Here’s a wild statistic: There are nearly as many currently running Star Trek television series as there are completed Star Trek television series. The first 40 years of the franchise’s history include five live-action series and one animated spinoff, totaling 725 episodes.
In the past five years, five new series have launched (six if you count Short Treks as its own entity), airing a cumulative 130 episodes as of today. Star Trek as a brand is busier than it’s been since the mid-1990s, when Deep Space Nine, Voyager, and the Next Generation TV series were all running concurrently and shops around the world dedicated entire displays to Star Trek toys, novels, and video games.
Editor’s Note: Read more, see link below for original item…
A ranking of the most game-changing, side-splitting, tear-jerking, mind-blowing, world-building, genre-busting programs in television history, from the medium’s inception in the early 20th century through the ever-metastasizing era of Peak TV
How do you identify the very best series in a medium that’s been commercially available since the end of World War II?
Especially when that medium has experienced more radical change in the nine years between the finales of Breaking Bad and its prequel, Better Call Saul, than it did in the 60-odd years separating Walter White from Milton Berle?
The current Peak TV era is delivering us 500-plus scripted shows per year, many of them breaking boundaries in terms of how stories are told and who’s doing the telling. So, we decided to update our list of television’s all-time best offerings, originally compiled in 2016. Once again, we reached out to TV stars, creators, and critics — from multihyphenates like Natasha Lyonne, Ben Stiller, and Pamela Adlon to actors like Jon Hamm and Lizzy Caplan as well as the minds behind shows like The X-Files, Party Down, and Jane the Virgin — to sort through television’s vast and complicated history.
(See the full list of voters here.) Giving no restrictions on era or genre, we ended up with an eclectic list where the wholesome children’s television institution Sesame Street finished one spot ahead of foulmouthed Western Deadwood, while Eisenhower-era juggernaut I Love Lucy wound up sandwiched in between two shows, Lost and Arrested Development, that debuted during George W. Bush’s first term. Many favorites returned, and the top show retained its crown.
But voters couldn’t resist many standouts of the past few years, including a tragicomedy with a guinea-pig-themed café, an unpredictable comedy set in the world of hip-hop, and a racially charged adaptation of an unadaptable comic book. It’s a hell of a list.
“Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.”
That’s Academy Award winner Bong Joon-ho, quoted from a Golden Globes acceptance speech all the way back in January 2020. He was talking about subtitles, which, despite being completely necessary and helpful and beyond useful, are apparently hated by some people.
Almost immediately afterward, Bong pulled in a ridiculous four Oscars with Parasite — a fantastically made, multilayered dark comedy that delves deep into the underbelly of class divides. Parasite was an extremely deserving winner. You should absolutely watch this movie.
JRR Tolkien disliked novels that tended toward autobiography, though he did not dispute the fact that an author has no choice but to use his or her own experiences in writing fiction. The Lord of the Rings is most assuredly not an allegory for the 20th century, nor are any of his protagonists a reflection of Tolkien himself. Yet, if there is a domain inextricably intertwined with the life of our author, it is linguistics: comparative philology, to be precise.
For Tolkien, language and literature necessarily go hand in hand; this is the only way to ensure proper understanding of a text, particularly in the case of ancient texts. Tolkien conveyed this point of view in his analysis of Beowulf, published in The Monsters and the Critics: And Other Essays, which combined philological rigor with literary appreciation at a time when critics generally saw the epic poem merely as a source of historical information distorted by myth.
The importance of language is easily discernible in Tolkien’s obsession with finding the perfect turn of phrase, even if it meant reworking certain sentences countless times. His preoccupation with linguistic detail also found its way into his stories themselves, focusing on the languages spoken by the various characters. No one who has read The Lord of the Rings can fail to have been struck by the passages in Quenya or Sindarin, the two main Elvish languages, and in perusing the novels’ appendices, it becomes clear to the reader that these are true languages, each with its own specific grammar and vocabulary, and that Tolkien also paid close attention to the evolution of these languages, and to their relationships to one another.
Having given a significant portion of their careers to going where no man has gone before, it’s only fitting that Star Trek legends Nichelle Nichols and DeForest Kelley, who respectively portrayed Lieutenant Uhura and Dr. Leonard “Bones” McCoy in the original series, will have their ashes laid to rest amongst the stars.
Nichols and Kelley are set to fly off into the unknown together aboard memorial space flight company Celestis’ inaugural ‘Voyager’-level offering, named The Enterprise Flight in honor of its prestigious guests, which “will launch from planet Earth and travel beyond the Earth-Moon system, beyond the James Webb telescope, and into interplanetary deep space – where it will join the other planets, moons, comets, and asteroids in our solar system on a never-ending journey through the cosmos.”