Latest news with #Nautilus
CNA
2 hours ago
- Business
- CNA
Patek Philippe's president Thierry Stern: ‘The ability to adapt while maintaining our identity is what distinguishes us'
As the fourth-generation custodian of Patek Philippe – the oldest independent, family-owned Genevan watch manufacture – Thierry Stern carries the immense responsibility of upholding one of the world's most revered watchmaking legacies, while ensuring it continues to move with the times. In an exclusive interview with CNA Luxury at Watches and Wonders Geneva 2025, Stern spoke candidly about the brand's ambitious 15-piece 2025 collection, the successful Cubitus gamble, and the milestone debut of a perpetual calendar in the Twenty~4 collection – the first complication in the ladies' line without diamonds. Tell us about Patek Philippe's latest timepieces for 2025. We've tried to cover a lot of ground with this year's collection and what I really like about it is that there's something for everyone. When you look across the 15 novelties, you'll find pieces in every segment: Traditional, sporty, and highly complicated. That's what makes this collection so strong. Many of our retailers have told me that they appreciate that we've returned to our roots with certain models, like the beautiful Calatrava or the Split-Seconds Chronograph with an enamel dial. At the same time, we're also introducing bolder, more modern pieces, like the Reference 6159G Retrograde Perpetual Calendar with that striking sapphire dial. The key for me is to elevate the entire Patek Philippe watch family. I'm not just focusing on the Nautilus or Calatrava here; we're bringing every line forward. And that's crucial, because our clients like choice. Everyone has different tastes and we want to offer something that speaks to each of them. I wouldn't be surprised if men buy the new ladies' Twenty~4 model for themselves too. The trend of smaller case sizes is growing, but to be honest, the watch is also extremely wearable. Speaking of the Twenty~4, its latest perpetual calendar reference is the first complication in that collection. Why did it take so long to introduce a complicated watch for women? That's a very good question. I've believed in complicated watches for women for many years, but it wasn't easy convincing the commercial team. They were focused on selling more traditional feminine pieces – usually set with diamonds – because that's what had always worked. When we introduced the Annual Calendar for ladies in 1996, it was well received, but it still leaned toward a dressier aesthetic with diamonds. Every time we developed a women's watch, we felt the need to add diamonds. But times have changed. Today, there's a growing number of women, who truly appreciate complications not as collectors, but as daily wearers. They're not necessarily looking for something ornate or dressy. They want pieces they can wear confidently throughout the day without compromising on mechanical sophistication. I'm proud of what we've created. It's a true daily watch, designed for the woman who understands the craft, beauty, and technical excellence behind a Patek Philippe timepiece. And the fact that it's powered by an automatic movement is very important. Most women, like many men, don't want to hand-wind their watches every day. It's just more practical. There was also some hesitation about the pricing. Traditionally, many of these watches were gifted by husbands or partners, but once the price passed a certain threshold, the conversation would shift to: 'Oh, $100,000?! That's too expensive.' Meanwhile, these same men wouldn't hesitate to buy a Ferrari or Porsche for themselves. However, things are evolving. Many women today are buying their own watches. They're successful in their careers, know what they want, and they have the means to invest in something exceptional. I hope to encourage more men to see the value in gifting their partners something truly meaningful – a timepiece that celebrates her tastes and accomplishments. Instead of spending on that Porsche, consider a beautiful watch for your wife or girlfriend. It's not just a gift, but a great investment in a purposeful calendar that's enduring and beautiful. I believe that with the right storytelling from Patek Philippe and the press, we can help shift this mentality and mindset. You've also launched a new 40mm size for the Cubitus this year. How has demand been so far and was launching Cubitus a risk? I knew that when we unveiled the Cubitus last year, collectors and our top clients would all want one. With the second wave of deliveries, we're now seeing a new group of clients coming in – which was always part of the plan when we developed the new collection. We've been organising dedicated Cubitus events, including an upcoming one for Southeast Asia, specifically to attract a new generation of collectors. And so far, it's working well. Yes, launching the Cubitus was a risk, but it was a calculated one and I was confident from the very beginning that it would succeed. At Patek Philippe, we have to surprise people. Our clients expect bold creativity and innovation from us. I don't see myself, or the brand, as a follower. We must always remain at the forefront of design, and that often means taking bold steps. Developing the Cubitus wasn't easy. In the early stages, we went through many sketches. But the moment I saw the first ones, I knew we had something special. Today, I'm very pleased to say it's a success. It shows the world that taking a