Ken Kocienda, the engineer who led the team that created the original iPhone keyboard and predictive text system, wrote a book titled “Creative Selection: Inside Apple’s Design Process During the Golden Age of Steve Jobs.” So there’s at least one real engineer for you who speaks highly of Jobs.
They aren’t nameless. They write books and go on podcasts, their thoughts on Jobs are available to us. Plenty of them praise Jobs for driving them to do their best work.
Right, I said it’s “not bad,” hardly a ringing endorsement. It had some good ideas and concepts but it also has a lot of flaws, which is why it’s quite unfortunate that it’s the best Discovery ever managed.
It’s not false advertising because it did everything it was advertised to do in the introductory demo when it went on sale six months later. Google is the one faking their demos.
Right? Put Lorca on the front of my list to round out all four seasons. The outsiders carry the cast.
My problem with season 4 wasn’t that it was slow, but that it was uninspired and by-the-numbers. I had worked out that the DMA was a “stepping on an anthill” situation by… episode 4, maybe? 5 at the latest. So then I got to watch one of the oldest tropes in sci-fi unfold for 8 more episodes, played completely straight. Yawn.
I’d rather watch the B-plot from S01E06 of Babylon 5 to experience that particular story again. That way I’d be done in an hour.
Yes, exactly. Season 1 knew what it wanted to be. When it was over, I remember thinking “alright, not bad, I’m excited to watch this show grow the beard.”
But it never did. In retrospect, Season 1 is the strongest season the show had to offer. Each subsequent season got a little worse as plots got more confusing, themes got more muddled, and no breakout characters emerged to carry the show through an abundance of narrative turmoil and worldbuilding strangeness. But above all else, seasons 3 and 4 are just boring. I don’t care about the crew or their mission. The most interesting characters are consistently the outsiders: Pike, Vance, Rillak. I’ll be watching season 5, but mostly out of a sense of obligation and morbid curiosity.
As much as I like SNW, it’s still not quite the show I’ve been waiting since 2005 for: seven curious officers on a ship called Enterprise set in the mid-25th century. I worry that SNW has robbed us of the opportunity to see the classic formula set in the immediate post-TNG era… even though that seems to be what season three of Picard was explicitly setting up.
We all know the bubbles will still be green
Sokath, his eyes uncovered
EDIT: Apparently everyone on this website is insane
The inmates are running the asylum
Star Trek is cool
La’An calls the Klingon ship a K’t’inga-class. This is a slight anachronism, as the K’t’inga-class, first seen in TMP and named in Roddenberry’s novelization, is supposed to be a distinct and more advanced version of the D7-class battlecruiser commonly seen in TOS. We could handwave it away as Temporal War shenanigans or being one of the first advanced models introduced or both. La’An is correct that the K’t’inga has an aft torpedo launcher (as opposed to the D7’s forward-only launcher).
I’ve always suspected that the D7 and the K’t’inga are the same class of ship and the differences are the result of a refit, an appropriate mirror of its Starfleet counterpart. It’s too bad we’ve heard Klingons refer to it as the “D7,” because if not for that I’d suggest K’t’inga is the classes actual name while D7 is its Starfleet “reporting name.”
What a lovely episode.
I saw a fair amount of skepticism across the Fediverse about how musical episodes are always bad and annoying, to which someone would always respond “well, Buffy nailed it.” Apparently the SNW writers feel the same way, because “Subspace Rhapsody” isn’t just a homage to “Once More With Feeling,” it’s a love letter. They may have swapped the demon for a subspace wedgie, but they kept the idea of using music to force the characters to confront their feelings about each other, and they even threw in a bunny callback.
10/10. I hope SNW maintains the tradition of a theatrically silly episode near the end of each season as long as it runs!
But again, the notion that NX-01 was called “Dauntless” before the Borg First Contact incursion is your headcanon. No one working on Enterprise ever attested to that, and Cromwell’s casting as Cochrane is certainly not evidence of this alteration.
You started this conversation by saying “They did the same thing for First Contact” and I just want to know who “they” is and what the “same thing” that “they did” is. You’ve brought up this Dauntless/Enterprise theory twice now but that’s certainly not evidence that any “they” did any “thing.” As far as I can tell it is your headcanon for a relatively minor inconsistency that could have any number of other explanations, the most obvious one being that Arturis got a detail wrong.
I just find it incredibly hard to believe that anyone working on Enterprise was working on the assumption that they were creating a show in a timeline that was “altered” by the events of First Contact. That was never alluded to in the show’s four year run and as far as I know no one working on that show ever said anything of the sort.
How does Cromwell reprising Cochrane in “Broken Bow” support the notion that Enterprise is in a different timeline from all previous Star Trek? I don’t see how these things are connected at all.
Interesting headcanon, but headcanon nevertheless. I’d wager heavily that neither the First Contact nor Enterprise production staff share this interpretation, much less intended it.
they have the actors say “these events weren’t supposed to happen” repeatedly on screen?
The purpose of the “time has been altered and we need to fix the timeline” conversation that occurs near the beginning of every time travel story is definitely not to inform the audience that every subsequent installment of Star Trek will occur in an altered timeline.
In fact, it’s just the opposite. The entire reason the characters are so concerned with restoring the timeline is that they want to return to their lives in an unaltered timeline.
I don’t really care if they mess around with continuity if continuity is interfering with a good story they want to tell. My point is that the SNW writers are making a clear and concerted effort to maintain continuity.
Has the writing staff of First Contact ever confirmed, on the record, that it was their intent to alter the timeline? Has the writing staff for Enterprise ever indicated that they intended to depict an “altered” timeline?
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