This is just my own personal list of what I'm thankful for — feel free to add your own things you're thankful for in the comments.

1. That maybe, just maybe, movie audiences are developing some good taste.

I know, I know. Transformers: The Revenge of the Fallen made about $833 million. And New Moon just had the third biggest opening weekend ever. Not exactly strong arguments for the intellect of the filmgoing public. But even so, both of them still came up short when compared to The Dark Knight, which set all manner of non-Titanic box office records. And for all the financial success of Transformers 2 and New Moon, I think there's a solid argument to be made that neither really compares to the cultural impact of The Dark Knight.

The Twilight franchise has its extremely devoted fanbase, but almost no crossover appeal. To be sure, tons of people saw Revenge of the Fallen, but how many people now remember doing so? The Dark Knight, on the other hand, launched a ton of memes, established the definitive version of the Joker for years to come, and won a ton of awards, assuming you care about that stuff. (I don't particularly, but evidence is evidence.)

And let's look at all the movies that aren't sequels. District 9 made $200 million on a $30 million budget thanks to a clever viral marketing campaign, strong word of mouth, and the fact that it was actually a good movie. All the standard industry reasons to assume a movie like District 9 wouldn't make money — it's too political, it's too violent, it's too South African — turned out to be completely wrong, and I'm just going to be a ridiculous optimist and assume that the quality of the movie was the reason for its success.

Finally, there's Star Trek. If anything, the fact that it was the eleventh movie in the franchise just meant it had more baggage to overcome, and yet it was the first bona fide hit of the summer, making $384 million. The fact that it did all that while gleefully reveling in the very same continuity that had sunk so many previous revival attempts, all because the movie was just so damn fun... well, yeah, I'm pretty thankful for that.

2. That Dollhouse somehow, against all odds, got a second season.

Sure, it's a shame that Dollhouse is coming to a close, but that show had no business making it past season one. Hell, it probably should have, by rights, been canceled about six episodes in. The show wasted its first five episodes on variations on the personality-of-the-week theme before launching into the master plot — admittedly because of network interference, but still — and then proceeded to unfold its convoluted, off-putting mythology that left the show without a clear central hero and a whole lot of really uneasy questions the audience had to answer. And it did all this while comfortably settling into #132 in the ratings, bringing in a paltry 3.73 million viewers per episode.

And then, thanks to favorable internet numbers, some decent critical buzz, and maybe some lingering Fox guilt about the fate of Firefly (nah), it got a second season, and Joss Whedon went full tilt at making it the craziest, most nerderiffic show ever. I mean, look at all the guest stars. Jamie Bamber! Michael Hogan! Alexis Denisof! Keith Carradine! Summer Glau! Ray Wise! More Alan Tudyk and Felicia Day! Not to mention the fact that the show is, if anything, even better, crazier, and more gleefully off-putting than last season. Dollhouse might be going out, but under the circumstances, you can't really say it isn't going out on its own terms.

3. That Doctor Who and Futurama are coming back, and everything will be (never) the same again.

It's a been a long year, with so little new Doctor Who to get excited/thrilled/confused/conflicted about. But now "The End of Time" is coming to close out David Tennant and Russell T. Davies's tenures with the show, and it clearly promises to be the most bonkers thing ever made. And then the Steven Moffat and Matt Smith era officially begins, and I really can't wait.

I got into Doctor Who in 2003, back when the show was still very much in the wilderness and the closest thing to new Who were a bunch of audios starring Paul McGann. (Sure, they were pretty good, but they were also pretty far from the real thing.) As such, I'm probably one of the very last people who can even somewhat legitimately call themselves "old school" fans of Doctor Who, and though I can't exactly claim a long memory of the time before the series returned, I remember just enough to be eternally thankful that the show is simply back at all.

