It's like saying "unique singleton."It's the opposite of "alternate facts".
It's like saying "unique singleton."It's the opposite of "alternate facts".
It's the opposite of "alternate facts".
Me either.I'm still not seeing this.
I've always chalked the "R" up to some in-joke that Mitchell was rubbing into Kirks face.What?
- They still had Lasers (for cutting) in TNG 100+ years later.
- Yes, Gary Mitchell may have gained God-Like powers, but at his core he was still cursed with a failing Human memory.
![]()
The Trek novel series "My Brothers Keeper" (by Michael Jan Friedman) had it as an in-joke in the "REPUBLIC" book.I can't remember the source where I heard it but I thought in one of the novels it was explained to be "Racketball." It's been years where I saw that. Can't remember for certain.
THAT works too.The "R" stood for "Retcon."
Duh.
We have a winner.The "R" stood for "Retcon."
Duh.
Why? What does the character's gender matter? It does rarely actually affect any events.
I must be getting old. I didn't even notice the nacelle pylons had a space in them until now.
Better the nacelle pylons than the connecting dorsal, as seen in the earliest 2009 Enterprise concepts.
The original Enterprise was a perfect design. Ships did not look like that before in science fiction. They were all UFOs or basically V-2 rockets. This was the first ship to look like something different. The design aesthetic of that ship is great from any angle. It has a mental reasoning to where everything is. It is functional. Yet it is also sleek, and the oft quoted thing is it almost looks like a sailing ship. Matt Jeffries combined elements from previous science fiction (the flying sauces and rockets) with elements from what was coming out of NASA in the 1960s, to create a ship that had functionality and scientific rationale, but also style.
Artists and designers have used for the golden ratio for elegance, balance and aesthetics in design since at least the Renaissance, and possibly even as far back as ancient Greece and ancient Egypt. If the vision of Gene Roddenberry for Star Trek continues on course, the design of future starships will also be based on the unique and timeless proportion of Phi, 1.618, the Golden Ratio.
Roddenberry turned to Matt Jefferies, an aviation and mechanical artist, with his request to “design a space ship unlike any other, with no fins, rocket exhaust trails, powerful and capable of exceeding the speed of light with a crew of several hundred on five-year mission to explore unknown galaxies in outer space.”
Jefferies started with a blank page and a marker, and with a very pragmatic design ethic. He reasoned that “a starship’s engines would be extremely powerful and potentially dangerous, and positioned them far away from the core of the ship, with the added benefit of modular design so that they could be ejected quickly in an emergency.” His design documents revealed that he was also a very exacting designer. He specified the dimensions on his designs to the 1/10000th of an inch. This was clearly beyond any practical level of accuracy in the construction of the small-scale models used on the Star Trek set and indicates that he was working with a mathematical precision based on geometric formulas and relationships.
Given the elegance of its design, it’s not too surprising that golden ratio relationships are incorporated into the design of the USS Enterprise, in its overall dimensions and in the details of the small design features, as revealed in the illustrations below.
CANON VIOLATION!
We use essential cookies to make this site work, and optional cookies to enhance your experience.