Star Trek Into Darkness: Review

Director J.J. Abrams is back in the captain’s chair, piloting the U.S.S. Enterprise through more explosions, more lens flare – in fact, more of just about everything that disenchanted Trekkies with STAR TREK (2009) – and this time all of it is enhanced with enough eye-popping 3D to make these angry fans switch their phasers from stun to kill; and yet, none of that prevents STAR TREK INTO DARKNESS from doing what no STAR TREK film has ever done before: achieve greatness for the second time in a row. Though purists may disagree, Abrams’ two STAR TREK features rank atop their predecessors, eclipsing all of the STAR TREK: THE NEXT GENERATION films and all but the best of the classic TREK films.
What redeems all the bombs and bombast – the tipping of sacred cows – and the apparently heretical disregard for TREK orthodoxy? It’s a simple trick, really, but a profoundly insightful one: by staying true to the fundamental core of the familiar STAR TREK ethos and characters, screenwriters Roberto Orci, Alex Kurtzman, and Damon Lindelof can twist the details in new and interesting ways without ever violating the franchise’s prime directive: portraying an optimistic view of the future. Yes, that Utopian future will be threatened, and the story will focus less on speculative fiction than on the action-fueled drama of defending against a villainous threat, but that scenario will be used not just as an excuse for photon torpedoes and phaser blasts but also as framework for grandiose moments of pathos that bring the characters alive for a younger generation and remind old viewers why they fell in love with the crew of the Enterprise in the first place.

Kirk, Uhura, and Spock find themselves in a tight situation on a Klingon planet.
Kirk, Uhura, and Spock find themselves in a tight situation on a Klingon planet.

This time, the threat takes the form of Jonathan Harrison (Benedict Cumberbatch), who bombs a Starfleet data archive and later targets Starfleet headquarters itself, before skipping off to a planet in the Klingon system. Kirk (Chris Pine), who has been briefly demoted for ignoring the Prime Directive and prevaricating about it in his captain’s log, is re-instated as commander of the Enterprise and tasked with using a newly developed photon torpedo to take out Harrison and make a quick getaway before starting an interplanetary war with the Klingons.
There may be more to the story, however, as it turns out that the Starfleet Data Archive was actually a secret project to develop weapons for a war with the Klingons, which Admiral Marcus (Peter Weller) believes is inevitable. Is Harrison simply a patsy? Is he part of a conspiracy to ignite the simmering Klingon-Starfleet conflict? Or does he have his own, secret agenda?
STAR TREK INTO DARKNESS attempts to be the MAGNUM FORCE (1973) of the TREK series, directly addressing – and in fact deliberately back-walking – the impression left by its predecessor. Whereas MAGNUM FORCE attempted to counter the critical accusation that DIRTY HARRY (1971) endorsed a fascist approach to policing, STAR TREK INTO DARKNESS directly takes on the perceived militarization of the TREK universe, which reached its apotheosis in 2009’s STAR TREK, wherein seeking out new life and exploring strange worlds took a back seat to blowing up bad guys. Harrison’s attacks have lethal and very personal consequences for Kirk, who initially is happy to go on a vengeance-fueled mission involving targeted assassination from a safe distance.
As in the best STAR TREK, the scenario is a thinly veiled reflection of our current situation: think of drones and targeted assassinations in the Middle East, and you get the picture, at least initially; later developments turn the story into a warning about the dangers of blow-back. The joy here is that the script – and Pine – sell the device as character drama, allowing us to identify with the understandable feelings of grief and rage that could lead Kirk to moral compromise. In this regard, it is worth noting that STAR TREK INTO DARKNESS reaches back into the very earliest days of the original STAR TREK television series – back to that first half-season, produced by Gene Roddenberry, when Kirk was a driven man, given to heated, sometimes incorrect decisions (think of his effort to track down and kill the Gorn in ARENA without bothering to ascertain who was really the aggressor in a lethal territorial dispute).
Fortunately, as in the series, Spock (Zachary Quinto) and McCoy (Karl Urban) are on hand to help their captain reclaim his ethical center. As in the previous STAR TREK, the characters are milked for the dramatic juice that energizes what could have devolved into preachy moralizing. Yes, the familiar shtick is proudly displayed (Spock invokes logical and regulation; McCoy says “Dammit, Jim…”), but the screenwriters and the actors realize full well that these cliches are not just arbitrary punchlines to be inserted at random; rather, they are tags that help identify the underlying truth about the characters, which is then teased out when they are tested under life-or-death circumstances.
Spock and Kirk talked to their prisoner, who turns out to be a familiar foe (at least to the audience)
Spock and Kirk talked to their prisoner, who turns out to be a familiar foe (at least to the audience)

