New HIS DARK MATERIALS trailer reveals the daemons

The BBC and HBO have dropped a new teaser trailer for His Dark Materials, their TV adaptation of the Philip Pullman trilogy of the same name.

The new trailer shows off the daemons (animal familiars) of the main characters for the first time. It also confirms that the armoured bears will appear in Season 1. With the show planned to adapt the three books over five seasons, it was unclear if the bears would be included in the first season.

The trailer also shows scenes that appear only at the very end of the first novel in the series, Northern Lights (retitled The Golden Compass in the USA for no readily apparent reason), suggesting that perhaps they have rethought the five-season strategy and might be considering a shorter run.

His Dark Materials has already been renewed for a second season, which is expected to enter production soon. Season 1 is expected to start airing in October or November this year.

Amazon cancels THE TICK

In frankly horrible news, Amazon has cancelled the fantastic The Tick after two seasons.

Amazon have not provided a reason for not proceeding with the series. Creator Ben Edlund has confirmed that he will try to find a home for the series elsewhere, but the initial signs do not look promising.

Across its two seasons, The Tick was funny, oddly moving and brilliantly written and acted, particularly by the immortal Peter Serafinowicz as the title character. It's a real shame we will not be seeing more of the show.

It's also unusual, because Amazon have prioritised finding commercial and critical successes in their quest to rival Netflix. The Tick's two seasons have scored hugely well with critics, including a 100% critic rating for the second season on Rotten Tomatoes. However, Amazon did not publicise the release of the second season well, sneaking it out with relatively little fanfare, which may have impacted on the reception (the same problem Netflix had with Season 2 of Sense8, in which case many viewers didn't know that the second season had been released until the show was cancelled).

Halo Wars: Definitive Edition

The year 2531. The United Nations Space Command and the alien Covenant are engaged in a war for control of vital resources. The UNSC starship Spirit of Fire investigates Covenant activity on the planet Harvest and uncovers evidence of a plot by the Covenant which could imperil all of humanity. The Spirit of Fire has to pursue a Covenant taskforce into deep space and attempt to thwart their plans without backup.

The Halo series began life as a real-time strategy game for Mac, before transitioning into a first-person shooter for PC before finally arriving on the original X-Box in 2001, the first shooter since GoldenEye to really work with a console controller. The series became a huge success, selling millions of copies of the original game and its sequels Halo 2 (2005) and Halo 3 (2007), and a spin-off, Halo 3: ODST (2009). In a sign of things becoming full circle, Microsoft decided to expand the franchise to other genres and commissioned a real-time strategy spin-off, Halo Wars, which was eventually released on the X-Box 360 in 2009. In 2016, the game was finally ported to PC as a "Definitive Edition," which is the version I have reviewed here.

Halo Wars gained praise on release as the first real-time strategy game made to really work on console. An intuitive interface allows players to build units, expand their bases, select forces and advance across the battlefield from a standard controller. Some standard RTS controls and ideas had to abandoned or simplified for the experience, but the transition was surprisingly successful.

As with most RTS games, Halo Wars opens with you having control of a single base. This can be upgraded with modules, such as supply depots (which generate supply, the game's sole resource), power stations (which generate power, which determines what upgrades and advanced units you can build), barracks, vehicle construction stations and aircraft construction stations. You can also add turrets to bases to help defend them. In an interesting twist, even a fully-upgraded base can't hold all of the structures you need, forcing you to expand early and explore the map to find areas where you can set up secondary bases.

The resource gathering is a particularly nice touch. Rather than send out a harvester of some kind to mine a resource, you simply generate supply points. The more supply depots you have, the more supply you generate, but of course you only have a limited number of expansion modules, so if you build lots of supply pads you may find yourself unable to build a vehicle factory or a barracks. This encourages early-game expansion and exploration. The supply mechanic isn't new, originating as it did in the Command and Conquer: Generals expansion Zero Hour many years earlier, but Halo Wars makes it really work as part of the mechanics.