chance can absolutely pay off, as long as it's done right. The Cubitus wasn't created as a one-off – it was conceived from the start as a full-fledged collection. Every detail – size, movement, colour – has been carefully planned. It's like a chess game. We began with the larger size, and this year we've introduced the 40mm version. What you see today is the result of decisions we made three to five years ago. And of course, we've already mapped out what's next. In fact, the best Cubitus hasn't been launched yet. I already have it and it's a killer piece. But for now, I'm keeping it under wraps. When it's finally revealed, it'll be something truly special. As for the new size, the 40mm is excellent. It's not 'small' at all and it has real presence. We've prototyped smaller versions, but I'm not entirely convinced. From a design and movement perspective, going smaller might mean compromising with a quartz movement, which I don't think fits the Cubitus identity. So we're studying it carefully, especially in terms of whether the current size already works for women, which I believe it does. Earlier this year, a rare 1948 Reference 1518 emerged with a price tag of US$20 million (S$25.8 million). Should it reach the asking price, it would be the most expensive watch privately sold outside a charity auction. What are your thoughts on the extraordinary auction figures for Patek Philippe timepieces? It's definitely a nice reward in many ways and we're proud of it. Seeing Patek Philippe watches reach such high prices at auctions is more than about prestige; it shows that people truly appreciate and understand the enduring value of fine watchmaking. It contributes to the brand's success and, personally, it's very motivating for me and my entire team. I often remind them: This is why we have the responsibility to continue developing and crafting the finest watches in the world. It's not easy, because perhaps one day, a watch made by someone on the team today will be auctioned 50 or even 100 years from now. That's a powerful form of internal motivation and a meaningful way to communicate our purpose within the company. There's a real sense of joy and pride in knowing that our watches retain such strong value over time. One of the things I value most is that every single Patek Philippe watch, even one dating all the way back to 1839, can still be repaired or restored today. That's a major reason collectors have so much confidence in the brand. We not only fix a watch, but restore it using the same tools, same techniques, and even the original stock parts, whether it's a bridge, gear, or wheel. When a watch is restored, it's done so as it was originally made. That authenticity and continuity are priceless. And of course, there's the trust that comes from being a family-owned company. We're not part of a conglomerate, and I believe that matters greatly to our clients. If Patek Philippe were ever sold to a large group, I don't know what would happen to the value of these timepieces. What I do know is that many collectors would be disappointed and some might even walk away from the brand. That's why I say we've a responsibility not just to maintain quality, but to protect the legacy. We're not chasing numbers. To be honest, I don't track financial figures weekly or even monthly. I focus on how many watches are being crafted because when the quality is there, the figures will follow. In a crowded high-end watch market with brands pushing bold designs and complex innovations, how does Patek Philippe maintain its distinctive identity? It comes down to experience. I've been working at Patek Philippe for over 30 years, and from the very beginning, I've been involved in design. That's something I believe is vital – the family must play a role in the creative process. There are two reasons for this. First, it's the most enjoyable part of the job. The creative side is where I find the most fulfilment. But more importantly, it allows us, as a family, to transmit the DNA of the brand and to set the limits of how far we can go. This understanding of when to push boundaries and when to hold back only comes with experience. My father taught me that, and now I'm passing it on to my sons, Adrien and Tristan. This ability to adapt while maintaining our identity is what distinguishes us because not everyone can do this. A good example is the Reference 6159G Retrograde Perpetual Calendar. Why did I change it? Because I noticed the interest for the white dial version was declining. So, I reimagined it. Today, it features a bold sapphire dial – aggressive, modern, yet still unmistakably Patek Philippe. And it has been a huge success. These decisions are calculated, not accidental. There's a lot of know-how that goes into this reference. The new dial is very expensive and difficult to produce, but we take that on because we know it's worth doing so. Striking a balance between tradition and innovation is what keeps us relevant. After several years of introducing bolder designs, I decided it was time to return to something very traditional: The manual-winding Calatrava with an opaline rose-gilt dial. It was a deliberate move, and collectors are delighted because they haven't seen something like that in years. This experience gives us an edge in a competitive market. I know the product, the trade, and when to take the right kind of risks. Many other brands either go too far – so far that people don't connect with the product – or they don't go far enough, and end up releasing