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William Shatner’s Actually Pulling A Captain Kirk And Heading To Space On A Bezos Ship

The first time Jeff Bezos flew into space (in a, uh, interestingly shaped rocket), he brought a cowboy hat. For his next flight, the Amazon founder is kicking things up a notch by doing what no man as done before: Launching Captain Kirk into actual space.

William Shatner, who played the classic starship captain on TV’s original Star Trek, has been confirmed as a passenger on Blue Origin’s second flight in October. Shatner will ride the New Shephard capsule to touch the edge of space, which will technically mean he bested Tom Cruise as the first actor to leave the Earth’s stratosphere. What a time to be alive. Via TMZ:

We’re told Shatner will be on board in October for the 15-minute civilian flight — similar to the last launch. What we don’t know — BUT WHAT WOULD BE AWESOME — is if he wears his Capt. Kirk getup.

Our sources say the mission will be filmed for a documentary. We’re told Shatner’s people were talking to Discovery about the special, but that didn’t materialize … but our sources say Shatner and Co. have taken the project elsewhere and are in negotiations.

Hopefully, those negotiations don’t involve RT, the Kremlin propaganda network where Shatner’s latest show, I Don’t Understand, can be currently seen. The actor was heavily criticized for working with the Russian network, and as has been his M.O. lately, TV’s Captain Kirk spent an entire day in July lashing out at his critics on Twitter.

(Via TMZ)

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Westside Boogie Takes A Break From His Problems On The Meditative ‘Float’ Featuring Mamii

Compton rapper Westside Boogie is over two years removed from his debut album Everythings For Sale, and while fans impatiently await his follow-up album, he’s kept their appetites satisfied with a string of freestyles throughout the year, including the “Joe Exotic Freestyle,” a freestyle over Moneybagg Yo’s “Said Sum,” “Do 4 Love” over Tupac’s Bobby Caldwell-sampling hit, and a freestyle over CJ’s breakout hit “Whoopty.”

However, what fans really wanted in all that time was a single, something that showed the new album might be on the way. Today, Boogie scratched that particular itch with “Float,” a meditative ode to the calming powers of the ocean featuring R&B/soul singer Mamii. Featuring a chill, guitar-driven groove and down-tempo percussion, “Float” finds Boogie considering his myriad problems and the way he can temporarily escape them by taking a little time to himself to drift on the waves. Like many of Boogie’s fan favorites, it’s relatable and illuminating, giving listeners a look at his interior thoughts while reminding them of our universal experiences.

Whether this means Boogie’s new album is ready remains to be seen, but in the meantime, fans will still get plenty of new material from the Compton rapper with his feature on Lute’s upcoming album Gold Mouf.

Listen to Westside Boogie’s meditative new single, “Float” featuring Mamii, above.

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Talking ‘Long Term Parking,’ The Most Emotionally Crushing Episode Of The Sopranos On Pod Yourself A Gun


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Tony and Adriana Come Home

On the penultimate episode of season five of Pod Yourself A Gun, Matt and Vince are joined by writer and podcaster Chris Cabin from the We Hate Movies Podcast to talk about The Sopranos season five episode twelve, “Long Term Parking.”

Chris is our first “affiliated” guest, if you know what I mean. A photo of his father getting arrested ran in the New York Times because Chris comes from a self-described criminal family who ran a book for the Jewish mafia in Pittsburgh. So I’m not saying something bad will happen if you don’t listen to this episode, I’m just saying you have some beautiful ear drums and you should use them while you still have them. God forbid something bad happens to them, but if you listen to the pod, nothing bad will happen to them.

In what is possibly the show’s most gut-wrenching episode, we say goodbye to an animal-printed real one. If you haven’t seen the episode yet, first of all what are you doing reading this? Second, stop reading now if you don’t want it spoiled. RIP to our poor girl Adriana. She was so loyal to her man who was so loyal to his capo that she got ulcerative colitis and nearly had a Jerry Lewis moon face for her own wedding. She deserved better. Though her final moments occurred off screen, so you could choose to be one of those freaks who thinks that if a character’s death is not explicitly shown, the character is not dead. You’re wrong and you’re dumb, but you’re sweet.

At one point in the conversation, someone calls Adam Levine the Disney+ Dave Navarro, and that itself is worth a five-star review on Apple Podcasts

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Support the Pod: become a patron at patreon.com/Frotcast and get more bonus content than you could ever want, AND if you sign up for the Pod Yourself a Shoutout tier, you can bask in the glory of hearing your name on the podcast like this week’s newest members: Baywatch, GED, Billy Smokes, Different Strokes, The Glove, Drums, and Sports.

