R. Daneel Olivaw (in the beginning) is the most handsome 30 year old man in the universe.
Who is that these days?
Who is that these days?
I'm not opposed to it at all, though I felt the prequel novels demystified Selden maybe a little too much. (To be fair to Asimov, he had written himself into a corner with Earth and didn't know where to go, and without them we wouldn't have had David Brin's Foundation's Triumph, and that's probably my favorite Foundation novel.) I might approach Selden's backstory this way. Do a Foundation-lite episode a season with Selden on Trantor, working its way in the first season with an abbreviated Prelude through Forward in later seasons, and finally with "The Psychohistorians" and Gaal Dornick in the final season.
For a television series, here's what I think I'd do...
The first season riffs on "The Encyclopedists" and "The Mayors." Basically, the early years of Terminus, the rise of Salvor Hardin, and the first two Selden crises.
We skip "The Traders" entirely; it's the worst Foundation story by some distance.
The second season tackles "The Merchant Princes" and "The General."
The third season tackles "The Mule" and "Search by the Mule."
The fourth season tackles "Search by the Foundation." And at this point, I'd go off the rails a bit; invent a fourth century FE post-Mule Selden crisis and actually show that psychohistory is back on track. Foundation's Edge shows us the aftermath of one, but let's actually see one.
Fifth season tackles Foundation's Edge. And I think you can stop there.
And, I don't think the television series should limit itself to what's on the page. A lot of Foundation is talky stuff about big things happening elsewhere. A television series is going to have to dramatize a lot of that. "Show, don't tell" and all that rot. Hence, my use of the word "riff." Use Asimov as the starting point, and adapt it to fit the medium.
I actually like what Christopher is saying here. Get the basic idea inside people's heads, and then you can pretty much do anything you want, as long as the core concept is there. It's then a playground of sorts and any number of scenarios could be created to adapt to our changing times. Afterall, change is an occurring theme throughout.
Basically, keep the centrally important characters, borrow some events from the books and go from there. Maybe even add new characters that threaten to derail things.
I've always seen The Mule as some deeply intimidating character who threatens to derail things, while at the same time has a calm to him that betrays his intentions. From what I remember, it was never showed that he was violent. Mentally crazed, maybe, but calculating in his own way. It would be fun to have a character that would be absolutely insane that catches everyone off-guard, including The Mule.
Agreed on stopping at Foundation's Edge, Allyn. What would you think of opening the series with some bits from the prequels to set the stage? Or maybe they could use some of those prequel bits as backstory shown as flashbacks as part of Selden's introduction. I think that either way, it would be a good idea to have an episode focus solely on Selden and his legacy before moving forward.
There are people here who have a philosophy that they don't want to ####ed over by books.
Either they spoil the movie, or books make the movie look like shit.
In either case, seeing a movie is so expensive, tickets are over twenty dollars, I never seem to be able to recycle my 3d glasses, movie food, parking, god forbid I have a date or that I am taking those ungrateful children who all need a hotdog and an icecream with nuts... so why further guarantee that it will be an unrewarding clusterfuck of disappointment by knowing everything that is going to happen before hand and the incommensurate rage when one one of those things does not happen?
We should only read books that we are certain will never be turned into movies.
Seldon's dead hand is the star.
Something Asimov forgot when he wrote the prequels.
Although it felt like Heroin when Seldon became Prime Minister.
R. Daneel Olivaw (in the beginning) is the most handsome 30 year old man in the universe.
Who is that these days?
It is just, as I said, that I am sure many of us have a version of "The Movie" in our heads, and would want it to unfold just that way. Guy sort of said it in one of his posts above about being disappointed in what transferred to film, vs. What is in our brains.
Does the FCC have the authority to regulate HBO, MTV, and other cable channels that regularly show salacious fare?
Not really, although it can try to use its clout to browbeat cable channels into better self-policing. The FCC's regulatory powers extend only to over-the-air broadcasters, who transmit their programs via the publicly owned spectrum. In order to obtain the FCC's permission to use slivers of that spectrum, broadcasters agree to abide by the commission's rules, which include indecency standards. Cable, on the other hand, travels to American homes via privately built and maintained hardware. (The same goes for satellite services like the DISH Network, whose orbiting hardware is privately launched.) So, cable channels needn't strike a bargain with the FCC in order to operate
No they're not?
