Spoilers Where do things go from here?

[Citiprime]

I think the writer's strike throws a new variable into the mix.

If there's any buyer's remorse for greenlighting Starfleet Academy by Paramount, especially after seeing the reaction to Picard, the push for Legacy, while also trying to make decisions within budget restrictions, if any of that matters to the people making decisions on spending for these things, depending on how long the strike goes on the studio could conceivably use it as a reason to rethink their plans.

Reporting online says scripts are (probably) done for Strange New Worlds season 3, Section 31, and any additional scenes for Discovery's final season. Paramount can produce those scripts, but can't do any rewrites of them, since SAG-AFTRA has advised their members they can "continue to work." And if they're going to do Section 31, they probably only have a limited window to do it given Michelle Yeoh's schedule.

However, work on Starfleet Academy stops. If the strike drags on, production schedules will have to be pushed and re-evaluated. On the other hand, nothing can move forward for Legacy either, even if Paramount wanted to do it. But there's no Legacy production in any stage of planning to begin with.

 

[fireproof78]

I think the writer's strike throws a new variable into the mix.

If there's any buyer's remorse for greenlighting Starfleet Academy by Paramount, especially after seeing the reaction to Picard, the push for Legacy, while also trying to make decisions within budget restrictions, if any of that matters to the people making decisions on spending for these things, depending on how long the strike goes on the studio could conceivably use it as a reason to rethink their plans.

Reporting online says scripts are (probably) done for Strange New Worlds season 3, Section 31, and any additional scenes for Discovery's final season. Paramount can produce those scripts, but can't do any rewrites of them, since SAG-AFTRA has advised their members they can "continue to work." And if they're going to do Section 31, they probably only have a limited window to do it given Michelle Yeoh's schedule.

However, work on Starfleet Academy stops. If the strike drags on, production schedules will have to be pushed and re-evaluated. On the other hand, nothing can move forward for Legacy either, even if Paramount wanted to do it. But there's no Legacy production in any stage of planning to begin with.

If the scripts are done best bet is to move forward on those projects and start looking at resources for Legacy. Section 31 isn't a full series so it's time is limited anyway so figuring out next step is only logical.

 

[Lord Garth]

There was a series where a genocidal Space Hitler with ... , and raised up to be a potential protagonist of a future Star Trek project..

Space Zho Goa from the Qin Dynasty, actually.

a decades long history of intentionally murdering thousands of lifeforms and eating them

Kind of like the Anticans and Selayans in "Lonely Among Us" from TNG.

Anyway, back on topic. Legacy has great potential to follow up on stories worth following up on. On the other hand, there's the pitfall of following up on stories that don't need a follow-up, or cheapen the way things already ended. It's a double-edged sword. They can go the right way, or they can go the wrong way. Hopefully they go the right way.

 

[SolarisOne]

Anyway, back on topic. Legacy has great potential to follow up on stories worth following up on. On the other hand, there's the pitfall of following up on stories that don't need a follow-up, or cheapen the way things already ended. It's a double-edged sword. They can go the right way, or they can go the wrong way. Hopefully they go the right way.

What I personally want. Is new characters and new situations building on what's been established from TNG through PIC, perhaps far enough ahead that people aren't constantly clamoring for character X to show up but not so far ahead that the entire fucking aesthetic changes to the level it did in DSC. There's nothing wrong with the rebooted TNG-era aesthetic they came up with for PIC, and there's plenty of room to do new stuff with new characters there.

(Honestly, that's what I was hoping for when I first heard that Trek was coming back to TV to begin with, but they had to go with the TOS era.)

The closest I've gotten to what I've wanted so far is Lower Decks, minus the callbacks. I don't even pay attention to the callbacks most of the time. It's not what I'm there for. The characters are interesting, the stories are interesting (actually the dramatic aspects are far better than the comedy ones most of the time), and Beckett Mariner is one of my favorite Trek characters of all time. And most of all it feels like Star Trek (and unlike PIC S3 it has been drawing in new fans.)



The thought of having more Terry Trek, if S3 of PIC is any indication, leaves me very ambivalent.

 

[Wingcommanderdarkwolf01]

(Sits back and waits for SNW and Lower Decks.)

and Prodigy

 

[fireproof78]

What I personally want. Is new characters and new situations building on what's been established from TNG through PIC, perhaps far enough ahead that people aren't constantly clamoring for character X to show up but not so far ahead that the entire fucking aesthetic changes to the level it did in DSC. There's nothing wrong with the rebooted TNG-era aesthetic they came up with for PIC, and there's plenty of room to do new stuff with new characters there.

(Honestly, that's what I was hoping for when I first heard that Trek was coming back to TV to begin with, but they had to go with the TOS era.)

The closest I've gotten to what I've wanted so far is Lower Decks, minus the callbacks. I don't even pay attention to the callbacks most of the time. It's not what I'm there for. The characters are interesting, the stories are interesting (actually the dramatic aspects are far better than the comedy ones most of the time), and Beckett Mariner is one of my favorite Trek characters of all time. And most of all it feels like Star Trek (and unlike PIC S3 it has been drawing in new fans.)