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Forget About Pratt, Which Chris Would Make The Best Mario?

The internet is bemused by the idea that Chris Pratt might someday go into a soundproofed room with a microphone, lean in, and utter the phrase, “it’sa me, Mario” to play his part in Nintendo’s ridiculously star-studded animated Mario film. This is their right. Now, I’m not too interested in deeply exploring the reasons why. The truth is, Pratt kinda lost the thread on his likeability following his ascension from schlubby Andy Dwyer on Parks & Rec to Star-Lord in the MCU. This is thanks, in part, to a series of rumors and statements over the years.

So, let’s assume we can acknowledge that Pratt is not, at this time, the overwhelming people’s choice to voice the heroic plumber. Let’s also assume that the perfect pick, were he to be replaced (which is never going to happen), would have to be another one of the Chrises, the globally recognized consortium of hot actors that align under the shield of their first name. Why? Well, this article needs buy-in on that logic to justify its existence, but also most importantly, there are many fine Chrises. They dominate the Hollywood landscape. So why not a Chris when looking for a new Mario (again, never going to happen, but hey, we elect Vice Presidents, so why not pick a Vice Mario, informed by this helpful ranking)?

Honorable Mention Chrises

Chris Walken – No real case to make. I just want to hear his voice come out of Mario’s smiling visage while he’s driving a go-kart or dodging fireballs.

Chris Sullivan – Only acceptable if we completely change Mario into his ambulance driver/muscle character from, The Knick. He with a heart of gold and the ability to pummel all comers and pull a wagon like a team of Clydesdales. Sullivan did co-star with Pratt in Guardians Of The Galaxy 2, though. Et tu, Taserface?

Cinemax

Core Chris Crew

Chris Hemsworth – Physically, he is the diametric opposite of Mario. And yes, this is voiceover, so what does that matter, but it just feels weird and there’s a certain confidence in your voice when you’re built like a literal God that would be hard to shake.

Chris Evans – Just running through the final Pratt co-star. Evans’ voice is a little too smooth, always ranging from devilish to too good to be true wholesomeness. Not the right range, though we’ve never heard him do an awful Italian/Mario voice. And we never need to. On the plus side, could do for red overalls what he did for chunky vanilla sweaters with Knives Out. On the negative side, the pipe jokes would never ever end.

Lionsgate

Chris Pine – Similar issue. Chris Pine just always sounds like he’s winning or like he knows he’s about to talk his way out of a speeding ticket. He is the most likely of this group to be caught in public wearing a full Mario costume for no reason, though. That’s not a judgment, it’s jealousy masquerading as praise.

Super Chrisio Bros.

Chris Elliott – Hear me out. This is a man of the people who has experience living in subterranean places among pipes (from his time as the guy under the seats at the Ed Sullivan Theater on Letterman), he was a handyman on Schitt’s Creek, he practically starred in the adaptation of the Paper Boy games with Get A Life, he sailed the seas looking for adventure in Cabin Boy, and he’d be the weirdest possible choice, which makes him nearly the best.

Chris Meloni – I basically just sold myself on Chris Elliott by way of hyper-obscure references, but we press on. What if, instead of always being happy-go-lucky, Mario was temple-vein throbbingly intense at all times, blowing off warnings from friends and partners (Toad, Luigi) to live in the grey? Maybe there, the ends justify the means if you beat a Koopa Troopa with a phone book to get information on where to find Princess Peach. Maybe I want to experience that version of Mario.

Chris Messina – Italian heritage? Check (even though I guess we’re all ignoring the guy from Nintendo who said Mario is Japanese and not Italian). Looks great with a mustache? Check! I believe Chris Messina could pull off Mario’s happy to be here energy whilst concealing his gritty determination. I believe he is nimble enough to have the life experiences to pull off the voice of a plumber who has to run and jump in and out of tight spaces. And I believe, unlike a lot of the above figures, Chris Messina is more conventionally handsome than model handsome (while still being very very handsome) and a character actor to boot, meaning he matches the Mario aesthetic of someone who wasn’t born to be a hero but who had heroism thrust upon him. Chris Messina is the Chris best equipped to play Mario in this and all future projects. Cut out the drama and take a warp pipe to a time when you have corrected this obvious mistake, Nintendo!

