There’s a newer TrekMovie piece, just out this afternoon, that cites a new interview with Kurtzman in an industry journal.
It also notes that a large number of of new Paramount senior executives came out for yesterday’s premiere screening.
I’m not sure that it’s entirely accurate that there’s no hints of a renewal for Kurtzman’s and Secret Hideout.
In the recent SFX magazine piece for Starfleet Academy, the Kurtzman quotes hinted vaguely at “Lots more Star Trek TV is in development”.
“There’s quite a few exciting things in the works right now, but I’m not going to say more than that!”
TrekMovie observes that, ‘The SFX article noted Kurtzman was “tight-lipped about future projects,” adding that the interview was done before the announcement that[ Jonathan Goldstein and John Francis Daley are developing a new Star Trek film.’
Thinking back to the last 5-year extension, Kurtzman was asked to map out proposal for Star Trek’s television rollout for 5-7 years forward.
Clearly, he was given clearance by the new ownership to pitch stuff towards another extension. Whether there’s any uptake is to be seen.
I just keep coming back to the previous Paramount+ and streaming heads stripping the schedule back to the point that animation was being eliminated and the live action schedule was dominated by Taylor Sheridan.
Now the new owners have a large and prestigious animation studio and Sheridan refused to renew.
Meanwhile WB is fighting back against Skydance’s takeover effort to go with Netflix’s offer.
If I had to guess, Paramount+ will see more new Star Trek animation and live action as complementary to the darker whatever that the creators of Stranger Things will bring.
Kurtzman may get another but shorter extension until the movie franchise gets off the ground, but will be fenced to the 32nd century, animated shows, and shows from the 23rd and 24th century that won’t write new canon.
This seems to be just one more thing in development that hinges on the decisions David Ellison will make about the next decade for the franchise, or at least the next five years.
Now that some of the new things that Ellison had been counting on to anchor Paramount+’s schedule (i.e. anything new from Taylor Sheridan) are complete nonstarters, perhaps there’s some room for some new Trek.
Also, the relationship between Kurtzman and David Ellison goes back to when Kurtzman was a writer and Ellison was a producer on Into Darkness. There’s no sense of negativity between them.
While Ellison hasn’t hesitated to finally cut the JJ Abrams movie contract that failed to meet deliverables, Kurtzman has delivered what CBS and Paramount wanted on television. There’s no reason to believe that they couldn’t come to a meeting of minds but there may be some of Secret Hideout’s long term EPs that might be let go in the process of a shift in direction.
So, one of our GenZ kids has now watched the trailer a couple of times and asked some questions.
They’re not the Discovery fan among our teens, preferring animation generally. (They liked Lower Decks and Prodigy.). So, I had to fill in on the 32nd century.
They’re not entirely convinced about investing in a live action series but might watch the premiere.
Meanwhile, the one who was previously a Discovery fan has just come off a Picard and TNG watch and isn’t sounding interested. The marketing is not intriguing them the way Disco season 5 did.
All to say that I am not sure that Paramount really understands Zs or marketing to them at all.
I found Paramount’s camera operator’s position on the ground looking up led to a lot of weird angles for the exchanges between Celia and the Starfleet Academy cast.
I also found the sound quality poor given it was their host and set up.
All of these issues made it a pain to watch.
Paramount continues to not run these events well.
I’m more suspicious that the old owners canceled all their animation so as to no be in conflict with Skydance’s animation studio which is top quality.
The reason why you aren’t finding it on the main Emmy site archive is because in the 1970s children’s programming was grouped with the ‘Daytime Emmy’ awards regardless of when a show was broadcast.
I did watch the Center Seat but your recollection is incorrect.
TAS was nominated for the 1974 Outstanding Children’s Show Daytime Emmy Award and won the 1975 Outstanding Entertainment- Children’s Emmy Award.
It also was nominated for Saturn Awards for the retro-release on DVD in 2007 and 2017.
I loved TAS when I watched it as a teen when it first ran.
I was beyond the age Saturday morning cartoons, but was so happy to have more Star Trek.
I was furious that older fans campaigned against the show to the point that NBC canceled it before more than the first six episodes of the second season were in production.
It still stands as the only Star Trek show to earn a ‘Best Series’ Emmy.
I hadn’t seen TAS in many decades when we picked up the DVDs for our kids (who are now in their late teens).
Given all the CGI and generally better animation in children’s programming, I wasn’t convinced that they would like it. But they took to it right away and it was very successful as an introduction to the franchise for them — more than 35 years after it was made!
One point, the number of frames on the animation, the movement only in the mouths during speech as well as the reuse of sequences was the only way to stay in budget in the 1970s.
The art direction was top-notch nonetheless. The original drawings, including some of the gorgeous mattes for alien planets and some of the new aliens are fantastic.
(I have some images to upload but that function seems to remain offline.)
Murakami is a theatre actor who has worked with the Royal Shakespeare Company in the UK.
IGN has details and a photo.
It seems logical that anyone who’s been alive eight centuries would have a unique way of speaking.
Works for me.
