StillPaisleyCat

We saw some of that pissy-ness in season one of Discovery, and the frictions between McCoy and others in TOS were far more extreme.

We shouldn’t expect 23rd Century crews to behave like mid 24th century crews in TNG. Human society has had another century of evolution and peace by then.

Nice to see Bruce Horak back, but very much want more. More Hemmer, more Aenar, even more Bruce Horak as a completely different alien or character.

I like the episode a lot, and it hit so very many wonderful notes and gave us so many coup d’oeil moments….but…it’s also getting me to the point where wanting just to settle into something just focused on the entire main cast together. That won’t be next week’s crossover with Lower Decks or the musical episode. And we’re promised a ‘Moretegas’ episode too. Would be sad if the finale is the only episode that features the whole cast coalescing as a team.

We got more from Una in this one, but still not enough. They had her in an oppositional situation with Pelia, somewhat as she was with Hemmer in season one. Even though I liked the resolution, and it’s great to see this kind of friction between two female officers with very different temperaments, somehow it’s not quite hitting the mark in making us see why Una is such a great officer. I feel like other than in the focus episodes for her each season, the writers just don’t know who she is as well as Chabon did when he wrote Q&A.

I’m also having very mixed feelings about how Kirk is overshadowing main characters in the episodes in which he appears. This Kirk is growing on me, but do we really need so much Kirk so early in the multi season run of this show? Especially when it’s getting Paramount+ ratings enough to make the case for many seasons to come.

All to say, as much as I really am sold on the ensemble, with so few episodes, I’m feeling that adding in so much Kirk is taking away from the opportunities to have other ensemble characters be featured teaming up with each other. I’m still not feeling that hankering for Pike’s Enterprise, that I’ve had since I first saw the reconstruction of The Cage, is quite getting satisfied.

Ok, I’m very much looking forward the S31 movie.

However, preproduction started on the show under another pseudonym originally back before it was stood down for the pandemic.

Cautiously optimistic here.

Really interesting analysis, and a great deal of context to think on. You make a compelling case.

I realized how little I actually understand about Chinese concepts of Faces.

I’d like to see if I can come up with a few more examples. Some of B’Elanna’s episodes in Voyager, where she comes to see Klingon culture and practices as ‘less hateful’ might provide further opportunities to test your hypothesis.

Better strategic communications than a lot that we’ve seen recently from Paramount.

Thanks to the OP for posting this. I was planning to come to make a SiloTV vs Wool compare and contrast discussion post.

I think this really needs a deep dive discussion. Moving and adapting across media necessarily involves major changes. I never expect a one to one correlation, and appreciate that stories have to be told in a different way across media. e.g., Othello opera has fewer characters and less content than the play by Shakespeare it was drawn from - but both are top ranked classics.

Sometimes, as with The Expanse, the television production outstrips a novel series in quality. I was jaw-dropped by the quality of the television series. I had found the Expanse books so derivative of works by CJ Cherryh, and even a Star Trek book series called Vanguard, that I’d DNFd at the second book.

Hugh Howey’s work seems more original than the Expanse (although I it see similarities to the 1970s television series The Starlost, a Harlan Ellison concept). I’m yet to be convinced however that this isn’t another case where the television production outstrips the source material.

I watched the season of Silo and was very positively impressed. It was suspenseful, the production design was excellent and the characters felt rich and three dimensional. There are issues with Jules’ seeming impossible physical resilience, but the characters are three dimensional and the writers adhere to the ‘show, don’t tell’ maxim of good drama.

By contrast, I have just finished reading Wool up to the point where season one ended. As an avid reader of SF, I’m always searching for new books, trilogies and series so I’d been enthusiastically waiting for the end of the streaming season to dive into the books. I’d heard that the original story/novella was YA targeted, but that’s not something I consider an impediment.

I genuinely have to wonder if it would have held my attention had I not already watched Silo.

SPOILER ~~Other than Holstein, the Mayor and Marnes and to some degree Jules herself, everyone is two dimensional.

The story/plot is also thinner. The drama is one of more simple antagonists. IT, Bernard vs the silo residents. Too much is told, not shown. Too much is revealed too soon.

But so much of what made the show so compelling, that gave it such a rich fabric, that painted an indelible image of its society, are new to the show. 250 pages into Wool, we don’t know more than George’s name, that Jules had a clandestine relationship with him and that he died of an apparent suicide. We are told that Jules impressed Marnes sufficiently that he put her forward for sheriff, but not what she did to impress him.

I’m about to carry on with Jules as she keeps going past the hill outside. Still not convinced, I’ll be interested to buy book two~~ .

Unsurprising update, but still awful messaging.

Even if you are looking forward to seeing Georgiou’s continuing journey towards redemption as I am.

One can only imagine how bittersweet it is for the creatives in postproduction to be working to complete the show, episode by episode, when their previous work has been pulled from every platform.

Aaron Waltke sounds like a cheerful but competent leader. It’s got to be a real test of leadership to hold up teams morale and the quality while those above shop the show to alternate platforms.

Anything we can do here to let them know our support for the show isn’t flagging, seems the least we can do.

And by the way, there are indications that the dvd and blue ray preorders of Prodigy Season 1 Part are going well. Target has already sold out its preorder quota in the US by some reports.

Physical media demand is a significant factor in ensuring the Prodigy team get some residuals and shows interest. If you haven’t preordered yet, please consider doing so. There are other vendors.

Two things are an issue -

• 1. Mount’s daughter and first child was born shortly before production of season two. He limited his availability to be with his child. As a Canadian, living in a country that has parental benefits and encourages dads to use them, I can get behind that.
• 2. Mount has said that he disliked the experience of being on a soundstage 24 or more hours a day an prefers location shooting when possible. Due to COVID the timing of production shifted and some of the episodes (e.g., the fourth) that were supposed to have significant outdoor location shooting moved into the AR wall stage. So, some of Mount’s other appearances may have been pulled back.

Well, I have to give the OP credit for outrageous audacity.

Coming to the main community on the dedicated Star Trek instance to argue that users should subscribe elsewhere is inherently a criticism. It says a lot about the tolerance of the mods and admins here that it’s been left to stand.

I myself appreciate a well moderated community because I believe it enables more discussion not less.

We do have even so numerous examples of self-serving perspectives and irreconcilable reports across the episodic shows.

Take Lwaxana Troi’s belief that Picard is attracted to her, which Picard denies vehemently. Lwaxana is a formidable telepath. We are given to believe that her perception is some kind of middle age woman’s foible, and Picard is to be believed because he’s the hero. Do we ever see the factual truth confirmed? No.

So, I am more than willing to let main characters be wrong in their recollections or perceptions even if it’s not absolutely confirmed in the shows.

Throwing Voyager’s ‘The Thaw’ into the mix.

It’s definitely a polarizing episode, but I think it’s one of the strongest. It’s a better adaptation of the premise of Stephen King’s novel ‘It’ than many others.

The episode itself is primarily staged in an artificial environment that would lend itself well to a theatre set. It might be possible to reduce the number of sets on Voyager itself to one.

TNG’s ‘The Most Toys’ likewise principally takes place in a single room.