ValueSubtracted

I supported Section 31 until I saw it.

Hey, nothing wrong with optimism.

Hell, I still think that story could have been decent, had it been a 10-episode series as originally intended.

But yeah, I think SFA has turned out a very strong first season, so far.

And of course, the Vietnam War is the perfect setting when you're not looking to make jingoistic propaganda.

After I made this post, I read that Apocalypse Now was a direct influence of this, and...well yeah, that tracks.

As long as Star Trek remains popular enough, I think it might be advantageous to not be considered one of the "crown jewels" - flying under the radar has its advantages.

David Ellison seems to genuinely love movies - I had high-ish hopes back when he was initially looking to buy Paramount for that reason.

Unfortunately, he also seems to be willing to trample over anyone and their grandmother in order to make those movies.

I really despise having to read the tea leaves about this stuff, but in the absence of solid information here we are.

An interesting anecdote that I've noticed is that two podcasts (Star Trek Academy, which I recommended a few days ago, and Larry Nemecek over on his YouTube channel) have said that SFA has led to a large increase in their audience. What does it mean? Who knows!

Ah, the tail end of a season, when the publicity stills are even less informative than usual.

As the year comes to an end, Caleb must choose between the life he thought he wanted and the life he’s built for himself at Starfleet Academy. Meanwhile, Nahla breaks protocol in one final gambit to keep a promise to Caleb.

Sounds like the rumours I saw that Tatiana Maslany would be back this week are likely true.

I won't pretend to be an expert, and I do hope that someone out there will get an actual therapist to guest on a podcast or soemthing to talk about the episode, but I do know that therapeutic confrontation is a real thing.

I'm not really familiar with her past stuff - I think "Absentia" is probably the best-known?

What interests me is that she got that sole "created by" credit, and yet isn't a showrunner. That seems...very unusual.

I think both things can be true to be honest.

It's a shame, but I can also understand why - council meetings and other open events are increasingly security risks, full of wingnut conspiracy theorists.

But, the way we designed the transformation of Sam, we called it sort of colloquially in the writers room, “Sam 1.0” and “Sam 2.0.” Sam 1.0 was just a couple months old and was a baby in so many different ways. And the contrast that you start to see in episodes 9 and episode 10, but in a big way in season 2, is that Sam 2.0, while she does carry the memories of Sam 1.0, she really is a totally different person. She feels things that Sam 1.0 never felt.

I'm very curious to see how this plays out.

That is helpful - setting a series after King of the Monsters would be...expensive.

While it seems unlikely that Brie Larson and Tom Hiddleston will reprise their roles as Mason Weaver and James Conrad, Monarch can mine plenty of unexplored story between the isolated events on Skull Island and the eventual world-changing events of Godzilla in 2014.

Seems like a good candidate for the "Cold War thriller"?