Meanwhile, Futurama is finally completing its long road back. It's survived one cancellation, come back for four direct-to-DVD movies, at least two of which were pretty good, gotten picked up by Comedy Central, and muddled through one hell of a tense negotiation with the voice actors. A decade after it began, this show has even less business than Dollhouse still being on the air. Yet...here it is. With lots more crazy stories coming! And the original cast back! And maybe a decent budget to work with! Honestly, at this point, it's all gravy anyway.

4. That this happened.

Nothing like a little Nathan Fillion fan service to put a smile on my face. And hey, Castle isn't exactly bad! (It's not exactly good either, but that's besides the point.) I'd still gladly trade every show I've loved for the past seven years just for another season of Firefly, though. Yes, that includes you, Battlestar Galactica!

5. Starcraft II is coming.

So what if it's "just" a computer game? I'd happily argue Starcraft is at least one of the five best works of science fiction in the last twenty years. At least. And now it's got a sequel coming? I can barely contain my excitement, and it's still months away. I mean, just look at this:

You know, I'm going to really miss my productivity. But I'm thankful it'll be put to such an important use - helping the Terrans defeat the Zerg! (And then, once that is completed, helping the Zerg defeat the Terrans!)

6. That, no matter what Roland Emmerich does to them, I'll still have all my Foundation books.

You know, in a world of seemingly endless unnecessary adaptation and pointless remakes, this is probably a very useful thing to keep in mind.

In an interview with Collider, Emmerich explained how his Foundation adaptation would grapple with the hundreds of years worth of events in galactic history that Asimov's books portray. For those fans wondering how Emmerich plans to balance the stories of mathematician Gaal Dornick, mayor Salvor Hardin, trader Limmar Ponyets, and merchant prince Hober Mallow...well, it might be time to get used to the idea of Gaalvor Ponlow, mathematically and politically inclined trader extraordinaire.

According to Emmerich:

Well I was interested in Asimov before and I think with "I, Robot" they changed everything and fans kind of hated the movie so I didn't want to do that. On the other end, The Foundation is a similar problem in that you have all these short stories and then they were combined into a book and so in a way there is not one character and I spoke with the Rob [Rodat, writer of "Saving Private Ryan"] and he said we have to consolidate the characters and that's what we did and it worked really, really well in the context and I think if Asimov would have conceived this as a science fiction trilogy or series from the very beginning, he would have done that too but he didn't so I think in spirit it's totally "Foundation" but has consolidated characters that go through the three movies.

Emmerich also mentioned that writer Rob Rodat is yet to send him the screenplay for Foundation, but he's optimistic it will be finished before his disaster epic 2012 comes out. The timeline for Foundation is still somewhat unclear, but it's at least one movie down the road for Emmerich; his next movie will be Anonymous, a political thriller about the authorship of William Shakespeare's plays.

[Collider]

Now maybe you're knowingly dating a robot, or perhaps you've had one constructed for that very purpose. But if you think your guy or gal might be an artificial intelligence, but you're not sure, look for these symptoms:

You've Only Spoken to Them Online

xkcd: It's always risky dating someone online. You don't know if that cute girl you've been chatting with is really an octogenarian with great taste in movies — or a particularly sophisticated spambot. Fortunately, this savvy Internet user knows a test for artificial intelligence far more efficient that the Turing Test or the Voight-Kampff.

Buffy the Vampire Slayer "I Robot...You Jane:" We all learn a valuable lesson about chatting with strange men when sweet, awkward Willow starts an online romance with Malcolm. She thinks she's found the man of her dreams — or at least someone to help her forget Xander for a while. Tragically, "Malcolm" is actually "Moloch," an ancient demon trapped in the school's computer system whose only means of physical interaction is through a robot body.

There Are Multiple Copies

Battlestar Galactica: Glowing spines would have been a handy way to tell the Cylons from the humans, but barring that, there are a few other ways to tell if the person you're sexing up is a Cylon. Baltar and Tyrol both date Cylon women with a penchant for sabotage, but Helo gets the most definitive clue to his lady friend's true nature, when he spots her exact duplicate hanging around Caprica with a Number Six.

