News

Ryan Britt Apr 4, 2019

Did you catch all of the Star Trek references in "Through the Valley of Shadows"?

Warning: This article contains spoilers for Star Trek: Discovery Season 2, Episode 12, "Through The Valley of Shadows."

It seems hard to believe, but with its latest episode, the second season of Star Trek: Discovery is almost over. After Episode 12, there are only two episodes left in the season, which leaves very little time for all sorts of mysteries of the Red Signals, Control, and the future of the ship to be wrapped up.

In the meantime, though, “Through the Valley of Shadows,” had some pretty hardcore Easter eggs and references. And if even if you caught the obvious ones about a certain Captain’s future, there were some more subtle nods you might have missed. Here’s everything we noticed on the Easter egg front for "Through the Valley of Shadows."

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The...

Star Trek: Discovery races towards its finale with an episode that relies too heavily on nonsensical plot.

This Star Trek: Discovery review contains spoilers.

Star Trek: Discovery Season 2, Episode 12

When storytelling is at its best, you don't see the strings. Characters are motivated by qualities they have been previously depicted to possess based on backstory we understand or are understanding. Plot develops organically, spurred by elements like the actions of character and the quirks of setting—the worldbuilding. Star Trek: Discovery, a show set in one of the most popular and richly-realized narrative universes in modern mainstream storytelling, has a worldbuilding problem.

"Through the Valley of Shadows" is an episode in which plot happen, but none of it particularly feels informed by the world or characters—both of which have, honestly, been pretty inconsistent over the course of the show's run so far, which makes their unmotivated actions here somehow...

Marylise Dumont’s “Black Dog,” Jonas Matzow Gulbrandsen’s “Ashes and Snow” and “Each of Us” are among the 20 projects which will be pitched at the 10th edition of Les Arcs Film Festival’s Co-Production Village.

The Co-Production Village will run alongside the festival which will be presided by Ruben Ostlund, the Swedish helmer of Palme d’Or-winning and Oscar-nominated “The Square,” and will open on Dec. 15 with Louis Garrel’s “A Faithful Man.” The movie will compete along with nine films selected by Frederic Boyer, the artistic director of both Les Arcs and Tribeca festivals.

Besides Ostlund, a flurry of high-profile European filmmakers, industry figures and talent are expected to attend the festival, notably Laetitia Casta (“A Faitful Man”), Alex Lutz (“Guy”), Lukas Dhont (“Girl”), Charlotte Le Bon (“The Promise”), Jeremie Renier (“Double Lover”), Valeria Bruni Tedeschi (“Les estivants”), Romain Duris (“Heartbreaker”), Camille Cottin (“Call My Agent!), and Thomas Vinterberg...

Producer Thomas Robsham and writer Eskil Vogt will also be partners in the new company, part of the group of Film Farms.

Norwegian director Joachim Trier, producer Thomas Robsahm and screenwriter Eskil Vogt are starting a new production company within Oslo-based Film Farms’ new corporate group.

The new production company, as yet untitled, will produce Trier’s future films, ending his three-film run with Motlys (where Robsahm was a producer).

It marks an amicable end to their work at Motlys, most recently with Thelma (pictured). With Trier considering several projects in both English and Norwegian as his next film, Robsahm said the time was right to set up their own shop. “We thought this was the best way to move forward,” he told Screen.

Trier could shoot his next film in 2019.

Vogt, whose directing credits include 2014’s Blind, will continue to work on his own directorial projects as well as writing with Trier.

Trier, Robsahm and Vogt...

Six year-old Aslak (Adam Ekeli) lives a quiet life with his single mother Astrid (Kathrine Fagerland) in a rural town adjacent to farmland and a mountaintop forest. He’s too young to understand all that’s happening around him — especially considering he’s generally told to keep away from the adults when they’re speaking — but he knows enough to gauge the strained atmosphere and heavy emotion growing. So he looks through keyholes and gazes out windows, everything he sees simultaneously meaningful and yet without meaning. When things get too intense he hides in his closest. When he begins to feel alone he finds his dog Rapp. And as tension mounts at home (police chatter about his estranged brother puts Astrid on edge), a monster begins lurking in the distant trees.

Let’s put “monster” in quotes because the word is used more as a concept than literal manifestation of...