Patrick Stewart was also deeply involved in the creative decisions on Picard seasons 1 and 2. He got to the point where he just wanted to do what he wanted to do, and since he is Jean-Luc Picard, what he wants is ipso facto the right choice:

“What I’d like to see at the end of the show,” I told them, “is a content Jean-Luc. I want to see Picard perfectly at ease with his situation. Not anxious, not in a frenzy, not depressed. And I think this means that there is a wife in the picture.” You see, the line between Jean-Luc and me has grown ever more blurred. If I have found true love, shouldn’t he?

Sometimes you do not want your actor actually in charge of their iconic character, and genuine embrace of it can manage to make it worse if they’re not writers. I will do my occasional hornet’s-nest kicking and say that Mark Hamill’s take on Luke Skywalker after filming The Last Jedi was similarly myopic, but in a direction that more fans at least think they wanted, and since we’ll never see his choices play out he still gets the benefit of the doubt.

As I understand it, they do have one more season…

So, I generally agree with you. They’re sprinting through their plot outline to get to their end-game, and the “one season per decade” framing device is creaking under the weight of what they want to do.

I think that was Babylon 5 and J Michael Straczynski. You’re thinking of the repeated times when, in the middle of the hardest hitting writing in SciFi, there’s a ham-fisted, horribly conceived episode about a second-rate lounge singer coming out of a Ferengi holodeck or whatever.

New generation just never grabbed people the same way, but at least nobody’s fuckin’ their dead son’s best friend or doing missions in the throes of a serious hard drugs addiction. I’m still interested in how it all plays out, and only one season left, which feels about right.

I will note that it seems like understanding Star City, probably every season they eventually make, will be key to extracting full value out of the plot to FAMK S5. They may be going full Marvel with a cinematic universe.

Great song (Banditos) by a great band (The Refreshments).

Low hanging fruit, but White and Nerdy by the great one.

https://www.youtube.com/watch?v=N9qYF9DZPdw

• Earl Grey Tea
• Klingon language
• Kirk vs Picard
• More?

When SNW started, I already knew Melanie Scrofano as Mrs. McMurray from Letterkenny. THAT took some time to work through, but kudos to her for making the character work.

Didn’t Prodigy show one in a cargo bay making a shuttlecraft? My memory is a bit hazy.

Doors and corners, kid.

Little known fact, early warp engines operated on a relativistic turbine system and were powered by “burying” one gram of Bill Watterson’s ashes in engineering and then putting one of these stickers on the ship.

As an aside to an aside, IIRC the real image is Calvin, pants on normally, slyly tying off a water balloon before his plan is inevitably foiled by a handsome and stealthy tiger.

It’s at about 43:00 in the embedded video, and yeah, that’s probable, but the question was posed to the panel about what their characters would explore in a hypothetical Legacy show, so unless she’s been right on top of it, it feels like a fair assumption for her to have made that they’d be among the leads.

As an aside, I think I would absolutely love hanging out with Marina Sirtis for exactly one day, and I would be utterly exhausted at the idea of spending any longer than that. In her interviews, she is always a delight, but also a lot.

Have you been privy to any of the discussions about what it means for the show to be set a thousand years later than most of the franchise, like where it makes sense for a previous entry to guide the interpretation, and where it maybe makes as much or more sense to let things go a little crazy. The interplay probably has to drift more toward storytelling realities within the brand than it does gaming-out what would “really” happen over a millennium of Star Trek time.

Honestly, when I think about it, the post-Burn era seems downright conservative in terms of societal change, certainly at least within Starfleet. That’s obviously necessary for it to be recognizable as a property, but it’s kind of funny to think that it’s as static as it seems, like closer to the difference between 426 and 1426 than between 1026 and 2026 CE, and I’m probably understating how different the first two were.

Why do you think Starfleet had to set that up in the first place? You think they WANT a huge network of oversized saltwater-flooded Jeffries tubes running alongside the constantly infiltrated and poorly electrically insulated normal ones?

It’s funny… In some ways, I think he adored the stories they were telling, and particularly the potential the characters and the setting held, but he really seemed to dislike the production environment and many of the specific decisions that were made. He is an artist with a very specific voice (lol, literally even) and mindset that was maybe poorly suited to making Star Trek his “thing.”

God though, can you imagine if the brooding-to-manic Sisko acting roller coaster had become iconic in the broader culture like Shatner’s staccato shouting and dramatic pauses?

Also the best answer for Avery in particular to not to have to lie to anybody.

As was First Blood and maybe the first ten minutes of Rambo.

As was First Blood and maybe the first ten minutes of Rambo.

This feels like a bit of a straw-man. In my youthful nonsensical cross-franchise pissing-match days, we pitted the Enterprise versus a Star Destroyer, or at least some other capital ship.

Unless you were asking which one was cooler, in which case the Falcon wins every day and twice on Sunday.

You also know somebody is running on empty when a show or movie franchise set in the future or a fantastic world transports their characters to “the present” for any extended period. Now, whether that’s the writers, the cast, or the accountants, no one can say.