Star Trek "Requiem for Methuselah:" Rayna Kapec seems like the perfect woman: intelligent, beautiful, and a great pool players. It's no wonder that Captain Kirk, who falls in lust every other week, pursues her. But, alas it's not meant to be. Kirk and Spock stumble into a chamber belonging to Rayna's guardian Flint, containing several earlier gynoid versions of the lovely Rayna. The emotional impact of learning that she's a robot and being forced to choose between Kirk and Flint prove too much for Rayna's circuits to handle, prompting an irrevocable meltdown.

The Twilight Zone "In His Image:" Jessica Connelly never actually learns that Alan Talbot, the man she fell in love with, is a robot. His creator and physical doppleganger, Walter Ryder, just quietly takes his place after Alan malfunctions and starts developing homicidal impulses.

They're Three Laws Compliant

Foundation: We'd all like our significant others to respect human life and to protect us when we're in danger. But Dors Venabili, Hari Seldon's bodyguard and eventual wife, is actually programed to do just that. Seldon does suspect that she's a robot, but by then he has already fallen for her.

Their Affection Can Kill

Austin Powers: The Spy Who Shagged Me: British Intelligence never bothered to tell Austin Powers that his partner and new bride Vanessa Kensington is, in fact, a fembot planted by Dr. Evil. Austin learns soon enough when Vanessa points a pair of machine guns from her breasts, though she notes he would have figured it out sooner if he'd tried a little foreplay.

Kim Possible: So the Drama: When crime-fighting teenager Kim Possible needs a date to her junior prom, new student Eric appears just in the nick of time to be Kim's first steady boyfriend. She's understandably devastated when her nemesis Dr. Drakken kidnaps her new beau, and rushes to save him. But when Kim gives the newly liberated Eric a relieved hug, he electrocutes her, revealing himself to be one of Drakken's Synthodrones.

They Dance Like No Human Dances

"Der Sandmann" by ETA Hoffmann: Summer Glau's ballerina background may have been an excuse to place the Terminator Cameron in toe shoes, but gynoids have a long history of dancing. Olimpia, for example, is quiet adept at dance as well as singing and playing the harpsichord. Many find her cold and stiff movements a bit off-putting, but Nathanael, a young student already engaged to another woman, develops a passionate obsession with her. When he learns that Olimpia was an automaton all along, he's driven mad by the revelation, leaping to his death.

Metropolis: When the Joh Fredersen and Rotwang conspire to place a robot made to resemble the popular worker leader Maria upon the working caste, they hold a dance performance to see if the people of Metropolis see her as human. It works, and the men of Metropolis are immediately captivated. It's Fredersen's son Freder, who is in love with the real Maria, who eventually recognizes that she's not the girl he fell for, and must be a copy.

They've Returned from the Dead

Machine Teen: Carly Whitmere knows that her boyfriend, Adam Aaronson, is frequently ill, but never would she guess that his bouts of illness are the result of glitches in his robotic systems. It's actually not Carly, but Adam's best friend JT who first discovers his robotic nature, and later helps repair Adam after he is seemingly shot to death.

Star Trek "What Are Little Girls Made Of?:" Starfleet had lost contact with Nurse Christine Chapel's fiance Dr. Roger Korby for several years, so she was relieved to discover him apparently alive and well on Exo III. But it turns out the Korby she encounters is not quite the man she remembers, but an android copy that the dying Korby imbued with his appearance and memories, one who firmly believes in robot supremacy.

Buffy the Vampire Slayer "Ted:" When Joyce Summers starts dating Ted Buchanan, he seems to good to be true. He's charming, a fantastic cook, and happy to spend an afternoon playing miniature golf. Unfortunately, Ted also happens to be the robotic equivalent of Bluebeard, wooing women only to later hold them captive and watch them die. Although Buffy takes an instant dislike to this interloper, and accidentally "kills" him after Ted slaps her, Joyce only catches on to Ted's evil nature when Ted returns from the dead, all glitchy and malfunctioning.

