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We talk with astronaut Michael Foale about the 1997 Space Station Mir crisis: 'He took all the blame of the collision on his shoulders'

25 July 2026 at 17:00

All systems are go! PBS just launched the second episode of its "Once Upon a Time in Space" miniseries on Tuesday, titled "The Russian Thing," and we’ve got an exclusive clip from the harrowing chapter that focuses on near disasters aboard the Space Station Mir in 1997.

In addition to the video, we’re also proud to share an exclusive interview with NASA's celebrated British-American astronaut Michael Foale, who is featured prominently in the new segment regarding the infamous cargo pod collision on Mir, which caused a decompression incident that became a life-threatening crisis.

Hailing from British filmmaker James Bluemel and his crew that delivered the award-winning "Once Upon a Time in Northern Ireland," "Once Upon a Time in Space" is a 4-part exploration of human spaceflight. Its weekly episodes trace pivotal events in spacefaring history via the personal experiences of astronauts, cosmonauts, and loved ones left on Earth from the birth of the Space Shuttle program to the blossoming of today’s commercial spaceflight industry.

"James Bluemel is a very perceptive director, and he was different from others that have interviewed me," Foale tells Space.

"What I loved about his method was he would dig up clips from our training or at different points when I was a brand new astronaut, looking really young and had a surfer boy haircut. I love windsurfing. He would dig up clips I don't know where from. And then he'd show it to you, and then he'd say, 'What do you think?'"

Foale — a distinguished veteran of six space missions who retired in 2013 — takes us back to that day of May 25, 1997, when a manual docking maneuver caused an unmanned Progress cargo ship to collide with Mir, ripping a large hole in the Russian space station’s Spektr module.

The crew’s valiant attempt to halt the pressure leak and save the station is like something straight out of a Hollywood thriller. With only 23 minutes of oxygen left, Foale and cosmonauts Vasily Tsibliev and Alexander ‘Sasha’ Lazutkin were able to repair the damage and stop the tumbling spacecraft from spinning wildly out of control.

"The root cause of the accident was trying to save money," he explains. "And the root cause was an attempt to do a manual docking from a large distance longer than any cosmonaut or astronaut does a manual docking from and doing it without the radar. The radar was built in Ukraine and cost $2 million in that timeframe. And the Russian managers did not want to pay Ukraine $2 million.

"So someone in the Energia corporation — they're the guilty company — decided they would try and get this crew at the last minute to try and do a manual rendezvous and docking without the radar from about a six-kilometer starting point. And that test was with a Progress we'd already filled up with trash and was meant to be de-orbited into the Pacific Ocean. Before it was going to be de-orbited finally, it was going to do this test."

a promo poster for a space documentary

(Image credit: PBS)

Unfortunately, that test went horribly wrong due to Vasily Tsibliev not being able, based on measurements he could make in real time, to determine the exact closing velocity of the Progress.

"He couldn't ascertain distance very well, but you need the distance first, and then you need to divide by time to get the velocity,” notes Foale. “That was not possible in that situation and never attempted again. It caused a much higher velocity than Vasily could extinguish using the one thruster set that were turned on the Progress.

"So it bounced off, literally bounced off after crumpling part of the Spektr module and bending one of the solar arrays. The joint cracked at the base of the solar array into the module, and that's where the unseen hole is or was. And that's where the air was leaving from. It was a multiple hit that caused it to float away. And we were told as a crew about three days later, because we asked what had happened to it. They said, 'Well, engine was capable of being fired. It was capable of reorienting itself, and it de-orbited into the Pacific.'"

a Russian space station in orbit

The Soviet space station Mir before being de-orbited in 2001 (Image credit: NASA)

In the aftermath of the collision, an adapter was sent up to try and connect power back from the Spektr module into the Mir system.

"Vasily and Sasha were planned to do an internal spacewalk into the Spektr module to get to those cables that Sasha and I had had to disconnect to save the station," Foale adds. "They were going to go back in during an internal EVA. Vasily, because of the stress of the event, didn't pass the medical test done before the spacewalk, and they wire you up for a heart monitor.

"So then a day later, a call came up from the head of the program, Valery Ryumin, saying, 'Oh, Michael, you're on the radio. I'm going to ask you, would you be willing to go in and do the spacewalk inside the Spektr module instead of Vasily?'", remembers Foale. "I just knew that that was going to create a huge issue with me and Vasily because it was so humiliating for him. And he took all the blame of the collision on his shoulders, which was unfair."

Foale retired from NASA and space travel after a brilliant 30-year career with the agency and six space shuttle missions, but the lifestyle adjustment was a bit troubling at first.

