In the opening battle scene of the first episode of season three of "The Orville", they got a long set, yet the character is still essentially barely power jogging.
In the opening battle scene of the first episode of season three of "The Orville", they got a long set, yet the character is still essentially barely power jogging.
I don't know her.
It's better that way.
Star Trek 10 should have been a full-on crossover movie of the 24th century Trek shows - the Ent-E picking up the most popular characters of VOY at DS9, with Picard, Seven, Janeway, Data and Kira and Nog having to work together.
But alas, the first 'Avengers' was made 10 years later - with studios realizing only then that such crossovers would be more popular than the sum of their individual parts - but by then everyone was too old & JJ already started it's reign of disjointed terror on the "Star" franchises.
But alas, the first 'Avengers' was made 10 years later - with studios realizing only then that such crossovers would be more popular than the sum of their individual parts - but by then everyone was too old & JJ already started it's reign of disjointed terror on the "Star" franchises.
Or maybe Roddenberry was the deciding factor. He wanted conflict-free uniformity, so they all took their time during the crises. Later on, that anti-drama edict infected the relatively-limp TNG musical scores...excepting BEST OF BOTH WORLDS and most of their TNG films.
Discovering a new technology or ability which gets the crew out of a horrible situation, only to forget it ever happened for after.
Prime example: 'Plato's Stepchildren'- a simple injection from the kit McCoy carries around with him gives Kirk powerful telekinetic power. Imagine how things would have happened to the rest of the series (and franchise) if they kept the special injection handy for special situations. This is also assuming continual use might have undesirable side effects.
There also never any real benefits from when the crews contact an even more advanced culture and have conducted information exchanges- all the tech evolves at a fairly slow pace between TOS-TMP-TNG-DS9-SFA.
Hand Phasers being very under powered. GR had said the new TNG Phaser II (Dustbuster) could take off the top of a mountain, but when we see them on screen they are just shooting weak pulses which may pit a wall or column that somebody is hiding behind.
Why do they just shoot in pulses anyway?- they are beam weapons- just hold the trigger and sweep it across the area and cut everything in the way in half...
Prime example: 'Plato's Stepchildren'- a simple injection from the kit McCoy carries around with him gives Kirk powerful telekinetic power. Imagine how things would have happened to the rest of the series (and franchise) if they kept the special injection handy for special situations. This is also assuming continual use might have undesirable side effects.
There also never any real benefits from when the crews contact an even more advanced culture and have conducted information exchanges- all the tech evolves at a fairly slow pace between TOS-TMP-TNG-DS9-SFA.
Hand Phasers being very under powered. GR had said the new TNG Phaser II (Dustbuster) could take off the top of a mountain, but when we see them on screen they are just shooting weak pulses which may pit a wall or column that somebody is hiding behind.
Why do they just shoot in pulses anyway?- they are beam weapons- just hold the trigger and sweep it across the area and cut everything in the way in half...
It kind of makes me nostalgic to see you imagining up Star Trek projects that were never even on the drawing board like this! I thought you’d escaped fantasy island years ago…
Ah, the good old days…
In fairness, Roddenberry didn't want the show to be conflict-free and he certainly understood that conflict was a requirement of drama. What Roddenberry didn't want was conflict among the Starfleet crew, who he felt would be evolved past petty personal squabbles by the 24th century. He wanted the conflict to come from outside the crew. Some people (not meaning you), though, have sort of re-framed that as though Roddenberry thought TNG could be written without any conflict at all, which is not true.
The music stuff is all Rick Berman. That did not come from Roddenberry at all, and the worst of the bland TNG scores in fact came after Roddenberry's death.
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The same can be said for Enterprise. Initial plans were quite different, but the studio execs wanted things that sounded more Star Trek, like the transporter, phase pistols and photonic torpedoes.
When Enterprise was first announced, rumor had it the first season would be set on Earth with the ship slowly being build.
Haha yes, this is a big one for me.
Like on ENT when Archer has a phaser shoot-out on a pre-warp civilization with some other aliens - and then he takes cover behind a barn door, or some wooden fence, and that deflects the alien energy weapons
I'm weirdly "okay" with this one. As long as these are contained to the episode they take place in.
The alternative would be to vastly limit the type of stories they could tell - which is a bad idea in a soft anthology series like Star Trek.
However I do demand that the movies & major lore heavy episode or story arcs are thought out more carefully.
Finding & forgetting a Dyson sphere, or find a cure for "aging" in an episode of the week? - Fine for me.
Curing death or invent transwarp beaming in a movie, or threaten all of life in the whole galaxy by a Section 31 computer gone wild? - yeah that's rubbish
Curing death and aging was discovered in TOS and TNG. That's ridiculous and impacts the rest of the lore.
Death = cured.
Aging = cured.
Baldness = not cured.
Fatness = not cured.
Wiping people's memories = no problem!
Blindness and getting real eyes back = not so much.
Oh, they topped that in "The Chase".
Aging = cured.
Baldness = not cured.
Fatness = not cured.
Wiping people's memories = no problem!
Blindness and getting real eyes back = not so much.
Oh, they topped that in "The Chase".
This particular scene exemplifies the silliness of TNG characters refusal to run:
I don't think one needs military experience to know personnel responding to an emergency in an area of the ship that's been damaged where people could potentially be dying should be moving a bit quicker than they would on a casual Sunday afternoon stroll through the park.
well someone had to do it!
and as for the transparent aluminum, how do we know he didn't invent the thing?
It was a good bit of humor, but the way time travel and events work in ST, who's to say Scotty was not always meant to introduce it to the guy, thus changing history?
Somehow, Stewart convinced himself that he was the driving face of the Berman era, and everyone else were mere chess pieces existing to be moved around when he required it. His ego failed him, since most of his end of the Trek franchise is as lifeless as a trampled cigarette butt, and he only has his ego to thank for that.
Why Berman, et al., had TNG security reacting that way is a mystery, but it added to the casual, Love Boat type of vibe--the opposite of how anyone should act on the flagship of Starfleet.
Actors in a production should never, ever, EVER be given significant creative input or control over the writing. Ever.
No, I'm not saying that producers should prevent actors from making suggestions about their characters. But once it gets to the point where actors are getting to dictate things, it's over. The TNG movies are proof of that.
No, I'm not saying that producers should prevent actors from making suggestions about their characters. But once it gets to the point where actors are getting to dictate things, it's over. The TNG movies are proof of that.
Because the movies were all Picard/Data story lines and the rest were supporting cast.
That's how.
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