The Star Trek on Paramount+ run ends with Strange New Worlds and Starfleet Academy. Here’s What the Hell Is Going On and Where the Franchise Is Headed.
If you’re a Star Trek fan, you have a pretty good idea that It is a deeply sad time for our fandom because the end of the current franchise on Paramount+ isn’t just a rumor anymore—it is officially happening. There are no more Star Trek series. That big experiment in bringing the final frontier into the streaming era is now at a standstill. At this moment, that means it’s truly over for the last two shows still hanging on: Star Trek: Starfleet Academy and Star Trek: Strange New Worlds.
Getting to watch the entire universe get its plug pulled all at once — that’s a lot to take in. Let’s discuss how we came to be here, what these final seasons are doing, and how we might handle the ending of an incredible run.
What made the blow all the more devastating was how suddenly everything changed. It had been a long time since it felt like we were in the midst of a Star Trek golden age. There was such a profusion of content, such excitement – we were truly spoiled.
At one point, we were producing five different TV series all at once for Paramount+. We had Discovery pioneering, going beyond where we’ve ever been in the future. There was Picard, giving us the nostalgia closure we didn’t know we needed. We had Lower Decks, whose brilliant, affectionate parody had us laughing so hard our sides hurt.
We got Prodigy, which brought the concept of Star Trek: Starfleet Academy to a whole new generation of kids. And then there’s Strange New Worlds, which returns to the classic episodic format that made Star Trek so iconic to begin with.
There was a day when Star Trek fans could rely on the release of a new episode nearly every week of the year. The franchise seemed unstoppable. The universe was expanding in all directions — live action, animation, stories set in the past and present as well as the far future. It signaled a huge, interconnected world that would engage fans for decades.
And then, Star Trek: Starfleet Academy came to the line-up in January 2026. It was going to be the next big chapter. It was meant to be the show that took the torch. Rather, it was one of the last to go in a sudden, savage wash of cancellations.
Let’s start with Star Trek: Strange New Worlds, because this one really hurts. To many fans it seemed the best-placed jewel in the streaming age’s current crown. The series maintained the charm, optimism and sense of seeing the world and adventure that the original 1960s series embraced, along with a host of modern visual language and complex rich layered characters.
Captain Christopher Pike, Spock, Number One, Uhura, La’an, Nurse Chapel — this crew felt like family. We saw them solve the unsolvable, sing their hearts out in a musical (nothing happens before or after as it did at the end of last season’s musical episodes) and even cross over with animated characters. They restored happiness to a series that had sometimes strayed a little too far into darkness and grime.
If you want to call it the bright side, is that we are getting a very satisfying ending. Star Trek: Strange New Worlds will start production on its fifth and final season in the fall of 2025. The cast and crew wrapped officially just before Christmas.
The Strange New Worlds’s Season 5 being already done and dusted gives me a bit of comfort. It’s probably safe to assume that the writers and the producers were aware their time was drawing to an end and as such could write some sort of send-off for the crew of the USS Enterprise. We get to see one last batch of episodes. We get to fly with Captain Pike one last time. Then again, the sets have been struck and the costumes locked up for good? That’s hard to swallow.
The end of Star Trek: Starfleet Academy is a series of jolts, and the end of Strange New Worlds is a sleepy, romantic adieu to a familiar face.
This show literally just got here! It premiered in January 2026, and offered a new look focusing on the young, idealistic cadets trying to make a place for themselves in Starfleet. There was a different vibe — a little more coming-of-age, and a little more focused on the difficulties of being a student in a vast, high-stakes universe. Fans were only beginning to learn the characters’ names, only beginning to choose their favorite cadets, and only beginning to speculate on where the story was going.
Then the hammer-pound came. About two weeks after the first season finale aired, Paramount+ made the decision to cancel Star Trek: Starfleet Academy.
It’s an unbelievably quick turnaround for a network to dump a sci-fi flagship series. It had barely time to get on its feet, or develop word-of-mouth.
But that is the oddest, most turbulent part of the whole affair. Because of modern television production practices, networks sometimes shoot consecutive seasons back to back to take advantage of economies in set and actor contracts. So even though it was canceled a mere two days after the first season wrapped up airing, Star Trek: Starfleet Academy had already completed filming its second – and final – season by the end of February.