Exactly how that happens is fascinating, to coin a phrase. Just as the previous STAR TREK made rebooting the story part of its plot, acknowledging the previous history while simultaneously subverting it, STAR TREK INTO DARKNESS deliberately echoes – or, more precisely, mirrors – the events of STAR TREK II: THE WRATH OF KHAN. Familiar elements abound: a newly developed force capable of great destruction; the presence of Carol Marcus (Alice Eve); bodies secreted in photon torpedo tubes – so much so that, by the time Harrison reveals that he is actually Khan Noonien Singh, it is only what we expected.
The trick is that the expected set pieces are inverted, with characters taking on actions previously performed by others; we get a true alternate-universe version of the familiar events, taking what was old and making it new again, including a heart-rending variation on STAR TREK II’s most memorable plot development. (We won’t give it away here, but we will say you do get to here the memorable how of rage, “KHHHAAANNN!!!” – but not from the lips of James Kirk.) Here, STAR TREK INTO DARKNESS flirts with post-modernism, using the audience’s assumed familiarity to add resonance to the events depicted, even though, strictly speaking, there is no direct plot continuity with the film being referenced.
Even more impressively, the new film not only enhances itself by looking back on its 1982 predecessor; it also performs a sort of retro-active miracle, enhancing our appreciation of WRATH OF KHAN, which has now become part of a mirror-image diptych, the two films mutually reinforcing each other with their similarities and differences.
Amidst all the action and angst, STAR TREK INTO DARKNESS never forgets to be fun. The familiar character patter from the classic series is re-energized here; most of the jokes feel like authentic character moments, not old vaudeville routines hauled out of the mothballs. One exception is the sly, post-modern bit when Kirk transfers Checkov to engineering and tells him to put a red shirt on. Checkov’s worried expression is supposed to relate to concern over his new duties, but the audience reads it as fear of the fate known to befall so many red-shirted cadets in the old television episodes.
Technical credits are astounding; even the 3D conversion looks great, enhancing the dynamism on screen – especially in IMAX engagements. Fortunately, there is more than just visual flash here. Early on, there are actually some almost non-dialogue sequences, accompanied by a more delicate style of music scoring, that convey subplots and even a touch of exposition with admiral subtlety and economy, balancing the intentionally over-the-top excesses of the action sequences.
Spock may be a Vulcan, but he is not at home in a volcano.
Spock may be a Vulcan, but he is not at home in a volcano.

The more visceral scenes are sometimes overdone, and the plot is more convoluted than it needs to be, requiring a fairly thick slab of dialogue to explain Harrison’s actions, which dovetail perhaps a bit too conveniently with the desire of Admiral Marcus to find a casus belli with the Kklingons. STAR TREK INTO DARKNESS crams too much into one film, with the result that it frequently seems to be careening off into the wrong direction. Remarkably, the film almost always makes the necessary course correction before speeding down the wrong worm hole, and if viewers are more than occasionally left feeling that Abrams and company are trying too hard to recreate memorable beats from their first TREK outing, those misguided efforts usually redeem themselves. (For example, the rather non-energetic opening tease of Kirk escaping from a primitive alien tribe turns into an interesting dilemma – obey the Prime Directive or save Spock’s life – and culminates in sly joke at the expense of Trekkies: after a glimpse of the Enterprise, the tribe seems to adopt it as an object of worship, just as legions of fans on Earth have done for decades.)
As in the previous STAR TREK film, the cast turn the characters into something resembling people, not fifty-year-old cliches. Pine captures the strengths and weaknesses of Kirk; Quinto has Spock’s dual nature down cold, the external logic keeping the underlying emotion hidden yet always felt, just beneath the surface. Urban is uncanny in his ability to play McCoy as if the part always belonged to him.
Scotty (Simon Pegg) does not like this new photon torpedo, not one bit.
Scotty (Simon Pegg) does not like this new photon torpedo, not one bit.