what's essentially the same watch with a different crown or dial colour. That's not innovation. At Patek Philippe, we innovate meaningfully, whether that's through bold aesthetics or technical mastery, like this year's Reference 5308, a grand complication with a blue dial. Was it a risk to move away from the traditional look? Perhaps. But it works – it's striking, legible, and well-balanced – hallmarks of what we stand for. Of course, the movement remains essential. People know our reputation for mechanical excellence. That's a core part of our identity, and we protect it carefully. To ensure this legacy continues, I've begun involving Adrien and his brother in design meetings. Even if they're just observing for now, it's important that they listen, absorb, and start forming their own perspectives. That knowledge stays with you. Looking to the future, what do you see as the next frontier in terms of technology, artistry, or philosophy? I believe one of the key frontiers is technology, specifically in materials. Not in terms of design aesthetics, but in how new materials can enhance the precision and reliability of movements. There's tremendous potential for evolution in this area. At Patek Philippe, we already have many exciting ideas for new movements. The concepts are there – some are already on paper – but at the moment, the tools, machines, and materials needed to actually produce them don't yet exist. That's why staying at the forefront of technology is so important. It enables us to bring those innovations to life when the time is right. What makes us unique is our ability to combine traditional craftsmanship with cutting-edge technology. I have watchmakers who work exactly as they did 100 years ago – step by step, by hand – and I also have state-of-the-art equipment in the same building. That balance is essential. Without this mix, we wouldn't be able to evolve or meet our current level of production. Producing 72,000 watches a year, all at the same uncompromising standard of quality, is a great challenge. Compared to some other brands, that number might seem modest, but at our level of craftsmanship, it's a major achievement. And if we were doing it entirely by hand, it simply wouldn't be possible to maintain that consistency. We're human after all. Some days we feel great, others not so much, and that affects the quality of manual work. That's why blending human skill with precision technology is so critical in what we do. As the fourth-generation leader of Patek Philippe, how do you see the brand evolving under the next generation of leadership? It's still a bit early to say definitively, as Adrien has only just started, and his younger brother is still finishing university. What's most important is that I'm able to pass on a company that's well-organised and surrounded by truly talented people – that's the real key to success. We're not geniuses, and I don't pretend to be one either. My ideas around design or commercial strategy come from years of experience, but none of it would matter without the people behind the scenes. I couldn't build a single watch on my own. That's why it's essential to pass on not just the brand, but a strong, stable team across all divisions. With that foundation, it's very hard to go wrong. I'm confident in the next generation because they already know many of these people, and they'll learn the rest. If they have the motivation and passion, which I believe they do, then the future is bright. But that passion is essential. You can't run a company like Patek Philippe if you don't love watches or design. People notice right away if your heart isn't in it. My role is to support them when needed, just as my father supported me. They need to grow and take responsibility in their own time. That said, it's just as important to stay grounded. In this industry, there are people who let success go to their heads and walk with their noses in the air. I don't like that. Stay humble. Be kind and polite. Be respectful. That's how you earn respect from others. It's not about instilling fear – real leadership inspires, it doesn't intimidate. I hope my sons will understand and embrace that philosophy. What is the secret to Patek Philippe's success? Our independence is the secret to Patek Philippe's success. We have more than 2,000 people working under one roof in our new factory and that means I can maintain stability within Patek Philippe. I don't have a marketing team from a large group telling me what I can or cannot design. When I design a watch, I don't start with a price in mind. I don't care about that; I just try to make the best timepiece possible. We only calculate the price afterward. Some watches are extremely expensive to produce, and sometimes we have to make two just to get one that meets our standards. That's the level of complexity we're working at. And I always tell our production team: if you can make every single component perfectly on the first try, then it's not a Patek Philippe. We operate at the edge of what's technically possible. That means sometimes we fail and that's okay. It's part of creating something extraordinary. If you're not failing, you're not pushing hard enough. Failure teaches you. It gives you experience. And only with experience can you create a truly exceptional product. If you could design your dream watch with no limitations, what complication or aesthetic would it feature? To be honest, that's what I do every year. I never place limits on what we can design and