In the Relaunch novelverse, Kirsten Beyer did a great job with the post Nemesis return of Voyager to the Delta Quadrant starting with her book Full Circle.
The books exploring the post Dominion War Gamma quadrant on the other hand seemed to have promise initially, but petered out.
I think that this is a spoiler that I don’t want to know before the premiere.
I can see why they need to market it every way they can though.
Their rollout is definitely showing progress compared to the last five years. The ViacomCBS/Paramount management of the shows seems to have locked everyone down but the showrunners and provided them virtually nothing for promotion.
They really are having to push back against the naysayers though. There’s been nothing but complaints on other social media that the injured cadets couldn’t use their transporters to flit themselves to sickbay.
No one seemed to have heard The Doctor say the holoemitters were out so they were short of medics.
When I hear the same complaint over and over again, it’s clearly brigading copy pasta. I doubt most of them even watched the video clip.
I hope this clip helps to calm down all the fans out there who were outraged that Paramount’s marketing put out one key art poster targeted at another demographic.
It’s hard to know until someone reviews it.
This evokes a lot of mixed feelings.
On one hand, I have no interest in wrestling and cringe at anything related to it. I’m also super uncomfortable about anything related to WWE making its way into the aspirational Star Trek franchise.
When the early wrestling shows were on local television in my childhood, my parents explained it was all performance and not real sport. So, I have always associated it with a kind of fraud and grift.
I’m always extraordinarily uneasy when young children talk about wrestling heroes as it seems an unhealthy influence. It always seems to represent a demographic that we have nothing in common with. While I’m sure some of our kids heard about WWE at school, they never expressed any interest so there was no pressure to bring anything related to it into our home — for which we were very grateful.
So, the other hand, having this strong aversion to ‘professional wrestling’, when ‘The Rock’ Dwayne Johnson first made his dramatic acting appearance on Star Trek Voyager, I was so annoyed that I didn’t watch the episode.
I realize now that I let my strong bias against the performance of ‘wrestling’ get in the way of assessing an actor on his own merit.
I also recognize that Secret Hideout has been doing its best to bring in actors that will appeal to demographics that are likely to be critical of Starfleet Academy while retaining true diversity.
So, I’m going to try to swallow my aversion and wish this woman performer success as she tries to break out of the WWE circuit.
(I still think Paramount+ senior executives are trying to do everything they can to make our household drop our subscription.)
Even my GenZ kids ask for they physical media not the digital.
Our youngest was just this afternoon sincerely explaining to me why they want their Nintendo games as cards not digital copies.
I wish that McMahon hadn’t done that in Lower Decks and had left TNG Parallels as a one-off.
The thing is that the infinitely expanding manifold of temporal multiverses is a thought experiment in physics that doesn’t really have widespread support in physics. It also is inconsistent with how temporal mechanics are applied throughout the rest of the history of the franchise.
What SNW provides in Tomorrow and Tomorrow and Tomorrow is articulated even more clearly in Prodigy is closer to modern physics theory and is also the only way to make sense of creative choices that Gene Roddenberry dictates for the TNG Pilot ‘Encounter at Farpoint.’
When Roddenberry dictated that TNG would set World War III in the mid 21st century he also dictated that TNG and TOS are in the same timeline. That’s only possible if the franchise goes with the robust River of Time version of the physics that SNW and Prodigy articulated.
That is, there can be major forks or branchings at critical events but the smaller perturbations do not in themselves create new timelines. A Mirror Universe or Kelvin universe can be created but they are limited in number and not infinitely dividing at each and every minor decision point.
Instead, as long as key major events happen and they happen in the same order, then a timeline is preserved. Otherwise, our heros’ actions in saving the continuity WOULD NOT MATTER in any number of episodes and movies because the timeline where they fail would also exist.
So, as long as Cochrane’s ship gets to demonstrate the warp drive at the right moment such that First Contact occurs, then the Prime Timeline is preserved. There are not two parallel ones with and without the Enterprise crew onboard with him or one where the Borg were successful in stopping human contact with Vulcans.
Likewise, there isn’t a TOS version of the timeline where World War III took place at the end of the 20th century after the 1990s Eugenics War. Instead, that event has shifted back and forth in time as the Romulans have attempted to impede human development with temporal incursions and Federation temporal agents have worked to counter them.
Given the complete failure to produce and release anything for Star Trek in more than a decade on the cinematic side, I can’t think any reasonable senior executive would think now is the time to let Kurtzman go. All the more, the historic chaos in relaunching the television franchise in the early seasons of both TNG and Discovery have demonstrated that it’s just not possible to launch a new overall franchise runner without running major risks.
Kurtzman’s got a reputation as being good to work with from both the studio/streamer and creative side. They don’t have any evidence to show he won’t adjust to new strategic direction.
The question more will be how far will Kurtzman himself be willing to compromise if the Ellisons give high level direction that would take the franchise in a very different direction for television.
What I do see is that some of the perceived failures will definitely lead to restricted opportunities for some of the EPs that have worked for Kurtzman. For example, Osunsami may not be given run of a project again after the S31 movie. Michelle Paradise won’t likely be asked to run another show in the franchise.