That means Star Trek: Starfleet Academy Season 2 here we come. We’re going to be watching a second season, entirely finished, fully produced of a show that’s already dead. It’s going to be a very bittersweet viewing experience.
The narrative ends at that point, even if our cadets manage to figure out the puzzle, or win. There is no Star Trek: Starfleet Academy Season 3, and any cliffhangers from Season 2 that were left hanging will most likely remain unresolved.
Although we don’t have the full information from behind the curtain yet, the output has been predictable for some time. The streaming world is evolving rapidly. Just a few years ago, all the big entertainment companies were pouring billions of dollars into their own streaming platforms, eager to emerge victorious in the “streaming wars” and build a subscriber base. They approved everything. Budgets were enormous.
But then the bubble burst. Enterprises began to realize that producing huge, movie-quality sci-fi shows each and every week is hugely expensive, and the numbers were not adding up. Wall Street began to demand profits, not just subscriber growth. Paramount+, among many other streaming platforms, has been experiencing massive reorganizations, budget cuts, and corporate shake-ups.
Star Trek is a beautiful franchise but it is not cheap to produce. The intricate sets, the alien makeup, the state-of-the-art visual effects, the huge casts — it all runs to millions of dollars an episode. When the corporate compressing started, big-bucks sci-fi shows were the easiest targets to be cut.
It’s frustrating because it seems like those decisions were made in a conference room by people looking at spreadsheets, not people looking at the rabid fanbase. But sadly, that’s the way the TV biz is. It is business first and art second.
If there is any solace to be found in this enormous letdown, it’s that we aren’t getting the full dark today. The Paramount+ Star Trek era is ending, but a veritable cornucopia of fresh episodes awaits before the lights go out for good.
And through it all, one thing remains the same—we are a united front. The Star Trek fanbase is easily one of the friendliest, most passionate and creative communities you will ever come across. The shows come and go, but the spirit never does.
And then there’s the phantom second season of Starfleet Academy. It’s the end, but we still get one more season with those cadets. We get to see the labor of those actors, writers and visual effects artists in those final episodes.
I am going to highly encourage us all as a fandom to not just rage quit these final seasons. Let’s watch them. Let’s celebrate them. Let’s let the these creators know their work meant something to us, even if the executives above didn’t see value in continuing the stories.
It’s not the first time Star Trek has been “canceled.” The Original Series was notoriously canceled after only three seasons in the 1960s. People thought it was over. But the fans rallied together, the show gained a new life in syndication, and it ultimately spawned a massive movie franchise.
Then we proceeded through the golden age of the 90s with The Next Generation, Deep Space Nine, and Voyager. But then the tiredness of the franchise set in, and Star Trek: Enterprise was axed without ceremony in 2005. For more than ten years, there was no Star Trek on television. It seemed like that was the end of the line back then, too.
But Star Trek always returns. It is simply too large, too iconic and too culturally significant to be allowed to remain dead for all time. The ideals of the Federation — hope, diversity, scientific curiosity, and an optimistic view that humanity can build a better future are things that people will always crave. We need Star Trek, particularly when times are tough.
The Paramount+ era is coming to a close. The streaming experiment is done for the time being. The vessels are headed back to spacedock and the lights are going out. We may also have to wait for a few years before we get another new series. It could be a matter of waiting for a new corporate owner, a new network, or a new approach to the franchise.
But somebody will look up at the stars and decide it’s time to go — boldly, once again.
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The great thing about the streaming era is that now, we have an endless supply of Star Trek at our fingertips. We now have permission to binge The Original Series. We can binge The Next Generation. And if we haven’t, we can now do that too without having to wait. The legacy is still there.
There aren’t many genres that are as welcoming, passionate, or creative as Star Trek fandom. There are series, but the spirit cannot be truly killed, not even with series. Cosplay evolves, new fan fiction runs rampant, and cons tend to attract fans. At the end of the day, it’s the debates, the arguments, the friendships that really keep this universe going, that are at the core of everything.
We said goodbye to Strange New Worlds, a show that had a sting of home about it. We say goodbye to Starfleet Academy, a series that just didn’t take off. We are ending an era of television science fiction that was extraordinary.
But the final frontier is here to stay. It’s waiting underneath for the next leaders of the pack.
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ComicsPRO 2026 Absolute Universe DC reveals game-changing new developments, bold stories, character twists, and plans for the future of the multiverse DC.
