True. I should have said that the captains had no trouble finding work outside of Star Trek, rather than simply after.
Spoilers Star Trek: Strange New Worlds 2x09 - "Subspace Rhapsody"
- Thread starter Commander Richard
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True. I should have said that the captains had no trouble finding work outside of Star Trek, rather than simply after.
SAG have implied it. But I don't think stated outright. WGA were coming to the table as of Friday but something happened according to friends who work in the biz.
Yeah I had the same thing after winning an award that came with a cash prize. Everyone wondered why I was at work the next week making their espresso drinks. I put up a cartoon out of the New Yorker of a guy selling pencils on the street holding a sign - "Sold my first short story and foolishly quit my job."
True story. When I made my first cash sale -- for $55 -- I thought I had it made. Why, if I just wrote a couple of stories a week, I'd be making serious money in no time.
Then, of course, I didn't sell another story for months . . .
That meeting was to see if it was possible to resume negotiations; but on some of the WGA core items, the AMPTP said they weren't even willing to discuss those, and that aspect of their previous offer wasn't going to change, so yeah, both sides decided there was no reason to hold further discussions at this time.
I don't know about the legal definition of "bad faith," but David Gerrold accused the AMPTP of it the other day, suggesting that their apparent return to the bargaining table was just a publicity stunt, to give the appearance that they were bargaining in good faith, when they were actually just holding fast to their previous positions.
I'm still addicted to the soundtrack.
I think Capitalism about to collapse. This kind of thinking is getting big and common with the big business types and the lower ones aren't going to put up with it much longer.
My kid is SAG/AFTRA. He's got friends in the WGA though (who are also actors, poor things).
I am too. I'm rewatching this episode and just got to the scene with Una and La'An and the track "Keeping Secrets". This episode has brought back a lot of memories of Buffy, and that scene reminded me of the Goodbye to You scene in Tabula Rasa, with clips of the crew Una was singing. Whoever came up with these songs did a fantastic job, not to mention how much each song is carrying the story. It very much is like Once More, With Feeling.
Sixteen year old me loved that show,
Nine year old me was disappointed when it was cancelled.
True story. When I made my first cash sale -- for $55 -- I thought I had it made. Why, if I just wrote a couple of stories a week, I'd be making serious money in no time.
Then, of course, I didn't sell another story for months . . .
Well as long as you're selling them now is what counts.
Have a new STAR TREK short story coming out soon, and a Weird Western story in an upcoming horror anthology that should be going to press any day now.
And, oh, an sf-detective story that's slated for another anthology that doesn't have a pub date yet.
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I'm don't think any other show used songs as well as BtVS.
My wife and I just finished watching this. Holy crap. It was amazing. Here's my take as a musician/composer/arranger.
It reminds me in many ways of Once More With Feeling, Buffy The Vampire Slayer's musical masterpiece of an episode (which I now see was just referenced above this post!).
While I'll have to sit with it for a bit before declaring it to be on par with such a classic, I think it might be up there for me.
What Buffy did, and this episode as well, was work major plot points and character development into the songs, to give them weight both at the time and later in retrospect.
I found a fair portion of the songwriting in this episode to be stellar. La'an's solo piece in her room laid bare many of her thematic elements that were shown but not outright stated in her time travel episode.
And Christine's and Spock's contrasting arrangements of the same melody were superlative. They demonstrated musically how two people can be on completely different pages with completely different takes on an identical event by giving them completely different vibes with completely different emotional content through alternate arrangement of the same melody. It essentially went from Mardi Gras to a funeral dirge through nothing but musical arrangement.
Plus, the wordplay. Jesus Christ, the wordplay. The way Spock went from singing about "why...I'm the ex," to "I solved for Y...I'm the X," was just fantastic. He's the independent variable, the predictable one, the reliable one, the one whose every move can be counted on, and he was dealing with a dependent variable - the one capable of moving up, down, and back again while he marches forward steadily.
It was a frickin' algebra metaphor wrapped in a homophone pun and sung during a parallel musical arrangement contrasting their approach to the same melody and event. The number of levels on which that operated had me flipping out. That's some serious top-tier songwriting right there.
In order to temper my gushing, I'll give my biggest criticism. I hate how autotuned everything is now. Like Glee (which I hated), they're autotuning the great singers alongside the crappy ones in order to keep the weak ones from seeming so out of place. La'an and Uhura clearly needed no autotune, their control over their tone, vibrato and the transition from chest voice to head voice showed that they're both technically proficient singers who would have sounded amazing without the added sheen (more so, in my opinion).
But man, that was a fun watch (and listen).
It reminds me in many ways of Once More With Feeling, Buffy The Vampire Slayer's musical masterpiece of an episode (which I now see was just referenced above this post!).
While I'll have to sit with it for a bit before declaring it to be on par with such a classic, I think it might be up there for me.
What Buffy did, and this episode as well, was work major plot points and character development into the songs, to give them weight both at the time and later in retrospect.
I found a fair portion of the songwriting in this episode to be stellar. La'an's solo piece in her room laid bare many of her thematic elements that were shown but not outright stated in her time travel episode.
And Christine's and Spock's contrasting arrangements of the same melody were superlative. They demonstrated musically how two people can be on completely different pages with completely different takes on an identical event by giving them completely different vibes with completely different emotional content through alternate arrangement of the same melody. It essentially went from Mardi Gras to a funeral dirge through nothing but musical arrangement.
Plus, the wordplay. Jesus Christ, the wordplay. The way Spock went from singing about "why...I'm the ex," to "I solved for Y...I'm the X," was just fantastic. He's the independent variable, the predictable one, the reliable one, the one whose every move can be counted on, and he was dealing with a dependent variable - the one capable of moving up, down, and back again while he marches forward steadily.
It was a frickin' algebra metaphor wrapped in a homophone pun and sung during a parallel musical arrangement contrasting their approach to the same melody and event. The number of levels on which that operated had me flipping out. That's some serious top-tier songwriting right there.
In order to temper my gushing, I'll give my biggest criticism. I hate how autotuned everything is now. Like Glee (which I hated), they're autotuning the great singers alongside the crappy ones in order to keep the weak ones from seeming so out of place. La'an and Uhura clearly needed no autotune, their control over their tone, vibrato and the transition from chest voice to head voice showed that they're both technically proficient singers who would have sounded amazing without the added sheen (more so, in my opinion).
But man, that was a fun watch (and listen).