Even the supporting characters (Zoe Saldana as Uhura, John Cho as Sulu, Anton Yelchin as Chekov), though still clearly subordinate, are given their moments to shine, establishing what makes them great crew members, worthy of being on the Enterprise. Simon Pegg seems a little older and a wee bit tired as Scotty, but he is still an engaging comic presence, and the character even shows a little moral backbone, resigning over a matter of principal at a time when Kirk is too blinded by rage to see that Scotty is right.
At its core, STAR TREK INTO DARKNESS is a story of a brash young man who learns a much-needed lesson in humility. Thankfully, the screenwriters realize that personal growth, in and of itself, is not enough to justify the collateral damage that results in a film like this (would it really be fair for dozens if not hundreds of crew people to die so that Kirk can become a better person?), so something else is offered, a larger lesson about holding onto your ideals even when you are tested in extremis. It’s a lesson not only for Kirk but for all of us, and STAR TREK INTO DARKNESS makes the point as well as any classic STAR TREK episode ever did.


Where will the Enterprise voyage next? STAR TREK INTO DARKNESS ends with the promise the the familiar five-year journey about to commence, implying that future episodes will take place out in the galaxy, instead of focusing on the defense of Earth. Although the first two films in the revamped franchise have triumphed at extracting dramatic gravitas from dire situations, there are only so many times you can go for the big emotional character moments before those moments go stale. Perhaps there could be dividends from allowing the supporting characters to take up more of center stage, but hopefully the next TREK will boldly go to some strange new world, where spaceships and tricorders are not merely a backdrop for an action-adventure tale but part and parcel of some thoughtful speculative fiction.
[rating=4] Star-Trek-Into-Darkness-vertical-poster
STAR TREK INTO DARKNESS (Paramount Pictures: May 16, 2013). Directed by J.J. Abrams. Written by Roberto Orci & Alex Kurtzman & Damon Lindelof. 132 minutes. PG-13. Cast: Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, Simon Pegg, John Cho, Benedict Cumberbatch, Anton Yelchin, Bruce Greenwood, Alice Eve, Leonard Nimoy.

'Blakes 7' for U.S. TV?