Absolute Universe DC Comics made big news for Absolute Universe at the February 2026 ComicsPRO meeting. The company demonstrated that it is finished playing it safe. Instead, DC announced plans to overhaul how it produces comics across three distinct categories of books. These changes will be for both new readers and veteran Absolute Universe DC fans.
The conference was held February 19-22 in Glendale, California. This is the news that comic book stores get when they find out what the publishers hold for the next year. DC took the opportunity to prove it has a plan solidified for growth after sweeping changes in late 2024 and 2025.
DC has three ways to publish comics in 2026:
Different strategies appeal to different readers. Taken together, they demonstrate that DC is intent on expanding its fans and fitting the hobbies of existing fans better.
The Absolute Universe started as an experiment. The concept was straight forward: Take well-known DC heroes, and take away all of their advantages. Batman doesn’t have money. Superman was not raised in Kansas. Wonder Woman has no royal family.
This world has previously sold more than eight million copies. Readers love watching heroes rise from zero in a world where villains already rule.
The villains in ‘this world’ had their own “Justice League.” This team includes:
These baddies are on the lookout for newfound super folks through means of something called the “Mirror World.” They also take a few new recruits along. In this world, Lex Luthor is just a happy farmer. Hawkman betrayed his fellow heroes to the government in the 1950s.
Absolute Green Arrow debuts on May 20, “experimental” is a major understatement. Pornsak Pichetshote winner of The Sandman Universe: Nightmare Country Eisner-pairs off with Rafael Albuquerque to deliver what DC is literally calling I Know What You Did Last Summer for billionaires. But somebody slasher isn’t the baddie here. Or is he?
Here’s the delicious twist: Oliver Queen is already dead. Murdered. The green-arrow wielding “Absolute Hunter” who eliminates corrupt billionaires could be a successor, an apparition, or who knows what. Dinah Lance is now reworked as an “executive protection specialist” as opposed to a costumed crime-fighter that must track a cadre of archers, all linked to the late Queen, through her list of suspects. No trick arrows. No fortune. Just urban horror and class warfare clothed in hunter’s green.
Then it’s Absolute Catwoman on June 10th, and DC are just playing a whole different game. Batman and Superman are the underdogs in this world and Selina Kyle came out on top. She’s the “Absolute Apex Predator,” the greatest thief of all time and who has access to technology that makes Batman’s gadgets look like kid’s toys.Scott Snyder co-writes with Che Grayson and Selina is the establishment figure while Bruce Wayne is the guy living on the fringes. The reversal in power is so delicious it ought to be illegal.
Absolute Universe DC also revealed the first big event in the Absolute Universe. It is scheduled for release in late 2026. The story will be a crossover with Absolute Wonder Woman, Absolute Superman and Absolute Batman.
The event is designed to be accessible without needing to buy other books. Fans have speculated the heroes may also create their own team to battle the villain “Justice League.” Some speculate they call themselves the Legion of Doom. This is the book most likely to be the big seller of the holiday season.
Condensing what the Absolute Edition was offering up to readers new to the material, “DC Next Level” = pure obsessiveness excellence. This is the victory lap for Scott Snyder and Joshua Williamson — a creator-firstline where talent gets to pick its characters, not the other way around.
The idea is pretty straightforward: Let amazing creators pick the characters they love, even if those characters are relatively obscure. Snyder described these books as “big swings” and “passion projects.”
The March rollout gave us a taste of this with Lobo by Skottie Young (cosmic violence meets psychological evaluation), Batwoman by Greg Rucka’s triumphant return to Kate Kane, and Deathstroke: The Terminator by Tony Fleecs. But the summer announcements? That’s where things get genuinely disruptive.
Barbara Gordon: Breakout may well be the most politically resonant superhero comic set for 2026. Mariko Tamaki (just fresh off her Eisner win) is sending Barbara to Supermax. Not as a visitor. As an inmate.
Commissioner Vandal Savage (let that title roll off the tongue) has constructed a prison for Gotham’s vigilantes and babs is trapped inside, without her tech and surrounded by criminals she helped capture. Orange Is the New Black meets The Shawshank Redemption as Oracle tries to make it through on brainpower. The survival thriller structure is so perfect for Barbara’s skill set that you wonder why no one did it sooner.
