I really hope not. However, this generation of writers are firmly in the grip of ‘trauma is necessary for interesting characters’ and the Hero’s Journey Pop anthropological theory of the 1970s that took over film schools.

So sure, why wouldn’t everyone need to be traumatized by a Betazoid dying horribly?!! /s

I have a feeling that Ocam Sadal (played by Canadian Romeo Carrere) could be an interesting third wheel in the dynamic between Daren and Caleb.

He’s such a contrast to his sister Tarima, and really gives off that Lwaxana Betazoid, says whatever he’s thinking because he knows what you’re thinking vibe.

I don’t see Brazilian-Canadian actor Rafa Virago as Pritchard in any of these publicity stills but it looks like there may be one or two new background regulars that we’ll be seeing.

I would add Heart of Glory because it gives a crucial introduction to where the Klingons are as a society in the 24th century much as The Neutral Zone introduces the state of the relationship with the Romulans (and sets up the Borg threat).

Another one who wasn’t actually paying attention to the scenario or the dialogue while criticizing the show for being ‘dumbed down’ for younger audiences.

I admit I’m losing patience.

Dudes!!! This takes place when the Academy is being recreated after Starfleet and the Federation were seen to have failed large portion of the galaxy after the Burn.

This means that this class DID NOT complete with the best and the brightest across a well connected Federation with a common base of expectations.

They passed the entrance exams but it was not the same as a stable 24th century scenario, or even the early 25th century where Picard’s son was fast tracked based on experience.

Some, like Genesis, are from multi generational Starfleet families that hung on in secret bases during a century of anarch.

Most of the rest are off their planets or out of their small cluster of planets for the first time in their or their parents’ lives.

Others are the first of their species to enter Starfleet and are there for political reasons.

lol. You out yourself by citing Red Letter Media as if that is anything to take seriously other than a source of potential mis/disinformation on any given topic.

I’ve been watching Trek since TOS was in first run. I’ve actually worked with real life military.

Your attitude and comments strongly suggest you have neither experience.

Current Star Trek is in no way less credible than the franchise was in any previous era of production. Yes, it’s making different choices for a different generation of audience but on balance it’s just as authentic.

One could restyle it but if this cadet is from a low gravity world, they may prefer to get around as they can on their own in this environment.

Yes, this scans.

Indie-alternative is in there but not much recent mainstream American pop.

The music reinforces my concern that Millennials are trying to make this show for the younger Zs and Alphas, but they are really making it mostly for themselves.

Which isn’t likely to be successful in the way they hope.

One of our Zs is giving the show a try but it’s not a natural sell the way Lower Decks was for them or Discovery’s early seasons for another.

Are your siblings younger Millennials or GenZs?

They definitely have different ideas about music and sound tracks.

One of our GenZ kids likes a wide range of music, but most of it is from the 1960s to 1980s. But there’s a lot of KPop blasting in house too.

I think you’ve hit it right on the head!

I’ve been thinking that this is going to be precisely as divisive among fans as the syrupy, and very American-centric, cover of Faith of the Heart for Enterprise.

Fortunately, for those who weren’t enjoying that music choice, it won’t be the title music every episode.

The title music is boring but innocuous for our household at least.

I understand that many people are quite enthusiastic about the music for this show, and are quite moved by this rendition of this song.

I am truly bored by it. My parter and our oldest GenZ both replied, “What music?”when I asked them what I thought at the end of episode 2.

Is there some deep American Millennial music preference that this is tapping into that none of our household quite understands?

I’m hoping that we’ll get another perspective through Tarina’s brother Ocam Sadal.

I noticed that he gave her information on what Caleb was thinking beyond what she was able to pick up on her own with the inhibitor on.

He’s very up front and Luaxana-like. I like him a lot already.

I think he’s going to be a great addition as a roommate to Caleb and Darem.

Generally, Paramount owns all Star Trek IP rights.

However, reusing some things isn’t cost less. In some cases, they have to pay residuals to specific individuals or subcontractors who have creative rights.

Historically, this has led to weirdness such as renaming the Locarno character from the TNG episode ’Lower Decks’, played by Robert Duncan McNeill, to become Tom Paris in Voyager because Paramount didn’t want to pay the writer who got scrip credit for the TNG episode ongoing residuals for creating the character.

I don’t know enough about whether creators of animated character designs have rights to similar kinds of residuals, or the production houses like Titmouse for Lower Decks, but one has to wonder. It was so strange that Paramount+ suddenly said it was refocusing away from animation just as Skydance started its moves to acquire it.

As an animated Trek fan, that definitely irks, especially as it’s an animated sequence.

I have a suspicion that there’s something about animated design IP rights behind the decision though.

The old owners had decided to jettison animated Star Trek, and some other Paramount+ animated content to make the streamer mainly live action focused. Which, at the time this was announced, seemed very odd because Paramount’s owners were trying to sell the firm to Skydance, which is a major producer of high end animation for streamers.

So, my thought is that Skydance wants its own animation studio to be doing any future animated content for Paramount. There will be exceptions for long running Nickelodeon animation such as SpongeBob, Beavis and Butthead or Dora the Explorer, but relatively recent creations will get short shrift.

Yes, definitely recommend watching season one now.

Should also note that Dominique Tipper, who played Naomi Nagata in the Expanse, has a significant recurring role in the show.

Pride, Prejudice and Zombies remains a favourite of mine. The movie is still streaming on Amazon Prime.

I really liked Monarch: Legacy of Monsters for its effort to go further with the characters and the world building.

The creators understood the mission was to do Monsterverse stories that cannot be told in the runtimes of big cinematic experiences and make it an accessible introduction for new audiences.

The character storylines are driving the narrative, and the first season does a great job, for the uninitiated, of unveiling the classic elements of the Monsterverse personas, tropes and history. King Kong, Godzilla and King Kong and the other Japanese classics really rely on emotion as much as overwhelmingly huge beasts, so it makes a good deal of sense to build the franchise out through streaming.

I hadn’t seen Wyatt Russell before but was positively impressed. His is a much more likeable role in this show, and an interesting one as his father Kurt Russell plays the same character in the current era. Anna Sakai is very strong also.

I can see why those who are just fans of big monsters battling may be disappointed. The visual effects are cinematic quality as you’d expect of Apple, but they naturally do not get the proportion of screen time that they would in a cinematic feature.

A valid criticism is that the first season took a bit to find its groove or voice. There is perhaps more youthful angst and resentment than older fans will welcome in the first episodes of season one, and it takes time for the storylines in two time periods to come together. As well, it’s clear that some of the directors had different ideas and style.

Monarch: Legacy of Monsters does have smaller monsters, not all of which are juveniles.

It really does succeed in building out the lore in that way.

But they’re not at all the kind of typical European fantasy monsters you’re thinking of.

It was mentioned in another interview that Tawny Newsome has the script credit for episode 5 and confirmed that it is SAM-focused.

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.

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.