That’s how Sam interpreted it, and it’s why she imitated it / mirrored it back.
But what if it wasn’t pro forma?
Does anyone else have any lingering questions or hypotheses around two nonsequiturs in the episode?
I’m wondering why and how the photonics chose the form for Sam - and whether her form is based on a real person - such as Sisko and Cassidy’s daughter Rebecca.
I’m also really wondering how a photonic being can have a pagh…
These definitely seem like things that might be followed up on later.
This has some value added in terms of contrasting the outcome of DS9 ‘The Visitor’ with Jake’s Prime Timeline outcome.
I like the SFA outcome, and I think it respects what Avery wanted in terms of showing that Sisko was a fantastic Black father who left a legacy of good parenting to future generations.
I was very moved at how Jake was a truly adult version of the youth we saw in DS9 but that he also had the posture and dignity that Avery Brooks brought to Sisko.
Cirroc Lofton really can act and it’s outrageous if he’s not been getting work if he wants it.
If you’ve seen him as himself in his podcast, there’s no doubt about his performance in this episode.
It makes me very much want to see him cast in something else.
Wondering if there’s a minimum wait before retesting and that would put them beyond the time limit.
Or perhaps she’s previously tested failed the test and this was her best result.
Skydance only bought Paramount this past summer after production of SFA season one was well advanced and SNW was largely done seasons four production.
While there is genuine reason for concern regarding future Star Trek, it’s very hard to make the case regarding anything in pre production before 2025.
As if Star Trek wasn’t corporate from the beginning!
Every major difference between the original pilot ‘The Cage’ and the original series / TOS was rooted in corporate priorities.
The bright, primary coloured uniform tunics, bright colourful flashing lights on the bridge and other sets were designed to promote NBC’s ‘Living Color’ television broadcasts.
Kirk was younger, physically more vigorous and less cerebral than Pike, no matter what Roddenberry wanted. Action adventure hero, romancing women, was what the network wanted no matter that Roddenberry wanted Kirk to be a ‘stack of books with legs’ and for Yeoman Rand to be the original third principle character and long term romantic interest.
I’m rather wondering if this kind of advertising targeting GenX middle aged and senior men is an inevitable coda to the 1990s wave of colonic irrigation humour.
A most excellent way to celebrate…
Voyager in TAS Filmation-style tribute by Gazelle Automations. Animated Threshold
Hopefully this episode will satisfy the “what happened to the Klingons?!!” questions lingering from Discovery.
…And perhaps kickoff a new narrative with Jay-Den as Heart of Glory did for Worf in TNG season one.
That’s a point.
Although in the case of the introduction of the Cardassians, there were significant contradictions vs the geopolitical situation of the Federation as presented repeatedly in the earlier seasons of TNG.
In relation to fan outrage though, even modest ‘filling in gaps’ — or ‘dancing between the raindrops’ as the EPs of SNW call it, is frequently met with with complaint that “no one has ever mentioned that before.”
Although Paramount+ now streams all the live action Star Trek shows in Canada, BellMedia’s CTV Sci-fi Channel has continued to provide linear cable programming for many of the Star Trek shows, including Strange New Worlds.
It wasn’t clear whether Starfleet Academy would also be available on CTV in first run. It’s now appearing in the television listings with a double episode premiere starting at 9:00 pm Eastern Time.
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?
We picked up some good deals from the promotion this week.
The Electrical and Plumbing Store in Ottawa is a longstanding independent business, and have a good reputation in Eastern Ontario.
They sell online now too. Many of their products are US brands though.
https://www.epstore.com/