Getty/Nintendo
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Patrick Williams Will Miss 4-6 Weeks Due To A ‘Severe’ Left Ankle Sprain

The Chicago Bulls will be without perhaps their best defensive player for the next few weeks, with the expectation being that he won’t be ready for the start of the 2021-22 regular season. According to Shams Charania of The Athletic, second-year forward Patrick Williams suffered a “severe” sprain of his left ankle, with the initial timeline for his absence being up to six weeks.

The news — both of Williams’ injury and the timetable for his return — was eventually confirmed by the Bulls.

The team will play its first regular season game on Oct. 20 against the Detroit Pistons, which is just under four weeks away from the day Williams suffered the injury. Should he need the full six weeks to recover, he’d miss the first eight games of the Bulls’ season, with his return coming on Nov. 6 against the Philadelphia 76ers.

Chicago spent this offseason fortifying its backcourt alongside Zach LaVine and trade deadline acquisition Nikola Vucevic, but there was a hole on the defensive end of the floor that was expected to be filled by Williams, the No. 4 pick in the 2020 NBA Draft. A second-team All-Rookie selection last season, Williams averaged 9.2 points and 4.6 rebounds in 27.9 minutes per game while connecting on 27.9 percent of his threes. He was the only rookie to play in more than 70 games last season, as Williams started all 71 contests in which he appeared.

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Olivia Rodrigo Guest Stars In The Regrettes’ 2000s-Inspired Video For ‘Monday’

Much of Olivia Rodrigo’s album Sour is indebted to 2000s-era rock and punk music, so it’s not surprising that she’s a fan of The Regrettes, whose new song “Monday” has a similar aesthetic. In fact, Rodrigo actually guest stars in the track’s video, which premiered today.

The clip takes place at a school dance at some point in the 2000s, and Olivia Rodrigo is there to DJ the proceedings. At one point in the video, the song cuts out, which leads to Rodrigo’s apologetically scrolling through her iPod Video (or iPod Classic, depending on the specific model) to find the song.

The band’s Lydia Night explains that the song was written during the 2020 pandemic lockdowns and how that period took a major toll on her:

“At the time I was pretty much at the peak of my anxiety disorder, every morning I was waking up and absolutely dreading the idea of functioning and being ‘productive’ (whatever the hell that even means) for another day. Like most of us, I was still at home, where all my issues still existed. So, whatever I was dealing with didn’t slowly fade away while stuck in traffic on the way to go write somewhere. I didn’t have the space to think of “what do I want to write about,” instead, I just rolled out of bed and all my horrible f*cking thoughts were still with me, just waiting to be unboxed.

As LA locked down, I felt a huge part of my Identity and ego being stripped away because of no touring, and no connecting with people at our shows. I’ve been touring since about age 12, so I had to come up with a new way to function in the world. It was really rough, and still is rough, but I found writing this song to be super therapeutic.

It’s special that this is the first song we’ve put out in a while because it’s an important moment in time for me to mark. Part of the healing process for me is really learning and trying my best to keep on dancing the pain away so I hope people can relate to that and dance with me, even if it’s not at a show and in the safety of their own kitchen.”

Watch the “Monday” video above.

The Regrettes is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Morray Celebrates Overcoming Some ‘Bad Situations’ On His Triumphant New Single

As Morray gears up to head out on tour with J. Cole, the Fayetteville native (Morray, not Cole) releases a triumphant new single celebrating his year of success. “Bad Situations” may have a haunting title, but in its lyrics, Morray marks his overcoming bad situations, coming from the “Trenches” to getting money. Over a soulful beat, Morray trains his church-honed vocals on telling his rags-to-riches story and expressing his gratitude for the positive changes in his life.

Morray, who broke out in the spring of 2020 with the viral video for “Quicksand,” has seen a whirlwind rise to stardom after “Quicksand” received co-signs from fellow Carolina natives DaBaby and J. Cole. In April of this year, Morray announced he’d signed to Interscope Records, releasing his debut mixtape Street Sermons that same month. Debuting at No. 41 on the US Billboard 200, the tape received further attention when Morray was featured on “My Life” from J. Cole’s long-awaited album, The Off-Season. “My Life” reached No. 2 on the Billboard Hot 100, further solidifying his burgeoning stardom.

