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2 days agoI just realized there’s even a fried egg in there.
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Cake day: June 12th, 2023
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It’s available as a BlueRay screencap from TrekCore…
Might be best to download directly from there:
TAS and Discovery both showed the Enterprise has food synthesizers rather than replicators.
How significant is the difference? — it’s never made clear but picking up a meal from a food synthesizer is implied in TOS when Kirk gets a simple meal from a wall.
Also, it does seem that SNW’s food synthesizer is much more sophisticated than the one in TAS and Discovery, fabricating better quality basic materials.
Here’s compilation I made a while ago, of Scotty’s distain for the mayhem caused when the ship’s main computer gets hit by a ‘spatial anomaly’ and interacts with the ‘Rec Room’ 3D holographic simulator in TAS ‘The Practical Joker.’ At bottom right, Scott reacts to a misbehaving food synthesizer that is spitting out all manner of fruit — as shown later in the video OP attached.
1·3 days agoIt’s definitely YMMV. The television medium makes for a very different storyline from the action-focused movies.
It’s the character arcs and intrigue that keep many of us interested. For those who are watching primarily for kaiju action, I can appreciate that it might not be your preference.
4·4 days agoThis doesn’t seem to be offered in Canada.
The ‘Pluto Spotlight’ still seems to be on Academy Award Winners.
I see the regular TOS all day channel offered, but the movies aren’t featured in the movie channels.
In the ‘On Demand’ offerings, there’s a ‘60 years of Star Trek’ that offers TOS, TNG & Voyager as well as some documentaries as usual.
In fact, it seems that none of the movies are available on PlutoTV in Canada.
Very cool.
I wonder if there will be any kind of installation in Canada this time. I don’t see anything listed in the upcoming events.
For the 50th anniversary, the Canadia Aviation and Space Museum in Ottawa had a special exhibition that ran the whole summer. We were able to take our kids. There were a lot of costumes and props but also some interactive activities including a Kobayashi Maru test.
They own two AR wall virtual sound stages in Toronto, one of which they share with the CBS Studios Star Trek production.
I believe that there was mention of some Legacy locations and species to visit too.
Sigh…
I’m perhaps at the extreme of negativity about the Legacy premise, but what Matalas seemed to be pitching was almost an anthology of legacy characters being visited by the Titanprise with the bridge full of offspring.
So, yes, Sirtis would not be wrong to think the focus of the pitch was the older cast with the younger characters and the visiting Titanprise as more or less the framing.
I have a theory that someone in senior management of the streamer under the old ownership had a strong belief that ‘children of legacy characters’ were a necessary bridge between old and new audiences. There seems to have been no awareness at all of his antithetical nepotism would be to the meritocratic principles of Starfleet.
We have La’an Noonien-Singh for no particular reason in SNW - she’s not even the bridge officer with augmented abilities.
Also, the more I hear about the pitch for Unity the more it sounds like a family saga with all the great things Archer’s offspring are up to as young adults (since the creators were told that they could have them at the Academy as they’d originally pitched).
Glad the Fansets SFA combadges are coming out right away with both pins and magnets.
I still have vivid memories of trawling through the vendors at a 2019 local Comic Con, with our youngest and 45 k other attendees, looking for a Disco S2 combadge with magnet that didn’t actually exist.
There was really only one piece of merch that youngest wanted and naturally it was not to be found.
Filion made unfortunate statements defending Joss Wheadon and arguing that he should be “uncanceled.’’
https://insidethemagic.net/2022/06/nathan-fillion-joss-whedon-controversy-ct1/
There are widespread reports of toxicity between Fillion and his Castle costar Stana Kari’s.
In 2019, a cast member of The Rookie quit citing sexual harassment and racial discrimination.
In a conversation that I saw elsewhere, there were points made regarding some fairly cringey elements in the original seasons that would not be well received by progressive audiences now. However, reworking these would invite backlash.