You can build an extensive army consisting of infantry, aircraft, tanks, anti-air batteries and other units. The elite Spartan super-soldiers can't be built (at least in campaign mode) but can join the fray as special elite units for certain missions.

For a supposedly "cut-down" RTS, Halo Wars surprisingly enjoyable even for an experienced PC strategy gamer. The unit variety isn't the most extensive, but the focus on a smaller roster helps streamline the game and make it more enjoyable. It also allows for battles to be fought faster and more furiously, rather than you agonising of which of several very slightly different units to build.

The campaign is enjoyable, with a fairly straightforward SF story. As the game is set twenty years before the original Halo: Combat Evolved, no prior knowledge of the franchise is needed, making it a perfect jumping-on point ahead of the release of the upcoming Halo Master Chief Collection on PC (which will bring Halo: Reach, Halo: ODST, Halo 3 and Halo 4 to PC for the first time, alongside upgraded versions of the original Halo and Halo 2).

The game does have several problems, however. The game doesn't use many "standard" RTS controls, instead forcibly mapping camera controls to WASD and not allowing you to reassign them. This means many standard RTS controls - A for attack-move, S for stop - are not available in the game. The game is also on the short side: I polished off all 15 campaign missions in about 11 hours. The game feels like it really needs a Covenant campaign to make the game a more worthwhile single-player experience, and indeed the story feels a bit opaque at times, like we were supposed to be getting more information about the Covenant version of events but at some point this was cut.

The other problem is that the game can't help but feel a little familiar, particularly in missions fighting the organic Flood where you have to destroy their living technology. This feels very reminiscent of fighting both the Zerg in StarCraft and the Tyranids in Dawn of War.

Still, given it is now available at a very reasonable price, Halo Wars (****) succeeds as a short, focused and fun real-time strategy game which doesn't make too many concessions to its console origins. It's available now on Steam.

Atlanta: Season 2

Earn is continuing to manage his cousin Alfred, whose career as rapper "Paper Boi" is blowing up. Alfred is unhappy with Earn's management style, whilst Earn feels that Alfred isn't taking advantage of social media and other opportunities to boost his profile. Meanwhile, it's "Robbin' Season" in Atlanta, the pre-Christmas crime spree, which results in a lot of weird stuff going down.

The first season of Atlanta was a mash-up of comedy, hard-hitting drama and bizarre psychological study. It cemented Donald Glover's (formerly of Community) position as a hot up-and-comer. After that season aired, Glover's music career (as Childish Gambino, of "This is America" fame) went stratospheric and he starred as a young Lando in the Star Wars movie Solo. Other castmembers also went big, with Lakeith Stanfield nailing a major role in Get Out and Zazie Beetz starring in Deadpool 2.

On that basis, it's perhaps a surprise we got a second season of Atlanta so soon, but Glover prioritised it and managed to create something even stranger, sadder, funnier and more heartwarming than the first season.

If Season 1 of Atlanta was a surrealist tone poem, Season 2 is a full-blown odyssey of the strange and the grotesque. It moves through a dense period of several weeks in which a lot of stuff goes down for the characters, so much that rather than try to cover events chronologically it instead splits the events between characters. This means we get few episodes where all the major characters appear, with instead most episodes focusing on a single character or group of characters. This results in an intense focus which at times feels claustrophobic, but this is appropriate for the stories that are being told.

Atlanta remains hilarious, with comic highlights including Darius and Earn trying to defuse a confrontation between Earn's insane uncle and the police, involving an alligator. A later episode sees Earn and Van defusing their relationship problems with a game of table tennis at a German party. Barbershop sees Alfred going for a simple haircut, but gets dragged into an increasingly hilarious road trip with his eccentric barber, whilst in Champagne Papi Van and her friends attend an offbeat house party where they hope to meet Drake. In North of the Border Earn, Darius and Alfred travel to a college campus to take part in a publicity event, but things go sideways and they end up taking refuge at a very uncomfortable frat boy initiation ceremony.

The season also goes dark, very dark. It feels like the shadow of the movie Get Out lies heavy on this season and Glover leans into it, delivering in Teddy Perkins possibly the freakiest 35 minutes of television of 2018. Woods is also a dark and depressing episode, but one that ends on a bizarrely redemptive note.

