy fans love the genre for how whimsical and… well, magical it can get. However, emotionally draining fantasy dramas also exist, and they’re every bit as important to the genre’s history and complexity. For instance, 2023’s All of Us Strangers by Andrew Haigh is one of the heaviest fantasy movies ever made, yet it’s also one of the greatest of modern times. Its fantasy elements are rather understated in every way that matters, allowing it to work equally well on three different levels: as a powerful ghost story, an engrossing romance drama, and a poignant parents-son tale.
It’s one of the greatest British movies of the last six years, and though it’s certainly not ideal for those looking for a fantasy movie that they’ll be able to leave with dry eyes by the time the credits roll, it’s a must-see nonetheless. Anchored by Andrew Scott, Paul Mescal, Jamie Bell, and Claire Foy all delivering some of the best work of their respective careers, it’s an emotionally stirring and beautifully-constructed fantasy story that shows just how well low fantasy can work when done right. As fantastic as 2023 fantasy blockbusters like Barbie were, this indie gem was the year’s best.
3
2024: ‘Wicked’
Back in 1939, The Wizard of Oz revolutionized cinematic fantasy in way that virtually no other Hollywood production ever had before. Almost 90 years later, Jon M. Chu‘s Wicked, based on the cult classic Broadway stage musical of the same name, has done pretty much the same thing for Broadway musical adaptations for the big screen. Much like the ’30s classic, Wicked is one of the best crowd-pleasing fantasy movies of all time, full of catchy tunes and memorable characters. Underwhelming sequel notwithstanding, this first part of a duology is every bit as wonderful and magical as its source material.
From Flow to Nosferatu, 2024 had plenty of excellent fantasy films that showed just how healthy of a state the genre is in the modern day, but there’s a reason why Wicked was the highest-grossing live-action fantasy blockbuster of the year. Wonderful in tone, endlessly charming, packed with delightful humor, and with plenty of irresistibly entertaining characters, it’s a film that truly does defy gravity every chance it gets. With Cynthia Erivo and Ariana Grande at their very best at the forefront, Wicked is bound to go down in history as one of the best musical films of the 2020s.
2
2025: ‘Ne Zha 2’
The Chinese animated film Ne Zha from 2019 was a surprising box office success, but no one would have expected its sequel, Ne Zha 2, to become the financial juggernaut that it became. One of only seven films ever to make more than $2 billion dollars at the box office, it’s one of the most admirable success stories of 2020s international cinema. Though over 97% of its box office gross came from its domestic market, this animated masterpiece is still proof that the world is ready for more international family movies. It was acquired and released in English in American markets by A24, which should be proof enough of just how much of a pop-cultural phenomenon it became.
Though it still deserves even more praise outside of its native China, Ne Zha 2 is nevertheless one of the highest-rated animated films of all time on Letterboxd. Visually wonderful, endlessly fun and action-packed, and with a delightful sense of humor bound to charm teens and adults alike, and with a delectably dense and complex narrative that heavily borrows elements from traditional Chinese mythology and folklore, it’s perfect for those who love fantasy at its most epic. Some may find its nearly two-and-a-half-hour runtime somewhat daunting, but every minute of that runtime is inevitably spent with a huge grin on any fantasy fan’s face. Furthermore, with others of 2025’s best fantasy films (like Thunderbolts* and Frankenstein) heavily involving sci-fi elements, it also happens to be the year’s purest fantasy masterpiece.
1
2026: ‘Swapped’
The year is almost halfway through, and so far, 2026 hasn’t been a particularly prolific year for fantasy, with fantasy releases like The Odyssey still lying in the future. Even still, Swapped nevertheless has the potential to remain one of the best fantasy films of the year come December. Directed by Nathan Greno and produced by Pixar’s John Lasseter, it’s further proof that Netflix has been doing some marvelous work in the animation field throughout the 2020s. Body swap comedies are perhaps a bit too abundant for their own good, but this one’s among the best that Hollywood has delivered in recent years.
Though the plot is rather unremarkable and pretty predictable, Swapped‘s strength comes from its excellent voice cast (featuring stars like Michael B. Jordan and Juno Temple) and its beautiful animation. Vibrant, colorful, fun, and as charming as anyone could possibly expect a family fantasy film to be, it’s a delectably simple adventure that checks all the right boxes for a movie of its kind. Will it still be the best fantasy movie of 2026 by the time the year ends? It seems very unlikely. But does it deserve to still be remembered as one of the year’s most endearing family fantasy releases? Absolutely.
