What else beside the episode's title do you call leave while remaining aboard? Aboard stay?
Taking leave while underway, or onboard leave.
One of them, yes. Holden in the books is a grizzled ex-military guy. I feel like they maybe cast Steven Strait because he was young and hunky and they wanted to have some sex appeal to the show, but he's fundamentally a pretty adorkable type guy, and didn't fit type at all. They tried to compensate by having him unshaven/making him talk in as deep of a voice as he could manage, but he was just not the right actor for the role at all.
To be clear, they sexed up pretty much everyone from the book description. Miller in the books is described as looking like jowely dog, Amos like a giant baby (fat and bald), Alex was supposed to be much more visibly middle aged, Naomi was supposed to be tall and gangly due to growing up in zero G (one element then show had to abandon was the idea that all the belters were like emaciated giants). But in those cases, I think the actors got across the core of the characters even if they didn't look the part. Strait just couldn't come across as much more than "kid" for much of the run, no matter how big his muscles got.
The actress they got to play Bobbie was also pretty goddamned awful at the beginning, but I feel for the showrunners, because they had a commitment to diverse casting and wanted to try and find someone who was (like the book character) female, of pacific islander descent, and gigantic. Pretty slim pool to pick from there, but it made Season 2 rough until she got her bearings as an actress.
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You're talking a TV show that uses drama to create entertainment. Star Trek isn't a simulation of Life aboard a working Starship; it's a TV drama.
That's why every time there is a problem with the warp core, the ejection system fails and the backups are non-functional. Hell during t&g's run, they did the exact same scene from a TV episode in the future film Star Trek generation nearly shot for shot and word for word.
I dunno. While a different genre, I always think back to the whole discussion that Brandon Sanderson's first law of magic:
That is to say, the creative problem solving which is done within a story to solve a problem is more satisfying to an audience if the story presents the tools within the narrative to see the solution coming down the pike. Or, to flip it around, just using magic (or technobabble) as a Deus ex Machina will always be disappointing. We want them to MacGuyver that shit.
This isn't to say that the worldbuilding in a setting must be realistic at all. But it must be consistent if you want any sense of the stakes being real to the characters.
Unfortunately, Star Trek has not always done that. It's been a rather big frustration of mine because back ups and security systems constantly fail.
Sanderson is great but he is the hard SF style writer to the fantasy world and explains everything.
I'm actually more of a fan of soft magic in fantasy, as I want my fantasy stories to feel like fantasy, not sci-fi (or a D&D campaign).
That said, it's been noted that in story settings where the magic is less well defined, it's also not really very useful to the protagonist/hero. Like, describing what Gandalf actually does with magic in Lord of the Rings is quite difficult, and largely irrelevant to Frodo's journey. Or how in Conan stories sorcerers are always evil, and Conan solves every problem by the sword.
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