We asked 2012's Roland Emmerich's about his next scifi project, adapting Isaac Asimov's Foundation and found out that big time writer, Robert Rodat, is hard at work translating it:

Can you update us on the status of Foundation?

Foundation is a book series I was very fortunate to get. I just started developing the first of the planned three movies. The first one is called Foundation and then the second one is probably Second Foundation. I've hired the writer for Saving Private Ryan, Bob Rodat, to write it.

Is that going to be your Lord Of The Rings?

I don't know.

Is it tricky adapting Asimov, do you have to have a lighter touch?

It's a different kind of movie all together. The interesting and difficult thing about Asimov's Foundation is that he actually wrote it as short stories. Then, out of the short stories, he took the first book out called Foundation, which was like several stories. Then he wrote two big novellas, which became the second part. Then he wrote a novel called Second Foundation. So it was never really meant to be one narrative. And when you make a movie you need one narrative, you need one story. That was the tricky thing to figure that one out.

How long is the script right now?

Bob is writing it and he's already announced that it's a very long script. It's Bob Rodat... I don't know. I haven't read it. He says, well, when I wrote The Patriot, it was at first 240 pages. I said, is it longer than that? But it's ok - we can cut it down. We have to. He's a writer that just writes it out, you know? He just has to spit it out on paper. He says there's a lot of nonsense, but it's like pearls and you have to pick it out in rewrites and keep picking, and picking, until you have something that really works well. He loves to write, write, write, write. He uses you as the editor.

It's pretty much impossible to discuss fictional archaeologists without talking about Indiana Jones, but until a year ago he arguably wouldn't have belonged on this list. If nothing else - and I'm pretty sure that that film didn't accomplish anything else - Kingdom of the Crystal Skull firmly ensconced Indy in the realm of science fiction. Which is probably a good thing, considering Dr. Jones is generally considered the quintessential fictional archaeologist, the iconic representative of everything alluring about the discipline - solving history's mysteries, going on exotic adventures, stealing priceless cultural artifacts...it's all there! That said, Indy can't really be considered the preeminent archaeologist in science fiction.

That title would probably have to go to Stargate's Daniel Jackson, who in his various incarnations headlined both the original movie and a decade's worth of television, making him arguably the most prominent archaeologist in all of science fiction. As a nice bonus, he even occasionally bordered on being a vaguely realistic depiction of an actual archaeologist, particularly when he used his linguistic know-how in the original movie to decipher the language on the other side of the Stargate. And honestly, who can resist the oddball charm of James Spader?

There are plenty more scifi archaeologists; in fact, far more than any one list can hope to capture. But here's a rundown of some of the most notable.

Doctor Who

Despite his stated policy of pointing and laughing at archaeologists, the Doctor does seem to spend a lot of time with them. If I had to guess, it's probably because nothing beats an archaeologist when you need to accidentally release an ancient evil. There's Professor Parry and his assistant Viner from the Patrick Troughton classic The Tomb of the Cybermen – I think you can guess which bunch of monsters they awaken (hint: it's not the Daleks). But nobody beats Marcus Scarman in Pyramids of Mars when it comes to unleashing evil; he lasts for maybe thirty seconds of episode one before the all-powerful alien Sutekh murders and possesses him.

The new series has only introduced one archaeologist, but Professor River Song is fairly important, what with her being the Doctor's wife and all (or not…I'm still not completely clear on that point). Still, she's not the first such scientist to play a major role in the Doctor's life – that honor goes to Professor Bernice "Benny" Summerfield, a hard-drinking, wise-cracking archaeologist from the 26th century. Originally created by new series scribe Paul Cornell in his novel Love and War, she both accompanied the seventh Doctor and had her own adventures in a horde of novels and audios.

