Author: Richard

With the continuous evaluation of military drones by the U.S. Department of Defense, air combat is evolving swiftly. Nonetheless, the U.S. military seems to have discovered a method to enhance fighter pilot safety. Particularly by outfitting fighter jets such as the F-15 with deployable unmanned systems capable of utilizing their own air-to-air missiles in battle. The essence of this new superweapon is an aircraft referred to as LongShot by the Defense Advanced Research Projects Agency (DARPA).

This initiative is a result of a partnership between DARPA and General Atomics Aeronautical Systems. DARPA asserts that it anticipates a substantial impact on aerial combat once LongShot becomes operational. For the time being, however, the agency indicates it is observing promising developments from the concept, and it aspires to achieve flight readiness soon. There is no specific timeline available regarding how long this may take, as the LongShot weapon is still progressing towards fulfilling all necessary milestones for its integrated flight-test campaign.

A new superweapon for F-15 fighter jets

LongShot is being engineered to operate with the F-15 platform, one of the primary fighter jets of the U.S. Air Force. Nonetheless, DARPA expresses intentions to create a system that is platform agnostic, enabling integration with various fighters and bombers, thus allowing multiple aircraft to benefit from the unique attributes of the superweapon.

The main objective of the LongShot initiative is to enhance conventional air combat operations, rather than solely substituting them with unmanned fighters. This is because LongShot will necessitate human pilots to guide the weapon, recently designated as X-68A, closer to its target instead of depending exclusively on drones to carry out the entire mission. This implies that fighter pilots will still face some risk, though with LongShot’s involvement, the military aims to reduce their direct exposure to frontline combat. The exact extent to which the system will depend on artificial intelligence remains uncertain, but it is evident that AI is significantly transforming military operations in various ways.

Colonel John Casey, the DARPA LongShot program manager, states that “LongShot mitigates considerable technical risk and offers a feasible route for military services to enhance air combat range and effectiveness from uncrewed, air-launched platforms.” This is achieved by permitting pilots to launch the unmanned device and then withdraw as it engages in combat, utilizing onboard missiles and additional functionalities.

When LongShot will be ready

While DARPA is making consistent strides towards achieving the milestones necessary for LongShot’s flight readiness, it anticipates this may not occur until late 2026 at the earliest. The agency still has to complete ground and integration testing, after which it can proceed to flight-readiness trials. This could transpire swiftly, depending on any issues encountered during testing. However, once testing concludes, the LongShot program’s X-68A seems well-positioned to support pilots in combat situations.

It will be deployable from larger aircraft, allowing it to fly ahead of the main force to confront enemy targets. This capability could prove advantageous for reconnaissance missions in tightly controlled airspace, as well as for safeguarding bombers during critical operations. With numerous other nations advancing toward incorporating drones and unmanned robots into their strategies — exemplified by China’s robot dog armed with a rifle — it is reasonable for the U.S. military to explore unmanned vehicles to enhance effectiveness and safety for its fighter pilots.

Anyone who has seen the work of Stephen Graham, co-creator and star of Netflix’s “Adolescence,” recognizes that the English actor thrives in roles that are inherently dark and weighty. His portrayal of Eddie Miller in the 2025 Netflix miniseries — which has garnered immense online acclaim — exemplifies this, but it’s far from the most intense or chilling character he has embodied over his more than thirty years in the acting field. If you experienced the 2007 film “This is England,” Graham’s neo-Nazi Combo is unforgettable, as is Joseph, a shattered individual who confronts the perpetrator of his childhood sexual abuse in 2019’s “The Virtues.” The same goes for Eric McNally, a prison officer portrayed by Graham in the BBC’s 2021 anthology prison drama, “Time.”

In the three-episode inaugural season, McNally serves as the supervising officer to Mark Cobden (another lead played by a restrained Sean Bean), a middle-aged educator sentenced for homicide while under the influence. As a correctional officer, McNally is strict, diligent, and immensely tough, yet he bears the heavy weight of having his son David (Paddy Rowan) incarcerated in a separate facility. Complications arise for McNally when an inmate reveals he knows David’s location, warning that if McNally doesn’t assist certain individuals, his son could be in peril.

Both characters navigate insurmountable challenges, with Cobden grappling with a world tainted by violence that he cannot endure, and McNally confronting the level of corruption he has meticulously avoided throughout his career. Gradually, the characters start to unravel within a flawed penal system seemingly structured to destroy lives instead of rehabilitating disturbed offenders.

Time’s first season is starkly realistic and heart-wrenching

“Time” is not meant for the sensitive viewer. Creator Jimmy McGovern makes that clear from the outset of the first episode, immersing us in a prison atmosphere that’s as brutal, unpredictable, and aimless as one imagines. Sudden eruptions of violence and hostilities are consistently palpable, and if you’re not vigilant, they can engulf you like a tempest. McGovern also illustrates, with meticulous details, that the British penal system contrasts sharply with the American version typically showcased in films and television. The rules here may appear somewhat gentler, but the psychological repercussions of such a facility are equally intense.

We largely perceive that through Cobden’s perspective, who navigates this environment like prey in a lion’s lair, filled with fear and despair, uncertain of where the next attack might originate. McNally recognizes that he is distinct from the rest — a man genuinely tormented by his actions and seeking atonement while hoping for redemption at the journey’s conclusion — and endeavors to assist and safeguard Cobden as best he can without compromising his own morals. However, the guard is undeniably overshadowed by a looming cloud, as he is compelled to aid one of the prison’s most influential inmates to protect his son from death.

Both Bean and Graham provide exceptional, albeit challenging, performances that “Time” skillfully leverages to set itself apart within the genre. Although they undeniably take center stage, it would be remiss to overlook the supporting cast, who excel in their smaller roles — notably James Nelson-Joyce as Cobden’s tormentor, Johnno, Jack McMullen as Cobden’s cellmate, Daniel, and Kevin Harvey as a compassionate and loving father, Paul.

Time shifts its focus in the second and third seasons

With its anthology framework, “Time” season 2 unfolds in a women’s prison and centers on three new primary characters: Orla (“Doctor Who’s” Jodie Whittaker), a desperate single mother; Kelsey (“The Last of Us” star Bella Ramsey), a young pregnant heroin user; and Abi (Tamara Lawrance from HBO’s “Get Millie Black”), a Black woman condemned to life for an unspeakable murder. While these women lead vastly different lives, their fates inevitably converge when they find themselves in Carlingford Prison for various offenses.

Season 2 may not have captured the same level of attention as its predecessor, yet both critics and audiences lauded it, especially for its gritty ambiance and the lead performances. As noted by TV Insider’s Matt Roush in his review, “The second season excels in its moments when its female inmates open up, expressing emotions after harrowing and gruesome encounters that render ‘Orange Is the New Black’ a mere jaunt to Disneyland.”

Both seasons of “Time” are accessible on Apple TV+ in the United States; however, be aware that the streaming service has raised its subscription rate to $12.99 monthly. Meanwhile