All of that was enough to secure Morray a spot on the 2021 XXL Freshman Class, which he commemorated with a remix of “Trenches” featuring Polo G. And while not everyone is happy about Morray’s ascent, he’s in position to earn himself a spot in the upper echelon of rap stardom.

Listen to Morray’s new single “Bad Situations” above.

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Discussing Sopranos ‘The Test Dream,’ With Felix Biederman On Pod Yourself A Gun

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Wetwork Dreams

Felix Biederman of the Chapo Trap House podcast joins Matt & Vince to talk about The Sopranos season five episode twelve, “The Test Dream.”

As the title of the episode suggests, the improbably named Brian Benben would feel right at home, as Tony is Dream-ing On through much of the runtime. Dream sequences are a polarizing topic on this podcast, but even Vince has to agree with Felix that while it may run long, it does feel like an actual stress dream. Teeth are falling out, there’s a thing Tony needs to do that he can’t get done, and wait, who was he just having sex with? Classic dream stuff.

If you’re less interested in what your brain is up to at night, and more interested in modern murder techniques, stick around for a digression about the practicality of the garrote as a killing device. Seems hard to use. Like you’d have to practice at home. Imagine that — a little practice garrote next to the Bowflex adjustable dumbbells in that corner of the garage you call the weight room. It’s all just collecting dust and then one day you’re trying to take out a rat and your arms are shaking and you’re all out of position and you think, man, why did I buy all that gear?

What would be your weapon of choice if you were to murder one of us? Let us know in a five-star review on Apple Podcasts

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Email us at [email protected]; leave us a voicemail at 415-275-0030

Support the Pod: become a patron at patreon.com/Frotcast and get more bonus content than you could ever want, AND if you sign up for the Pod Yourself a Shoutout tier, you can bask in the glory of hearing your name on the podcast like this week’s newest members: Giving Tree, Skates, Father Phil, Smokey, & Dilly Pickles

-Description by Brent Flyberg.

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‘NBA 2K22’ Review: Slightly Better Than Last Year’s Game, But It’s Hard To Care

The latest release in 2K Sports’ longtime basketball franchise, NBA 2K22, came out earlier this month. Three of our writers — Chris Barnewall, Bill DiFilippo, and Ryan Nagelhout — spent some time playing the game and came to a near-unanimous conclusion that, while this year’s release is better than 2K21, there are fundamental problems with the game that need to be remedied.

Game: NBA 2K22
Available On: Microsoft Windows, Nintendo Switch, PlayStation 4, PlayStation 5, Xbox One, Xbox Series X/S
Publisher: 2K Sports
Price: Standard Edition ($69.99 on next-gen consoles, $59.99 on all others), WNBA 75th Anniversary edition ($69.99, next-gen consoles only), Cross-Gen Edition ($79.99), 75th Anniversary Edition ($99.99)

NBA 2K as a franchise has the benefit and misfortune of being considered one of the best sports simulation games out there. When comparing this series to Madden or WWE, it’s hard to complain too much. The gameplay around 2K has always, for the most part, worked as intended at launch. In 2K22, that is no different. When buttons are pushed, the character does what they are supposed to do. Character models don’t morph. The basketball doesn’t randomly turn into a medicine ball. The video game works the way it should.

The problem is that the video game is no longer fun. Basketball as a sport is something that is supposed to be fast, fluid, and beautiful. This fights against that with individual defenders that are godlike in their on-ball defense. Breaking someone down with dribble moves just isn’t an option and moving the ball around the perimeter does not force the defense to react. They’re able to stand there, firm as ever. Getting them to react to what you are doing with the ball is extremely challenging.

For some players, that might be part of the fun. A lot of the actual basketball part of the game is about breaking the defense down and making the right play, but it creates a learning curve that is going to turn newer players of the series away. It also drastically reduces the ability to just have fun playing a quick game against a friend.

One of the less fun aspects of the game is that it still feels so heavily designed towards playing as three classes of player: Guards, post-up bigs, or super athletic wings. Anyone that’s ever wanted to be one of those tweener, Jerami Grant-type of players need not apply, because they aren’t really sure what to do about someone that isn’t elite at one particular skill.

So much of the gameplay feels like it’s still a result of corrections from previous games. There was a time where someone could put in any athletic wing and dominate a game. As such, they made dribble drives harder, but then everyone started dominating with shooters, so now it’s harder to be a jump shooter. While these short-term fixes got results, it’s really just created a game that does not feel like a fun basketball game to play or a realistic simulation. It’s stuck in the middle, unsure of which it wants to be.