It’s a fine thing to thread around and it’s not obvious that the creators or Fillion are up for it. Fillion in particular has managed to alienate a lot of fans in the past decade.
This looks to be a nonstarter, especially after Hulu cancelled the Buffy reboot. Disney seems to be reigning in and focusing now that it has full control of Hulu.
If the IP was owned by WB or Paramount/CBS, it might have a chance, but this appears to be more of a case of Fillion and the some of the original creators trying to make a case to use the IP than any interest from Disney.
And for me.
One always thinks there will be time. Regrettably, we have to learn the lesson through experience, some of us more than once.
I am going to admit right now that one of the reasons the I’m endeavouring to create a space here to discuss Monarch: Legacy of Monsters (M:LOM) and the Monsterverse, is because the show on AppleTV is getting a lot of coded and outright brigading from some of the same sort of fans in the US specifically.
Legendary Pictures and Television creators have done their best to bring to American, English language Godzilla productions the kind of emotional narratives that were always present in Japanese Godzilla productions no matter the restrictions of an action-focused cinematic feature. (I confess my own fan history with the franchise is with the older Japanese production eras and continuities.)
With 10 episode seasons, M:LOM has plenty of time for complex multigenerational character narratives and is delivering, filling in the gaps in bigger cinematic events. With women in major roles in front and behind the camera, LGBTQ and other representation, it’s intentionally working to draw in a broader demographic with a new entry point. It’s also succeeding in its ranking on AppleTV to the point a spinoff will start production this June.
Yet, it’s got a steady stream of posts along the lines of “I don’t really like those characters, do you?” and “Why are those young people making stupid choices?”
M:LOM’s clear themes of “hurt people hurt people” and consequences for actions are challenging but important, much as the Psychology Today piece says.
Taking on these themes and showing flawed three dimensional characters struggling through them in the context of multigenerational trauma makes for great genre television — providing the “they’re making my franchise woke” voices don’t swamp the show.
This is cool. It’s very small amounts.
The key issue is that they are making antimatter at CERN but the magnetic fields at CERN impede studying/analysing it.
Checking in with a nearby physicist, the amount is so small that even in the worse case it would be unlikely to set off a radiation detector.
In return for this sagesse, I was subjected to several witticisms on the detectable rate of decay in the bananas we have awaiting to be turned into banana bread.
Starfleet Academy appears to be having a Streisand Effect moment in broader media.
Who would have thought that brigading review sites with 1/10 comments and copypasta derision might finally reach the point that even Psychology Today would stop to write a ‘Wait! What?!!’ piece.
This era of Star Trek has quite a few A-listers actually.
Starfleet Academy is helmed by Oscar winner for best actress Holly Hunter (in The Piano), has two time nominee Paul Giamatti (one each nominations for best and best supporting actor) as well as Tig Notaro who is nominated this year for her documentary and has also been nominated twice for Emmys.
Akiva Goldsman, co-showrunner of Strange New Worlds has an Oscar for best screenwriter for an adaptation from another medium (for A Beautiful Mind).
We will never see 26 episode seasons again.
It currently takes more than one week to shoot a 42 minute episode.
Also, actors are not willing to lock into shows that leave them unavailable for movies or other television shows.
Star Trek and other streaming series are able to cast A-listers not just because they are willing to pay high pay rates and list them as executive producers but also because the A-listers are able to lock in multi season contracts with Star Trek while still being available to do other things.
But 10 episodes is not the maximum possible. Large ensembles like Starfleet Academy have enough main cast members that not everyone has to be on set every day.
As well, it’s possible that 4 or 6 episode limited series might be the perfect vehicle to bring back a Legacy character or explore something like the Department of Temporal Investigations. Under the old management those weren’t negotiable.
Why Paramount had such a bizarrely rigid policy after the ViacomCBS merger has never been adequately explained.
This makes sense if they want to break down the sets.