StillPaisleyCat

Caitians are feliniods, yes.

That is M’Ress, a Catian, and the back up Comms officer among other roles.

Animation allows for aliens that aren’t just bumpy forehead humanoids.

T’Ana, the Chief Medical Officer in Lower Decks and, a minor recurring character in the first season of Prodigy (shown in my avatar) are also Caitian.

Strongly recommend seeing TAS at least once. There’s a lot of great stuff in there from the original TOS writers and cast.

A shout out to Trek Core’s great database of screencaps. This one is from their TAS BlueRay screencap library.

Yes. Born in Paisley (like David Tennant), and out of Scotland’s National Theatre Company, no less.

20 seems unrealistic given the longer shooting time per episode and actors’ wanting flexibility to be able to work on more than one project.

12-15 however seems very possible especially with the episodic format. Producing a longer season after the strike especially would seem wise. It would also allow Paramount to take a brief hiatus midseason (the way Discovery did originally) to stretch out the schedule.

SNW has already demonstrated that it is an ensemble show with a full cast that can basically carry or star in their own episodes. Not every main cast member needs to be on set every production day, and even the principal character, Pike, can step back in some episodes.

Makes sense and good to know.

Some of the older Klingon model designs have been updated as they are rereleased. I can see that the Enterprise D would need that too.

Definitely the case that injection-moulded plastic models and miniatures have come up significantly in quality and down in cost in the past two decades as the technology has changed.

It would be important to know if these rereleases is an updated reissue or not. The proprietor of this shop seems to be in the k is on these points. It would be worth messaging him to ask if people are interested.

By the way, from the information he seems to have got at the con where the upcoming SNW Enterprise was promoted, it sounds like AMP is reworking the model design from its limited issue Discovery Enterprise to match the refit between Disco and SNW.

Thanks for the assessment. We haven’t ordered from him before.

I did not need to know that existed.

I still need to permableach my memory of the image of Shatner sniffing and squeezing two loaves of fresh unsliced bread (in a Super-Valu/Loblaws ad in the 1970s) while saying enthusiastically “God, that smells good.”

Somehow, that one hasn’t made it to YouTube.

She wasn’t his wife then, but ‘other woman number one.’ Sadly.

Nichelle Nichols was ‘other woman number two’ in the early days of production of TOS. Her reason for telling Martin Luther King she wanted to quit was because she didn’t want to be ‘the other woman to the other woman.’

Roddenberry was more than willing to change gender stereotypes, but let’s not romanticize his relationships.

The Magog are a direct lift of Roddenberry’s original direction for the Ferengi, but the makeup was unworkable.

So, let’s just call this an idea of the Great Bird’s that finally got a legitimately terrifying execution

…Here I am, stuck in the middle with you.

I adore TAS, and was brutally disappointed when I realized the second season only had 6 episodes.

It’s one of the reasons I’m such an ardent campaigner for Prodigy in principle, the fact that Prodigy is a great show just ups my fervour.

“Works-for-hire” is exactly the key point here.

This is about who holds the IP. Sometimes, depending on the employer and contract, an engineer will get to share in a patent created in the course of the job. Or might have incentives such as Employee Stock Ownership Plans (ESOPs) or options.

So it’s not true that the IT folks are exclusively paid salary. Many share in the risk as well as the returns of their firms.

Let’s unpack that.

Yes, there are ‘writers for hire’ in licenced tie-in fiction and comics. These authors get a flat advance BUT they still get royalties based on the number of books or comics sold. That is - base payment and then returns based on success if the product.

Film and television writers are compensated by residuals in addition to salary. The studio owns the IP but the creators have a stake. It’s a risk and return sharing relationship with the studio. That’s the standard arrangement.

How is this different from an ESOP or options as an incentive remuneration?

How would an IT employee feel if a firm licenced the IP and then excluded its value from the calculation of ESOPs and options due, or the dividends on the nonvoting shares issued to employees?