Swapped
- Release Date
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May 1, 2026
- Runtime
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98 Minutes
- Director
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Nathan Greno
- Writers
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Christian Magalhaes, Robert Snow, John Whittington, Adam Karp, Nathan Greno
Nicole “Snooki” Polizzi is entering a new chapter. As longtime fans continue wondering what comes next for the “Jersey Shore” franchise, the reality TV icon has officially announced her latest project alongside longtime best friend and co-host Joey Camasta. The duo is bringing their hit podcast, “It’s Happening with Snooki & Joey,” to The Volume, marking a major expansion for the show as the entertainment and sports media company continues growing its pop culture footprint. The revamped version of the podcast officially launches Wednesday, June 10, with Hard Rock Bet serving as presenting sponsor.
For Snooki and Joey, the move represents more than just a new platform. The pair said joining The Volume offers an opportunity to grow the show while staying true to the chaotic energy listeners have come to expect.
“We are pumped to be partnering with The Volume for a fresh new look to our show!” Snooki shared via a press release sent to The Blast. “We’ve had our podcast for years now with loyal, amazing listeners and have always wanted to give them the best show possible.”
The former “Jersey Shore” star also teased what fans can expect when the show relaunches. “We’re coming back with more chaos, messy moments and new content that we’re super excited to share!” she said.
Joey Camasta Says Podcast Is Getting ‘Bigger’ And ‘More Unhinged’
Joey echoed Snooki’s excitement, hinting that longtime listeners should expect an even bigger version of the podcast they already love. “As we bring ‘It’s Happening with Snooki & Joey’ to The Volume, it feels like stepping into the future of podcasting, and they’re already leading the way,” he said.
Camasta added that despite the changes, the duo plans to keep the same chemistry that built their loyal audience. “It’s the same show at its core, just bigger, louder, and a little more unhinged, which should honestly concern everyone (but in a good way),” he added.
Known for their candid conversations, celebrity gossip, and unfiltered takes on friendship, relationships, and life in the spotlight, Snooki and Joey have built a devoted fanbase through the podcast’s couch-chat vibe.
Snooki’s New Move Comes As ‘Jersey Shore’ Questions Continue
The podcast expansion also arrives at an interesting time for Snooki as fans continue speculating about the future of MTV’s “Jersey Shore” universe. More than 15 years after the original reality series first turned Snooki, Mike “The Situation” Sorrentino, Pauly D, JWoww, Vinny Guadagnino, Ronnie Ortiz-Magro, Deena Cortese, Angelina Pivarnick, and Sammi “Sweetheart” Giancola into household names, questions continue to swirl about what comes next for the franchise.
While “Jersey Shore: Family Vacation” remains a fan favorite, cast members have increasingly expanded into outside ventures, with Snooki continuing to grow her personal brand through business, live appearances, and now a newly elevated podcast partnership.
For The Volume, Snooki and Joey’s arrival also signals a broader push into entertainment content beyond sports. “We’re all about giving dynamic personalities a real stage to connect with fans – and Nicole and Joey do that effortlessly,” Kelly Martin, The Volume’s Head of Talent, said. “They’re hilarious, honest, and their chemistry is undeniable.”
New Project Comes After Emotional Health Battle
The podcast relaunch also comes just weeks after Snooki candidly opened up about one of the most frightening experiences of her life: her stage 1 cervical cancer diagnosis.
During a May appearance on Kristin Cavallari’s “Let’s Be Honest” podcast, the “Jersey Shore” star admitted she spiraled emotionally after learning the news. “Terrifying. Like, hi, am I dying? What is going on? I definitely had a breakdown,” Polizzi confessed.
The reality star admitted her mind immediately jumped to worst-case scenarios. “Like, ‘Oh, my God, what am I gonna do? Gotta get my will in place. What’s gonna happen?’ Planning my funeral. I was being so dramatic,” she said.
Snooki later explained that researching the diagnosis helped calm some of her fears, especially after learning stage 1 cervical cancer is highly treatable. Still, the diagnosis took an emotional toll on her family.