The season ends by coming almost full circle, as major events in the opening episode come to fruition (including one of the most literal uses of the Chekhov's Gun trope you'll ever see) and leaves things in an interesting place for the third season (which isn't expected to air until 2020).

The second season of Atlanta (*****) improves on the first to become a study in tension and tragicomedy, and has an infusion of horror running through it which is both incongruous and compelling. It remains one of the most unique and distinctive shows on air.

All the Birds in the Sky by Charlie Jane Anders

Two children have immense and varying gifts. Patricia is a nascent witch, can talk to animals and has a special bond with nature. Laurence is an engineering and scientific genius who has built a semi-functional AI and a two-second time machine. As children they are both dismissed as freaks, which draws them closer together. They are separated in their teenage years but fate draws them back together as adults, in a world slipping into despair from political, technological and scientific challenges.

All the Birds in the Sky is the second novel by Charlie Jane Anders, a noted writer and critic best-known for co-founding SFF website io9 (for which, full disclosure, I have written the occasional piece). It's a novel rich in character and variety which develops two protagonists and has them engage in two distinct narrative threads (one science fiction, the other fantasy) which merge as the novel progresses.

It's a novel which wears many hats, from coming-of-age-against-adversity YA adventure (the opening chapters), to adult relationship drama to science fiction disaster novel to a lyrical fantasy fable. Anders' strength as a novelist is moving between these subgenres with impressive ease, flipping from the YA setting to the apocalyptic SF one on a dime but never losing the book's momentum. The book has a lot of humour and drama in it (along with a topping of tragedy) and it handles these shifts in tone with skill.

Core to the book's success is the characterisation of its two leads, the rigorous and logical Laurence and the more instinctive and spontaneous Patricia. The two characters gain strength from leaning on and learning from one another's differences, and overcoming their challenges by working together. Disastrous moments in the novel come from them not trusting one another or working as cross-purposes instead of pooling resources. It's a book that, above all else, focuses on the idea of empathy and understanding, and facing down challenges through cooperation rather than division.

There are some undercooked moments. I would have liked to have known more about the Order of Assassins that crops up several times in the novel, and some late-book revelations about how much the scientists and magicians know about each other come out of nowhere, but otherwise this is a very fine and appropriate novel for our times.

All the Birds in the Sky (****�) comes across as a fusion of Neil Gaiman (on a very good day), Diana Wynn Jones and Robert Holdstock, but with a twinkling flair to the prose that is all Charlie Jane's. It is available now in the UK and USA.

Disney take over Hulu streaming service

Disney have taken control of Hulu, a popular American streaming service which competes with Netflix and Amazon Prime Video in the States.

It's been speculated for some time that this was Disney's plan. Disney are launching their own streaming service, Disney+, in November this year but have been clear that the channel will only be for children and "family" programming. This left questions over Disney's ability or willingness to create material for an adult audience. It also raised questions about Disney's vast new store of films and TV shows from 20th Century Fox, which they recently completed acquiring, as many of these would be unsuitable for a family audience.

Disney's acquisition of Hulu now ends that speculation. Hulu already produce adult programming, such as the critically-acclaimed Handmaid's Tale (which is preparing to release its third season), and in fact have several more adult-oriented Marvel TV shows in development, including Ghost Rider. It is assumed that, as licences expire elsewhere, Disney will move all of Fox's adult-oriented shows over to Hulu and the younger children's shows to Disney+ (they have already confirmed that Disney+ will be the new home of The Simpsons, although presumably the likes of Family Guy would have to go on Hulu).

A key weakness of the Hulu purchase is the lack of international exposure. Hulu licences its shows to overseas partners, with Channel 4 showing The Handmaid's Tale in the UK, for example. As part of the purchase, Disney will begin expanding Hulu's overseas footprint, possibly as part of a pairing deal with Disney+ when it launches in overseas markets.