that's what I love most about my role. But what I love most, perhaps even more than complications, are the pieces from our Rare Handcrafts collection. These are truly special as they represent a centuries-old tradition that we're committed to preserving. It's not something we do for commercial reasons. In fact, these pieces are incredibly expensive to produce, the margins are minimal, and they don't make a significant impact on our overall revenue. But the credibility, pride, and joy they bring to us and to our collectors are immeasurable. When I see the happiness of a client, who receives one of these handcrafted pieces, that's when I know it's all worth it. Each piece is a labour of love, be it an intricately engraved pocket watch or hand-painted dome clock. And I enjoy pushing boundaries with them, experimenting with wood marquetry, enamel work, and miniature painting. Sometimes we create pieces that are so intricate and time-consuming, they should go straight to our museum. But of course, we do make a few available for collectors. Take, for instance, our latest wood marquetry dome clock. It's priced at CHF640,000 (US$778,000; S$1 million) and to be honest, we make almost no profit on it. It took an immense amount of time and effort to develop, and we failed many times before getting it right. Some might say the price is crazy, but in reality, it's fair. Other brands might charge two or three times as much for a similar piece, but I prefer to price it according to the true value of the work. This is a lesson I'm also passing on to Adrien. Yes, it'd be easy to raise prices and take advantage of demand. We could sell every dome clock for half a million, or price the marquetry one at CHF2 million and someone would buy it. But we'd lose our credibility and in the long run, that'd damage Patek Philippe far more. That's why we do things the way we do – why we're still independent, respected by our clients, by our retailers, and even by our competitors. Because in the end, that respect is what truly matters.
Yahoo
11 hours ago
- Health
- Yahoo
New model helps to figure out which distant planets may host life
The search for life beyond Earth is a key driver of modern astronomy and planetary science. The U.S. is building multiple major telescopes and planetary probes to advance this search. However, the signs of life – called biosignatures – that scientists may find will likely be difficult to interpret. Figuring out where exactly to look also remains challenging. I am an astrophysicist and astrobiologist with over 20 years of experience studying extrasolar planets – which are planets beyond our solar system. My colleagues and I have developed a new approach that will identify the most interesting planets or moons to search for life and help interpret potential biosignatures. We do this by modeling how different organisms may fare in different environments, informed by studies of limits of life on Earth. Astronomers are developing plans and technology for increasingly powerful space telescopes. For instance, NASA is working on its proposed Habitable Worlds Observatory, which would take ultrasharp images that directly show the planets orbiting nearby stars. My colleagues and I are developing another concept, the Nautilus space telescope constellation, which is designed to study hundreds of potentially Earthlike planets as they pass in front of their host stars. These and other future telescopes aim to provide more sensitive studies of more alien worlds. Their development prompts two important questions: 'Where to look?' and 'Are the environments where we think we see signs of life actually habitable?' The strongly disputed claims of potential signs of life in the exoplanet K2-18b, announced in April 2025, and previous similar claims in Venus, show how difficult it is to conclusively identify the presence of life from remote-sensing data. Oxford Languages defines 'habitable' as 'suitable or good enough to live in.' But how do scientists know what is 'good enough to live in' for extraterrestrial organisms? Could alien microbes frolic in lakes of boiling acid or frigid liquid methane, or float in water droplets in Venus' upper atmosphere? To keep it simple, NASA's mantra has been 'follow the water.' This makes sense – water is essential for all Earth life we know of. A planet with liquid water would also have a temperate environment. It wouldn't be so cold that it slows down chemical reactions, nor would it be so hot that it destroys the complex molecules necessary for life. However, with astronomers' rapidly growing capabilities for characterizing alien worlds, astrobiologists need an approach that is more quantitative and nuanced than the water or no-water classification. As part of the NASA-funded Alien Earths project that I lead, astrobiologist Rory Barnes and I worked on this problem with a group of experts – astrobiologists, planetary scientists, exoplanet experts, ecologists, biologists and chemists – drawn from the largest network of exoplanet and astrobiology researchers, NASA's Nexus for Exoplanet System Science, or NExSS. Over a hundred colleagues provided us with ideas, and two questions came up often: First, how do we know what life needs, if we do not understand the full range of extraterrestrial life? Scientists know a lot about life on Earth, but most astrobiologists agree that more exotic types of life – perhaps based on different combinations of chemical elements and solvents – are possible. How do we determine what