How Snooki’s Cancer Diagnosis Impacted Her Children
Polizzi, who shares Lorenzo, Giovanna, and Angelo with her husband, Jionni LaValle, revealed that her children struggled to understand what was happening.
“My little one was like ‘mommy, are you going to heaven?’” she recalled. “I’m like, ‘can we stop?’ I like, had a mental breakdown. I was like ‘Everything’s going to be fine, mommy just has to do her tests and stuff and her surgeries.’”
The reality star has since shared that she plans to undergo a hysterectomy this summer and remains “terrified” about the procedure, but said she chose to speak publicly after hearing from other women who shared similar experiences online.
Good special effects can obviously be like icing on an already good cake, but that cake has to be good. Otherwise, even the best special effects don’t really go far in making something worth watching for those effects alone. Good special effects can make a good movie even better, and then there are also some very good movies that don’t have great special effects, but those somewhat janky moments feel forgivable (like, maybe some instances of less-than-perfect de-aging effects… looking at you, that one slightly too physically demanding scene from The Irishman).
So, in the interest of showcasing how good special effects can’t really save a bad movie, here are some movies that miss the mark in most regards, but have special effects that were mostly impressive for their time (and maybe even to this day). Most of this will focus on movies with computer-generated imagery, but not exclusively; there are some films below that contain impressive practical or more old-school effects, too.
8
‘The Matrix Revolutions’ (2003)
If you look over all The Matrix movies, the first one is obviously a classic, being an introduction to a fascinating world, a great concept, and some spectacular action. The second movie is a little shakier when it comes to pacing, and maybe the story isn’t quite as interesting, but it still looks great, and much of the action is as good – or possibly even slightly better – than the action found in the first. That’s probably a massive hot take… The Matrix (1999) still wins out as a sci-fi movie, but The Matrix Reloaded could be a hair better as an action movie.
Skipping ahead to the fourth, that one is definitely ambitious, for better or worse, and has some wild and fairly interesting ideas you kind of have to admire. And then the third movie… uh… it looks quite good. All the movies in The Matrix series look pretty great, and even if the fourth has some weirder special effects, it’s still going for something bold, and has moments of eye-catching imagery. The first three all look and feel pretty consistent. That third movie, The Matrix Revolutions, does disappoint a bit when it comes to both the narrative and the action, but at least it looks good and is generally more than sound on a technical level.
7
‘Pearl Harbor’ (2001)
There is a movie about the attack on Pearl Harbor from 1970 called Tora! Tora! Tora!, and for the most part, it still holds up. It doesn’t have modern-day special effects, obviously, but the techniques used to recreate the attack are immense, to the point where it sometimes feels easy to forget you’re watching a movie. About 30 years later, there was a very different movie about the same attack, simply called Pearl Harbor, with it being less of a docudrama, more of a melodrama, and also a good deal longer (and Tora! Tora! Tora! itself wasn’t exactly short).
Tora! Tora! Tora! achieves more in a shorter runtime, with a Japanese and American perspective on the event given, and more effort that goes toward making it feel believable. Pearl Harbor might’ve got away with being broader and more romance-focused than you might’ve expected if that side of the movie had actually been good. There is a somewhat effective utilization of then-cutting-edge special effects for some of the bigger and more action-heavy sequences here, but that really is about all you get by way of genuinely good stuff.
6
‘Terrifier’ (2016)
The entirety of the Terrifier trilogy is the sort of thing that’s not going to be for everyone, since all three movies so far (it is threatening to be more than just a trilogy) are unapologetically brutal, and also pretty blunt with what they set out to do. It’s possible to see how people might be fans of the second and third Terrifier movies, because they have the sadistic violence and memorable villain of the first movie, but there is an attempt in both those films to have something of a story, some character development for the victims, and a bit by way of an overall mythology for certain things.
That first movie, though, is barely a movie. It’s hard to remember anything that happens beyond some of the exceedingly grisly violence. Yet the effects done to make Art the Clown’s sadistic tendencies come across as particularly brutal and bloody are impressive, and particularly so when you consider that Terrifier (2016) was far from expensive. Even by low-budget horror movie standards, it was low budget, if that makes sense.
5
‘The Golden Compass’ (2007)
The Golden Compass is sort of based on a very good book called Northern Lights, the U.S. name of which was The Golden Compass. Emphasis on “sort of based,” because The Golden Compass just stops short of actually having the interesting ending that the source material does, which sets up two even more ambitious sequels that end up rounding out the His Dark Materials trilogy.