Then there is The Deadman, which wins my subjective prize for “comic I am most likely to reread on the spot.” W. Maxwell Prince and Martín Morazzo, the creators of the existential terror masterpiece Ice Cream Man are now bringing their unique vision to Boston Brand in a six-issue miniseries about “ghostly derangement.” The DC K.O. event broke down walls between the living and the dead (comic book events have the best collateral damage), and now souls are stuck in spirals of spiritual turbulence. Deadman must inhabit humans and metahumans alike in a race to repair the afterlife before the fabric of reality tears apart. If you know Ice Cream Man you are aware that Prince writes horror that whispers in your ear long after the last page.
Essentially DC saying: “Sure, we can do Vertigo-quality horror in the mainline universe.”
Kyle Higgins and Daniele Di Nicuolo, the creator and illustrator team that revolutionized the Power Rangers comics are taking the franchise to a place it’s never been. Jason Todd runs the show meaning Red Hood is heading the Teen Titans.
Not Dick Grayson giving wholesome guidance or Damian Wayne putting on a team-player front. This is Jason Todd lethal, traumatized, controversial investigating a plot surrounding disappeared superpowered teens and rounding up a team of “plugged-in, hyper-capable young heroes” to blow open systemic lies.
The lineup features Cheshire Cat, Flatline and Fairplay – as well as two mysterious new characters including what looks like a Gen-Z construction worker with powers related to building.
This isn’t your nostalgia-bait Titans This is Absolute Universe DC realizing the coolest stories come from breaking the toys, then giving them to creators willing to play from a different place.
Hiding in the big blockbuster announcements was possibly DC’s most culturally significant move and bringing back the Vertigo imprint in full. Not as a nostalgia line, but as a destination for mature readers with real creative freedom.
What is salient here is that Vertigo was not simply a label—it was a mindset. Sandman, Preacher, Transmetropolitan, Y: The Last Man — these were comics that showed the medium could be literature for grownups without the spandex. 2026 DC’s slate suggests they’re taking a page from that lesson.
While no specific Vertigo titles were mentioned in the ComicsPRO presentation, the dedication to ”mature-reader demographics” and the hiring of talent such as Prince and Morazzo definitely signals intent. The Deadman mini-series is really Vertigo horror dressed up in DC costume. Look for announcements at San Diego Comic-Con that will get the literary comics crowd talking.
For years the publisher seemed caught between pursuing after Marvel’s cinematic synergy and placating a direct market that was terrified of change. The 2026 slate is a different animal—three distinct publishing strategies working in tandem, each with clear creative mandates and focuses.
Absolute Universe are the onboarding ramps: continuity-free, high concept, visually arresting entry points for readers who have lapsed from the mainline or for newcomers. DC Next Level is the love project nursery, where familiar creators can get weird with underutilized characters. Vertigo (or whatever the mature line transforms into) is your prestige level, your evidence that comics can hold its own with HBO dramas and literary fiction.
A refined understanding that the direct market is not dying—it is just starving for more worthwhile products to collect. Those tiered prices for Absolute Catwoman aren’t greedy, they’re smart. They understand that comic book collecting is now experiential retail, where the tactile experience matters as much as the story on the inside.
All of this took its cues from the DC K.O. story arc. This concludes the five-issue mini-series of March 2026. A new “King Omega” will be established for this cosmic battle tournament to face Darkseid.
The aftermath of that event is a shattered world of Absolute Universe DC Next Level. Spiritual realms are in disarray. Hero teams are fragmented. This allows writers to tell all kinds of new stories without negating what came before.
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Absolute Universe DC Comics started 2026 with its intentions clear. The company has stopped waiting for Hollywood movies to make its characters popular. DC is producing comics worth paying attention to on their own terms.
From horror-tinged Green Arrow stories to prison survival tales with Barbara Gordon, from Jason Todd leading the Titans to Deadman fixing the afterlife, these books take chances. They trust readers to keep up with weird ideas.
DC’s three-tier approach is Absolute for newcomers, Next Level for fans, Vertigo for adults that suggests Absolute Universe DC knows its buyers. The company recognizes that its readers are not all the same. DC wants to do both — grow by adding to those disaffected consumers while keeping existing readers happy.
2026 may be the year when Absolute Universe DC demonstrates that audacious comics can capture massive audiences. The plans are set. The creators are hired. Now the books must deliver on these big promises.
