Star Trek Social Club
r/startrek: The Next Generation
Star Trek news and discussion. No slash fic...
Maybe a little slash fic.
Rules
1 Be constructive
All posts/comments must be thoughtful and balanced.
2 Be welcoming
It is important that everyone from newbies to OG Trekkers feel welcome, no matter their gender, sexual orientation, religion or race.
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Utilize the spoiler system for any and all spoilers relating to the most recently-aired episode. There is no formal spoiler protection for episodes/films after they have been available for approximately one week.
6 Keep on-topic
All submissions must be directly about the Star Trek franchise (the shows, movies, books, etc.). Off-topic discussions are welcome at c/Quarks.
7 Meta
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Upcoming Episodes
| Date | Episode | Title |
|---|---|---|
| 01-29 | SFA 1x04 | "Vox in Excelso" |
| 02-05 | SFA 1x05 | "Series Acclimation Mil" |
| 02-12 | SFA 1x06 | "Come Let's Away" |
| 02-19 | SFA 1x07 | TBA |
| 02-26 | SFA 1x08 | TBA |
In Production
Strange New Worlds (TBA)
In Development
Untitled comedy series
Wondering where to stream a series? Check here.
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For a more serious critique of new Trek that you might find more interesting than the angry tweets you refer to, consider this: https://www.youtube.com/watch?v=fB5DroolqFU
As if Star Trek wasn’t corporate from the beginning!
Every major difference between the original pilot ‘The Cage’ and the original series / TOS was rooted in corporate priorities.
The bright, primary coloured uniform tunics, bright colourful flashing lights on the bridge and other sets were designed to promote NBC’s ‘Living Color’ television broadcasts.
Kirk was younger, physically more vigorous and less cerebral than Pike, no matter what Roddenberry wanted. Action adventure hero, romancing women, was what the network wanted no matter that Roddenberry wanted Kirk to be a ‘stack of books with legs’ and for Yeoman Rand to be the original third principle character and long term romantic interest.
Sure they were subject to all the constraints of commercial prime-time TV, but as that video discusses in some detail with respect to DS9, the writers still had freedom within that corporate framework to tell woke anticolonialist stories beyond the classic sci-fi adventure fare of TOS which itself often explored what was new ground for commercial television at the time. Under some other corporate masters it might've been possible for the new crew to find similar freedom today, if things had worked out differently — and if any of them have the ability to do it and the willingness to try. But Larry Ellison and the forces he's standing in for seem far more alert to the subtleties of it than they used to be. There's bigger money involved now and they're keeping it on a tighter leash.
Is there any evidence at all of the writers of the more recent series not having "freedom," or of corporate interference in the shows?
I don't know. It just seems like one plausible explanation for what's been produced. To me it has that feel to it.
Skydance only bought Paramount this past summer after production of SFA season one was well advanced and SNW was largely done seasons four production.
While there is genuine reason for concern regarding future Star Trek, it’s very hard to make the case regarding anything in pre production before 2025.
Thanks, I enjoyed that.