GAME OF THRONES showrunners to write and direct next STAR WARS movie

Disney have confirmed that the next Star Wars movie after J.J. Abrams' Rise of Skywalker will be written, directed and produced by Game of Thrones showrunners David Benioff and D.B. Weiss.

It was previously known that Benioff and Weiss had been contracted by Lucasfilm to produce a new Star Wars film "series," along with The Last Jedi director Rian Johnson who had his own full trilogy to make (although Johnson is only contracted to write and produce, and may direct one of the films). The news today from Disney and Lucasfilm confirms that Benioff and Weiss's first movie is up first, due for release in 2022.

The subject matter of the new films is unclear, although head of Lucasfilm Kathleen Kennedy has confirmed that both new film series will be unrelated to the Skywalker Saga (as the numbered episode films are now being called) and will be set in different parts of the Star Wars universe, in time, space or both. Some Star Wars fans have speculated that some or all of the new films will be set in the popular Knights of the Old Republic era, the setting for multiple video games and comics, but this remains speculation at the moment.

GAME OF THRONES prequel pilot starts shooting

The prequel spin-off to Game of Thrones has started shooting under the working title Bloodmoon. This is unlikely to be the final title, with George R.R. Martin preferring the title The Long Night (HBO appear to be less keen).

The pilot is shooting in the same Belfast Paint Hall studios that hosted Game of Thrones, with location shooting due to take place in Northern Ireland and several locations in Europe, including reportedly the Canary Islands.

Naomi Watts stars alongside actors including John Simm, Jamie Campbell Bower and Miranda Richardson. The series is set approximately 5,000 years before the events of Game of Thrones, in the Age of Heroes, and charts the collapse of a golden age society into the chaos of the Long Night, when the White Walkers and the Night King arose for the first time and the Wall was built. With the possible exception of the Night King, no Game of Thrones characters are expected to recur in the new series.

Jane Goldman (Stardust, Kick-Ass, X-Men: First Class, Kingsman) is writing and executive producing the new series, with S.J. Clarkson directing the pilot and George R.R. Martin serving as a creative consultant.

If HBO greenlight the pilot, full production of the first season is expected to start before the end of the year, for a 2020 debut.

Bandai joins forces with Games Workshop to make WARHAMMER 40K action figures

In one of those news stories that makes you wonder, "Why did no-one think of his earlier?", Japanese toy company Bandai have partnered with Games Workshop to release a series of figures based on their phenomenally popular Warhammer 40,000 science fantasy setting.

Bandai are starting the line with a 7" action figure based on the Primaris Space Marine model. The figure will have multiple points of articulation and come with different weapons and equipment that can be swapped around.

They are also launching a line of Chibi figures, small or cute models which are designed to appeal to children. This line seems to be part of Games Workshop's new drive to target younger fans, following on from their recent launch of a new range of children's books in the Warhammer 40,000 setting.

These figures will be available later this year. If successful, I suspect the 7" range will quickly expand to incorporate other figures.

Square release trailer for FINAL FANTASY VII REMAKE

Square Enix have released a new trailer for Final Fantasy VII Remake, their upcoming remake of their classic 1997 RPG Final Fantasy VII (as indicated by the title).

Square have not yet confirmed a release date for the game, which has been in full development since 2015. They have revealed that more footage will be released next month. Square also confirmed some time ago that the game will have an episodic release, but not how many episodes or a release schedule for them. They have suggested that the release scope and schedule may be similar to the Final Fantasy XIII trilogy (which was released in 2009, 2011 and 2013 respectively).

HBO drop teaser for WATCHMEN TV series

HBO have dropped a teaser trailer for their upcoming Watchmen TV series.

Watchmen is a sequel to the graphic novel - not Zach Snyder's 2009 movie - and picks up on events thirty years after the end of the story. The trailer hints that law and order is breaking down, with a growing movement of copycat vigilantes basing their actions on the character of Rorschach from the original novel. The only major character from the original book confirmed to appear is Adrian Veidt (aka Ozymandias), played by Jeremy Irons, although some characters from Doomsday Clock (a sequel series to the original graphic novel) will also appear. Details of the story and characters are being kept close to HBO's chest.