When 2K was beginning its rise as one of the top-tier sports simulation games out there, it wasn’t rising because it perfectly created the feeling of playing basketball. No, it did so because the game was really fun to play and future changes to the game always made it feel better. It’s hard to pinpoint when exactly the gameplay changed course, or maybe it was just a slow decline, but there is little joy in playing 2K besides grinding out VC to get a super character.

Maybe that grind is where the issues all began in the first place. It used to be possible to work a player up to a respectable star through the grind. Playing games, picking the right stats, and a good AI balance created a sense of progression that was rewarding, even if it was sometimes slow. That sense of progression is gone. This feels like a game where purchasing VC is no longer optional. To avoid dozens of hours of grinding to maybe reach the point the game becomes fun, it is essential to pay beyond the — at the bare minimum — $59.99 price tag. That ruins a game that has the potential to be something better.

It only gets worse when we consider that everything around the gameplay is deteriorating alongside it. The cinematic prologues are not good. Humans do not interact with each other the way they do in 2K22. We aren’t expecting lifelike realism, but two “best friends” consistently gaslighting each other for entertainment is neither entertaining nor funny. It just leads to mashing past cutscenes to get back to the unfulfilling basketball.

This game should be better. It deserves to be better, but the inability to get out of its own way takes a franchise that is supposed to be among the best and hurts its ability to clear that bar. Unfortunately, there is no incentive to stop any of this. The money keeps coming in. 2K continues to sell incredibly well. Brands flock to them. Maybe this franchise is just no longer for me. — CB

It took about five minutes for me to get bored with NBA 2K22. This is not to say the game is horrific, or unplayable, or any of the other collection of knocks that you hear whenever a sports game drops and everyone races to the internet to post videos of whatever misfortunes befall them. If anything, I think this is probably a better game than last year’s edition.

The big thing is I just cannot muster the energy to care about 2K anymore. One complaint that pops up every single year, without fail, is that the people behind the game seem to care exponentially more about getting you to acquire VC so you can head into The Neighborhood — decked out in gear from brands most regular folks can’t afford, or in a throwback uniform with a pair of Jordan XIs that you’ve always wanted but can never get because the SNKRS app doesn’t pick you, or with video game-y haircuts and tattoos, while riding a bike or something — and play games of 3-on-3 against folks who spam the right joystick with dribble moves than actually creating a fun, well thought out game. The experience is not fun. It is also one of the most lucrative things in gaming. It makes all the sense in the world that this is the focus, and it is going to continue to be the focus of the gigantic, multi-billion dollar corporation that gives us 2K games.

I had to get that out of the way first because it’s impossible to ignore. Any advances in gameplay feel like they are second to this. I do not think that this is going to lead to 2K Sports changing its priorities or anything — I am simply an internet doofus — but perhaps this will add some clarity to your decision to pick up the game or not based on what is and is not prioritized.

Having said all of that, I do think this version of 2K is a step forward from the rest in terms of gameplay. While the game will always have the inherent issue that many sports games have regarding spacing — there’s just never going to be enough to make things feel anywhere near as fluid as real basketball, and the approach its designers take is “real basketball” instead of “slightly more realistic NBA Jam” — things feel more smooth than last year’s edition of the game, which felt far more choppy and sluggish in the never-ending (and, one can argue, poorly prioritized) attempt to make a video game feel realistic. The people who put this game together on an annual basis, particularly amid our current landscape where timelines have been all thrown off by the COVID-19 pandemic, work incredibly hard, and I want to be clear: Their efforts deserve to be commended, because having to make a brand new sports game every single year that feels different is not easy at all.

The problem I have here is, again, it does not feel like any of this is overhauled to the point that it’s worth everything else that comes with spending $60 or $70 or $80 or $100 on the game and [INSERT MORE MONEY HERE] on VC. Yes, you can tell that the act of moving on the court feels better (at least on my Xbox One), and you can tell that they emphasized taking a step forward with dribbling by making the stuff you can do with the right stick more comprehensive, while shooting is nowhere near as ghastly as last year’s game and there’s an emphasis on defense so you’re not constantly lost on that end of the floor, even if that means the AI is much better and things like “you will be thrown into the depths of hell by TJ McConnell” happens.