Star Trek

Jean-Luc Picard was a huge archaeology buff, studying under the preeminent archaeologist of the 24th century, Richard Galen. He was even entrusted with completing Galen's final project, which revealed…well, I think I've dealt with that before. Picard also romanced the ethically dubious Vash, who was really more of a looter with a diploma than anything else.

Captain Kirk, on the other hand, showed no particular interest in the field. It probably didn't help that every archaeologist he ever encountered was a crazed degenerate with woman issues, whether it was Robert Crater in "The Man Trap" or Roger Korby in "What are Little Girls Made of?" It's almost as though the Federation's apparent policy of stranding one or two people on an uninhabited planet for years at a time to dig through the remains of a dead civilization was somehow flawed.

DC Comics

Want to become a superhero without all the hassle of locking yourself inside a nuclear reactor? Archaeology might just be the career for you! It's actually unclear whether there are any ancient idols in the DC Universe that won't give you superpowers. There's Carter Hall, who upon touching a stone knife remembered his past life as Prince Khufu and so becomes Hawkman. Rex Mason became Metamorpho when he was exposed to the radioactive Orb of Ra. The Silver Age Blue Beetle*, Dan Garrett, discovered the mystical scarab that gave him his powers during an excavation in Egypt. Adventurer Adam Strange was engaged in some archaeological work when the Zeta Beam transported him to the planet Rann. Sven Nelson died shortly after uncovering the Tomb of Nabu, but his son Kent would be trained by Nabu's spirit to become Doctor Fate. Oh, and the Tim "Robin" Drake's dad Jack was an archaeologist as well, but he somehow managed to never get any superpowers out of the deal.

*OK, technically a Charlton, not DC, character. But you get the idea.

Revelation Space, by Alastair Reynolds

In his 2000 novel, Reynolds follows Daniel Sylveste as his excavations on the planet Resurgam reveal newfound details about the long-dead Amarantin civilization. From this starting point, Reynolds weaves a tale of cyborgs, assassins, cosmic mysteries, and antimatter implants, all of which sounds pretty awesome. It's almost enough for me to forgive him for not knowing how to spell "Alasdair." Almost.

Isaac Asimov

Archaeology forms a pretty big part of my second favorite Asimov book, the criminally underrated Pebble in the Sky. The Sirius-born Bel Arvadan comes to the primitive backwater known as Earth in the hopes of evaluating the local claims that humanity originated there. Naturally, he gets a bit distracted by a plot to wipe out all of humanity and never does get round to doing any excavating. Which is why Foundation, set millennia later, finds the foppish Lord Dorwin blathering on about some very promising leads regarding humanity's origins recently discovered in the Arcturus system. For obvious reasons, this line of inquiry doesn't pan out, and shortly thereafter galactic civilization pretty much collapses, which I'm guessing led to some serious budget crunches in a galaxy's worth of archaeology departments.

Babylon 5

Ian McShane took some valuable time out from being a total badass to play Dr. Robert Bryson in the B5 television movie The River of Souls. Dr. Bryson brings an orb on board Babylon 5 that apparently contains a billion tortured souls. For some reason, the orb holds the secret to immortality. Either way, this is a serious enough situation that Martin Sheen shows up as a Soul Hunter to demand the orb be returned to him. This eventually happens, but not before Dr. Bryson and the billion souls team up for some serious havoc-wreaking.

"Omnilingual", by H. Beam Piper

This 1957 short story centers on the efforts of an archaeological team to decipher the language of an ancient Martian civilization, a task that at first seems all but impossible. They eventually figure out a road to decipherment with the discovery of some linguistic common ground: the periodic table of elements.