Anyway, that ending – or lack thereof – is the biggest problem with the film adaptation of The Golden Compass, and it does also lack a certain magic and charm that the book has, quite effortlessly. Yet on a technical level, the special effects are strong for their time, and though the movie’s almost 20 years old, a fair bit of it holds up better than you might expect. It won Best Visual Effects at the Oscars, and then it was also nominated for Best Art Direction (with that side of things also contributing to the movie looking and feeling pretty great overall).
4
‘Batman v Superman: Dawn of Justice’ (2016)
Batman v Superman: Dawn of Justice is saved from being an outright terrible superhero movie on account of it looking quite good, and also for having some engaging action scenes. The problem is, there are really only a couple of properly good action scenes, and they’re buried within a movie that’s quite long, at 2.5 hours, and yet it’s paced in a chaotic way that makes it feel even more drawn out.
Throughout the whole thing, at least you get special effects that are well-executed, and an overall level of technical competency you can expect from most Zack Snyder movies. The problem comes about when Batman v Superman: Dawn of Justice offers little else, and sort of doubles down on some of the problems already present in the flawed – but not as bad – Man of Steel. This was only sporadically entertaining as a movie about the titular showdown, and as a movie setting up the dawn of the Justice League, it really didn’t work very well at all.
3
‘Transformers: Revenge of the Fallen’ (2009)
Like Zack Snyder, Michael Bay doesn’t always make great movies (sometimes getting things right, though, also like Snyder), yet both directors are generally good at making their expensive movies actually look expensive. You saw it with Pearl Harbor, which was mentioned before and stuff… that was another Michael Bay movie. It’s not a high bar, and it’s not always enough to make the movie actually bearable, but it is technically better than nothing, and you do find it with Bay’s Transformers sequels, most of which aren’t very good (some might even argue the first is flawed, but it’s also easy to get nostalgic about parts of that one).
Of the sequels, Bay directed four, including the second film overall, Transformers: Revenge of the Fallen. It’s a technically impressive movie, in some ways, like the first, but it really falters when it comes to how it’s written, paced, edited, and acted. If you want to see impressively rendered robots transform, battle, and get blown up, that stuff does technically look more than technically sound, but you’re going to be digging pretty deep – and probably to no avail – if you want to find more than just that in a movie like Transformers: Revenge of the Fallen.
2
‘Hollow Man’ (2000)
Of all the Paul Verhoeven movies, most are honestly quite good, some are pretty much great, and then a fair few are rather underrated, too. The worst of the bunch, though, would almost have to be Hollow Man, and that’s hopefully not much of a hot take. This takes on an invisible man premise, but with a good deal more outwardly shocking content than you’d see in those older movies about invisible people, with admittedly more impressive and up-to-date special effects here, too.
It got an Oscar nomination for Best Visual Effects, in fact, but it’s safe to assume that it wasn’t close to getting nominated in any other categories.
No, beyond that, the special effects were impressive for 2000. A lot of money went into making Hollow Man, and sure, some of that went to the cast (like Kevin Bacon, even if his character ends up being invisible a lot of the time), but it seems like a lot also went into the special effects, and that side of things paid off. It got an Oscar nomination for Best Visual Effects, in fact, but it’s safe to assume that it wasn’t close to getting nominated in any other categories, because outside the effects (for their time), Hollow Man just keeps on consistently missing the mark. You really are better off not seeing it.
1
‘The Lion King’ (2019)
Begrudgingly, it must be conceded that The Lion King (2019) does not look as garish as some other Disney remakes that have been in live-action, or have featured photo-realistic animation instead of the hand-drawn/2D variety. Some of those movies had a ton of money thrown at them with seemingly no gains from it, with Snow White (2025) being perhaps the worst offender, in that regard.
Don’t get it twisted: The Lion King (2019) still doesn’t look nearly as striking or timeless as The Lion King (1994), which is still one of the best-looking animated movies, and also one of the flat-out best animated movies quality-wise, too. The Lion King (2019) is lifeless and without the kind of color and expression needed for the emotional story at hand, but if there was an intent to have the computer animation here look pretty darn close to real life (well, real life if lions and other animals talked and sang and stuff), then mission accomplished. Yay?
