StillPaisleyCat

joined 2 years ago
[–] StillPaisleyCat@startrek.website 2 points 1 hour ago (1 children)

Directors, actors and art directors seem to be very happy to tread the ground of adaptations.

What we really have is some writers that want to tell their own Star Trek stories but aren’t doing a good job of serialization and studio executives who think that rehashing existing stories and characters will buy success.

And yes we have egos like Patrick Stewart’s holding his character hostage to his own reinterpretation of his character to be a reflection of himself.

But as we have seen with the character of Jim Kirk, there can be other actors to carry on the legacy.

That’s not really the point though.

While Slow Horses, Reached or Silo had their print audiences, they are not adapted solely because they are reaching enormous audiences as books. They have become successful shows because someone made the case for adaptation to the studios.

Star Trek has been struggling to make serialized live action shows successfully. Why not go with what works and adapt that?

Tie-in writers are writers for hire.

They don’t own any of the IP for their creations. All the IP is owned by Paramount.

Star Trek television has directly taken concepts from Treklit for Discovery and Picard without any credit whatsoever to the print authors who created them.

Screenwriters who created guest characters like Locarno are owed some credit and residuals but these are very modest.

[–] StillPaisleyCat@startrek.website 1 points 1 hour ago* (last edited 1 hour ago) (1 children)

There was a good recent thread on this. Much depends on your own preferences.

I posted the image of the first book of the TOS era series Vanguard because I think it would be excellent to adapt to television. It’s about Starbase 47 serving Starfleet in a region of Federation expansion and colonization. It’s somewhat dark and there’s a mystery at the core. Tholians get extensive treatment which is rare.

If you’re looking for the Alpha and Omega of the Borg, the Destiny trilogy is excellent. It’s basically the best Borg content out there.

If you’re into time travel, Christopher L. Bennett has a series of books about the Bureau of Temporal Investigations.

There was also a great anthology of novellas focused on the Starfleet Corps of Engineers.

There are numerous great standalones too.

Frankly, we saw more in Pike’s face and heard more in his tone of voice — grim and determined - than any debates might have given us.

We were shown rather than told, and that’s a good thing.

This was arguably Anson Mount’s best, most sincere, performance as Pike since Discovery season two. There’s been a glibness in Pike in SNW. Both episodes 5 and 6 this season have turned that around.

It was also another episode where Una showed that she really was Pike’s First Officer and principal advisor.

 

Treklit has some great offerings. The Relaunch universe books in particular developed coherent serialized storylines and a group of strong authors. There is also a deep library of standalone books from across all eras of the franchise.

By contrast, serialized Star Trek is struggling onscreen. Of the current era, only Prodigy has excelled in serialized storytelling.

So, why not look to the books? Not just to lift an idea like Control or the end of the Borg, but to actually tell a coherent narrative across a season or season?

On Netflix, Prime and Apple, it’s become established that successful streaming shows are often based on novels and novel series. Those streamers have come to understand that novelists, not scriptwriters, excel in laying out long form storytelling, and resources are often better put in having the screenwriters adapt than create from the whole cloth.

Reading a recent interview with Mick Herron, author of the critically acclaimed and popular Slow Horses on Apple, with a second show based on his other books launching this fall, I was struck by the interviewer’s assertion of this truism.

I thought about several of the non franchise shows I enjoy and how many of them are more or less faithful adaptations of books.

I was also struck by the thought that both Skydance and Paramount are quite capable of producing excellent book adaptations for Netflix and Apple. Murderbot is a very current example.

So, what’s holding back Star Trek from exploiting the Vanguard series or the Starfleet Core of Engineers books?

Why insist on giving showrunners resources to keep retelling franchise stories with legacy characters and tropes?

Why not exploit that IP that Paramount already owns by adapting the best of decades of TrekLit?

I don’t think we’re that far apart in views but we are very different in terms of who we think needs to lead the change.

I’m putting the onus on societal level changes in the built environment and acceptance of children and persons with disabilities.

You seem to be putting the onus on individuals to drive the change by personally overcoming barriers.

You are proudly talking about how you personally have overcome barriers but not everyone can. With 30% or the adult population identifying with at least one disability, it’s not a small or isolated issue.

As is said in the disability community, not everyone has the spoons and certainly not every day. Don’t shame others for what they may not be able to accomplish that you can.