Two astronauts aboard a space station

Alexander 'Sasha' Lazutkin (L) and Michael Foale (R) aboard Mir (Image credit: NASA/BBC/PBS)

“That was a depressing moment when I was being told, 'Oh, you're done,'" he shares. "I knew I couldn't survive the envy of my astronaut colleagues who are younger than me and haven't flown but once or twice. So I knew I was kind of done in space, at least with NASA. I was dreaming of being an astronaut guide like Peggy Whitson or Michael Lopez-Alegria on an Axiom mission. Those were my daydreams initially. I miss space, but I’ve found other things to replace that fun.

“I've always been turned on emotionally and romantically by soaring and flying. So living in Texas amongst the mountains with fantastic stars every night and soaring here, it's not space. It's not in a spacesuit outside the Mir looking at it, but it's pretty cool. I do go back to a much more comfortable situation in the evening, and I do ride my bike.

"As a 69-year-old now, I have a pretty good late-life pastime. But you have to make do. And hey, you have to keep telling yourself you're one of the luckiest guys around. I would say I was naively optimistic about the international collaboration in space. The show that James Bluemel has put together, "Once Upon a Time in Space," in some ways it looks like a fairytale to me when I look back on it."

"Once Upon a Time in Space's" "The Russian Thing" episode aired on July 21, 2026, at 9:00 p.m. ET on PBS, PBS.org, and the PBS app, with the final two chapters coming on July 28 and Aug. 4.

Synth historian Oli Freke will spend big on a good bicycle

25 July 2026 at 16:15

Oli Freke is a musician and journalist whose works have appeared in Sound on Sound, The Quietus, and Mixmag. This has included using math to explore the melodic potential of the Western 12-tone scale and deep dives on effects plug-ins. He's even written a book tracing the evolution of the synthesizer from 1963 through 1995, charting the change from analog to digital and back.

His new project is Beat Gems, a coffee-table visual history of drum machines from publisher Bjooks. Like other Bjooks titles, Beat Gems is loaded with gorgeous photos, fascinating historical tidbits, and practical advice for making the most of your gear, whether it's …

Read the full story at The Verge.

This Week In Space podcast: Episode 220 — First on Mars

25 July 2026 at 16:11

On Episode 220 of This Week In Space, Rod Pyle and Tariq Malik are joined by Dr. Pascal Lee and astrobiologist Dr. Penny Boston to mark the 50th anniversary of Viking 1's landing on Mars.

This week, we cover how Starship Flight 13 finally prepares to launch amid a legal battle over SpaceX's proposed land swap at Starbase, plus a Chinese Long March 3B rocket gets struck by lightning during liftoff, yet still delivers its satellite safely.

Then, we revisit the Viking 1 mission's groundbreaking life-detection experiments and the decades-long controversy over what they actually found. The conversation traces Mars exploration from the earliest Mariner flybys through Viking's ambiguous, still-debated results — later explained by perchlorates in the Martian soil — and the fierce scientific rivalry the findings sparked. Join us!

Download or subscribe to this show at: https://twit.tv/shows/this-week-in-space.

Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit

Space news of the week

Model Falcon 9!

TOP TELESCOPE PICK:

A Celestron telescope on a white background

(Image credit: Celestron)

Looking for a telescope to see planets and comets? We recommend the Celestron Astro Fi 102 as the top pick in our best beginner's telescope guide.

Finally, did you know you can launch your own SpaceX rocket? Model rocket maker Estes' stunning scale model of a Falcon 9 rocket that you can pick up now. The launchable model is a detailed recreation of the Falcon 9 and retails for $149.99. You can save 10% by using the code IN-COLLECTSPACE at checkout, courtesy of our partners collectSPACE.com.

About This Week In Space

This Week in Space covers the new space age. Every Friday we take a deep dive into a fascinating topic. What's happening with the new race to the moon and other planets? When will SpaceX really send people to Mars?

Join Rod Pyle and Tariq Malik from Space.com as they tackle those questions and more each week on Friday afternoons. You can subscribe today on your favorite podcatcher.

Warner Bros. is suing Amazon for poaching employees

25 July 2026 at 15:05
Warner Bros. logo on a graphic blue and yellow background.

Warner Bros. Discovery has filed suit against Amazon, accusing it of illegally poaching employees, including Pia Barlow, former senior VP for originals marketing. In the complaint, Warner says that "Amazon has chosen to ride on the coattails of other well-established Hollywood mainstays," and that it engaged in a "lawless employee shopping spree." Deadline reports that Francesca Orsi, HBO's head of drama series and films, is believed to be one of the other Amazon targets.

Barlow is set to begin a new position as Amazon's head of original series marketing on August 3rd. According to Warner's suit, Barlow was under contract until October 31st …

Read the full story at The Verge.

Agent Kim Reactivated Finale Preview: Will Agent Kim Fight His Closest Friends?