The series is produced and showrun by Damon Lindelof (Lost, The Leftovers). It is expected to debut in autumn this year.

Star Trek: Discovery - Season 2

The Klingon War is over and the USS Discovery is poised to begin a new mission of discovery and exploration. But a fresh crisis erupts when unusually powerful signals are detected originating from distant parts of the galaxy. Captain Christopher Pike of the USS Enterprise takes command of the Discovery on a temporary assignment to investigate the source of the signals, taking the Discovery and her crew into some very strange places indeed.

The first season of Star Trek: Discovery was a mixed bag. It had utterly spectacular production values, a very solid cast and a willingness to do things differently to any Star Trek series that came before it. It also had muddled storytelling and characterisation, and sometimes overcame narrative roadblocks by simply blasting through them and damning logic, a similar approach to some modern episodes of Doctor Who (and, in its latter seasons, Game of Thrones). Discovery at its best was fun enough that you didn't care about the lack of coherence in the storytelling, but at its worst it was wince-inducingly contrived and trying to be dark for the sake of it. The fact that it was still the third-best opening season of a Star Trek show (after the original show and, arguably, Deep Space Nine) says rather more about how poor most first seasons of 1980s and 1990s series were then about Discovery in particular.

The second season is a moderate, but only a moderate, improvement. It has a much more charismatic and interesting captain in the form of Pike, played with absolutely stellar conviction by Anson Mount (who is probably thanking his lucky stars that Inhumans was cancelled). Mount plays Pike as a captain with sound judgement, ready to take risks but not crazy ones, and who absolutely trusts his crew rather than second-guessing them all the time. Ethan Peck also joins the cast as a younger version of Mr. Spock, a more rigid one suppressing his human side than the character we know from the original franchise. Peck's performance is excellent, overcoming the usual "Spock problem" of having to unleash lots of exposition and technobabble through his dramatic presence. He is probably a better Spock than Zachary Quinto (as solid as he was in the neo-Trek movies), and a fine heir to Leonard Nimoy.

The second season also dials back on the Klingon storyline, only touching base with it in a few episodes, and instead focuses on a fresh mystery, a scientific conundrum which our heroes have to solve through investigation and exploration, concepts much truer to the Star Trek mythos.

Cumulatively, these changes are all for the better. The show feels more like Star Trek, the cast is working better together and we get more of an exploration of the side and background characters, making the cast feel more cohesive as a team.

However, the show still manages to sabotage itself. The plotting and main story arc is still muddled and somewhat confusing, and the writers prefer to blast through under-developed plot points in a blaze of technobabble and hoping for the best. This isn't exactly new to Star Trek (the same problem bogged down Voyager for almost its entire run) but it feels more egregious in the modern TV age. Characterisation for the regulars is mixed, with Michael Burnham still feeling a little too under-developed as our key protagonist but the scripts getting into the motivations and psyches of characters like Stamets and Saru in a more interesting fashion. Tilly, a highlight of Season 1, does feel a little too readily used as comic relief and like an over-indulged child in several episodes, which is a disservice to both the character and actress.

The plotting problems culminate at the end of the season in two episodes which feel contrived at best, with the writers more interested in resolving fan questions about canon rather than organically developing a logical conclusion to this story arc. It's not helped that the final big space battle is a confusing mess of beams and explosions that even Michael Bay would find nonsensical.

The second season of Star Trek: Discovery (***�) is therefore a bit variable in quality: outstanding sets (especially the recreation of the Enterprise bridge), actors and effects, but confused storytelling, continuity and characterisation. The way the story falls out does make sense (even if the route there doesn't always) and it does leave the series with a very interesting new setup to explore in Season 3, but it does feel a little frustrating that show still isn't hitting the high points of the shows that came before it, or even those of the other big space opera series on the air, The Expanse, which is comprehensively owning space at the moment. Discovery is available to watch on CBS All Access in the United States and Netflix in much of the rest of the world.