The 15 minute journey problem is primarily evidence of a problem with where stores and services are located in relation to residences.

Affordability notwithstanding, bike and public transit as a person with visual, hearing or mobility limitations remain deeply challenging in most communities.

Wonderful that your children and grandchildren have been able to meet expectations or haven’t faced needs that couldn’t be accommodated. Most persons or families experiencing disabilities wouldn’t have your experience or might put their limited spoons to other priorities.

[–] StillPaisleyCat@startrek.website 2 points 14 hours ago (2 children)

It’s not a small minority who cannot manage as pedestrians, with active or even better public transportation.

Easily said, for a healthy young adult who doesn’t have to support young children.

Having been entirely car free until we had young children, it was a true eye opener to have to confront how difficult it is to get kids to medical appointments and activities without a car.

Urban design doesn’t provide infrastructure for families in the core. It’s not just a transportation choice issue. Cities would need to be designed very differently and greater physical and social accommodations for children and persons with disabilities and neurodivergence would be needed.

When kids became part of our lives, we deliberately chose to live as close to the core and public transit as we could and still be near schools, community centres and hospitals. It still put us in a semi-suburban style older neighborhood where some reliance on a car became necessary.

Unreliability of public transit is much more problematic when you have to transport young children who chill quickly when not moving in deeply cold weather.

Also, many children cannot consistently meet the behavioural expectations adults on public transit or elsewhere.

Adults aren’t shy to tell parents that they shouldn’t bring their kids into public spaces when they can’t meet behavioural expectations, but getting a kid having a meltdown home or a sick kid to a physician or hospital without a car is nearly impossible.

We made the choice to be a single car family to limit our environmental impact but that in itself was very challenging.

By the time our kids were independent teens, we found our own physical limitations with ageing reduced the viability of active transportation as our main approach. We could choose to move to another area but not without pushing our kids out to find their own housing.

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

The Destiny trilogy by David Mack is my favourite. I liked it so much that I got a print copy of the omnibus.

Cold Equations is another popular trilogy by Mack.

Vanguard is TOS era series with books alternating in authorship by Mack and the writing duo of Dayton Ward and Kevin Dilmore. Vanguard, Starbase 47, is a somewhat mysterious Starfleet base of operations in a new region under colonization. While the Enterprise and her crew make a few appearances across the series, it’s primarily about Vanguard and the ships that are based there.

I liked all the Titan novels.

The Fall is a multibook ‘event’ in the Relaunch novelverse with each book by a different one of the regular authors.

It comes after Destiny and the Typhon Pact series of books.

While I like most of the books in all of these, there’s one author David R. George III whose books I find unbearably dull. He clearly knew his canon cold but his books are long on excessively detailed exposition, and short on dialogue or action. By the time I got to The Fall, I had learned to skip his books and just count on the recaps provided by the other authors.

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

I don’t see the documentary as the A-plot at all.

It was constantly present as a frame, but the episode wasn’t primarily about the documentary - it was primarily about how Starfleet captains and senior crew wrestle with ethical decisions when their orders do not align with their values, and how they seek to find information that can provide a rationale to pursue an alternative course of action.

Basically, it showed how important the crew that is present in the situation is and how that makes Starfleet more than just a military organization serving a military mission.

[–] StillPaisleyCat@startrek.website 3 points 2 days ago (5 children)

My partner and I really liked this one.

We both think it’s in the top rank of Star Trek episodes. In my view it may be the best of SNW to date.

It definitely should be the ‘For Your Consideration’ episode of this season.

The direction was excellent. This was one of the best dramatic performances from Mount as Pike since season two of Discovery.

My sense is that some viewers were mistaking the C-plot about the warring groups, for the A-plot about the Enterprise officers response to the ethical choice between orders and the free will of a sentient being or the B-plot about the making of the documentary.

I can’t agree that the episode was too short. The best Trek episodes are tightly rendered and leave lots of room for thought after.

 

During a panel with Picard season three showrunner Terry Matalas and Todd Stashwick (Shaw), were questioned about a ‘30-page outline’ for the Star Trek Legacy concept.

Reportedly, Michelle Hurd (Raffi) mentioned this during an earlier panel.

It sounds as though there’s nothing new in terms of interest from the executives about the concept, just fan interest and an ongoing campaign. Matalas and Stashwick are focused on the upcoming Marvel limited series Vision Quest in which Stashwick stars as the Paladin.