25 July 2026 at 13:08

Agent Kim Reactivated Episode 10 will place Manager Kim and his closest allies inside their most personal and dangerous battle yet. With their children being used as hostages, the three fathers must find a way to defeat Ju Gang-chan without turning against each other. Spoiler warning for Episode 9 Episode 9 followed Manager Kim, Seong […]

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What Surrounds Us will make you think a lot about circles

25 July 2026 at 13:00

What Surrounds Us takes its title literally. You play as a circle surrounding a hole in its middle - it looks like a donut with frosting. You work together with other sentient moving circles, sometimes helping them joyfully meet with others. And you traverse a large map that's composed entirely of, you guessed it, a series of circles. But the circles everywhere aren't just an artistic choice; they underscore the game's themes about working in connection with the environment and the things around us.

Despite the trippy design, What Surrounds Us has a familiar format. I kept feeling echoes of The Legend of Zelda as I trekked across three dist …

Read the full story at The Verge.

‘Agent Kim Reactivated’ Episode 10 Finale Release Date and What to Expect

25 July 2026 at 11:35

Agent Kim Reactivated Episode 10 will release on Saturday, July 25, 2026, bringing the Korean action drama’s first season to an end. The finale will air on SBS in South Korea before becoming available to international viewers on Netflix. The final episode will begin at 9:45 p.m. KST, which is five minutes earlier than the […]

The post ‘Agent Kim Reactivated’ Episode 10 Finale Release Date and What to Expect appeared first on The Mac Observer.

‘Sugar’ Season 2, Episode 7 Release Date and What to Expect

25 July 2026 at 06:56

“Sugar” Season 2, Episode 7 will arrive on Apple TV on Friday, July 31, 2026. The upcoming chapter serves as the penultimate episode, bringing John Sugar closer to the truth behind his latest case while his conflict with Deputy Vega reaches a dangerous stage. The neo-noir detective series returned for its second season on June […]

The post ‘Sugar’ Season 2, Episode 7 Release Date and What to Expect appeared first on The Mac Observer.

‘Agent Kim Reactivated’ Episode 9 Recap: Kim and His Team Fight Their Way Out

25 July 2026 at 06:37

Agent Kim Reactivated Episode 9 pushes Kim and his allies into another dangerous escape mission after his carefully prepared operation falls apart. With Min-ji’s safety still uncertain, Kim joins forces with Han-su, Jin-cheol, and Sang-a while Kang-chan prepares another cruel surprise. The Korean drama follows an ordinary office worker who reveals his past as a […]

The post ‘Agent Kim Reactivated’ Episode 9 Recap: Kim and His Team Fight Their Way Out appeared first on The Mac Observer.

The Dink Premieres on Apple TV With Pickleball Chaos

By: Hannah
24 July 2026 at 22:10

The Dink is now streaming on Apple TV, bringing pickleball rivalries, family tension and a star-filled ensemble to the platform in a new feature from Apple Original Films.

Jake Johnson leads the sports comedy as Dusty Boyd, a former tennis prodigy whose career has been reduced to coaching unruly children at the suburban country club operated by his father, Chuck, played by Ed Harris.

Dusty remains desperate to earn Chuck approval and supports his campaign against the pickleball players moving into the club. That loyalty becomes harder to maintain when an old injury prevents Dusty from continuing to play tennis and forces him to try the sport he has spent years dismissing.

Mary Steenburgen stars as Candace, the pickleball player who helps Dusty discover that the smaller court and plastic ball may offer more competition, community and personal meaning than he expected.

The official trailer previews the increasingly absurd conflict as Dusty moves from mocking pickleball to treating it with the same intensity that once defined his tennis ambitions.

A smiling woman with long blonde hair stands next to a bearded man in a dark jacket. They appear happy and are standing indoors in a warmly lit room, reminiscent of a cozy scene from an Apple TV series.
Image Credit: Apple Inc.

The Dink Turns Pickleball Into a Personal Crisis

The Dink uses the cultural rivalry between tennis and pickleball as the foundation for a familiar but effective underdog story.

Dusty has built his identity around a sport that no longer provides the future he imagined. Coaching children keeps him close to tennis, but it also becomes a daily reminder of the professional career that never reached its expected destination.

Chuck makes that disappointment more difficult to escape. He treats tennis as a tradition worthy of protection and pickleball as an invasion threatening the character of his club. Dusty supports that view partly because opposing the new sport offers another chance to remain aligned with his father.

The injury breaks that arrangement. Dusty can either accept that his competitive life has changed or continue defending a version of himself that no longer exists.

Pickleball gives the movie an accessible way to explore that conflict. The sport has grown rapidly across the United States, attracting recreational players, professional tournaments, celebrity investors and frequent arguments over shared tennis courts.

That expansion has created a real cultural divide. Longtime tennis players sometimes view pickleball as an easier imitation occupying spaces built for their sport. Pickleball players respond that its accessibility, social atmosphere and shorter learning curve are precisely why it has become so popular.