Apple TV hit its sci-fi stride when Hugh Howey’s addictive series was adapted for the streamer. Starring Rebecca Ferguson, Silo is the masterful television version of his books Wool, Shift, and Dust. Dystopian and grim, the drama is set in a post-apocalyptic world where Earth has become so toxic that humanity has survived for generations in huge silos underground. No one remembers how the world ended, or if they can ever leave, and yet, the remains of society still find a way to subjugate its people as humanity is wont to do.
The world of a caste system and a murderous conspiracy fascinated viewers, as did the powerful performances from Ferguson. Seasons 1 and 2 largely followed the first book, but that will change with the imminent third season. In fact, Silo is taking a sharp turn away from the source material altogether. The hard sci-fi masterpiece appears to be rewriting its biggest story, according to the new trailer.
Silo ‘Season 3’ Is Slowing Down the Pace Once Again
Silo is undoubtedly one of the most masterful series on television, but it isn’t immune to criticism. Season 2 slowed down the narrative quite a bit as it tackled the last few chapters of the book, Wool. Instead of devoting one book per season, the series got a little more creative with its storytelling. The thrilling sci-fi venture still follows the books, but takes its time getting there. Now it seems that Juliette’s path to leadership will be delayed once again, as the trailer reveals she gets amnesia after surviving the decontamination chamber.
The hot box full of flame seemed to have some effect on her mental faculties — or at least that’s what Silo 18 wants her to think. The governing body is likely manipulating her to stop her from releasing crucial information. This amnesia plotline is not present in Hugh Howey’s books, considering the second book, Shift, is a prequel. To its credit, Silo appears to be covering this story as well.
The trailer also features the time before, as the silos were constructed as a way to survive the end of the world. Juliette’s storyline is a way to keep the character in the narrative, but it isn’t the most original concept. Per the books, Juliette is meant to become the Mayor of the Silo and be a source of justice and truth for the inhabitants. Instead, her character arc is being stalled once again in favor of a more flashy storyline. This may impact the series negatively as all the momentum of her character arc will be lost.
Season 2 was already drawn out as it lacked the drive that the first season did. Halfway done with Silo’s life, this is the time to strike. While it was necessary to keep Rebecca Ferguson in the driver’s seat, there could have been a more dynamic way to do it, instead of mentally handcuffing her prominent character.
Changing the ‘Silo’ Storyline Is Risky
There has been more than enough evidence that supports the idea that once a television series deviates from the source material, it’s on shaky ground. Universally beloved hard sci-fi series, The Expanse, was largely faithful to the books, even if it did cut the show off three seasons too early. James S.A. Corey were heavily involved and kept the magic from the books intact. Both Game of Thrones and House of the Dragon have deviated from the books with controversial results. It is natural to want to include Rebecca Ferguson as the primary point of contact for Silo, but it may have refreshed the series to adhere to the narrative that followed past events.
Season 3 has a surge of surprise casting, including Jessica Henwick, Colin Hanks, and Jessica Brown Findlay as characters set in the past. While the footage from the trailer is brief, it is the most exciting thing about the upcoming season. These characters create silos with the idea that they can one day head to some utopian future, when clearly the opposite is going to happen. This is an engaging idea on its own and may have been just the thing to create even more anticipation once Juliette returned for the final installment.
The new lore surrounding Juliette’s amnesia may distract from the tried and true content that fans have prepared themselves for. This plotline is only delaying the inevitable, which should come to pass when Silo enters its final season down the line. Until then, viewers will just have to wait and see how that comes to fruition when Season 3 premieres on July 3.
- Release Date
-
May 5, 2023
- Showrunner
-
Graham Yost
Andy Cohen spilled some major tea about the fan who cracked the case of the Summer House season 10 reunion leak.
The host, 58, unveiled the name of the Bravo-loving sleuth during the Tuesday, June 9, episode of Watch What Happens Live With Andy Cohen.
“There’s been a lot of speculation of who that Bravo superfan was, with a lot of people assuming it was Jennifer Lawrence. And I just want to say, Bravo superfans are the best. You rode with us on this, you knew that this was bad that it was leaked and you wanted to see it when we presented it,” Cohen began before revealing the behind-the-scenes hero. “Well, with the last episode of the reunion airing tonight, I wanted to personally thank that superfan. Folks, that super fan was indeed Jennifer Lawrence. Her online sleuthing helped our investigators solve this mystery! Bravo fans are the most loyal and dedicated. Jennifer Lawrence, Oscar winner, you are the top of the class!”