Angel: Season 3

The team at Angel Investigations are on top form, solving new mysteries and enhanced by the addition of Winifred Burkle - an astrophysicist with a gift for science and research - to the team. As Fred settles in (having spent five years imprisoned in another dimension), the team have to face the consequences of past actions, as Wolfram & Hart continue to undermine their operation and Darla returns...with a surprise for Angel.

The second season of Angel was a success, with a great main story arc and lots of excellent character development, especially for Angel, a character you'd assume by now had been fully explored. The third season is more or less a direct sequel to the second, but the writers pull back on some elements they feel had already been explored in sufficient depth, such as making Angel a darker character or having Wolfram & Hart constantly being behind whatever evil is going on in any given episode.

They also - thankfully - don't explore the camp fantasy world of Pylea again. Although a nice change of pace, Pylea outstayed its welcome at the end of Season 2 and we can do without going there again. Instead, the consequences of the Pylea trip play out several times over the course of the season, particularly for Fred (a winning performance by Amy Acker) and Cordelia (an ever-improving Charisma Carpenter).

If Season 3 has a major problem, it's in its structure and pacing. The writers clearly decided that some storylines in previous seasons had been allowed to dominate too many episodes, so this season each story arc unfolds much more intensely, usually over 3-4 episodes max, separated by stand-alone episodes. This means that stories have much greater verve and pacing, but it also means that the growing narrative momentum of the season keeps being reset with stand-alone episodes, which vary in quality immensely. The story arcs, revolving around the return of Darla, the campaign against Angel by his old enemy Daniel Holtz (a fine performance by Keith Szarabajaka) and the birth of a child with a surprising destiny, are all pretty solid, but the gaps between the stories feel contrived at best.

The season also makes a series of curious decisions regarding characterisation which are still highly controversial. Wesley has been getting more ruthless and capable since the first season, but the way he goes full-on dark and borderline amoral at the end of the season feels a bit undercooked. It makes him a far more interesting character in the final two seasons, sure, but the way he gets there feels implausible. There's also the implication that Wesley, a thirty-something guy who's been around the block a few times, makes the decisions he does because he gets turned down by a woman he likes, which feels like a very juvenile motivation point.

There's also the treatment of Cordelia as a character. Through most of Season 3 she undergoes tremendous growth and improvement as a member of the team and ends up being arguably the most well-adjusted and empathetic member of the crew, which given where she started so long ago (in Buffy Season 1) is remarkable. The end of the season throws this development into some doubt. This is less of a problem in Season 3 itself, but paves the way for Season 4, where Cordelia's character is thrown under the bus in a manner that is still highly contentious.

Still, Angel's third season (****) is highly watchable with some impressive storylines, cliffhangers and dramatic moments. Character development is a mixed bag, and some of the stand-alone episodes are painful, but overall it remains a solid addition to the series, and paves the way for the more impressive (if more controversial) fourth year. It is available now as part of the complete series boxed set (UK, USA).

Russian Doll: Season 1

Nadia Vulvokov is celebrating her 36th birthday - the same age at which her mother passed away - at a party thrown by her friends in New York. Tragically, she is run over by a yellow cab shortly afterwards. But then she wakes up back at her party again, with the exact same sequence of events playing out (unless she changes them). She makes it to the next day, only to die in another freak accident and wake up back at her party. Nadia realises that time and fate are playing a strange game with her, and she rushes to try to find an answer to the mystery of why her life is now going in circles.

Many are the TV show and movie which have "done a Groundhog Day", trapping a lead character in a time loop and seeing how they escape from it. It's a concept rooted in science fiction but played out for both humour - as the character can do what they want without consequence, as the timeline will just reset again - and tragedy. Many of these takes on the same concept are worthy (most recently, the surprisingly solid SF film Edge of Tomorrow) but few of them explore it to the depth of Russian Doll.