blkelogoAccording to , Martin Campbell (CASINO ROYAL, GREEN LANTERN) is attached to  direct a pilot that would re-boot the 1970’s BBC space opera hit BLAKES 7.
Joe Pokaski (HEROES) is set to write (and one assumes re-interpet) the original series, created by the late Terry Nation, who also gave us the Daleks of DOCTOR WHO.
Marc Rosen (THRESHOLD) is to produce the project with Georgeville Television’s Leon Clarance. The venture’s development  is to be funded by Motion Picture Capital, with the hope that the new version of the dark UK ‘Cult Classic’ series will interest an American network.
Georgeville Television got the rights from Andrew Sewell’s B7 Enterprises, who had purchased the property from Terry Nation’s estate. B7 had been trying to relaunch the franchise as a TV series with ill luck for the last several years.  Only audio dramas based on the original program have thus far been produced, with a potential new series on the UK’s SKY 1 not coming to fruition.
B7-S1CrewThe series, which ran for four 13-episode seasons beginning in 1978, starred Gareth Thomas as the protagonist Roj Blake, a political dissedent framed for a crime by the Terran Federation. Sent off to exile on a primitive world, Blake  along with other convicted criminals, are sent to try to salvage a mysterious advanced spacecraft. Blake managed to push through his plan of using the ship that he dubs “The Liberator” as a weapon to fight for freedom. Some of the crew would be supportive of the plan, while others seemed more concerned with protecting their personal freedom and  enriching themselves instead.
The show also starred  Paul Darrow as the calculating Avon, Sally Knyvette
as smuggler Jenna Stanis,  Michael Keating as the genial expert safecracker Vila Restal, David Jackson as the strong and loyal Olag Gan, and  Jan Chappell as the cloned telepath Cally, from the planet Auron. Sentient ship’s computer Zen brought the team up to seven, and the independent ORAC (both voiced by Peter Tuddenham) would be added later.
Blake7iberator2That team would change over the seasons; Gan was killed on a mission during season 2, and Blake and Jenna would leave as series regulars at end of the second season, lost and presumed dead.  
Younger characters Dayna Mellanby (Josette Simon) and Del Tarrant (Steven Pacey) would join the crew in the third, with expert shooter Soolin (Glynis Barber) replacing Cally for Season four, after her off-screen death.
Often called the “anti-STAR TREK”, BLAKES 7 took place in a dark and bleak universe, with the corrupt Federation running or pulling the strings behind most human worlds. Even organized crime was under government direction. The power-mad Servalan (Jacqueline Pearce, veteran of Hammer horror) rises from Commander to President, becoming obsessed with possessing the Liberator and quelling rebellion.

The heroes were less than perfect, the series pitched as an outer-space “Dirty Dozen”. Even the initially heroic Blake realized on some level that his quest for freedom had a high and possibly futile cost in human lives. The amazing precedent of continuing BLAKES 7 (never an apostrophe) without the title character  required that the cynical, self-interested Avon  take on Blake’s crusade, and by the fourth season it was clear that the pressure was driving him mad.  

Season 4 Cast, with Paul Darrow as Avon in the foreground.
Season 4 Cast, with Paul Darrow as Avon in the foreground.


Originally made on the budget of a canceled police show, BLAKES 7 was a rough-hewn low-rent affair, shot on a mix of studio video and location film, often looking hokey even for its time.Some of the scripts and acting were cliche or over the top at times—and yet it worked. The series was very popular, watched by over ten million people in the UK, and exported to many other counties, including the U.S.
(The series ran largely on PBS stations in America, often paired with DOCTOR WHO.)
It’s difficult to imagine an American broadcast network being interested in a dark SF series like BLAKES 7. Fox’s FIREFLY had a similar vibe, leading to a very short life. The old Sci-Fi Channel’s FARSCAPE and BATTLESTAR GALACTICA reboot had more success, but would the current, mainly Earth-bound SyFy have any interest? Hard to say. Perhaps there’s a cable programmer looking for a space-based series with some kind of pedigree.


Naboo_celebration copy

With STAR WARS EPISODE I: THE PHANTOM MENACE returning to theatres in a new 3-D version, we flashback to May, 1999 for my preview report that appeared in Cinefantastique’s cover story on the film.

A long time ago in a Galaxy far, far away…
Turmoil has engulfed the Galactic Republic. The taxation of trade routes to outlying star systems is in dispute. Hoping to resolve the matter with the blockade of deadly battleships, the greedy Trade Federation has stopped all shipping to the small planet of Naboo.
While the Congress of the Republic endlessly debates this alarming chain of events, the Supreme Chancellor has secretly dispatched two Jedi Knights, the guardians of peace, to settle the conflict.
A disheveled boy, ANAKIN SKYWALKER, runs in from the junk yard. He is about nine years old, very dirty, and dressed in rags.