Days before the televised reveal, Cohen teased the identity of the fan while addressing speculation that Jennifer Lawrence solved the Summer House leak.
“I absolutely love this rumor,” Cohen said during a Friday, June 5, appearance at Newport Beach TV Fest. “I said over and over, ‘I’ll reveal the fan,’ and then I forgot. My cohost on the radio the other day said, ‘When are you gonna do that?’”
When pressed about whether Lawrence was the “detective” who put an end to the leak mystery, Cohen added, “It was a Bravo superfan.”
In April, audio from the Summer House season 10 reunion taping leaked online, sparking an official investigation by Bravo.
“This represents a serious breach of trust and a clear lack of respect for the cast, crew and the integrity of the production process,” a Bravo spokesperson told Us Weekly at the time. “We take this matter very seriously and have launched a full investigation and we will take appropriate action based on our findings.”
Cohen, for his part, slammed the leak after hosting the dramatic three-part reunion, which saw the cast confronting Amanda Batula and West Wilson over their shocking relationship.
“People laid their souls out emotionally for 10 hours yesterday and it’s disgusting and illegal for someone to leak or distribute this,” he wrote via Threads at the time. “It’s disrespectful to the work and tears the cast put in yesterday. Let the season play out. You will see it all in due time.”
Summer House‘s extended reunion episodes revealed some side comments that were cut from cable and allowed Bravo fans to feel the full weight of Ciara Miller’s emotions without any censoring. Yes, there was more face-to-face discussion between Ciara, Amanda Batula, West Wilson and Kyle Cooke about the scandal in part 1 of the “Extended & […]
Later that month, Bravo’s investigation ended after the source of the leak was discovered.
“An investigation into the recent leak of the Summer House reunion audio has concluded that the audio was an unauthorized recording and distributed by an individual involved in the production of the reunion,” a network spokesperson told Us in an April statement. “There is no evidence that any member of the cast was involved in the recording of the audio. We take these matters seriously and will continue to take appropriate measures to respond to the unauthorized distribution of our content.”
The statement concluded, “We are aware that there is additional improperly obtained audio circulating and we caution all parties and platforms to refrain from posting, sharing or amplifying any unauthorized audio.”
After the investigation, Cohen insisted that he never believed anyone in the Summer House cast was involved in the leak.
“There were these hot takes blaming the cast, which I knew immediately — I was like, ‘The cast did not leak this,’” he said during an April episode of SiriusXM’s Andy Cohen Live. “I was like, ‘This is stupid,’ and I love this cast and I just, I was like, ‘Oh, now people are blaming this cast.’ I will say, I felt so bad in the next 24 hours after that, that the cast was … feeling the need to come out and say, ‘I didn’t do it. I didn’t leak it.’”
The Summer House reunion concluded on Bravo earlier on Tuesday night, with the extended and uncensored version hitting Peacock Wednesday, June 10.
Ciara Miller questioned whether West Wilson was a “sociopath” during part three of the Summer House reunion — and she stands by the thought.
Taking to Threads just hours after the final part of the reunion aired on Tuesday, June 9, Ciara, 30, rebuffed West’s claim that taking a beta blocker prior to filming helped him “stay composed as much as possible” amid facing backlash over his romance with Amanda Batula. (Cleveland Clinic describes beta blockers as a class of medication “most commonly used for problems involving your heart and circulatory system.”)
“Just a medical note: beta blockers DON’T remove emotion,” Ciara, a registered nurse, wrote via the social media platform. “They work by blocking adrenaline from binding to beta receptors in your heart, blood vessels, and muscles (the receptors responsible for the physical symptoms of anxiety like increased heart rate, raised blood pressure, and trembling).”
Ciara, who dated West, 31, off and on before he and her former close friend Amanda, 34, embarked on a secret relationship in February, continued, “The emotional experience remains, but the physical stress response can’t fully activate. It’s like putting your fight or flight symptoms on DND [do not disturb] … enough with the beta blocker bulls***.”
