Lots of negativity in this thread, but that seems to be par for the course for any fandom. Personally I’m cautiously optimistic.

Skydance produced/co-produced (often partnering with Paramount) on a number of franchise movies, including Star Trek, Mission Impossible, Jack Reacher, Top Gun, GI Joe, Terminator, The Old Guard and Spy Kids. Some of their productions have been well-received (eg Mission Impossible, Top Gun Maverick) and others less so (Terminator Genysis and Dark Fate, although personally I quite liked Dark Fate). They’ve also produced smaller, critically acclaimed movies like True Grit, Annihilation and Air; as well as their share of dreck of course, like Geostorm.

What I think is clear though is that Skydance is primarily interested in big franchises, so if they were to acquire Paramount, I think more Star Trek movies would very likely be in the works which, as a fan, I’d be happy about. I know there’s an argument that Trek is best suited to TV, but some of the best Star Trek has been big screen Star Trek. And studios are more willing these days to have franchises run across both TV and film concurrently (MCU, DC, Star Wars), granted with mixed success.

Re Larry Ellison’s involvement - my guess is that he’d be a silent partner, putting some of his personal fortune - rather than Oracle’s funds - to help out his son. I believe he did the same thing for his daughter, Megan Ellison, whose company Annapurna Pictures he helped fun and which went on to produce films like Her, Zero Dark Thirty, Phantom Thread and Books Smart (and the stage musical A Strange Loop). I doubt Larry Ellison will take a hands-on role in the management of Skydance/Paramount.

You’re not the only one who’s picked up on this:
https://www.primetimer.com/quickhits/the-west-wings-hartsfields-landing-has-never-made-any-damn-sense

If you watch the show (and I’ve watched it a lot) you can tell that Aaron Sorkin wasn’t writing to a detailed plan. I think a lot of his ongoing storylines grew organically (and were often turned in very late, which ultimately led to him being sacked from the show), which meant he sometimes repeated, or retconned, beats, or made other mistakes.

Hartsfield’s Landing was probably named after Hart’s Location, another New Hampshire town that has often votes at midnight. I recall reading a story that, because of the weather, of the three towns that usually do vote at midnight only Dixville did so this year.

edit: Hrrm. Turns out that’s what the linked CNN story actually says. Serves me right for not RTFA.

It means you weren’t the first person on your server to subscribe that community/magazine.

It would be nice to see people engaging with old posts when they stumble across a community and subscribe to it.

One barrier that will make this difficult is that instances only get a community’s feed from the moment they first subscribe to it, if that community’s home instance is on another server. So if you’re a user on - say - leminal.space and you’re the first person on that server to subscribe to - say - [email protected] then you will not see any of that community’s old posts, only posts created (or boosted) after you’ve subscribed. This makes it difficult to engage with old content unless other people on your instance have been members of that community for much longer.

This is one of the issues with the fediverse model that doesn’t exist in a centralised model like reddit. And - sadly - smaller, niche communities are the ones most likely to be affected by this limitation, because they’re the ones least likely to be federated to a large number of instances. It makes smaller, less active communities look even more inactive than they actually are.

That Bob Justman memo reminded me how much fun they had making TOS (as well as working long and hard of course). Perhaps my favourite is the memo chain Justman started about Vulcan proper names.

Re fixing mistakes: I guess I don’t have a problem with it as long as the mistakes are trivial, are clearly errors, and the original version remains available. What constitutes a “trivial error” of course can be up for debate. Correcting a background audio cue - sure, why not? Changing early TOS references of “Vulcanians” to “Vulcans” - definitely not.

Mine’s more like slash fiction.

Spock.

The why should be obvious, but this video goes some way to explaining it.

I’m pretty sure I encountered “City on the Edge of Forever” through James Blish’s short story adaptation before I saw the actual episode *cough cough* years ago, because Edith’s speech as televised:

One day soon… man is going to be able to harness incredible energies, maybe even the atom. Energies that could ultimately hurl us to other worlds in… in some sort of spaceship.

has always struck me as being incredibly blunt in comparison to what appeared in the short story version. Blish didn’t work off the final shooting scripts but earlier revisions, so I assume Edith’s “astronauts on some sort of… star trek”-like predictions must have been inserted by Roddenberry or maybe Fontana.

While some of the poetry and elegance may have been taken out of Ellison’s script (along with other, more justifiable, changes), there’s no denying that “City” is an absolute classic, and one of the few instances of Trek doing romance well.

“I love Italian. And so do you.” “Yes.” My favourite bit in TVH.

Stormgate and ZeroSpace are looking like the spiritual successors to Starcraft, with the former developed largely by ex-Blizzard staff and the latter by some prominent members of the Starcraft community.