The thought of having more Terry Trek, if S3 of PIC is any indication, leaves me very ambivalent.

Sums up most of my feelings well.

 

[valkyrie013]

Want to go back to not every season has to end on a planet/galaxy ending event. Disco is BAD with this. even prodigy done a bit of it.
What I like about SNW, its what I think of when i think of Trek, Have your pew pew episodes, but mostly exploration, human condition, etc.

So want it to go back to that. Sure have your pew pew and planet ending events, but not EVERY season.

More, Make the ship go, Now!

 

[firehawk12]

What I personally want. Is new characters and new situations building on what's been established from TNG through PIC, perhaps far enough ahead that people aren't constantly clamoring for character X to show up but not so far ahead that the entire fucking aesthetic changes to the level it did in DSC. There's nothing wrong with the rebooted TNG-era aesthetic they came up with for PIC, and there's plenty of room to do new stuff with new characters there.

(Honestly, that's what I was hoping for when I first heard that Trek was coming back to TV to begin with, but they had to go with the TOS era.)

The closest I've gotten to what I've wanted so far is Lower Decks, minus the callbacks. I don't even pay attention to the callbacks most of the time. It's not what I'm there for. The characters are interesting, the stories are interesting (actually the dramatic aspects are far better than the comedy ones most of the time), and Beckett Mariner is one of my favorite Trek characters of all time. And most of all it feels like Star Trek (and unlike PIC S3 it has been drawing in new fans.)



The thought of having more Terry Trek, if S3 of PIC is any indication, leaves me very ambivalent.

Yeah, the DS9 episode was a nice treat, but I can't imagine a series where every episode is like that. Lower Decks handles it quite well in that respect.

 

[Noname Given]

I think the writer's strike throws a new variable into the mix.

If there's any buyer's remorse for greenlighting Starfleet Academy by Paramount, especially after seeing the reaction to Picard, the push for Legacy, while also trying to make decisions within budget restrictions, if any of that matters to the people making decisions on spending for these things, depending on how long the strike goes on the studio could conceivably use it as a reason to rethink their plans.

Reporting online says scripts are (probably) done for Strange New Worlds season 3, Section 31, and any additional scenes for Discovery's final season. Paramount can produce those scripts, but can't do any rewrites of them, since SAG-AFTRA has advised their members they can "continue to work." And if they're going to do Section 31, they probably only have a limited window to do it given Michelle Yeoh's schedule.

However, work on Starfleet Academy stops. If the strike drags on, production schedules will have to be pushed and re-evaluated. On the other hand, nothing can move forward for Legacy either, even if Paramount wanted to do it. But there's no Legacy production in any stage of planning to begin with.

There's no such buyers remorse as you call it. They didn't Greenlight Star Fleet Academy on a whim (and believe me I'm no fan of the idea because I think this is going to be a terrible series because it will have a bunch of 30 somethings playing a bunch of teens to 20 somethings, and I think it will end up like your average CW teen drama series.)

The WGA strike, which will be followed by the Director's Guild strike, and the SAG AFTRA strike come June (June is when the contracts for those two Hollywood guilds expire), will put hollywood/Canadian/Georgian/Floridian scripted TV, Streaming, and Film Production on hold across the board.

I'd be surprised if anything gets canceled by it per se; things will just be in perpetual hold until all sides come to an agreement, but given the current situation, I think the studios are going to hold out until everyone's on strike; and then start some real negotiation across the board. They don't want to give the WGA anything they feel is too good, because in the past what happened was that the WGA strikes usually made the rest of the negotiation for the other Hollywood Unions easy, as they usually came to the table saying, well you guys gave the WGA this level of a raise... we pretty much expect the same deal...

And they usually got it without too much hassle and everybody went back to work.

This time around it seems the studios really want to lowball everybody, and they feel they have enough streaming content for the next year to weather it; thinking that the writers and the rest when they go out on strike, will start to feel the pain of no income; and they'll all come back to the table willing to accept a little less than they would if the studios tried to negotiate now.

But my point, once they do get back to work, they'll want to turn out content as quickly as possible; so they're not going to scrap anything in the interim and make the startup to get back into the rhythm of production that much harder. (and with the wga on strike, they certainly will not be able to update or redo any pitches that they've already accepted; or see any new pitches for any series, film, etc.

Even the people who are doing dual Duty as Writers/Producers can do any writing whatsoever of anything related to Studio or network production while the WGA is on strike. They can perform strictly Producing duties until the Producers Guild goes on strike.

Everybody knew this was coming on both sides; and both sides are digging in. But I can guarantee you the studios created a plan to weather this strike, and they're going to fight tooth and nail to pay out the least they can to get production in Hollywood back up and running, and they know it's not going to be a short strike.