So opens STAR WARS, EPISODE I: THE PHANTOM MENACE, George Lucas eagerly awaited first chapter in the STAR WARS saga. When Lucas first began work on the script, back in 1995, he only had some brief notes. Lucas explained to Lynne Hale, the publicist for The Phantom Menace, that the original outline for the three prequels was only about 15 pages long. “The whole early part was written to set up the (first Star Wars) films that were made,” observed Lucas. “I had to sort of figure out who everybody was, where they came from, how they got to be where they were, and what the dynamic relationships were between everybody.”
Lucas took his outline and began work by expanding it to include approximately 50 scenes for each of the three prequels. “I basically have to come up with 150 scenes,” asserted Lucas. “If I come up with a few a day, towards the end of the process, I will really start going through the outline and filling in all the blanks—finishing it and putting in all the detail and that sort of thing. Then I start the hard part, the actual writing of the pages.”
By beginning with such a rough outline, Lucas had the freedom to change characters and situations, none of which were ever set in stone in the first place. Lucas further explained the flexible nature of his scripting process, stating, “when I have an idea for a character, usually the character comes alive and metamorphoses into something else, or another kind of character. If you take the first draft of Star Wars, you can find the central characters that always existed, but they had different names, shapes or sizes. But the core of the character is still there and growing. It’s just trying to find the right persona to carry forward that personality.” A good example of this occurred in early drafts of Star Wars, where the character of Grand Moff Tarkin (Peter Cushing) was the leader of the rebellion on Yavin who comes up with the idea of using small fighter ships to attack the Death Star. In the final script Lucas has transformed Tarkin into the ruthless agent of the Emperor, making him the actual builder of the Death Star rather than one of it’s attackers.
With such a slim outline for the three prequels, it’s not much of a surprise to hear Lucas’ revelation that there was never any story material for the final three sequels—the ones that were supposed to continue the nine part saga after the ending of Return of the Jedi. “It really ends at part six,” Lucas told Vanity Fair. “When you see it in six parts you’ll understand. I never had a story for the sequels.” Of course, it was Lucas himself who always maintained there was at least an outline for the final three chapters (episodes 7, 8 and 9). It appears the real reason for his abrupt abandonment of the Force is that in May of 2005 (when the last of the current trilogy is scheduled for release), Lucas will turn 61. “I’ll be at a point in my age where to do another trilogy would take 10 years,” said Lucas. “My oldest daughter was born during Return of the Jedi and since then I slowed down quite a bit. I focused more on my family and making The Phantom Menace is the first time I will go back and try to do a movie of this scale, with this much intensity.”
One of the reasons Lucas embarked on the current set of prequels, was due to the new advances in technology he can utilize. “I get to do a lot of things now, that I couldn’t do before,” explained Lucas. “I can create things that weren’t possible to create before. I was always—and I will be on The Phantom Menace—at the limit of what is possible in terms of storytelling. Things have advanced so far in the last 20 years, in terms of your ability to portray things on the screen.”
Lucas also noted in a recent article for Premiere, that digital technology will allow him to get closer to his grandiose vision. “The idea of being able to explore my imagination and make it literal is exciting,” noted Lucas. “It moves me forward to try to get my visions onto the screen. When I was young, I had ambitions for some things to be brilliant, and when it came out less than brilliant, I was very upset about it. Who knows, maybe it’s better that way—because the things that have come out exactly the way I wanted them, have not been very successful. I think I’ll be able to get closer to what I imagine things to be like with this film.”
Among the many new treats Lucas has promised for The Phantom Menace, is the portrayal of the Jedi Knights in the days when there were thousands of them to guard the peace and justice of the Galaxy. The two Jedi Knights sent to Naboo at the outset of the story are the young Obi-Wan Kenobi (Ewan McGregor) and Qui-Gon Jinn (Liam Neeson), Obi-Wan’s mentor, who also holds a seat on the Jedi council (along with Yoda). Lucas disclosed some Jedi characteristics, while talking to Lynne Hale: “The Jedi are like negotiators,” explained Lucas. “They aren’t people that go out and blow up planets, or shoot down things. They’re more of a one to one combat type. In The Phantom Menace I wanted the form of the fighting and the role of the Jedi Knight to be special. More spiritual and more intellectual than just something like a fighter or a superhero.”
In an effort to top the light saber battles of the first Star Wars movies, Lucas is attempting to bring a more dynamic element to the new swordplay that will be occurring between the Jedi masters and their chief opponent, the maleficent Darth Maul, played by martial arts expert Ray Park. “I was looking for the kind of sword-fighting we had already done,” said Lucas, “but I wanted a more energized version of it, because we actually never really saw the Jedi’s at work—we’d only seen old men (Obi-Wan), crippled half-droid, half-men (Darth Vader), and young boys (Luke). To see the Jedi fighting in their prime, I wanted a much more energetic and faster version of what we’d been doing.”
The action of the new film will take place largely on three planets: The already familiar desert planet of Tatooine, where the 9 year old Anakin Skywalker is growing up; On Naboo, home to the royal Queen Amidala (Natalie Portman), as well as several swamp-dwelling creatures, such as the Nuna (a flightless bird, similar to an ostrich, but without the long neck) and the Peko Peko (a Pterodactyl-like bird with an immense wing-span); and finally, on Coruscant, the capitol of the Galactic Republic, where both the Senate and the Jedi Council convene. Interestingly enough, Senator Palpatine (Ian McDiarmid), who eventually becomes the Emperor—by his plotting with the Dark Lords of the Sith—represents Naboo in the Galactic Senate and is still shown as a benign presence in The Phantom Menace. The actual design of Coruscant was previewed in a brief shot seen at the end of the Return of the Jedi special edition, and it promises to be a truly spectacular city, full of streamlined ultra modern skyscrapers, jutting several miles into the sky. The Jedi Council deliberates in a circular dome room at the top of an imposing temple that looks vaguely like the Chrysler Building, but with huge windows, that afford breathtaking views of Coruscant.
As each new morsel of information about The Phantom Menace slowly leaks out, all the hype may eventually cause overwhelming expectations, that may be very hard to meet. Then, inevitably, the success engendered by the film will generate a backlash of criticism. For his part, Lucas professes these high expectations are not really affecting how he’s making the movie. “The fact that the film is so anticipated,” exclaims Lucas, “allows me the freedom to be creative, in the way I’d like to be creative, without having to worry about what people think. On one level, I’m going to get slaughtered, no matter what I do. On another level, some people will like it. After you make a lot of movies, no matter what you do, you’re going to get trashed on one side, while some people are going to love it.”