The movie exaggerates those attitudes without requiring viewers to understand tournament rules or follow professional pickleball. Dusty resistance is easy to recognize because the dispute is ultimately about status, pride and adapting when another generation changes the environment.

Johnson brings the frustrated comic rhythm that made his work in New Girl and Self Reliance distinctive. Dusty can recognize the ridiculousness surrounding him while remaining too emotionally invested to step away from it.

A man in a black shirt and cap smiles while speaking to a group at an outdoor tennis court during The Dink premiere. Several people stand behind him, listening, with trees and umbrellas visible in the background, celebrating the event featured on Apple TV.
Image Credit: Apple Inc.

A Cast Ready for Sports-Comedy Disorder

Ed Harris gives Chuck the kind of dramatic intensity that can make an argument about pickleball sound like a defense of national values.

The performance works because Harris does not need to treat the character as an obvious joke. Chuck absolute seriousness turns court access, club traditions and Dusty choices into matters of personal betrayal.

Steenburgen provides a warmer presence as Candace, whose interest in pickleball is connected to friendship and personal renewal rather than institutional rivalry. Her character gives Dusty an alternative to the approval he has spent years seeking from his father.

The supporting cast adds several different styles of comedy. Chloe Fineman appears as Marisa, while Patton Oswalt, Chris Parnell and Aaron Chen populate the club with characters capable of pushing the central rivalry into increasingly strange territory.

Ben Stiller appears in the movie while also serving as a producer through Red Hour Films. His involvement creates an immediate connection to the broad sports comedies of the 2000s, particularly stories in which an underestimated activity becomes an arena for oversized ambition.

Former tennis champion Andy Roddick also appears, bringing part of Dusty competitive past directly into the story. John McEnroe joins the collection of tennis personalities willing to participate in a movie built around the sport losing territory to pickleball.

The appearances allow The Dink to make fun of tennis culture without presenting it as an invented stereotype. The athletes understand the rivalry and can participate in the joke while giving the movie a recognizable connection to professional competition.

Josh Greenbaum directs from a screenplay by Sean Clements. Greenbaum previously directed Barb and Star Go to Vista Del Mar and the documentary Will & Harper, demonstrating an interest in unusual personalities whose comic journeys contain more sincerity than their premises initially suggest.

Clements brings experience from television comedy, including Workaholics, helping the film maintain an ensemble rhythm rather than depending entirely on pickleball references.

Two people stand on a tennis court, smiling and holding pickleball paddles as if ready for a fun match that could belong in an Apple TV scene. The woman wears a sun hat and light blue shirt, while the man—who bears a resemblance to Ben Stiller—sports a dark jacket and headband. There’s a net and green background behind them, evoking the fresh style of an.
Image Credit: Apple Inc.

Apple Original Films Finds a Lighter Release

Apple acquired worldwide distribution rights to The Dink in August 2025, adding the project to a film catalog that moves between major dramas, action productions, documentaries and mainstream entertainment.

The movie offers a deliberately lighter summer release than many of the prestige projects associated with Apple Original Films. Its appeal depends on character chemistry, physical comedy and a sport already producing arguments in clubs and neighborhoods across the country.

That approach gives Apple TV a feature capable of reaching viewers who may not be looking for another complex series or franchise commitment. The story is contained, the conflict is immediately understandable and the cast combines familiar performers from several generations of comedy and drama.

The Dink also arrives as Apple TV continues developing a broader identity for its movie catalog. Award recognition remains part of the strategy, but accessible comedies can give subscribers a different reason to open the service on a weekend.

The film held its global premiere in Los Angeles on July 20, with Johnson, Harris, Steenburgen, Fineman, Aaron Chen, Greenbaum and Clements attending the event at Westfield Century City.

Johnson also serves as a producer alongside Stiller, John Lesher, Rob Paris and Mike Witherill. That position gives the lead actor a larger role in shaping a comedy built closely around his familiar ability to play disappointed men attempting improbable reinvention.

The timing could also help the film benefit from growing curiosity around pickleball. Viewers who already play will recognize the sport competitive personalities and social appeal, while skeptics may find Dusty hostility uncomfortably familiar.

The Dink runs for one hour and 42 minutes and carries a PG-13 rating for strong language and sexual material. It is available exclusively to Apple TV subscribers through the Apple TV app.

A man's face, wearing a blue headband, is surrounded by a large number of green pickleballs with holes—a playful scene reminiscent of The Dink premiere from Apple Original Films.
Image Credit: Apple Inc.

The post The Dink Premieres on Apple TV With Pickleball Chaos appeared first on AppleMagazine.