The Federal Communications Commission can fine any network TV Show into the stone age if rules are broken, but Nielson is a privately owned company independent of any one to assure accurate unmolested data.
Cable stations have their ratings determined independently by the cable boxes measured in house holds even if they don't know the actual composition of those households, and cable stations have limited to no advertising, that really ratings don't matter so much as renewed constant subscriptions and sport/movie pay per view events.
Does the FCC have the authority to regulate HBO, MTV, and other cable channels that regularly show salacious fare?
Not really, although it can try to use its clout to browbeat cable channels into better self-policing. The FCC's regulatory powers extend only to over-the-air broadcasters, who transmit their programs via the publicly owned spectrum. In order to obtain the FCC's permission to use slivers of that spectrum, broadcasters agree to abide by the commission's rules, which include indecency standards. Cable, on the other hand, travels to American homes via privately built and maintained hardware. (The same goes for satellite services like the DISH Network, whose orbiting hardware is privately launched.) So, cable channels needn't strike a bargain with the FCC in order to operate
They don't have to use "real cigarettes".
If non tobacco, non weed... Actually, now that weed is becoming so entirely legal in the states do the "smoking laws" in public refer to the creation of "any sort of smoke" or just the strict use of tobacco?
What are the passive second hand smoke effects from a third party burning oregano in cigarette form?
Yeah, that's a fantastic book. Everybody should read that one.Have you read Psychohistorical Crisis by Donald Kingsbury? I guess the guy wanted to write his own story but wasn't able to get permission from the Asimov estate, so he ended up writing an unauthorized sequel set after the Second Empire. His take on it was quite fascinating and was published around the same time as the trilogy by the 3B's.
Child labour laws?
That sounds familiar.
Smoking isn't important.
In the books, it's jarring that they smoke on space ships because the science is so bad. It's so bad that it's good. Also it's more than clear that the story was written in the 1940s which makes their ignorance about the threat of cancer adorable.
Death sticks?
Star Wars. Wookiepedia says that they are an opiate, not tobacco.
Is it possible that cigarettes in Asimov's future are not only healthy but medicinal?
Remind me, was there a lot of smoking on Space Station 76?
There would be no problem with showing smoking in a TV series or movie, but I'd rather they didn't. That's one change to the source material I wouldn't object to.
Another option for a Foundation series would be to pick up where Foundation and Earth left off and focus on the team of Trevize, Pelorat, and Bliss-- who I always felt were Asimov's homage to Flash Gordon-- with Daneel either tagging along or serving as Charlie to their Angels. The storyline could focus on the conflict between Daneel's beginning to implement plans for Galaxia versus Trevize's desire to undo his own decision (with Bliss taking Daneel's side). Asimov felt that he had written himself into a corner at that point, but there's one very obvious way out and I'm sure that I, or any other good writer, could think of more.
Have you read Psychohistorical Crisis by Donald Kingsbury? I guess the guy wanted to write his own story but wasn't able to get permission from the Asimov estate, so he ended up writing an unauthorized sequel set after the Second Empire. His take on it was quite fascinating and was published around the same time as the trilogy by the 3B's.
Yeah, that's a fantastic book. Everybody should read that one.
One of the things I really liked about Nolan's Interstellar was how inhuman the robot was in appearance.
I kept thinking that it was one of Clarke's Monoliths.
Have you read Psychohistorical Crisis by Donald Kingsbury? I guess the guy wanted to write his own story but wasn't able to get permission from the Asimov estate, so he ended up writing an unauthorized sequel set after the Second Empire. His take on it was quite fascinating and was published around the same time as the trilogy by the 3B's.
And I think Christopher has good things to say, also. It is just, as I said, that I am sure many of us have a version of "The Movie" in our heads, and would want it to unfold just that way. Guy sort of said it in one of his posts above about being disappointed in what transferred to film, vs. What is in our brains. However, I am VERY excited, and hope the whole thing comes out in my lifetime!!!![]()
I've been meaning to. I started it, packed it away and moved, and when I moved again seven years later I found the book. But I haven't moved it onto my "to be read" pile. Right now, I'm struggling with Jennifer Pournelle's Outies, the newest book in Niven & Pournelle's The Mote in God's Eye sequence.
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