'Stargate Universe' Series Finale—Clip

In the more or less unplanned-for Series Finale of STARGATE UNIVERSE, ‘Gauntlet’, the crew of the Ancients’ ship Destiny is surrounded by drone command ships at every turn, and they  must take a stand against them to refuel and resupply—or risk being set adrift forever.
This is likely the last fans will see of STARGATE UNIVERSE, as it’s been indicated by SGU producer Brad Wright that the window has closed for any TVor Direct-to-DV movie that might have  wrapped up the show in a more definitive manner. (See article)
The STARGATE frnachise  has been a 14-year saga for MGM Television, beginning with SG-1 on Showtime, then moving to the Sci-Fi Channel and spinning off STARGATE ATLANTIS, and SGU for SyFy.
It’s possible that other STARGATE productions may surface in the future, but nothing appears to be in the works at this writing.


STARGATE UNIVERSE airs at 9:oo PM ET/PT, followed by a new eppisode of SANCTUARY ‘Wingmen’ at 10:00 PM ET/PT on SyFy.

Tonight: 'Sanctuary' Moves to Mondays

Sanctuary_Dunne, Tapping
SANCTUARY- Robin Dunne, Amada Tapping

In tonight’s episode of STARGATE UNIVERSE “Epilog”, The Destiny’s crew must decide what to do with the refugee/descendants they’re carrying, as they discover their world is dead and uninhabitable.
SGU airs at 9:00 PM ET/PT on SyFy, as it head for its final episodes.
Afterwards, SANCTUARY moves into Mondays at 10:00 ET/PT, with the episode ‘One Night’. Star Amanda Tapping directed this enty, wherein Will and Abby are kidnapped, and Dr. Magnus myteriously cancels the team’s rescue plans when she learns who abducted the two.

SGU Earlier, and Soon No More.

STARGATE UNIVERSE moves to Mondays 9:00 PM ET/PT on SyFY as it goes through its remaining episodes.

