StillPaisleyCat

Here’s a new interview with the main cast and Alex Kurtzman.

It seems to have been done in Toronto where season two is in production.

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?

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…

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.

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.

An interesting, deliberately thought provoking 🤔 question for a lazy long weekend Sunday morning…

Setting aside whether specific fans like specific ‘gimmicks’ (crossovers, musicals, bringing back Kirk or Khan) or tropes (transporter malfunctions), Space.com is posing the hypothesis that the proportion was too high in Strange New Worlds second season.

There’s no arguing that the season was successful in drawing in large audiences week after week. Taking a look back though, was there too much trippy-Trek(TM) dessert and not enough of a meaty main course? YMMV surely.

For my part, I can both agree that trippy Trek is something I’ve been wanting more of, and that I would have welcomed 2 or 3 more episodes were more grounded or gave the opportunity to see more of Una as a leader and dug into Ortegas backstory.

The 90s shows seemed to be bit embarrassed by trippyness, although Voyager found its pretext allowed even stern Janeway to pronounce ‘Weird is our business.’ One can argue that the high proportion in SNW is a feature, not a bug.

I’d still prefer a 12-15 episode season though.

Interesting extract from a longer /Film interview with in-demand director Roxann Dawson.

I appreciate how she speaks with respect for the shows of the new era.

This is good news for assuring that SNW’s 3rd season production will move ahead after the strike.

Greenlighting a couple of extra episodes and a 4th season would make strategic sense, but I’m just not willing to give Paramount the benefit of the doubt on that.

cross-posted from: https://startrek.website/post/715805

Thanks again to all who joined in the creative fun on Canvas. It’s been great getting to cooperate with you in this midsummer enthusiasm.

Our efforts have stood up fairly well, despite a touch of final hours encroachment by an enthusiastically growing flag of Ireland and what seems to be an extension of the Trans flag. I guess a wordmark in violet was too great a temptation for them to resist interacting with.

Edited: TIL the colours of the Trans flag. My bad for not knowing them already

A fairly thorough piece.

Whatever your view on whether it’s a pro or con for the ensemble and storytelling, SNW ‘Lost in Translation’ having covered off the ‘met him when he made fleet captain’ reference to Pike in TOS, there seems to be a great deal of flexibility for SNW to keep bringing Jim Kirk into its stories.

Here’s one unexpected take.

So what does that mean for Kirk? We have to wait until 2265 for him to take over as captain of the Enterprise, right? Well, maybe not. Canon is oddly vague on the handover from Pike to Kirk. In fact, only one episode of TOS actually takes place in 2265: “Where No Man Has Gone Before,” the second pilot. There’s also nothing that indicates Kirk didn’t serve on the Enterprise in another role before getting promoted. If, in theory, Pike were to step down and someone else became an interim captain, then nothing is stopping Kirk from serving on the Enterprise before 2265.

Gizmodo’s James Whitbrook has yet more to vent on Paramount+‘s cancelation and erasure of Prodigy.

I hadn’t considered the cancelation from the perspective of systemic misogyny, which Whitbrook effectively is carating.

However, given that Janeway was surely chosen as the legacy captain for Prodigy because Voyager had proven itself to be an effective gateway for younger and new viewers on Netflix, Whitbrook’s inference Paramount views her less important to the franchise than Picard is biting.

Paramount wouldn’t dare treat what it’s done for Patrick Stewart and Jean-Luc Picard as a tax break. Casting aside everything that Prodigy stood for, and in the process doing the same to Mulgrew and Janeway’s legacy, is a cruel twist on what is already a cruel fate for the show.