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Greatest Marvel's Amazing Spider-Man #1000 comic that shaping future MCU with great storyline and villains, releasing after Brand New Day
Marvel has been leading up to this moment for months, and now it’s almost here. On Sep 16, 2026, Amazing Spider-Man #1000 will be released, one of the biggest issues to ever hit shelves for the character. This is being laid out as a major turning point for Spider-Man that will open new storylines, new threats, and a creative team that will scale the event. It’s a bona fide event book, the kind Marvel only does once a decade.
The release is coming as well when excitement for Spider-Man is building once more, fueled by the arrival of Spider-Man: Brand New Day in theaters. Peter Parker is having a moment.
There are not many superhero comics that ever make it to issue #1000, but Spider-Man is about to join that select group. For Spider-Man, the milestone represents decades of stories, untold creative teams, and generations of fans. Even though the current run is just at issue #36, Marvel’s legacy numbering takes into account the entire publishing history going all the way back to the original Amazing Spider-Man series that was first published back in 1963, so this has the potential to be one of the biggest issues the title has ever produced.
The book is being led by writer Joe Kelly and artist Pepe Larraz, the current creative team on Amazing Spider-Man, in a story titled “Ravaged.” This isn’t a stand-alone tribute story disconnected from the ongoing plot — it’s described as both a culmination of Kelly and Larraz’s run so far and the launchpad for whatever comes next. In other words, if you’ve been following the current arc, #1000 pays it off. If you haven’t, it’s designed to work as an entry point too.
The centerpiece of the issue introduces a brand-new villain, and Marvel has been fairly blunt about the intent behind him. Kelly described the character as engineered specifically to “terrify and enrage and torture Peter at maximum potential,” aiming for the kind of antagonist readers end up loving to hate. Larraz, who designed Ravage’s look, wanted something Spider-Man readers hadn’t seen before — the early art shows a black-and-yellow costume with red boots and gauntlets, a fur cape, a Black Knight-style helmet, and a sharpened gold chain as his signature weapon.
What makes Ravage dangerous isn’t just brute strength. The solicitations frame this as one of Spider-Man’s most personal battles yet, with the villain’s power forcing Peter to question his own legacy which is a fairly loaded thing to say about a character debuting in an anniversary issue. Preview pages show Spider-Man fighting Ravage across the skyline before cutting to Peter racing through a hospital emergency room, intercut with flashbacks to his childhood with Aunt May and Uncle Ben. That’s not incidental framing. Marvel is clearly setting Ravage up to hit close to home.
Fan theory worth watching: several corners of the fandom believe Ravage’s secret identity connects to Mr. Crane, a mysterious character recently introduced as a possible son of Ben and May Parker. If that theory holds, Ravage wouldn’t just be a new rogue in the gallery — he’d be family, which would recontextualize everything about “his most personal battle yet.”
Beyond the main story, the Amazing Spider-Man #1000 is stacked with short anniversary tales from a genuinely unusual mix of Spider-Man legends and newcomers. Dan Slott and Marcos Martin revisit the night Uncle Ben died in a story called “Now I Can Rest.” Brian Michael Bendis reunites with artist Stuart Immonen for a team-up between Spider-Man and the Avengers titled “The Gesture.”
Frank Miller teams up with Peach Momoko for the first time on “Tears of the Spider-Queen,” pitting Spidey against the ninjas of the Hand. J.M. DeMatteis and Humberto Ramos reunite on “Requiem of a Goblin,” and even Larry Lieber — one of the last living creators from Marvel’s earliest era — contributes a story called “Of Webs and Six-Guns.”
Perhaps the most unexpected name on the list is Noah Hawley, the showrunner behind Fargo, Legion, and Alien: Earth, making his comic book writing debut in this very issue. That’s not a small detail for fans tracking Marvel’s growing overlap between its comics, streaming, and film divisions, pulling in a prestige TV writer for a Spider-Man anniversary book signals how much weight Marvel is putting behind this release.
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Marvel gave the Amazing Spider-Man #1000 two main covers instead of the usual one — a painted collaboration between John Romita Jr. and Paolo Rivera, and a separate piece by current series artist Pepe Larraz. Editor Nick Lowe explained the decision was about bringing together as many iconic Spider-Man artists as possible for a book this significant.