DECKD WK 3, EP 4
Solved in 1

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https://www.playparamountplus.com/DECKD

DS9, VOY, ENT and arguably even TNG, all helped establish the “rule” that it takes Star Trek shows (after TOS) three seasons to get good. As much as I personally liked Kes as a character, there’s no denying the show took a step up after Seven of Nine was introduced. “Scorpion”, “Year of Hell” and “Living Witness” are all really good episodes.

ENT s2 was so bland it was the first and only time I ever gave up on a Star Trek show, so bored out of my mind was I. Boring boring boring. Except for “Carbon Creek” - that episode is a gem.

(I did force myself to catch up on season 2 after I decided to start watching ENT again in season 3.)

In other words… yes, you’re weird. But, you know, IDIC and all that. 😉

B5 season 5? An interesting choice. It’s been quite a few years since I’ve seen Babylon 5, but as I recall season 5 suffered from JMS having to write a lot of his season 5 material into season 4, as he didn’t know if the show would be renewed. As a result season 5 ended up being quite lopsided, with storylines like the telepath arc dragging out longer than they should have been. I think B5 was at its peak somewhere in seasons 2, 3 and 4.

Personally I thought season 2 was stronger. I found only two episodes in season 1 to be especially memorable: “Spock Amok” and particularly “A Quality of Mercy” (which I do think has been the finest episode of the Kurtzman era). Season 2 had four strong episodes IMO - “Charades”, “Those Old Scientists”, “Under the Cloak of War” and “Subspace Rhapsody”. 4 out of 10 is a good percentage, but - as you point out - it should be easier to produce a higher proportion of strong episodes in a 10-episode season as opposed to a 24-29 episode season.

SNW wins brownie points for doing a live action / animation cross-over episode and a musical, but loses some for playing it safe in all other respects. It’s the most overtly “conventionally Trek” modern show (after maybe PIC season 3 which was pure fan service with little interesting about it). Granted, what SNW does, it does with confidence and some measure of flair.

I’ve enjoyed two of the three episodes so far, but as burns go, this is 👍.

I would prefer this, I think, because I’ve been having trouble reconciling a sitcom spending a few minutes most episodes this season racking up a body count that would now be in the hundreds, or even thousands.

As a franchise, of course, Star Trek can handle both silly comedy and lethal brutality (and even Lower Decks has successfully juggled in a few serious scenes amongst the comedy, at times), but the way these vignettes have been inserted into the A plots this season is like if in “The Trouble with Tribbles” Arne Darvin had been gang-raped just before the credits rolled.

Without giving it too much thought, I’d say DS9 season 6 or TOS season 1, with DS9 season 4 also being a contender.

DS9 season 6 opened with the franchise’s first example of long-form storytelling, with “Rocks and Shoals” being a standout episode in that arc. It also gave us classics like “Far Beyond the Stars” and “In the Pale Moonlight”. Overall the episodes were solid with few duds.

Similarly season 4 also opened strongly, with four of the first five episodes all being strong, with “The Visitor” among the franchise’s best ever instalments and “Rejoined” also being very very good. (“Indiscretion” isn’t as good as the first three or fifth episode.) It also features “Homefront”/“Paradise Lost”. Granted, the second half of season 4 probably isn’t quite as strong as the first half.

TOS season 1 established so much of the template of what Star Trek is, and many of the episodes still hold up very well even close to 60 years later, including “The Cage”/“The Menagerie”, “Where No Man Has Gone Before”, “Balance of Terror”, “The Galileo Seven”, “Space Seed”, “The Devil in the Dark” and, of course, “City on the Edge of Forever”.

ENT season 4 definitely gets the prize for “most improved” season. (Yes, I have seen PIC season 3, but don’t rate it as highly as most people.)

PRO season 1 gets the prize for best debut season after TOS. I think it did a great job in putting a new spin on the franchise while telling good, family-friendly stories that developed both plot and characters.

That seems like such an insanely weird decision to make.

It could have also been a mistake. The “Ephraim and Dot” Short Trek made a similar continuity booboo when they gave the TOS-era Enterprise the “NCC 1701-A” naval construction code.

Also, I do think it would have been more interesting to proceed with Tuvix from a storytelling point of view. Obviously that doesn’t work great when you have actors contracted for multiple seasons

I was okay with Tuvix being split back apart eventually, but if VOY had fully committed to the serialised nature of its premise I would have loved to have seen Tuvix hang around for, say, 5-10 episodes first. They could still have had Neelix and Tuvok appear in the odd flashback or as holo constructs or something to justify their inclusion in the opening credits. Or, to be even more daring, not have them appear at all and removed Ethan Philips and Tim Russ from the credits for a while, although I don’t think this sort of credit manipulation was permitted in the mid-90s. It would have made the impact of killing Tuvix even greater.

They never speak of it again. Probably because Janeway threatened to murder anyone on the ship who brings it up.

And that’s what makes her the highly effective officer that she is. :-D

I think that after the season of LDS is done, while we’re waiting Disco season five, I’ll try and do some Non-Canon Connections.

Looking forward to that.