The editing of the trailer does remind me of Emerald Fennell’s Wuthering Heights trailers—and not necessarily in a good way. (I haven’t seen the movie, but I’ve gotten the impression that Fennell foregrounded the characters’ passions at the expense of the plot.) While people in Regency England has strong feelings, of course, the polite society was all about controlling them, and that’s a part of Jane Austen’s writing. Furthermore, at its core P&P is about a meeting of the minds, not looking for a romp in the hay. In this trailer, touch and intimate gaze feature heavily, making it appear the story is about the bodies more than the brains.
And why on earth is Elizabeth Bennett sitting up on the roof in the first place? To highlight her rebellious spirit even to the slowest of viewers???
I am fervently hoping any future trailer(s) will be more illuminating.
At this writing, IMDB doesn’t list a release date, but Deadline claims “launching in fall 2026”.
Eurovision always takes place in May. This year the semifinals are on the 12th and 14th, and the final on Saturday May 16, 2026. Time to start preparing in earnest!
This year I’m hoping for a little less drama; just a good, wholecome, well-meaning, fun competition. Sadly, that’s not very likely this year, with five countries boycotting the event, a participant at war, and who knows what else.
So, the first season of Murderbot tv adaptation ended. I have thoughts and feelings! But: more importantly, the announcement was already made via multiple channels that the series has been renewed for season two!
Yaaaaay!
I will want to binge the whole series through one more time at least and ruminate on some of the changes before I can say anything sensible.
In addition to the two acts, I was surprised to find that Finns have had their fingers in other countries’ Eurovision pies, too: besides Erika Vikman’s stage show, designer Ari Levelä has participated in creating the visuals for Austria and Cyprus, and Estonia’s song Espresso Macchiato is co-written and produced by Finnish songwriter Johannes Naukkarinen. It is indeed a very exciting Eurovision year for Finland!
The grand finale takes place late tonight, 22.00 / 10 p.m. our time, and it’s going to run at least four hours. (Gosh, I almost have a headache from the mere thought of staying up that late!)
I’m really torn. I really hope KAJ wins, because Bara bada bastu is so joyful, cozy, and sweet, exactly what the world needs right now. But only if KAJ guys get to keep their quirkiness, happiness, and wholesomeness, because it’s part of their charm, and you can’t do that if you’re sleep deprived and exhausted and harangued by media and fans alike. Plus, it would give Sweden their 8th Eurovision win, pushing them ahead of Ireland (both have seven wins ATM), which as a Nordic person I would LOVE.
At the same time, though, Erika Vikman’s win would be stupendous—it would be the second time Finland wins, the first win for a female solo artist from Finland, and a win for female empowerment. It’s a catchy song with a great beat at the end, and a challenging tune (i.e., meant for a skilled singer). Apparently, after Thursday’s second semifinal there’s been a surge of interest; some have even wondered whether she might really turn out to be this year’s dark horse.
Moreover, Erika’s is an act where a grown-up woman dresses and sings how she wants, instead of a serving of bare female flesh centered around stereotypical male sexual desire (i.e., a slip of a girl decked up in barely-there sparkly cover-ups furiously gyrating and tossing her hair). (*cough* Cyprus 2018, Cyprus 2019, Cyprus 2021 *cough*) Acts are acts, sure, but like KAJ’s, Erika’s seems to contain a certain amount of authenticity that people respond to.
Ohwell. In the end, I suspect I’ll just be overjoyed that Finland has two such strong contenders this year. Following Käärijä’s second place in 2023, recent years have been exceedingly good from the point of view of Finnish Eurovision fans, and that’s not something to sneeze at. 🙂
As a cherry on top, all of the Nordic countries (Finland, Sweden, Norway, Denmark, and Iceland) AND all of the Baltic countries (Estonia, Latvia, and Lithuania) qualified for the grand final. All at the same time, for the first time. Yay for us smaller countries in the north! 🙂
Alexander Skarsgård and cast of Murderbot TEASE what to expect from All Systems Red adaptation by Radio Times on YouTube
I haven’t yet seen the latter; I’m saving it for just the right time. (It’s Eurovision week, and as Finland entirely and utterly unofficially has two representatives this year, I have more incentive to stay up wayyy past my usual bedtime three nights this week. I’m almost too old for this shit, but not yet!)
Despite digging, I haven’t been able to find exactly when the episodes become available. keydekyie on Tumblr very kindly reminded the world that Apple lists the next day as the air date to avoid confusion due to different time zones, so the first episodes actually dropped on Thursday at 9 p.m. EST.
Woot! Although in Finnish time, that’s 4 a.m., which is definitely not the easiest of viewing times. (It’s been a long while since being 7 hours ahead of EST felt this hard.) OTOH, it means we could see each new episode over breakfast… That’s an intriguing thought…! Anyway, we *still* need to decide whether we want to see one episode a week, or whether we’ll wait till the end to binge it all at once.
