Star Trek Discovery - Season 2Eps1
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CBS All Access' third season of Star Trek: Discovery was the topic of conversation at Thursday's New York Comic Con Metaverse panel, with series stars Sonequa Martin-Green, Doug Jones, Anthony Rapp, Mary Wiseman, Wilson Cruz, David Ajala, Blu del Barrio, and Ian Alexander; and series co-showrunners and executive producers Alex Kurtzman and Michelle Paradise on hand to offer viewers clues as to what they can expect. But they brought more than just winning personality and season-teasers- how does a look at the opening scene from the third season
Here's a look back at the good news Discovery fans had been hoping/waiting for and finally got in October 2020- that a fourth season was given a green light and production was ready to start soon (though a wee bit later than expected):
In season one, the fictional company Cardiff Electric makes its first foray into personal computing with a project to build an IBM PC clone, led by entrepreneur Joe MacMillan (Lee Pace) with the help of computer engineer Gordon Clark (Scoot McNairy) and prodigy programmer Cameron Howe (Mackenzie Davis). Seasons two and three shift focus to a startup company, the online community Mutiny, headed by Cameron and Gordon's wife Donna (Kerry Bishé), while Joe ventures out on his own. The fourth and final season focuses on competing web search engines involving all the principal characters.
The original score was composed by Austrian musician Paul Haslinger, formerly of German electronic music group Tangerine Dream from 1986 to 1990. He secured the position on the series through his connection to its music supervisor, his friend Thomas Golubić. Having previously recorded music during the 1980s, Haslinger was drawn to Halt and Catch Fire as a second chance to write for the decade. Rather than merely revive 1980s music, he instead wanted to draw from its moodiness, and to combine his favorite retro sounds with modern-day elements. Haslinger's score was electronic, making heavy use of synthesizers; he used his original equipment and samples as well as virtual instruments, creating a blend of \"analog and digital sounds from that era and [his] own sound design\". He eschewed explicit musical themes for each character to avoid sounding \"hokey\". Instead, he tried to write for the subtext or underlying tension of scenes. Starting with the third season, Haslinger strove to pare down his compositions, often starting with fifteen tracks of audio before scaling down to five. He also incorporated more influences from beyond the 1980s, such as the works of Giorgio Moroder. A compilation of tracks from the first three seasons was released on CD and vinyl through Lakeshore Records on September 16, 2016. A second volume followed on vinyl, CD, and digital services on April 5, 2019.
The fourth season received critical acclaim, and the strongest reviews of any season of the series. At Metacritic, the season has an average review score of 92 out of 100, based on 8 reviews. According to Rotten Tomatoes, the fourth season holds a 100% approval rating with an average score of 9.53/10, based on 26 reviews; the site's critical consensus said, \"Halt and Catch Fire's character-driven drama culminates in an optimistic ode to the early internet age that's bound to stand the test of time.\" Michael Roffman of Consequence of Sound called the fourth season \"a victory lap for everyone who championed the show from the very beginning\". He said the series's refusal to guarantee the characters' success \"doesn't just make for great television, but great characters, and those characters are partly why Halt has staved off its own demise.\" Jeff Jensen of Entertainment Weekly said the show had overcome \"a sputtering start to become a luminous drama\", praising Cantwell and Rogers for progressing \"from aping the antihero playbook to refining it\" and for making \"incredibly compelling and unique\" characters. He concluded his review by calling the series \"an urgent story of rehumanization for a cold, wired culture\". Eric Thurm of The Verge called the show \"the best depiction of technological innovation on television\", lauding the \"truly formidable\" cast and the show's visual style for \"charg[ing] meetings, coding sessions, or a group of people standing in front of a whiteboard with creative potential\". St. James commended the series's ability to create nostalgia for the early days of the Web and said it was one of the few dramas that was able to \"stay nimble and sharp\" by \"find[ing] endless new iterations of the characters it already has\". In her end-of-year rankings of the best series, St. James said the season's final four episodes \"were as emotionally overwhelming as anything [she's] ever seen on television\". J.M. Suarez of PopMatters said the season \"never sacrifices nuance and thoughtfulness for twists or attempts to outdo itself,\" calling the show \"confident enough to let its characters succeed and fail without having to spell out who's right and wrong\". Sims said the fourth season \"succeeds by making its tech narrative not a dry history lesson, but rather a battle of wills between four very flawed, compelling characters, each possessed of the kinds of manic ambition and tendency toward self-destruction that make for the best television drama\". Alex Cranz of Gizmodo called the fourth season \"easily one of the best seasons of a television show ever produced\", while Brian Grubb of Uproxx similarly called it \"one of the best seasons of television [he's] ever seen\".
In September 2005, Archie Comics, publishers of the Sonic the Hedgehog comics started a comic book series based on Sonic X, making Sonic X the first Sonic-related cartoon to receive tie-in media. According to writer Joe Edkin, the first nine issues take place in the continuity between episodes 32 and 33, which falls between the Chaos and Shadow Sagas. After this, the stories' chronological positions vary for some time, although in progressively later points in the series, but it never reaches into the events of season 3. 59ce067264