My hunch is that if I had never played a 2K game before, or my last 2K game was back during Barack Obama’s first term in the White House, I’d find this game fun and exciting, with all of these marginal increases in changing up the gameplay from prior editions I had never touched being cool. I know this because that is exactly what I did with NBA 2K20. With NBA 2K21, I thought the games felt ever so slightly different, so whenever it came time for me address an itch to play a 2K game, I’d just fire up 2K20, because I had sunk enough time and effort into MyCareer that it just did not seem worth deviating away from that, and I did not care enough about having a totally up-to-date roster.

Now? I am fairly sure I will rarely (if ever) fire up NBA 2K22 again, and odds are I won’t spend much time playing NBA 2K20, either. The franchise needs a break to change things up, because things have grown stale. Perhaps no video game series in the world needs to just not be a thing for a year and release a big roster update instead of a brand new game in 2022 more than 2K, so it has ample time to figure out what it is and how it can make a product that won’t receive reviews like this one from Luke Plunkett of Kotaku that I agreed with wholeheartedly.

If you spend money on this series as something of a social exercise where you and all your friends get the new 2K and enjoy the communal experience, I earnestly hope you enjoy it. But if you want to know if it’s worth dropping cash on this game for the updated rosters, or the gameplay experience, or the latest editions of MyCareer and MyTeam, or anything else, I cannot in good conscious recommend spending that money. — BD

Let’s get this out of the way: The Xbox Series X version of this game is better than the last-gen version. It’s prettier and smoother, while the gameplay generally flows better. The Series X controller is great for sports sims and shines here. There are little things about this game that make it an improvement over last year’s 2K — small animations and graphical bits that reward you for upgrading your Xbox. But the juice of the game itself was never going to be worth the squeeze for all of the reasons Bill and Chris already covered above.

The heartbreaking thing about a game like NBA 2K22 is that it’s a miracle it even exists. Making a game at the scale of a sports simulation on a yearly schedule is insanely difficult, let alone to do it during a pandemic year. And yet despite that hard work and time to make this game beautiful, there’s something utterly lifeless about it. Maybe it’s the soul-reaping microtransactions for high-end fashion or Jake from State Farm making his way into everything from replays to The Neighborhood, but it all feels fairly hollow. Behind the very sleek sheen of next-gen processing is a synthetic Krabby Patty decaying ever-so slightly with each virtual possession.

There are diminishing returns all over the place in this franchise, and no real indication that anyone will ever make meaningful, positive changes. Because despite all that effort to make it lifelike and perfect, NBA 2K22 still so often struggles most to achieve the thing that all games should aim to be: fun to play. — RN

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Former ‘Doctor Who’ Showrunner Russell T. Davies Is Returning To The Series

Just as you “never forget your first doctor” –a saying popularized by the Doctor Who fandom — you never forget the showrunner who helped make all that on-screen magic happen. For many millennials, the man behind it all was Russell T. Davies, a Welsh screenwriter credited with reviving the series back in 2005 and who helmed it for its first four seasons. For all those longing for the same sci-fi spectacles we saw in the days of Davies, Christopher Eccleston, and David Tennant, do we have good news for you. After 16 years away from the hit BBC series, Davies is coming back.

According to Variety, the former showrunner is returning to the world of Doctor Who for its next season in 2023, which coincidentally is also the series’ 60th anniversary. Davies is taking up the mantle left by current showrunner Chris Chibnall, who revealed he would be leaving alongside the show’s current star Jodi Whittaker earlier this year. The screenwriter has also announced the next season will be a co-production between BBC Studios and the Welsh-based studio Bad Wolf, the company behind recent series such as The Night Of, Beddgelert, A Discovery of Witches, and His Dark Materials. This could indicate that Doctor Who‘s production might return to Wales for the first time since Davies left the project.

Unsurprisingly, the decision for Davies to come back has been met with universal praise by the BBC and fans alike. Chibnall especially had only glowing words for the big return:

“It’s monumentally exciting and fitting that Doctor Who‘s 60th anniversary will see one of Britain’s screenwriting diamonds return home. Russell built the baton that is about to be handed back to him — Doctor Who, the BBC, the screen industry in Wales, and let’s be honest everyone in the whole world, have so many reasons to be Very Excited Indeed about what lies ahead.”

Over on Twitter, Doctor Who fans have spent the morning talking about the big announcement and how it will be a great boost following a decline in viewership. While we might be waiting a while to see this reunion come to fruition, there’s certainly no lack of fanfare in the meantime.