CBS/Paramount sues to stop Axanar 2 - Electric Boogaloo-Fanboys gone WILD-too many hyphens

we tend to think there's some force-field of goodness that keeps us from being as awful as the people and behavior we loathe the most, but its often just a few missteps, lack of awareness, desperation, padding of ego until we are right in the mire. I don't actually think he started out set on defrauding anyone, or becoming what he is today, and maybe the things set in motion were so glacial (to him) that he never knew it was happening and still refuses to recognize it. when you have your own cheer section, you can ignore everyone in the bleachers.

 

Given his history with his props business this pattern is not new to him and Axanar.

 

Passion does that. I wish he could have finished everything. Had events broke another way…who knows. I don’t like C & Ds any more than NFTs.

Lawyers for Paramount and Bezos just gum up the works of creative people…who often lash out against their own. Had I Bezos wealth…I’d make victims here whole and negotiate to let him finish the film. The ideas and effects work interest me…and I would love to be a peacemaker in all this.

The ugly fight between Soviet Chief Designers was also a case of how space advocates turned one against the other even as Star Trek fans have here.

It is all quite sad to me…seeing everyone had the same interests. Politics are when you and your enemies fight.

This is that sad fight where friends come to blows…

Some folks can’t get out of their own way.

 

Politically? Yes certainly.

With respect to how Alec Peters conducts a business, he's practically a Trump clone right down to his level of stupidity and belief that he knows everything and is smarter than anyone around him.

 

Can't we keep politics down in TNZ area, please???

 

When we last left this thread ...
STILL 30 DAYS OUT RIGHT ?
Happy 55th Trek
( yea a bit late but had to make a new Icon )

 

Sorry, I think this is complete bullshit and a pretty ridiculous, presumptive generalization. The truth is the writing on modern Trek sucks: period. People are wowed by the great visuals and other trendy things but the stories do not live-up to the special effects and a lot of people don't even notice how terrible the stories and plot lines are. That is my opinion from a non angry but disappointed older fan who wishes the best for the franchise.

 

I wish I could like this more than once!!!! I hear enough of this B.S. in everyday life and come here to escape it; please do not ruin this place with real life, lol!

 

We've seen scripts. We know what the focus is. There's no story, there's no theme. Had it been made it would have at best been slickly produced fappery over Garth and tons of pew pew spaceship porn. The lawyers were right to crack down on the grift and the sooner it's over one way or another the better.

 

How is the writing for Axanar any better?

 

It's not. The shooting script been online for a couple of years; and it's absolute fan wank garbage. Don't take my word for it it's linked In the Axanar threads here; there's plenty of analysis from actual Star Trek novel writers who've read it.

The bottom line is: Garth is the Federation's absolute savior, and couldn't be more Mary Sue / Jerry Stu In one of the worst executions of that particular trope.

 

To be fair, novel writers are not necessarily good judges of screenplays.

 

I find an emotional connection to the Discovery and Picard characters, which carries me though some questionable plot choices. Modern Trek does likeable and relatable characters far better than Berman-era Trek, in my opinion.

Alec Peters' Garth of Izar is as likable as a cup of tea made with month-old milk, which has been kept behind a radiator for safekeeping. And he's the only character that's more than a name and rank that exists only to Garth how good he is.

 

Interesting you find that connection with Kurtzman/CBS Trek because I feel differently. While I can accept that Kurtzman-era characters are more relatable in a way (due to them being more flawed in many ways), it's hard for me to find many that are as likeable as the Berman-era characters. I think the writing just overdoes or undercooks it with the Kurtzman characters too often for my taste.

What both eras have in abundance are good actors, but the differences in writing to me is noticeably lacking for the Kurtzman era. That said, the Kurtzman series all have better production values (especially DISCO; and I'm really enjoying the slivers we've seen of Prodigy so far; For Lower Decks, the animation is good I'm not just into the too cartoony style, and I'm not the biggest fan of PIC's production design).

As for Peters' Garth yeah the acting there isn't great while the character's in the thick of the action. However I don't have any problems in the documentary-style scenes where he's talking about the war. Peters evokes a more emotional, mournful kind of performance than when he's in the captain's chair. While in the chair he comes across stiffer and it's like he's trying a bit too hard. But I don't mind that much because it is a fan film.

 

I think Prelude and the last few seasons of Trek both suffer from a weird sort of tunnel vision and lack of interest in their own stories that I've gotten tired of.

So, in Prelude, the big thing is that Garth is supposed to be this tactical genius. In fact, quite a lot of the doc is talking about tactics and strategy and maneuvers, but it never actually explains what any of them are. The Klingons invaded using "the strategy of least respect," but what does that entail? Garth attacked the Klingons boldly, "like a Klingon maneuver," but how did that differ from what had been done before? The lack of overt explanation would be more forgivable in a straight narrative rather than a documentary, but even if it had been presented as a conventional movie, it was obvious that no one behind the scene knew the answers to those questions, either. They didn't show any kind of particular logic or through-line in the action, as far as I know, most of the space combat scenes were created in a vacuum (pardon the expression) and assembled in editing, and weren't made to coincide with any particular narrative purpose. There are other movies and shows I can point to where the logic of the action is secondary to the emotional reality and doesn't get walked through for the audience, but it's still clearly there, and you can deduce the tech-plot if you look carefully ("The Expanse" does this a lot, as did the new BSG), or even ones when the emotional reality is important so the action is straightforward, but doesn't get dressed up and have people tell you its so complicated and intricate when it isn't (which is what the action sequences in "Babylon 5" were more like, simple but direct).

And DSC does the same thing. I only have first-hand knowledge up to season 2 (when I decided I would get off the train until I saw reviews that satisfied me that the shows were off this bullshit), but there are a bunch of times where the show just asserts stuff without doing any work for it. There's Tilly's "Power of math!" moment, where they had to catch a weird asteroid, but they can't, but then there's a montage and a little machine unfolds into a big machine, and they can, now. What math? There was no problem-solving, no clever moment, just a weird cathartic beat celebrating a non-victory. But the one that bothered me the most was when they developed a plan to capture the Red Angel based on the fact that it kept showing up when Michael's life was in danger, and it worked, and then a few episodes later, we find out the Angel hadn't actually been showing up when Michael's life was in danger, it was a different Red Angel, and the one time the first Angel had shown up to save Michael, she appeared somewhere else, which would've been useless for their trap. No one seems to realize that they tried to murder Burnham on a theory that was completely, utterly wrong!

It's like reading an outline of a story riddled with "TK TK TK." Or, more on-topic, if the '90s Trek scripts where the writers just left space for the sci-fi problems in the script with "Wait, this is just like the personal problem I'm dealing with in the b-plot! We can [tech] the [tech], which is analogous to how I can address my strained relationship with my parents, and that should [tech] and deflect the asteroid!" they decided the solution to "too much technobabble" was just to cut all those segments out entirely, so we're left with lots of big feelings and big plots that don't integrate, but still amplify each other's intensity in ways that don't make sense and aren't really resolved except in the most superficial ways.

 

Latest donor emails: Alec served Shawn O'Halloran with a restraining order, reshoots November 20-21, and you can buy Battlestar Galactica patches from Propworx.

 

No, it's "professional, independent Star Trek" and cost millions.

 

I have issued my own restraining order to myself to keep away from LFIM. We’re a couple of thousand miles apart and I have ordered myself to do my best to keep it that way. If any of you hear of him coming to Boise please let me know so I can get out of town. Thanks in advance!

 

Now I have to restrain myself from pointing out the word you left out.

 

The word he wanted to use probably would have gotten anyways.