Summer House’s Ciara Miller seemingly threw some shade at ex-boyfriend West Wilson and her former BFF Amanda Batula in light of the pair’s confirmed romance. While hosting red carpet interviews at the season 2 premiere of Your Friends & Neighbors in New York City on Monday, March 30, Ciara, 30, was asked by the Apple […]
West’s admission to administering beta blockers came after host Andy Cohen asked whether he was “on a bunch” of meds due to the blank expression he offered to emotional feedback directed his way during the reunion’s third instalment.
“Everybody’s so emotional around you, about you and their relationship with you and you’re like this [blank face]?” Cohen, 58, asked West, who then explained that he was conscious of maintaining composure.
“Or, you’re just a sociopath,” Ciara offered before West then claimed he took one beta blocker prior to filming. “That’s why I’m not sobbing. This matters to me. I apologize if I don’t read emotional enough,” West responded.
Ciara Miller Rodin Eckenroth/Getty Images
Fans on Threads were quick to show their support for Ciara, with one person commenting, “It’s actually hilarious that they thought that would work while in the presence of a nurse.” Another person added, “Can confirm. I’m a beta blocker girlie and can fully express my emotions.”
Part 3 of the Summer House reunion also saw West and Amanda address whether they’d found love with one another amid the scandal. When asked by Cohen whether their romance had turned that serious, West said before expressing his commitment to the relationship, “We are not using the word ‘love’ right now. It’s been two months, three months.”
West Wilson Cindy Ord/Getty Images for SiriusXM
Amanda, who announced her separation from ex-husband Kyle Cooke in January, agreed that it was too “early” to declare that they’d found love, but the pair were “having conversations about [how] serious our feelings [are] and where it’s going.” (Amanda and Kyle, 43, split after four years of marriage.)
After weeks of speculation at the time, Amanda and West announced via a joint Instagram statement on March 31 that they were indeed romantically involved.
Taylor Swift paid tribute to her country roots — and her favorite Toy Story character — while celebrating the film series’ fifth instalment.
Stepping out for the Los Angeles premiere of Toy Story 5 at the Dolby Theatre on Tuesday, June 9, Swift, 36, rocked a strapless Western-inspired patchwork Erdem corset gown on the red carpet.
Swift, who penned her original track “I Knew It, I Knew You” to be featured in the film, paired the fall/winter 2026 creation with a gold horseshoe necklace and gold peep-toe heels. The ensemble’s country theme nodded to Toy Story’s Jessie, who inspired Swift’s new song and also influenced her childhood dress-up days, as revealed by the singer via social media last week.
The romantic ensemble was accentuated with the singer’s signature red lip and cat eye makeup, as well as a half-up hairstyle that showed off her soft bangs.
According to InStyle, Swift leant on styling guidance from Joseph Cassell Falconer, who “has worked with her since her Speak Now era.” (Speak Now was Swift’s third studio album, originally released in October 2010 before it was re-recorded and released again in July 2023.)
The musician posed for photos on the red carpet with the stars of Toy Story 5, which will be released on Friday, June 19, including Tom Hanks, Tim Allen, Joan Cusack, Greta Lee and Conan O’Brien.
An X video, shared by Hollywood Reporter journalist Borys Kit, also captured Swift enjoying time within the theatre itself. Footage showed her speaking to a young child as podcaster Kelly Stafford watched on with her own children.
Additional social media footage shared by Variety showed Swift on stage in the venue, performing “I Knew It, I Knew You” for the first time in public. THR also posted a video that captured Swift joining fellow musician Randy Newman for a live rendition of his Toy Story track “You’ve Got a Friend in Me,” treating the audience to a costume change that saw her perform in a vivid yellow floor-length gown.
Swift took to Instagram on Friday, June 5, to mark her inclusion on the Toy Story 5 soundtrack. “Writing this song felt like a musical departure and coming home at the same time. Creating something for Jessie was a new challenge and also felt like second nature all at once. And being a @toystory kid from the age of 5 til now … is an adventure I plan to be on, to infinity and beyond,” she wrote.
Rare childhood footage of Swift accompanied the post, showing her as a youngster stomping around a house dressed in a Jessie-inspired cowgirl outfit complete with a cowboy hat and boots.
Crediting her co-creator Jack Antonoff within the post, Swift continued, “We wrote this with so much adoration for these characters that made us laugh and helped us learn lessons and think outside the backyard all throughout our childhoods.”