conditions those other types of life may require? Second, the approach has to work with incomplete data. Potential sites for life beyond Earth – 'extrasolar habitats' – are very difficult to study directly, and often impossible to visit and sample. For example, the Martian subsurface remains mostly out of our reach. Places like Jupiter's moon Europa's and Saturn's Moon Enceladus' subsurface oceans and all extrasolar planets remain practically unreachable. Scientists study them indirectly, often only using remote observations. These measurements can't tell you as much as actual samples would. To make matters worse, measurements often have uncertainties. For example, we may be only 88% confident that water vapor is present in an exoplanet's atmosphere. Our framework has to be able to work with small amounts of data and handle uncertainties. And, we need to accept that the answers will often not be black or white. The new approach, called the quantitative habitability framework, has two distinguishing features: First, we moved away from trying to answer the vague 'habitable to life' question and narrowed it to a more specific and practically answerable question: Would the conditions in the habitat – as we know them – allow a specific (known or yet unknown) species or ecosystem to survive? Even on Earth, organisms require different conditions to survive – there are no camels in Antarctica. By talking about specific organisms, we made the question easier to answer. Second, the quantitative habitability framework does not insist on black-or-white answers. It compares computer models to calculate a probabilistic answer. Instead of assuming that liquid water is a key limiting factor, we compare our understanding of the conditions an organism requires (the 'organism model') with our understanding of the conditions present in the environment (the 'habitat model'). Both have uncertainties. Our understanding of each can be incomplete. Yet, we can handle the uncertainties mathematically. By comparing the two models, we can determine the probability that an organism and a habitat are compatible. As a simplistic example, our habitat model for Antarctica may state that temperatures are often below freezing. And our organism model for a camel may state that it does not survive long in cold temperatures. Unsurprisingly, we would correctly predict a near-zero probability that Antarctica is a good habitat for camels. We had a blast working on this project. To study the limits of life, we collected literature data on extreme organisms, from insects that live in the Himalayas at high altitudes and low temperatures to microorganisms that flourish in hydrothermal vents on the ocean floor and feed on chemical energy. We explored, via our models, whether they may survive in the Martian subsurface or in Europa's oceans. We also investigated if marine bacteria that produce oxygen in Earth's oceans could potentially survive on known extrasolar planets. Although comprehensive and detailed, this approach makes important simplifications. For example, it does not yet model how life may shape the planet, nor does it account for the full array of nutrients organisms may need. These simplifications are by design. In most of the environments we currently study, we know too little about the conditions to meaningfully attempt such models – except for some solar system bodies, such as Saturn's Enceladus. The quantitative habitability framework allows my team to answer questions like whether astrobiologists might be interested in a subsurface location on Mars, given the available data, or whether astronomers should turn their telescopes to planet A or planet B while searching for life. Our framework is available as an open-source computer model, which astrobiologists can now readily use and further develop to help with current and future projects. If scientists do detect a potential signature of life, this approach can help assess if the environment where it is detected can actually support the type of life that leads to the signature detected. Our next steps will be to build a database of terrestrial organisms that live in extreme environments and represent the limits of life. To this data, we can also add models for hypothetical alien life. By integrating those into the quantitative habitability framework, we will be able to work out scenarios, interpret new data coming from other worlds and guide the search for signatures of life beyond Earth – in our solar system and beyond. This article is republished from The Conversation, a nonprofit, independent news organization bringing you facts and trustworthy analysis to help you make sense of our complex world. It was written by: Daniel Apai, University of Arizona Read more: Are we alone in the universe? 4 essential reads on potential contact with aliens 'Extraordinary claims require extraordinary evidence' − an astronomer explains how much evidence scientists need to claim discoveries like extraterrestrial life Extraterrestrial life may look nothing like life on Earth − so astrobiologists are coming up with a framework to study how complex systems evolve Daniel Apai receives funding from NASA, Heising-Simons Foundation, Department of Defense, Space Telescope Science Institute, and the University of Arizona, and leads the NASA-funded Alien Earths astrobiology research team that developed the framework described here. He is affiliated with the Steward Observatory and Lunar and Planetary Laboratory of The University of Arizona.