‘Sugar’ Season 2, Episode 6 Recap: John Sugar Faces His Darkest Choice Yet

24 July 2026 at 20:35

Sugar Season 2, Episode 6 pushes John Sugar deeper into a dangerous conspiracy as Vega closes in on Ji Moon and refuses to leave any witnesses behind. Spoiler warning The following section contains major spoilers from Sugar Season 2, Episode 6. Sugar learns the truth about Operation Fire Sale After hiding Ji Moon in a […]

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‘Agent Kim Reactivated’ Episode 9 Release Date and What to Expect

24 July 2026 at 20:24

Agent Kim Reactivated Episode 9 will release on Friday, July 24, 2026, as Kim Do-hyeon enters the final stage of his dangerous mission. The upcoming episode will continue directly after Episode 8’s cliffhanger, which placed Do-hyeon and General Ri in a difficult position. With only two regular episodes remaining, the story is moving toward its […]

The post ‘Agent Kim Reactivated’ Episode 9 Release Date and What to Expect appeared first on The Mac Observer.

The Last Person on Earth Reinvents Dating Shows

By: Hannah
24 July 2026 at 20:21

The Last Person on Earth will bring a different kind of dating experiment to Apple TV, pairing people who appear fundamentally incompatible before sending them to some of the world most romantic and isolated destinations.

Apple announced the eight-episode documentary series with Esther Perel, the bestselling author, psychotherapist and relationship expert known for examining desire, intimacy, infidelity and the tensions inside modern partnerships.

Perel will work with a team of matchmakers and therapists to create pairings that challenge the usual assumptions surrounding compatibility. Rather than finding contestants who share the same interests, routines and preferences, the series will deliberately bring together people who may initially see each other as the last person they would ever choose.

The central question is whether attraction can develop when familiar dating checklists are removed. Apple describes the series as an exploration of whether an unexpected partner can become the person someone ultimately cannot imagine living without.

No premiere date, contestant list or filming locations have been announced.

Apple TV logo with a glowing apple icon and the letters "tv" on a vibrant gradient background, shifting from orange to purple and blue—reflecting the dynamic spirit of Apple TV competition. The small Apple logo appears in the bottom right corner.
Image Credit: AppleMagazine

The Last Person on Earth Challenges Compatibility

The Last Person on Earth enters a crowded dating television market with a premise that rejects one of the most common promises made by matchmaking services: that compatibility can be predicted through similarity.

Dating apps routinely organize potential relationships through age, location, interests, lifestyle preferences, political beliefs and other personal filters. The process can help users avoid obvious conflicts, but it can also create increasingly narrow definitions of who deserves consideration.

Perel has frequently argued that desire does not always emerge from familiarity. Attraction can depend on difference, curiosity and the discovery of qualities that were not included on a checklist.

The Apple TV series turns that idea into a structured experiment. Participants will meet someone who appears to contradict their expectations before traveling together to a remote setting where ordinary distractions and familiar support systems may be limited.

That environment creates immediate dramatic possibilities. A beautiful destination can make a first connection feel unusually intense, but isolation can also expose differences that would remain hidden during short dates in familiar surroundings.

The presence of therapists and matchmakers suggests that the series will examine those reactions rather than presenting every disagreement as entertainment. Perel can help participants distinguish between genuine incompatibility, defensive habits and discomfort created by encountering someone outside their usual pattern.

The experiment does not promise that every opposite pairing will succeed. Difference can produce curiosity, but it can also reveal conflicts involving values, communication, life goals or emotional availability.

The more revealing outcome may be whether participants leave with a broader understanding of attraction, even when the relationship itself does not continue.

Esther Perel Brings a Different Voice to Dating TV

Perel gives the series a more analytical foundation than the competition-driven structure used by many dating programs.

Her books Mating in Captivity and The State of Affairs examine the contradictions surrounding commitment, desire and personal freedom. She also hosts the podcasts Where Should We Begin? and How Work, presenting conversations that explore relationships without reducing complicated behavior to simple villains and heroes.

That background may help The Last Person on Earth avoid familiar reality television shortcuts. Dating shows often depend on rapid attraction, artificial scarcity and public rejection. Contestants compete for one person, choose partners through brief impressions or make long-term commitments before they have experienced ordinary life together.

The new series begins with a different source of tension. Participants are not being told that a seemingly perfect match has been selected. They are being asked to question why someone who appears wrong may deserve a closer look.

Perel describes the project as an invitation to move beyond what feels familiar or safe. Her involvement also raises expectations that the series will explore how participants construct their preferences.

A person may insist on dating only someone with a certain career, personality or social style without understanding where that requirement originated. Some preferences protect legitimate needs. Others may repeat an old relationship pattern or prevent vulnerability by eliminating anyone capable of creating uncertainty.

The matchmakers and therapists can examine those distinctions before, during and after the trip. Their role could become particularly valuable when participants confuse immediate comfort with long-term suitability or mistake tension for romantic chemistry.