On top of that, the variant program has turned into its own event, with contributions from Alex Ross, Mark Bagley, Skottie Young, J. Scott Campbell, and a Steve Ditko homage cover, among dozens of others.
One variant in particular matters more than the rest for movie fans: a cover officially branded for Marvel Studios’ Spider-Man: Brand New Day. Marvel doesn’t usually spend a variant slot cross-promoting a film unless it wants readers making the connection deliberately.
The timing here is not a coincidence. Spider-Man: Brand New Day, directed by Destin Daniel Cretton and starring Tom Holland, releases in theaters on July 31, 2026 — just weeks before the comic hits shelves. The film picks up four years after No Way Home, with Peter Parker living entirely alone, having erased himself from the memories of everyone he loves. He’s fighting crime full-time in a city that no longer remembers him, and the pressure of that isolation triggers what’s being described as a physical transformation he can’t fully control, just as a new and unusually powerful threat starts to emerge.
The title ‘Brand New Day’ suggests the most iconic storyline of Amazing Spider-Man, which was written by Dan Slott, following the ‘One More Day’ event. In that comic, The storyline returned Peter to a simpler life because he is being erased from everyone’s memories after a spell cast in ‘No Way Home’. He made a deal with Maphesto to not marry MJ in order to save Aunt May’s life, he was back living with Aunt May. The movie is clearly leaning on that same emotional architecture — a Peter Parker stripped of the support system he built across three films, forced to rebuild his identity from the ground up.
Both Amazing Spider-Man #1000 and Spider-Man: Brand New Day follow different stories but exploring the same thing. Who is Spider-Man now after losing everything he had, there’s nothing left to lean on and the only thing left is the choice to keep going anyway. Ravage forcing Peter to “question his very legacy” in the comic, and movie-Peter rebuilding his life from scratch in total anonymity, are two versions of the same gut-punch. Marvel putting a Brand New Day variant cover on the anniversary issue isn’t just marketing synergy — it’s Marvel pointing at both stories and saying, look, this is the theme right now.
Anniversary issues happen periodically — #700, #800, #900 all had their moment. What makes #1000 different converges are happening around it. It’s landing during the biggest theatrical Spider-Man push since 2021, with Quorum audience tracking reportedly showing Brand New Day as the highest-interest tentpole of the summer. It’s introducing a villain explicitly designed to have long-term consequences rather than a one-issue cameo. It’s pulling in a Hollywood showrunner for his comics debut, which reads like Marvel building bridges between its publishing arm and its screen ambitions. And it’s doing all of this while explicitly tying its cover art to a movie in theaters at the same time.
It’s not Marvel simply celebrating where Spider-Man has been. This is Marvel indicating where he’s going next, in comics and on screen. At the very moment that mainstream audiences are starting to pay attention again, by using the character’s most iconic number.
Readers picking up Amazing Spider-Man #1000 should go in expecting more than a nostalgia lap. Ravage is being positioned as a villain meant to stick around, not a milestone gimmick. The anniversary stories give long-time fans real emotional payoffs — Uncle Ben’s death, the Hand, an Avengers team-up without needing the main plot to carry all of it. And for fans coming in fresh off Brand New Day at the theater, this issue offers something the movie can’t: eight-plus decades of context for why Peter Parker rebuilding his life, alone, still means something.
Whatever Ravage ends up being whether the Mr. Crane theory holds up or Marvel has something else up their sleeves, one thing is already clear from the buildup: This issue is supposed to make a difference for the next thousand, not just look good sitting on a shelf.
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A once-in-a-lifetime event like Amazing Spider-Man #1000 will happen only one time, but what makes this issue special isn’t the number on the cover. Instead, the fact that Marvel is using it to push Spider-Man forward rather than just celebrate the past. Between Ravage’s introduction, an all-star lineup of creators, and the obvious thematic connection to Spider-Man: Brand New Day, the anniversary issue is less about a victory lap and more about the beginning of Peter Parker’s next defining chapter.
Whether you’ve followed Amazing Spider-Man for decades or you’re returning to the character after the new film, #1000 is shaping up to be one of the most significant Spider-Man comics in years. If Marvel makes good on its promises, and they are, readers won’t recall this issue because it was a historic milestone—they’ll recall it as the issue where Spider-Man’s future changed in a big way.
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