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Miami Herald
13 hours ago
- Science
- Miami Herald
Do moray eels snuggle? See ‘romantic evening' captured in Pacific seafloor video
Moray eels have a reputation for being vicious, including a vice-like bite, but a romantic side of the predators has been recorded on the Pacific seafloor by the Ocean Exploration Trust. The rom-com scene played out about 300 feet deep near the Northern Mariana Islands, as the eels employed whac-a-mole tactics for a remotely operated camera from the Exploration Vessel Nautilus. Holes in a rock formation allowed the pair to continuously pop their heads in and out of different spots, including moments when they were nose-to-nose like snuggling lovers. 'Do you think they touch tails like they're holding hands,' one researcher is heard asking in the video shared May 25 on social media. 'Are we, like, interrupting a moment? Is this like a romantic evening? ... This is so cute.' 'Cute' is a word rarely applied to moray eels, which are known to continually expose their mouth and teeth as part of the breathing process, according to Sea World. It's not clear if the two eels were a couple or just acquaintances. The species is known to share space as 'roommates' and it is not uncommon for them to 'hunt cooperatively,' the trust said. Morays are also known to have a 'wide color variation,' which explains why one eel was bright yellow and the other was grayish, the trust said. 'Morays have large mouths and powerful jaws with a vice-like grip,' Sea World reports. 'Most species have sharp, thin teeth that protrude from the upper and lower jaws, and sometimes from the roof of the mouth. The teeth point backwards to prevent slippery prey from escaping.' They have a 'nasty reputation' among divers, who can make the mistake of gripping rocky outcrops that serve as home for eels, experts say. 'Such an action may frighten a moray eel to lash out and bite in self-defense,' Sea World says. The two eels were filmed as the team explored the summit of the Ahyi Seamount, an active volcano that last erupted in 2023, the U.S. Geological Survey reports. The seamount was visited as part of the five-month 2025 Nautilus Expedition Season, which is exploring 'unknown regions' in the western Pacific, including the Mariana Trench Marine National Monument.
Yahoo
4 days ago
- Entertainment
- Yahoo
Star Trek Fans Were Already In For An Exciting Summer, But It Just Got Even Better Because Discovery's Shazad Latif Is Leading A New Sci-Fi Series
When you buy through links on our articles, Future and its syndication partners may earn a commission. It's been a long wait, but finally, the wait for upcoming Star Trek shows is almost over. Pretty soon, we'll be spending a summer watching new adventures with a Paramount+ subscription, but that's not the only thing Trekkies should be checking out on the 2025 TV schedule. A new sci-fi show from Discovery star Shazad Latif is coming to AMC, and damn, does it look good! While it's not set in space, the spirit of traveling into the great unknown in search of adventure is still alive, and I can't wait to see the actor I'm sad didn't appear in Section 31 back in action. Shazad Latif stars as Nemo in an adaptation of 20,000 Leagues Under The Sea in Nautilus. This story will follow Nemo's plot for revenge against the East India Mercantile Company. With the help of some fellow prisoners, they steal a prototype submarine and set out to find a fabled Viking treasure. It sounds wild enough, but the trailer really drives home how awesome this series might be: It's been so long since I've seen Shazad Latif as Ash Tyler that I forgot how great of an actor he was. It'll be great to see him as a lead in a series in Nautilus, in a captain's role we never really got to see during Discovery. Hey, this might even lead to him being welcomed back to the franchise should the decision-makers at Paramount see him thrive in this new series at AMC set for June 29th. In addition to Nautilus and all that fun, we're finally getting the return of Star Trek: Strange New Worlds for Season 3. The Season 2 finale ended on a dramatic cliffhanger, and I know I've been dying to find out what will become of the crew when they go head-to-head with the Gorn. More On Star Trek I've Been Watching Star Trek: Deep Space Nine, And It Has One Distinguishing Feature I Wish The Newer Trek Shows Would Include There's a lot to look forward to in Star Trek: Strange New Worlds Season 3, especially since Season 4 is already confirmed and has been in production. Plus, we also have Starfleet Academy coming in 2026, so the future is looking bright for Trek once again. Much like Trekkies have embraced shows like The Orville as Trek-adjacent shows we can love, I hope the same happens for Nautilus. Shazad Latif had no shortage of admirers in the fandom when he was a part of the Discovery crew as Ash Tyler, and the new AMC series seems to have the same adventure vibes as the standard Trek series. It's always said that we've explored the ocean less than space, so you might even say Nautilus will "boldly go" a direction the space series hasn't before. As mentioned, Nautilus premieres on AMC on June 29th, and Star Trek: Strange New Worlds Season 3 is coming to Paramount+ on Thursday, July 17th. I know I'm psyched for the possibility of a double feature viewing of both shows each week, and I encourage others to check it out and see if they wish to do the same.