Apple has not explained how long each pairing will remain together, whether several couples will appear in each episode or how the experiment will determine its final outcomes.

The Last Person on Earth - Two illustrated people lean on each other against a purple background with the text "Where Should We Begin? with Esther Perel" above them in bold white letters, evoking the heartfelt connection at the center of Esther Perel’s celebrated series—now featured on Apple TV.
Image Source: Google

Remote Destinations Change the Dating Environment

Sending couples to romantic and remote destinations adds more than scenery.

Modern dating frequently develops through phones, messaging, social media profiles and quick meetings fitted around work schedules. Participants may arrive with established habits for checking other options, retreating into digital distractions or ending contact before uncertainty has time to become meaningful.

A remote journey removes part of that structure. Two people must spend sustained time together, make decisions and respond to unfamiliar situations without immediately returning to separate routines.

Travel can accelerate intimacy because it creates shared memories and reveals behavior under pressure. Delays, unfamiliar environments, fatigue and practical disagreements may show more than a polished restaurant conversation.

The destinations may also create a misleading sense of closeness. A relationship formed in an exceptional setting still needs to survive ordinary responsibilities, geography, work and family expectations after the trip ends.

The documentary format gives Apple an opportunity to follow that transition rather than ending with a dramatic choice at the destination. Whether the series continues documenting the couples after they return home has not been disclosed.

The title adds another layer to the concept. The “last person” can mean the least expected match, but it also reflects the anxiety surrounding modern dating. A growing number of people describe exhaustion with apps, repeated disappointment and the feeling that suitable partners are disappearing.

Apple links the experiment to rising social isolation and polarization. People increasingly sort themselves into cultural, political and lifestyle groups, while digital systems learn to reinforce existing preferences.

A relationship series built around difference can test whether those divisions remain as rigid when two people encounter each other as individuals rather than profiles representing opposing categories.

Unscripted Relationships

The eight-episode order gives the production enough space to develop several pairings without extending the experiment indefinitely. Its success will depend on whether the participants receive room to behave naturally or are pushed toward the exaggerated conflict expected from conventional dating television.

Perel provides the series with a promising tension: lasting relationships require genuine compatibility, yet attraction can disappear when every element feels predictable. The challenge is not proving that opposites always belong together. It is discovering which differences create possibility and which ones should remain deal-breakers.

The post The Last Person on Earth Reinvents Dating Shows appeared first on AppleMagazine.

‘Silo’ Season 3, Episode 4 Recap: Bernard’s Return Changes Everything

24 July 2026 at 20:19

Silo Season 3, Episode 4 takes Juliette deeper into Silo 18 as she escapes another attempt on her life and uncovers a secret that changes everything she thought she knew. Warning: Major spoilers for Silo Season 3, Episode 4 follow. Juliette escapes from Medical The episode begins with Camille still determined to kill Juliette under […]

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Cape Fear Season 1 Episode 9 Ending Explained: Every Twist Before the Finale

24 July 2026 at 19:32

The Cape Fear finale looks set to bring the Bowdens and the Cady family together for one final, violent confrontation. Episode 9 revealed several important family secrets while leaving Zack missing and Anna trapped near Cape Fear. Spoiler warning: This article contains major spoilers for Cape Fear Episode 9, “The Scar.” Where the Story Is […]

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‘Lucky’ Season 1 Episode 3 Recap: Lucky Finally Tracks Down Cary

24 July 2026 at 19:26

“Lucky” Season 1, Episode 3 follows Lucky as she searches for Cary and the stolen money, using every trick she learned during her unusual childhood. The episode, titled “Read the Room,” also reveals that Agent Billie Rand’s pursuit of Priscilla has become deeply personal. “Lucky” is a seven-episode Apple TV limited series based on Marissa […]

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We boldly chat with 'Star Trek: Strange New Worlds' showrunners about space dinosaurs and Lovecraftian horrors for season 4 (interview)

24 July 2026 at 19:00

Henry Alonso Myers and Akiva Goldsman are the primary ringleaders behind "Star Trek: Strange New Worlds", and they're about to unleash the next cluster of 10 Season 4 episodes for their spirited space show.

With an abundance of genre-crossing indulgences that are scary, surreal, and sometimes silly, the Paramount+ hit is operating at full warp speed in this penultimate outing, the debut episode of which just premiered on July 23, 2026.

We hitched a ride with the acclaimed executive producers to learn all about their vision for "Strange New Worlds'" fourth season and why they believe it will prove to be the finest one yet, taking cues from ‘90s-style time-travel odysseys, haunted starships, noir crime thrillers, puppet mishaps, and utopian fantasies.

(L-R): Rebecca Romijn as Una, Christina Chong as La’an Noonien-Singh, and Melissa Navia as Erica Ortegas in season 4, episode 1, of Star Trek: Strange New Worlds.