Hey, look! We found a thing on the internet! We thought it was cool, and wanted to share it with you.
Ooh! A new version of Jane Austen’s Pride and Prejudice is in the works!
Netflix is producing the 6-episode adaptation. Author Dolly Alderton will adapt and Euros Lyn direct. Of the cast so far announced are Olivia Colman as Mrs. Bennet—which will be a fantastic performance, I’m sure—plus Emma Corrin as Elizabeth Bennet and Jack Lowden as Mr. Darcy.
At this writing the new P&P series is only in preproduction, so lots of unknowns remain, including release date. According to Netflix, production is slated to start in the UK this year, but that’s all so far.
Wow, I’ve been wanting another Jane Austen adaptation for a while, so this is great! Not necessarily P&P, though, it’s been done so many times, but I’ll take it. 🙂
As I said, I firmly believe Colman will be great, and I seem to remember good things about Corrin (Princess Diana in The Crown and Cassandra Nova in Deadpool & Wolverine). Lowden, however, is completely new to me; I have no idea what kind of an actor he might be.
Another complete unknown to me is writer Dolly Alderton. However, I’ve seen the work of director Euros Lyn in Doctor Who and Torchwood as well as Broadchurch and Sherlock (the latter with Martin Freeman and Benedict Cumberbatch). Broadchurch, especially, was fantastic, and he and Colman worked together in that.
Very promising! Looking forward to hearing more about this adaptation.
The article is definitely worth a look, especially since (at this writing) it has more photos than IMDB. Way more. And they look great! I mashed up some of them into a collage, below, mostly for my own enjoyment:
We still don’t see much of the company or Corporation Rim even in these first look photos, but it looks dark and imposing (top left in my mashup). I assume the other spaces with orange accents are either the Preservation Aux habitat down on the planet or their hopper, or (less likely) the DeltFall survey habitat.
Readers of Murderbot books know that Preservation is everything Corporation Rim isn’t when it comes to human rights and comfort, and it’s fantastic how the set design has implied that with a paler, more cheerful color scheme and with plants (bottom right in my mashup). Looks like some of them are edible, but some look decidedly decorative.
A tidbit that’s definitely not from the first Murderbot book is revealed by the first look article: “One of the funniest sequences in the series involves […] a human indentured servant who has been alone too long in the reaches of space and makes the mistake of trying to seduce the uninterested security unit.”
Err. Hm. I could see why they’d want to include the scene (as a further hint of how SecUnits in general work), but mostly I can’t see how it could add more than confuse. We’ll have to wait for the series to dissect it further.
The clip doesn’t reveal much, just that Murderbot doesn’t have a bellybutton or nipples.
But the trailer!
(Confession: My very first thought was ‘Murderbot has a stupid voice’—sorry, Alexander—followed by ‘but I’m sure I’ll get over it’.)
The writing team has included Murderbot’s favorite show The Rise and Fall of Sanctuary Moon. For real: we’ll actually get to see some of the show, and it looks fabulous! And what a cast—according to Vanity Fair, Sanctuary Moon stars John Cho, Jack McBrayer, Clark Gregg, and DeWanda Wise.
Also, they’ve kept Murderbot’s inner dialogue—woot!—and the Preservation team looks and feels absolutely bang on. They even have colorful rugs on their mission! Plants and rugs lugged along on a planetary survey—if that doesn’t tell you anything about Preservation’s attitude towards life in general, I don’t know what will.
I’m ridiculously excited about the Murderbot series. (I had to force myself to go back and delete a whole bunch of exclamation marks from this post, if you can believe it!) I really, truly hope it’ll be good, and no-one’s marketing-directored it to death. So far it’s looking promising!
Gosh, I never did talk here about the Star Wars cinematic universe series Andorbeyond posting the trailers back in 2022. Long story short: we watched it, loved it, and have seen it more than once. Good quality all round; in fact, it’s my absolute favorite in the Star Wars tv-verse. The only question was how long will it take to make more…!
Finally, finally, there are trailers and a release date for Andor season 2. Here’s the first:
The trailer music is obviously picked for the lyrics, but it’s an odd choice in terms of mood. But there’s dancing, joyous dancing by the look of it, and Cassian cleans up nice. Clearly a lot of rebellious things also happen. Looks, props, and costumes are good, too, from what there is to see. Some new, atypical environments like the grain field grabbed my interest. It’s good to see so many returning faces among the cast.
And the second trailer:
Andor | Official Trailer | Final Season Streaming April 22 on Disney+ by Star Wars on YouTube
The city in a valley with concentric, star-shaped walls is fascinating; I’d like to see more of that. It has the feel of a medieval castle city, except HUGE. Mon Mothma’s growing terror is chilling to watch; Genevieve O’Reilly is one of my favorites in the series, and she continues to do an amazing job.