By Chris Snellgrove
| Published
Star Trek has been entertaining sci-fi fans for 60 years through TV shows, movies, books, and comics. There’s only one entertainment sector where the franchise historically falters: video games. If we’re being honest, there have only ever been a handful of really good Star Trek games, and the best ones came out literally decades ago. Because of that, any Star Trek fans looking to lose themselves in a good video game would be forgiven for giving a Bones-like prognosis to the state of modern Trek titles: “it’s dead, Jim!”
However, all of that is changing. We already got Star Trek: Voyager—Across the Unknown, a game that puts us in command of Voyager as the crew tries to make it back home from the Delta Quadrant. Later this year, we’ll be getting a SimCity-style game (Star Trek: Outposts Unknown) as well as a digital, customizable card battler (Star Trek Warp). Next year, Star Trek: Shadow Frontier will put us in control of Ro Laren, with Michelle Forbes reprising her role from The Next Generation. So, what’s the deal with all these games? What are they about, and when can you play them? Keep scrolling to replicate answers to all these questions!
Finally, You Can Kill Tuvix Yourself
The first game to kick off the Star Trek video game renaissance is Star Trek: Voyager—Across the Unknown, and it takes the franchise where it has never gone before. You take control of Voyager after it is zapped into the Delta Quadrant, and like Captain Janeway, you must help everyone find their way back home to the Alpha Quadrant. Much of the game is spent managing finite resources and using your best judgment of which systems to prioritize. Speaking of judgment, you’ll have to make snap calls in several adventures (including recreations of iconic Voyager dilemmas, like whether to kill Tuvix) that can save the day or possibly get everyone killed.
The general consensus on Star Trek: Voyager—Across the Unknown (which is out now on console and PC) is that it’s good but not great. The most notable thing about it is arguably its sandbox nature and its emphasis on resource management. Historically, many Star Trek games have been shooters, real-time strategy games, and RPGs filled with bonkers puzzles. This was the first game to focus extensively on both resource management and narrative choices, making it arguably the best Starfleet captain simulation since the 2002 title Star Trek: Bridge Commander.
Two More To Beam Up
Surprisingly enough, we’re going to get two more Star Trek games this year. One of them is Star Trek: Outposts Unknown (which will be released for PC and console sometime this year). This game is designed like SimCity, but with a Trek twist. Basically, you are trying to build, maintain, and defend an outpost on a distant planet. That means exploring strange new worlds, gathering resources, and defending everyone from the planet’s most hostile creatures. While not exactly a cozy game, the Outposts Unknown demo (which is out on Steam) proved surprisingly relaxing, which may be good news for players who don’t like the intensity of games like StarCraft.
The other big Star Trek video game of 2026 is Star Trek Warp. This title is described as a “card battler” that lets players “choose characters from a huge roster of Star Trek legends, heroes, and villains, and deploy them at iconic locations like Ten-Forward and the Warp Core.” With seven virtual lanes to defend, this game is designed to keep you on your toes; the title also features both PvE and PvP modes. Overall, Warp sounds like the weird lovechild of League of Legends (what with the lane defense) and the old Star Trek Customizable Card Game. That might just help it appeal to both young fans and older fans.
A New Strategy And An Old Legend
The most exciting new Star Trek game won’t be coming out until next year. Star Trek: Shadow Frontier is a survival horror title where a Starfleet officer must survive on a mysterious planet. The twist? That officer is Ro Laren, who once left the Enterprise-D to join the Maquis before making her way back to Starfleet. Since her surprise appearance in Picard, fans have been wondering how she went from being a principled rebel to being a good, rule-abiding officer. Shadow Frontier may very well give us that explanation. If nothing else, it will give us something unique: a Silent Hill-type game set in the Star Trek universe.
So, what’s up with this sudden influx of Star Trek video games? The smart money is that Paramount is continuing to throw everything at the wall with this franchise to see what sticks. No Star Trek show is currently in development, and the only definitive thing on the horizon is a movie intended to give this universe its second huge reboot. Trek games (particularly those featuring characters like Ro Laren and Tuvok) are a way of appealing to older fans who like the IP and younger fans who just like gaming. By seeing what sells, Paramount can finally get to the bottom of a decades-old question: what the heck Star Trek fans actually want.
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