I’d rather talk about reactions to a show that’s actually happening — even if they are based only on a trailer and pre promotional interviews — than endless hyping, speculation and claims of groundswells of fan enthusiasm about projects that aren’t happening.

Now that it’s no longer the officially sanctioned con, STLV’s panels seem to be set up to encourage producers and actors to hype projects that never even got to the development he’ll’ stage let alone any consideration for being greenlit. These include Tarantino’s bat-sh*t movie idea, Captain Worf, Legacy and the recently revealed Unity proposal.

‘Fans’ fundraised to pay for full page advertisements in major US newspapers as a campaign to persuade NBC not to broadcast TAS even after its season one production was almost complete.

I’m still frustrated that none of the Canadian cast got good development.

Almost all of them have significant awards within Canada. Most have other shows, films or are producing themselves.

While many of them took these roles for steady work, it was clear that they weren’t intended by the executives be more than regular wallpaper. It’s unfortunate.

I feel the same about Mitchell in SNW.

However, he has made Skydance profitable unlike another famous billionaire by inheritance who repeatedly went bankrupt.

It seems that his father’s approach is to let his heirs learn to run companies on their own with injections of capital that are staggering for others but just a couple years earnings on the family’s wealth.

It’s confirmed but after a second read, I think that’s clear.

Interesting that Skydance Studios television, which was a prestigious brand, will sublimate under the Paramount Television Studios name. It does show a certain commitment to the merger on David Ellison’s part.

Is there information where the Skydance television production will go?

Is that with the Paramount side?

It wouldn’t make sense to have three television/streaming production arms.

My brain isn’t firing on all cylinders today.

Yes it’s Michelle Hurd who played Raffi.

Also, yes I am bitter that Ro Laren was killed off and even more ticked that Picard played it as though there had been a romantic tension between them rather than a mentor-mentee one.

And it sounds as though Paladin in Vision Quest will be another version of the same character but as a Mandalorian analogue.

Tawny as the principal character as well as co-creator and EP is very interesting.

The fact that she’s been able to state publicly that she would be the lead suggests that the proposal was as advanced as it could be until the new ownership and team could make decisions.

Setting it in the late 24th to early 25th century will also provide the kind of ‘legacy’ opportunities that many Berman-era fans and actors are hankering for while satisfying the apparent executive demands that legacy characters be included for marketing purposes.

Frankly, having legacy characters come to a single planet would be a lot less unrealistic than Matalas’ concept of having the Enterprise G travelling around to visit legacy characters and locations. Production costs and staging would be manageable.

If this is intended to run as a true 22-30 minute comedy, I really hope that Paramount’s streamer greenlights an initial double season as Netflix does. It really takes about 8 episodes for a half hour show to take off.

Star Trek Prodigy is the sequel to Voyager.

It’s not just for kids, although intended for a family audience.

My partner and I had a blast watching it.

I wanted both.

But with a truncated 5th season and the very long lead time required for animation, I can see why the animated version ended up being dropped.

Treklit - both comics and books gets short-shrift in promotion.

No idea why, but it’s definitely a longstanding and worsening trend.

We’ll have to see whether David Ellison reorients the scheduling strategically. It’s hard to imagine he will not.

5 years ago, as the transition was happening after the remerger, the demographic statistics I saw showed that CBSAA/P+ had the best range of demographics. And it had the best youth/teen/kids audience after Disney+.

Unlike, NBC Universal’s problem with Peacock and Discovery+, which had two very different demographics with little interest the content the other offered, Paramount+ launched with a broad and diverse base.

But the programming and production choices of the past five years have brutally squandered that. It seems that the millennial, middle age Bro, and older male audience has been the target — live sports, Taylor Sheridan everything etc.

It already feels as though P+ has been reprogrammed to make the current US administration happy, pushing a certain kind of American exceptionalism, but that’s not a successful global business strategy.

It’s really only the content coming in from CBS linear and Star Trek that’s kept the balance on the platform.

We keep hearing about content being produced in Paramount’s South American studios or in agreements with partners in Spain and France, but none of that richness in offerings are making it to the North American platform. Netflix remains dominant in offering high quality content from outside Hollywood.

I agree. The more we see, the more enthusiastic I am.

The concept of an Academy show was in development hell for so long - basically, since the hiatus after Discovery’s first season.

And we know that it was originally kicked around before TNG went into production.

So, this seems to have been a hard one to make work. The cost to produce a high quality VFX-rich show that appeals to a teen and young adult demographic, requires that the show must also be rich enough elements to draw the wider Trek base.

I’m hopeful that, as with Prodigy, Starfleet Academy may be one of the rare shows that satisfies a mass demographic despite the streaming era.

The risk is that, like Prodigy, Paramount may not promote it broadly enough.

However, with A-listers heading the cast, one can hope that it will get a lot of promotion beyond the genre media.

Commodore should be abbreviated to Cmdre (Canadian Navy), CDRE (former US Navy) or CMDE (several including India).

But given all the oddities of NCOs in Trek, this a weird acronym for Commodore seems on-brand.

Still, I think it may be some kind of physicians’ designation the writers came up with. One would expect some kind of Medical Officer such as CMO, but could it be Commanding Doctor or something bizarre like that?

That makes sense. Something like this would need a lot of runway and would involve contractual obligations that could not be easily terminated.

This sounds very cool and a spectacular way (literally) to raise the profile of SNW and Trek generally with the SDCC attendees.

I just can’t square it though with firing the entire department at Paramount that made The Ready Room and other online promotional content that gets beyond the US market. The cost cutting choices are not obviously justifiable.

I’m going to say any or none of the suggestions here may be right.

And some of them, like Inner Light, are awful choices simply because their impact is very dependent on having the context the rest of the series and characters.

The main thing is that Star Trek has a wide variety of tones. The way to success is to provide excellent examples of very Trekie episodes that are in the genre or tone that your brother already likes.

Don’t show them action if they like cerebral mystery. Don’t show them romance if they like action. Don’t show them intense drama if they’re into comedy. If they’re into animated comedies or anime, start with Lower Decks or Prodigy not TNG.

Examples from this perspective…

If they like psychological horror, then TNG’s ‘Schisms’ or Voyager’s ‘The Thaw’ might be best.

If they like action, Discovery’s two part pilot might be the one or even the movie Star Trek (2009).

It seems that Christina has been able to convince the Showrunners to incorporate some of her own enthusiasms into La’an’s character.

In a TrekMovie piece, she’s quoted saying that she and Ethan Peck had a total of 75 hours of dance and fight choreography preparation over the season. The heaviest episode is in the back half of the season.

While I enjoyed the edgier La’an, Goldsman seems to have a very rigid idea that, in drama, trauma is the foundation of character development. It’s tiresome when every single character has to have a traumatic backstory, experience trauma in the show, or look forward to trauma (in Pike’s case).

So, as an example, it seems that the only way for Ortegas to have a character arc is for her to be traumatized and go through the process of overcoming that.

In that case, it’s better to have La’an move on. Between Tomorrow cubed and Hegemony II, we’ve seen two very significant life events for her that make it credible that she could finally more on.