Saga of Seven Suns, by Kevin Anderson

The husband-and-wife xenoarchaeological team of Louis and Margaret Colicos accidentally set off Anderson's seven-book battle royale of elemental forces when they discover ancient technology that can turn gas planets into stars. This is great news for lovers of solar energy, but bad news for the super-intelligent, all-powerful aliens that live on gas planets (it's also bad news for people who don't want to be wiped out by super-intelligent, all-powerful aliens). Not the greatest advertisement for archaeology I've ever heard, really.

Futurama

I'm fairly sure we've yet to see any actual archaeologists on Futurama. If I had to guess, they're probably hiding out of shame at the general terribleness of their work.

Mystery Science Theater 3000

Speaking of shame, the wonderfully, horribly Canadian MST3K entry The Final Sacrifice probably involved archaeology. The film isn't really coherent enough for me to speak with certainty, but I believe the father of hero person with the most lines Troy McGreggor got killed by an evil cult because he was investigating the ancient Ziox civilization. Although, on second thought, I think Crow and Servo clearly established Troy's father was really Miami Dolphins great Larry Csonka, who is not generally considered an archaeologist. Not yet, anyway.

There are plenty more, of course. Who are some of the biggest ones I missed?

We've already told you about Marvel trying to lowball Mickey Rourke for his role in Iron Man 2 but, as Variety points out, that's just part of a growing trend at the major studios to either lowball actors' money demands, or ignore stars altogether in favor of newer, cheaper actors:

Unless you’re Will Smith, Johnny Depp or a handful of others, nobody is earning their quote right now, said dealmakers. Stories of tough negotiations are widespread: Disney asked Nicolas Cage to cut his price on the next "National Treasure" sequel, and that same studio cut loose a third "Chronicles of Narnia" film... Dealmakers said studios that once bought projects that could be bait for movie stars now prefer high concepts that don’t require big stars and directors with their big paychecks. The perfect example is "Twilight," which became a big hit despite the lack of bankable stars.

"There is no such thing as a quote anymore," said one agency chief. "You tell them your client’s quote; they smile and say, ‘Here is the offer.’ Even when you agree on a deal, it’s harder to get the trigger pulled, with more signoffs than in the past."

On the face of things, this seems like great news for sci-fi movies, which tend to rely on ideas that are slightly higher concept than, say, "Kevin James is a cop in a mall." But then you get to this part of the article, explaining how widespread Hollywood's fear of a poor planet has become:

Even a spirited bidding battle like last week’s auction for Isaac Asimov’s "Foundation" trilogy resulted in only a mid-six-figure upfront against low seven figures. That property would have drawn a sure-fire seven-figure upfront payday a few years ago considering that directors Roland Emmerich and Alex Proyas were attached to bids.

So, economy is the new watchword in the movie industry right now when it comes to making deals... but how long until that mindset reaches the stage of making movies? Oh, wait - it already has, with Warners looking to cut budgets by 10% in the next year. While sci-fi doesn't necessarily have to have massive special effects budgets, the two do tend to go together in the minds of Hollywood... Does the New Cheapness present a threat to new science fiction on our screens, just when we need escapism and allegorical drama more than ever? We'll admit to being worried... but let's wait and see how the big-budget, no star movies Watchmen and Star Trek do at the box office before making a final judgement.

An auction on Thursday evening ended with Columbia Studios owning the rights to Asimov's Foundation trilogy (Foundation, Foundation And Empire and Second Foundation), with the intention of the books being adapted into a movie franchise to be produced and directed by Roland Emmerich.

While I've enjoyed certain movies from Mr. Emmerich in the past (especially Godzilla, which I had the benefit of seeing in Germany, dubbed and without any idea what anyone was actually saying, thereby increasing my enjoyment considerably), I remain unconvinced that he's necessarily the man to bring Asimov's epic series to the masses... Or, at least, to do so without dumbing it down considerably and increasing the number of scenes requiring large explosions and/or people screaming. Here's hoping that I'm happily surprised.

Roland Emmerich finds 'Foundation' [Variety]