(Image credit: Paramount)

"It’s hard to come up through the ‘90s and not feel affected by a lot of the films that came out in that era, some of which my partner is directly responsible for," Myers tells Space regarding the solid one-two punch of the first two episodes.

"I think part of the goal is to come out swinging when you do a premiere. It needs its own premise that stands on its own, and then you need to figure out how to set up everything else for the season through that.

"How do you tell an emotional story that expresses where the season is going to go? And also, we want something that we think is cool. The minute we started talking about doing dinosaurs [In "Valles Marineris"], we were like, 'Yeah, let’s figure out a way to do that.' Then it became a question of how do we fit all of this into the same box."

For the unsettling (and pretty gruesome) horror episode titled "The Griffin Incident," Myers admits that Goldsman is his true north for all the horror elements because the Oscar-winning screenwriter loves it so deeply.

Celia Rose Gooding as Uhura in season 4, episode 2, of Star Trek: Strange New Worlds

Celia Rose Gooding as Lt. Nyota Uhura in "Strange New Worlds" Season 4 (Image credit: Paramount)

"I always look to see his reaction if whether or not we feel like we've hit it. And every season we’ve tried to do one, and we’ve done some decent ones. But we haven’t quite done something like a ghost story. His reaction to that made it all worth doing."

Goldsman finds it interesting that he understands the rules of the horror genre, yet he actually doesn't watch that much horror anymore, short of the horror projects that he's somehow been involved with creatively.

"The older I get, the harder it is for me to watch," he reveals. "This particular convergence of the open-hearted optimism of 'Star Trek' and the kind of haunted nature of the world behind the world. There's a cadence to this, an almost Lovecraftian sense of there’s something out there that’s more than we know and maybe not so pleasant. I just think that is really interesting in 'Star Trek.' So we built it and shot it like a horror movie, and for me it worked. It’s nice and scary.”

Three sci-fi crew members on a scary spaceship

A disturbing scene in "Strange New Worlds" Season 4's "The Griffin Incident" (Image credit: Paramount+)

In choosing some of their favorite moments of Season 4, Myers and Goldsman share observations on a few key crew members as they embark on their own inner voyages.

"There is stuff that Uhura goes through this season that really gets me," notes Myers. "She was the new recruit at the beginning of the show, and this is the part where she's suddenly a bit more in charge. She also manages to risk her life and save people in ways we haven't seen on screen. And it builds to something I love, which is she looks at who she's going to be, and looks back at who she was, and has some really great emotional stories around that. I love seeing her on that journey."

Picking his pair of intrepid Starfleet officers, Goldsman looks toward Sickbay.

"I think there's a set of relationship beats between M’Benga and Chapel in the back half of the season that really deepens both those characters and helps us understand where everybody's going that I think Jess and Babs did beautifully," he adds. "So I’m really looking forward to that."

"Star Trek: Strange New Worlds" Season 4 is now streaming on Paramount+.

The Morning Show Season 5 Will End the Apple TV Drama

By: Hannah
24 July 2026 at 17:12

The Morning Show Season 5 will officially conclude one of the longest-running and most recognizable dramas on Apple TV when it premieres in 2027.

Apple confirmed that the fifth season will be the last, allowing Jennifer Aniston, Reese Witherspoon and the creative team to complete the stories of Alex Levy, Bradley Jackson and the troubled journalists surrounding their fictional television network.

Aniston and Witherspoon will return as stars and executive producers. Both indicated that the ending was planned while the season was being developed, giving the writers an opportunity to create a deliberate conclusion rather than leaving the characters suspended after an unexpected cancellation.

Apple has not announced a specific premiere date or episode schedule. The company has released first-look images featuring Aniston and Witherspoon together, confirming that production on the final chapter is moving forward for a 2027 arrival.

The Morning Show Season 5 - Two women sit across from each other on blue chairs, engaged in conversation on The Morning Show set. A bouquet of flowers rests on the glass table between them, and a large screen is visible in the background, capturing the lively atmosphere of Apple TV's acclaimed series.
Image Credit: Apple Inc.

The Morning Show Season 5 Brings a Planned Ending

The Morning Show Season 5 was originally announced in September 2025, shortly before the fourth season premiered. At the time, Apple presented the renewal as another chapter for an established global hit without indicating that it would end the series.

The decision to identify it as the final season changes the expectations surrounding every storyline. Rather than creating another crisis that could lead into a sixth season, the writers can determine where the central characters belong after years of professional upheaval, corporate conflict and personal compromise.

Showrunner Charlotte Stoudt suggested that the final episodes will examine what the journalists ultimately choose for themselves. That direction fits a series in which success has rarely provided its characters with stability or satisfaction.