What’s interesting to me is that the more I hear about Matalas original pitch, the more I dislike. Matalas confirmed that it would have a Klingon focus.

While I loved the deep dives into Klingon lore in the 90s, I would prefer something new in the 25th century even a show featuring legacy characters.

As well, Matalas confirmed that they proposed that Shaw would a holographic recreation rather than revived by Borg nanites. We don’t need another grumpy hologram now that the Doctor is back in both Prodigy and Starfleet Academy.

I would find Shaw’s journey as a victim of the Borg with survivor guild to someone who accepts that his own life depends on Borg technology as much more interesting, compelling and new ground in terms of a character arc.

Edited to correct Michelle Hurd’s family name…

 

Variety reports that “Brian Robbins Calls Paramount-Skydance Merger ‘Bittersweet’ in Memo to Staff Amid His Exit as Co-CEO”

David Ellison, the founder of Skydance, will become chairman and CEO of Paramount. Andy Gordon, who leads the West Coast office of RedBird Capital Partners, is set to take the role of chief operating officer and chief strategic officer. RedBird teamed with Skydance to acquire Paramount Global for $8.5 billion.

Looking at how Paramount, since 2021, has failed to deliver on a new Star Trek movie, arguably wound down three successful shows prematurely, it’s difficult to see that this leadership team has done well by the franchise.

Looking at the apparent expeditious compromises Paramount leadership and Shari Redstone were willing to make to clear the way for the sale, I’m willing to look forward to see what comes next.

 

We picked up some good deals from the promotion this week.

 

Several Star Trek licensed games are on Steam, now at a significantly discounted price for the annual Star Trek Day celebration.

These include the MMP Star Trek Online, but also single player games Star Trek Bridge Crew and Star Trek Resurgence (a choose your own path role play game).

We’d waited until Resurgence came to Steam, because we did want to buy it from Epic, but decided to be even more patient and wait for a sale so we could get it for our teens as well. I’ve been playing in parallel with one of our teens and debating the impacts of our very different choices.

I have had Bridge Crew since 2022, but we got copies for the teens yesterday. One is into it. It requires running an Ubisoft account synched to Steam which can be annoying, but otherwise G2G.

 

Having reached my exasperation on the total lack of information from Bell Media on a Canadian release, I asked @GoodAaron@mastodon.social if he or the Hagemans could share any information. Here is his reply on Mastodon.

It’s great to have EPs who will engage with us.

I’m still gearing up my recipes for a Star Trek Prodigy Soirée for the premiere!

In case you haven’t seen this, CBS entertainment sponsored a social media influencer to develop watch party ideas for the Prodigy Season 1 finale Supernova Soirée .

I’ve been experimenting and building on some of these ideas for the premiere of season two. One of Canada’s favourite ice cream brands has this interesting suggestion for A triple-berry yogurt sorbet float punch that seems very Star Trek Prodigy themed.

 

More departures of former Viacom senior executives from Paramount Global in the wake of Baklish’s firing.

 

The Directors Guild of Canada (Ontario) ‘Hot List’ compilation of Ontario-based production information has been updated with a new CBS Studios show ‘Ivory Tower’ to begin Accounting & Art Department preproduction in March.

 

While all TAS episodes had some kind of moral lesson, S1 E10 was an outright criticism of substance use.

M’Ress and Scotty, unwittingly exposed, end up enamoured then incensed with one another. One is never sure how different that is from a Caitian’s usual romantic style.

Chapel comes off badly in this one. As Spock puts it “A few moments of love, paid for with several hours of hatred.” It’s all the more poignant given SNW’s deepening of their backstory.

 
 
 

As much as most of us have long had any remaining interest in a fourth Kelvin movie long exhausted by the endless repetition of hype and failure, there does seem to be more confirmation of significant creative differences on the script that was in development in 2022.

James MacKinnon, longtime makeup designer, shared some context during an interview on his work on Picard and future ambitions. He explained that he was hired by Matt Shankman in 2022 to work on preproduction but was fired after a week when the work shut down.

“We were supposed to shoot in the middle of [2022] and it was supposed to come out the following year [2023], but I think a script rewrite went in a different direction.”

This aligns with previous comments from Zoe Saldaña that creative issues around the script were a factor in the movie not going ahead.

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