StillPaisleyCat

Let’s be frank that it was a male-gaze titillation to sell the show much like the frequency of ripped tunics and visible muscles were intended for women viewers. Both were introduced after the ‘more cerebral’ pilot of ‘The Cage.’

In any case, mini skirts were a fashion trend that constrained women and girls as much as ‘liberated’ them — Especially, as garters and stockings rather than pantyhose were the norm at the time. Looking at TOS now, I wonder if the show had to order specially made pantyhose or ultra fine tights.

While it was good for women and girls to be out of the 1950s tight-waisted skirts with crinolines so profound that they had to increase the spacing between lab benches and cooking class units (as was explained to me when I hit junior high), mini skirts meant that women and girls were constantly monitoring their exposure.

It’s no surprise that ‘pantsuits’ became an acceptable fashion option by 1970 and pantyhose rapidly replaced stockings.

There are industrial/cargo transporter platforms as well as industrial fabricator/replicators.

Perhaps only the ones in humanoid transport pads are set with the highest level defaults?

The averaging is the difference between a replicator and the absolute precision of a transporter.

The transporter has the level of precision and memory capacity to perfectly replicate real food. The replicator is just a close approximation.

Sadness is definitely why I’m feeling too.

Roddenberry had a vision of an international show in TOS, and his creation of an ethnically French captain for TNG.

Unfortunately, the franchise owners have never appreciated that and their focus on marketing first to the US market has kept the show and the movies from the global success they should have had.

With the Ellisons in charge, the franchise is likely to be all the more focused on the US without even the double-edged (often alienating) transparent American exceptionalism that has dogged the franchise.

I had wondered how Shaw had failed to see traces of Keiko in Axis Mundi during the Hourglass mission. That’s explained in the most heart wrenching way. Not quite Jim Kirk’s choice in TOS ‘City on the Edge of Forever’ but definitely as personally difficult.

Now, I have to wonder how much of those conversations and events in Axis Mundi Shaw recalled when he returned. He doesn’t seem to remember them consciously in 2017.

I’m also trying to figure out how Isabelle knew that Hiroshi spent time in Axis Mundi and that let Kentaro know.

I think I need to digest this one a bit.

Manifold time and space, with the possibility of a multiverse on the side. Ambitious.

Monarch is definitely putting in the heavy lifting for practical applications of weird physics to make sense of the Monsterverse.

What are others thinking about the timey wimey reveals?

Now I am really confused about the relationship of the recent Suzuki caller experiment to Shaw’s failed 1962 mission and Titan X.

The episode is titled ‘String Theory’. With that name I am now wondering who is the show’s science consultant. Monarch seems to be endeavouring to be grounded, so I am thinking they have someone with a strong physics background on contact.

Best guess, the show is taking place in a universe of higher order folded manifold space. Likely, our classic 4 dimensional space (3 dimensional plus linear time) will turn out to be just a typically observable reduced form, with the intersection of other dimensions in the manifold occurring at the points mapped by Billy and Hiro.

All that bigger on the inside stuff from Billy Randa in the first season seems to be about to be teased out further.

Appreciate having the review.

There are a lot of games out there. We used to buy games after trying them out at gaming conventions but we only get to the local ones now.

Paramount and Warner Brothers both have large studio backlots in the LA area. One wonders whether there’ll be consolidation there.

The Mississauga CBS Stages is a relatively modest venue. The biggest SFA sets were at Pinewood Toronto and the AR wall shared with Pixemondo — which is itself being organizationally deconstructed.

Also, there are incentives being offered by other US states such as Georgia, where Disney does much of its production. Moving back to the US may not necessarily mean California.

Anyway, it’s not particularly hopeful news for the industry overall especially in Toronto and Vancouver.

So sad.

I expect that any future production, if it happens, will be in the US.

It’s interesting.

Clearly Skydance/Ellison sees the synergistic value in integrating publishing with screen media even if the Redmonds were just stripping assets.

Seems like Paramount’s doing everything they can to distance the organization from any illegal action Shell may have taken. Due diligence but a definite cutting of ties.

Paramount Skydance issued a statement Wednesday confirming that Shell was departing, saying that the executive was stepping down to “focus” on the lawsuit filed by Cipriani. The company also said its independent investigation found that Shell did not violate any securities laws.