Alex and Bradley began the drama from sharply different positions. Alex was an established television personality attempting to protect her career during a public scandal, while Bradley entered the network as an unpredictable outsider. Their relationship developed through rivalry, loyalty, separation and repeated confrontations with the institutions employing them.

The final season can now treat those ambitions as completed journeys rather than temporary stages. Alex must decide what remains worth defending after years of negotiating with executives, billionaires and political interests. Bradley must determine whether pursuing the story at any personal cost remains sustainable.

Season four moved the drama into a media environment shaped by deepfakes, conspiracy theories, corporate influence and uncertainty over what audiences can trust. Its story continued examining how journalism operates when the network reporting the news is also affected by commercial priorities and internal power struggles.

Apple has not disclosed the central subject of Season 5. The first-look images concentrate on Aniston and Witherspoon, placing their complicated partnership back at the center after a fourth season that separated the characters through an international crisis.

A Flagship Series That Grew With Apple TV

The Morning Show debuted on November 1, 2019, the same day Apple launched its streaming service.

Its position in the original lineup made the series more than another drama acquisition. Apple needed recognizable performers and an ambitious production capable of signaling that the new platform intended to compete for major television audiences and awards.

Aniston and Witherspoon provided immediate visibility, while the newsroom setting allowed the series to respond to current debates involving workplace misconduct, corporate accountability, political polarization and the influence of television journalism.

The first season began after allegations against morning-show anchor Mitch Kessler, played by Steve Carell, forced the network to restructure its leading program. Alex attempted to retain control while Bradley was selected as an unconventional replacement capable of changing the tone of the broadcast.

Later seasons expanded far beyond the original scandal. The drama incorporated the COVID-19 pandemic, a technology billionaire attempting to acquire the network, the merger of UBA and NBN, artificial intelligence, misinformation and international political pressure.

The willingness to move quickly into recognizable real-world subjects became part of the identity of The Morning Show. Its fictional network frequently operated only a short distance from controversies affecting actual media companies, public figures and technology platforms.

The approach sometimes pushed the series toward heightened melodrama, but that excess also distinguished it from a conventional workplace production. Executive decisions, personal betrayals and breaking-news events could carry the intensity of a political thriller.

Billy Crudup became one of its most acclaimed performers as Cory Ellison, the charismatic executive whose enthusiasm for disruption regularly concealed more complicated motives. Crudup won two Emmy Awards for the role and will return for the final season.

Apple executives have described the production as a defining part of the streaming service. Ending it after five seasons closes a direct connection to the original Apple TV launch lineup while allowing the platform to preserve the series as a completed story.

A man in a tan suit and a woman in a black blazer walk side by side in a hallway, looking ahead with serious expressions. This could be a scene from The Morning Show Season 4 on Apple TV+, with others visible in the background.
Image Credit: Apple Inc.

The Final Cast Adds More High-Profile Names

The final season will bring back Aniston, Witherspoon, Crudup, Mark Duplass, Nicole Beharie, Nestor Carbonell, Karen Pittman and Jon Hamm.

Hamm joined the series as Paul Marks, a technology billionaire whose business ambitions and relationship with Alex reshaped the third season. His continued presence indicates that the consequences of his involvement with the network have not been fully resolved.

Several new performers will enter the drama for its last run. Apple has assembled additions including Jeff Daniels, Reneé Rapp, Jesse Williams, Sean Hayes and Lizzy Caplan, although complete character details remain limited.

Daniels brings a particularly appropriate history to the production after starring as news anchor Will McAvoy in The Newsroom. His presence creates an immediate association with another television drama concerned with journalism, newsroom ethics and the conflict between ratings and public responsibility.

Rapp returns to a major television role after building her music career and appearing in projects including The Sex Lives of College Girls and Mean Girls. Williams previously spent more than a decade on Grey’s Anatomy, while Hayes is best known for Will & Grace and has expanded into dramatic work.

Caplan has moved between comedy, drama and thrillers through projects including Masters of Sex, Fleishman Is in Trouble and Fatal Attraction. The scale of the additions suggests that the final season will introduce another major institutional or professional conflict rather than concentrating exclusively on farewell scenes.

Stoudt remains showrunner and executive producer. Mimi Leder continues as director and executive producer, while Media Res, Echo Films and Hello Sunshine remain behind the production.

Aniston described the opportunity to finish the story knowingly as a way to honor the characters with intention. Witherspoon emphasized that the series was never only about the personalities appearing on television, but also about the role of journalism and the people responsible for protecting the press.

That theme gives the final season a defined destination. The Morning Show began by asking whether a television institution could survive the misconduct it had protected. Its last episodes can decide whether the journalists inside that institution changed it, escaped it or became part of the machinery they once believed they could challenge.

The post The Morning Show Season 5 Will End the Apple TV Drama appeared first on AppleMagazine.

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