A pretty tantalizing behind-the-scenes video has also been released:
Ok, wow. I knew from elsewhere that season 2 will cover multiple years, but somehow I’d missed that the events here, over four years, take us into Rogue One. Sounds too fast, almost, but we’ll see how skillfully they’ll create the overall arc.
Season 2 of Andor is set to stream on April 22, 2025, with a three-parter of a premiere. This time it seems the episodes are grouped and released in threes, with the final bunch released on May 13, 2025. We’ll definitely have to spring for another few months’ worth of subscription.
Hey, look! We found a thing on the internet! We thought it was cool, and wanted to share it with you.
The first two installments of the 10-episode series will be streamed on Friday, May 16. This double feature will be followed by new episodes every Friday through July 11, 2025.
They also released the first two photos of actor and executive producer Alexander Skarsgård as Murderbot, one with helmet on and the other with helmet off.
There really isn’t much detail in these photos; I wish there was a little more. Stylistically they’re not too far off of what I imagined on the basis of the books, except that Murderbot’s armor looks too flimsy. (Maybe they’ve written in a reason for that?)
This February’s press release also describes the series as a comedic thriller, which is interesting in itself. Yes, there are comedic elements, and yes, there is suspense and combat—in fact, I remember being flabbergasted when Murderbot exploded into action literally on page two of All Systems Red. I mean, it wasn’t a surprise that some fighting would be involved, but that quickly? It was an unusual attention-grabbing move to barely introduce your main character, never mind the world, before sweeping your readers into a fray with large hostile life forms with big teeth. Not to mention the trouble at the DeltFall survey site and the threat of EvilSurvey that steadily mounts through the book. Makes me wonder exactly which aspect, the comedy or the thrill, has Apple TV decided to focus on, or if both feature equally, whether they’ll be able to pull off a nice balance.
The IMDB entry for Murderbot reveals another two tiny tidbits: there will be a spaceship named Twodor and a named side character Venenek, neither of which appear in Martha Wells’s original writings. I’m sure IMDB will fill in more info as the release draws nearer.
One thing is sure: this spring will be a great time to re-read Murderbot. Not that there’s ever a bad time. 🙂
I’ve been thinking a bit lately about how to describe the kind of stories I want to experience, whether on the page or the screen. I’ve long known that I enjoy stories about characters solving problems. But that’s not the only thing I look for in fiction.
I enjoy reading about people who are good to one another, kind, compassionate, and generous. I don’t enjoy stories in which kindness is portrayed as weakness, or in which the most manipulative, cruel, or ruthless characters prosper at the expense of others. I want to see how being kind and treating others well is the best way to go about solving problems. I like stories in which being a good person isn’t just the right thing to do, it’s the smart thing to do.
I don’t mean stories with a moralistic bent, in which some outside force (be it divinity, fate, or just the author’s guiding hand) intervenes to reward virtue and punish vice. I don’t want to see good people win just because they are good. I want to see them win because complicated problems can’t be solved by one person acting alone, no matter how devious or ruthless they may be. Big problems only get solved by people working together, and the best way to get people working together is to treat them decently.
Here are a few my favorite stories on page and screen that fit what I’m looking for.
J. R. R. Tolkien’s The Lord of the Rings is a tale of cosmic good and evil, but one that plays out on the individual level. The forces of good ultimately triumph because many individual people, some of them quite small and unimportant, choose the good of others over their own safety or comfort. Katherine Addison’s The Goblin Emperor follows Maia, a neglected half-goblin prince, as he is thrust by circumstance onto the throne of an Elvish empire. Maia is surrounded by devious plotters and dangerous revolutionaries, but he keeps his throne and his head by listening to others, finding trustworthy allies, and being compassionate to the weak and vulnerable. In Martha Wells’s Murderbot Diaries series, the sarcastically self-named Murderbot is a human/machine construct designed by a ruthless ultra-capitalist corporation to fight and kill, but who would rather just be left alone to watch media. Over the course of the stories, it discovers humans who are not ruthless ultra-capitalists, whom it ends up learning to trust and value.
Star Trek is all about characters being good. Deep Space Nine pushes its characters to the limits of the universe’s hopeful utopianism through trauma and war, but ultimately finds them trusting one another, working together, and finding compassion even for their most implacable enemies. In Doctor Who, the wandering Time Lord stumbles into one disaster after another, but approaches them all with a spirit of hope and understanding, asking questions always and shooting never. Downton Abbey follows the inhabitants of the titular manor, both the family upstairs and the staff downstairs, through the tumultuous social changes of the early twentieth century. All the characters have their flaws, and some can be quite vicious, but the series follows how the characters come to rely on one another, and how even the most mercenary of them learn that kindness and compassion are vital for surviving in a changing world.
These are the kinds of stories I want more of: people being good or learning to be good, not just because it’s the right thing to do, but because it works.
Images by Erik Jensen
Story Time is all about story-telling and how stories work, and what makes us love our favorites.
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