Yahoo
4 days ago
- Entertainment
- Yahoo
Casting News: Hamilton at the Tonys, She's All That Reunion and More
You do not want to throw away your shot… to the see the original Broadway cast of Hamilton perform at the 2025 Tony Awards. CBS on Thursday announced that the ensemble will reunite as part of Broadway's biggest night to celebrate the show's 10th anniversary. In addition to Lin-Manuel Miranda, the performance will feature Carleigh Bettiol, Andrew Chappelle, Ariana DeBose, Alysha Deslorieux, Daveed Diggs, Renée Elise Goldsberry, Jonathan Groff, Sydney James Harcourt, Neil Haskell, Sasha Hutchings, Christopher Jackson, Thayne Jasperson, Jasmine Cephas Jones, Stephanie Klemons, Morgan Marcell, Javier Muñoz, Leslie Odom, Jr., Okieriete Onaodowan, Emmy Raver-Lampman, Jon Rua, Austin Smith, Phillipa Soo, Seth Stewart, Betsy Struxness, Ephraim Sykes and Voltaire Wade-Greene. More from TVLine Every New Scripted Show Confirmed to Premiere in 2025 — Save the Dates! When Is Your Favorite TV Show Back? An A-to-Z List of 300+ Scripted Series Nautilus Trailer: Captain Nemo Makes Waves in AMC's Jules Verne-Inspired Adventure Drama - Watch The 78th Annual Tony Awards, hosted by Cynthia Erivo, are set to air Sunday, June 8 at 8/7c. For a full list of nominees, go here. In other recent casting news… * She's All That co-stars Rachael Leigh Cook and Freddie Prinze Jr. will reunite in the upcoming holiday TV-movie The Christmas Affair, Deadline reports. The Fox Entertainment Studios production does not yet have a network attached. * Anthony Boyle (Masters of the Air) will star opposite Julia Garner (Ozark) in the Netflix's The Altruists. Per Variety, the eight-episode limited series tells the story of Sam Bankman-Fried (Boyle) and Caroline Ellison (Garner), 'two hyper-smart, ambitious young idealists who tried to remake the global financial system in the blink of an eye – and then seduced, coaxed and teased each other into stealing $8 billion.' * Netflix's live-action Avatar: The Last Airbender has cast Adam Beach (Government Cheese) in Season 3, Deadline reports. He'll play Hakoda, father of Sokka (Ian Ousley) and Katara (Kiawentiio). * Andrew Rannells (Girls) will succeed Zach Cherry as co-host of Roku's The Great American Baking Show when it returns for Season 4 (premiere date TBA). Hit the comments with your thoughts on the above castings! Best of TVLine Stars Who Almost Played Other TV Roles — on Grey's Anatomy, NCIS, Lost, Gilmore Girls, Friends and Other Shows TV Stars Almost Cast in Other Roles Fall TV Preview: Who's In? Who's Out? Your Guide to Every Casting Move!