In Common Descent: “Destiny comes upon a colony where the people claim their civilization was founded two thousand years earlier… by Destiny’s crew.”

Directed by Peter DeLuise, written by Robert C. Cooper.  reports that SGU writer & executive Brad Wright announced at Creation Entertainment’s STARGATE convention this weekend that the hoped-for STARGATE UNIVERSE movie to wrap up the series is dead.

“We just recently found out that the SGU movie is not going to happen. It took too long. We just couldn’t get it together in time, and the window has closed. It’s actually sad for me, because after 17 years, I’m cleaning out my desk tomorrow morning”.

Wright also told the audience  that plans for  STARGATE: SG-1 and STARGATE ALTANTIS  movies have been abandoned.
Is the a permanent end of STARGATE adventures? Brad Wright held out some hope.

“It’s a franchise. STARGATE is not over. Somebody smart from MGM is going to figure it out, and something will happen.”

Beginning of the end, COMMON DESCENT.
Beginning of the end, COMMON DESCENT.

'Green Lantern' Wondercon Trailer

Here’s an abridged clip of the extended trailer from Warner Brothers GREEN LANTERN that was shown at Wondercon this weekend.
This is more like it — previous footage made the film look almost like a romantic comedy about an irresponsible guy who becomes a superhero. This piece has the gravitas that most comic book fans likely desired for this first feature film version of the DC Comics hero.
GL_tomar-re_CropThe trailer features Tomar Re, voiced by Geoffery Rush (PIRATES OF THE CARRIBEAN), as revealed this week.  Mark Strong’s (SHERLOCK HOLMES) Sinestro is a major presence, as is Temuera Morrison’s (THE PHANTOM MENACE) Abin Sur, with glimpses of Peter Sarsgaard’s mutating Hector Hammond.
GREEN LANTERN opens June 17th, directed by Martin Campbell, and screenplay by  Greg Berlanti, Michael Green, Marc Guggenheim, and
Michael Goldenberg.
Not yet rated.
(Video via The GeekGen’s youtube page.)

SGU: 'Hope' — Sneak Peek

Here’s a sneak peek at tonight’s episode of STARGATE UNIVERSE, courtesy of SyFy, via  .

Chloe’s (Elyse Levesque) body is taken over by the mind of someone the crew believed was dead. Meanwhile, Dr. Volker (Patrick Gilmore) is striken with an illness that threatens his life.
Written by Carl Binder.

SPOILER: The ‘dead’ character is Ginn (Julie McNiven), the Lucian Alliance girl who had a brief affair with Eli (David Blue) before being killed.
STARGATE UNIVERSE airs tonight at 10:00 PM/9:00 Central on SyFy.

'Stargate Universe' Returns — Clip

The last ten episodes of the cancelled  STARGATE UNIVERSE begin on Syfy tonight at 10:00 PM ET/PT.
In the mid-season cliff hanger, ‘Resurgence’,  the crew of the Destiny was caught in the midst of  a battle that they were tricked into by the “seed-ship” aliens.  In ‘Deliverance’ we’ll see how the ship survives.  (See Clip)
Despite the cancellation, producer Brad Wright seemed upbeat, talking to BlastR.

“I’m pretty happy with the whole back 10. I think we come back from the break very, very strong, with some really, really moving episodes and actually some big action stuff. ‘Deliverance,’ which is the second part of the two-parter, has a ton of action in it.”

Next week will bring the episode ‘Twin Destinies’ .
“It’s actually a very big story too. It’s got a ton of scope and a significant amount of action, as well. … It sets up a huge story arc that will follow up the rest of the season. And I don’t really want to spoil it beyond that. I just want to say that there’s something that is initiated that takes place and carries on through the rest of the story.”

Are there any hopes for a real conclusion to STARGATE UNIVERSE or more of the franchise? Brad Wright seemed optimistic.

“There might be other possibilities out there, and maybe even a miniseries or movie. It’s not necessarily the end of the world.”

See the entire interview at the link above.