Russian Doll is a Netflix series co-created by Natasha Lyonne (who also stars as Nadia). At first it appears to be a comedy, with Nadia's time loop played for laughs. Very quickly it expands beyond that to incorporate elements of family drama, romance and tragedy. The show handles the tonal variation with skill, propelled by Lyonne portraying Nadia as an unflappable, hard-bitten New Yorker who's seen it all but has deep-seated insecurities and vices. In its second half, the show expands to become more of an existential exploration of depression and addiction, and certainly becomes a lot heavier-going. But the show avoids disappearing up its own posterior by refusing to get dragged down into cynicism. The ultimate message of the show is upbeat and hopeful, which is what elevates it beyond being yet another modern TV show wallowing in grimdark.

Russian Doll is a fascinating show to watch, a puzzle which the viewers can unpick at the same time as the characters. Is the time loop being generated by Natasha herself due to her tragic family backstory or an external force? Is the building's unusual history to blame? Was is the drugs Natasha was taking at the time? Was it one of the people she spoke to at the party? Each of the show's eight episodes adopts a fresh take on the concept and develops it further, going far beyond the usual surface exploration of the idea that movies can allow. But the show avoids repetition smartly by throwing a few massive curveballs into the story, which gives it new angles to explore and keeps things fresh up until the end of the story.

Russian Doll is also brilliantly paced. Eight episodes, each less than 40 minutes long, means it has time to explore the concept but not get too bogged down in the details. Each scene feels necessary, well-thought out and vital towards resolving what it is going on. The only major downside to the series is one that is more potential than actual: Russian Doll was pitched as a three-season show and I literally can't see where two more seasons would take the story. They certainly aren't necessary, as Season 1 ends in a strong manner. At the same time, after this season I wouldn't bet against the production team producing something else worthwhile.

Russian Doll (*****) is a thought-provoking meditation on life, death and existence. It's part science fiction, part hipster dramedy and part existential thriller. It's the best thing Netflix has put out in a good few years and is well worth a watch. It is available worldwide on Netflix now.

Disney confirm STAR WARS movies will resume in 2022, alongside AVATAR movies and INDIANA JONES 5

It turns out that the "long hiatus" for Star Wars that Disney has been planning won't be that long after all: the next Star Wars movie after The Rise of Skywalker will arrive in December 2022, a relatively modest three years later.

Rumours persist that one or both of the new Star Wars trilogies will be set in the time period explored by video games such as Knights of the Old Republic.

That's still a retreat from Disney and Lucasfilm's previous stance, which seemed to be heading towards getting two or more Star Wars movies into the cinema every year, similar to the Marvel Cinematic Universe's approach. However, the box office failure of Solo: A Star Wars Story appears to have spooked Disney and they have now backed off from "over-exploiting" the franchise.

That doesn't mean that the future is Star Wars-free however. There will be a Star Wars movie released every other year from 2022 for at least three movies, and they will be interspersed with four more movies in James Cameron's Avatar series. There are also multiple animated and live-action Star Wars TV series in development for the Disney+ streaming service, with the first live-action show, The Mandalorian, due for release late this year or early next.

Lucasfilm are also now actively working on a fifth Indiana Jones film, which is expected to be Harrison Ford's swansong in the role.

The current release schedule is as follows:

• December 2019: Star Wars - The Rise of Skywalker
• December 2021: Avatar 2
• December 2022: Untitled Star Wars Film 1
• December 2023: Avatar 3
• December 2024: Untitled Star Wars Film 2
• December 2025: Avatar 4
• December 2026: Untitled Star Wars Film 3
• December 2027: Avatar 5

There is no indication what the new Star Wars movies will actually be about, however. Game of Thrones producers D.B. Weiss and David Benioff have been developing a new series of films, as has The Last Jedi director Rian Johnson. However, both series are apparently on the backburner until Weiss and Benioff complete all Game of Thrones-related responsibilities later this year, and until Johnson's next movie is released, also later this year. It is possible that the two trilogies could be released on a rotating basis (meaning there's potentially three more Star Wars movies to follow these ones, taking us up to 2032!).

Various other proposed stand-alone Star Wars movies, such as a Boba Fett film, appear to have been killed. Others, such as the proposed Obi-Wan movie, have been re-purposed as TV proposals instead.