StillPaisleyCat

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[–] StillPaisleyCat@startrek.website 2 points 4 hours ago (1 children)

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.

[–] StillPaisleyCat@startrek.website 0 points 8 hours ago (3 children)

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?

 

Shaw receives an impossible radio transmission. Cate and Keiko uncover an ancient link to Titan X. Isabel has a proposition for Kentaro.

Written by: Gandja Monteiro

Directed by: Joe Pokaski

Welcome to the episode discussion! There is no spoiler protection in episode discussion threads, and spoiler tags are not necessary!

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.

[–] StillPaisleyCat@startrek.website 6 points 1 day ago (3 children)

So sad.

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

 

Shaw receives an impossible radio transmission. Cate and Keiko uncover an ancient link to Titan X. Isabel has a proposition for Kentaro.

Once again, an official teaser clip has been shared with media — available in this article.

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.

No idea, actually.

Perhaps the early distribution of Toho movies was not as widespread in Commonwealth countries?

It’s really odd though since the Toho movies were originally dubbed by the same group of moonlighting British, Canadian and Australian journalists based in Hong Kong who also did the Shaw Brothers action films.

 

cross-posted from: https://startrek.website/post/37879457

Likely a good signal towards an announcement of a third season of Monarch: Legacy of Monsters in addition to the new Lee Shaw focused 1980s Cold War spinoff going into production this June.

Interestingly, the show does well in Apple’s own rankings everywhere globally other than English speaking Commonwealth countries and Ireland.

 

Likely a good signal towards an announcement of a third season of Monarch: Legacy of Monsters in addition to the new Lee Shaw focused 1980s Cold War spinoff going into production this June.

Interestingly, the show does well in Apple’s own rankings everywhere globally other than English speaking Commonwealth countries and Ireland.

 

cross-posted from: https://startrek.website/post/37818381

The Artemis NASA

mission has a mascot named Rise — a stuffy that acts as a zero-G indicator.

At a certain angle, it’s face looks a lot like a favourite bone-drinking horror called Moopsy.

 

The Artemis NASA

mission has a mascot named Rise — a stuffy that acts as a zero-G indicator.

At a certain angle, it’s face looks a lot like a favourite bone-drinking horror called Moopsy.

My thought was ‘centre as compared to what’?

The Overton window has been intentionally moved over the past decade, Even before, that what might be considered ‘centre’ in the US, even ‘centre-left’ didn’t align well with other OECD countries.

Пироги are always a great choice!

 

Meanwhile, on Paramount’s news side, this is the Ellison vision — and some discussion from the Guardian about its viability.

I can’t figure out whether the Shaw that is in Axis Mundi circa 1962-1982 is actually trying to communicate or whether it’s the case that, whatever Shaw and Suzuki did with their attempt to call a Titan, caused the problems that Shaw’s team faced when they arrived in Axis Mundi.

 

cross-posted from: https://startrek.website/post/37765690

This Salon feature from two weeks back provides a good overview of the 70+ year Godzilla franchise and its relevance to current audiences. There’s an analysis of where Monarch: Legacy of Monsters fits in the franchise’s themes.

Our relationship with Godzilla changes from movie to movie and age to age. Some films cast the King of the Monsters as a protector unconsciously joining humanity – and occasionally, King Kong – to fend off some mammoth existential evil. More often, he is a reckoning, reminding us of how puny we are in nature’s schemes...

…each springs from the same mutated DNA, mapping the source of Earth’s monster problems to mindless warfare, along with the intellectual vanity compelling man to seek an upper hand over nature instead of figuring out how to coexist.

Godzilla and the other Titans stampeding in his wake are post-World War II creations; Ishirō Honda, who directed the OG “Godzilla,” was a veteran of that war marked by his travel through the ruins of Hiroshima after the United States bombed its civilians and Nagasaki to force Japan’s surrender. The Geneva Conventions’ protocols made such acts illegal, but as we’re discovering with alarming frequency and force these days, laws are only as effective as our willingness to abide by them…

 

cross-posted from: https://startrek.website/post/37765690

This Salon feature from two weeks back provides a good overview of the 70+ year Godzilla franchise and its relevance to current audiences. There’s an analysis of where Monarch: Legacy of Monsters fits in the franchise’s themes.

Our relationship with Godzilla changes from movie to movie and age to age. Some films cast the King of the Monsters as a protector unconsciously joining humanity – and occasionally, King Kong – to fend off some mammoth existential evil. More often, he is a reckoning, reminding us of how puny we are in nature’s schemes...

…each springs from the same mutated DNA, mapping the source of Earth’s monster problems to mindless warfare, along with the intellectual vanity compelling man to seek an upper hand over nature instead of figuring out how to coexist.

Godzilla and the other Titans stampeding in his wake are post-World War II creations; Ishirō Honda, who directed the OG “Godzilla,” was a veteran of that war marked by his travel through the ruins of Hiroshima after the United States bombed its civilians and Nagasaki to force Japan’s surrender. The Geneva Conventions’ protocols made such acts illegal, but as we’re discovering with alarming frequency and force these days, laws are only as effective as our willingness to abide by them…

 

cross-posted from: https://startrek.website/post/37765690

This Salon feature from two weeks back provides a good overview of the 70+ year Godzilla franchise and its relevance to current audiences. There’s an analysis of where Monarch: Legacy of Monsters fits in the franchise’s themes.

Our relationship with Godzilla changes from movie to movie and age to age. Some films cast the King of the Monsters as a protector unconsciously joining humanity – and occasionally, King Kong – to fend off some mammoth existential evil. More often, he is a reckoning, reminding us of how puny we are in nature’s schemes...

…each springs from the same mutated DNA, mapping the source of Earth’s monster problems to mindless warfare, along with the intellectual vanity compelling man to seek an upper hand over nature instead of figuring out how to coexist.

Godzilla and the other Titans stampeding in his wake are post-World War II creations; Ishirō Honda, who directed the OG “Godzilla,” was a veteran of that war marked by his travel through the ruins of Hiroshima after the United States bombed its civilians and Nagasaki to force Japan’s surrender. The Geneva Conventions’ protocols made such acts illegal, but as we’re discovering with alarming frequency and force these days, laws are only as effective as our willingness to abide by them…

 

This Salon feature from two weeks back provides a good overview of the 70+ year Godzilla franchise and its relevance to current audiences. There’s an analysis of where Monarch: Legacy of Monsters fits in the franchise’s themes.

Our relationship with Godzilla changes from movie to movie and age to age. Some films cast the King of the Monsters as a protector unconsciously joining humanity – and occasionally, King Kong – to fend off some mammoth existential evil. More often, he is a reckoning, reminding us of how puny we are in nature’s schemes...

…each springs from the same mutated DNA, mapping the source of Earth’s monster problems to mindless warfare, along with the intellectual vanity compelling man to seek an upper hand over nature instead of figuring out how to coexist.

Godzilla and the other Titans stampeding in his wake are post-World War II creations; Ishirō Honda, who directed the OG “Godzilla,” was a veteran of that war marked by his travel through the ruins of Hiroshima after the United States bombed its civilians and Nagasaki to force Japan’s surrender. The Geneva Conventions’ protocols made such acts illegal, but as we’re discovering with alarming frequency and force these days, laws are only as effective as our willingness to abide by them…

 

cross-posted from: https://startrek.website/post/37747635

cross-posted from: https://startrek.website/post/37747581

An interesting and thorough reflection on how the original Godzilla (1954) was adapted to make Godzilla: King of the Monsters (1956), with a framing story starring Raymond Burr, for the franchise’s introduction to American / English language audiences.

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