Star Trek TNG Loud As A Whisper Episode.

ENTERTAINMENT – Vela Kurv Hears “Loud as a Whisper” on Star Trek TNG

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This is truly a feat of significance for a leader of great resolve, Captain Jean-Luc Picard (Patrick Stewart).

In Star Trek The Next Generation‘s, “Loud As A Whisper” (Season 2, Episode 5), Captain Picard is tasked with ferrying a deaf mediator Riva (Howie Seago) to Solais V to negotiate an end to a civil war. Death finds its way to the mediator’s team but Picard’s practical tact of negotiation falls on Counselor Troi (Marina Sirtis), who is able to persuade a grieving mediator to put aside his guilty arrogance and create a new means for negotiation, thus the prospect of settling a civil war. This is truly a feat of significance for a leader of great resolve, Captain Jean-Luc Picard.

The Enterprise brings a deaf negotiator to mediate the end of a planetary civil war.

From Memory Alpha: “The war-torn planet Solais V, desperate for peace, calls for the famous mediator Riva to hear their dispute. This man, being deaf, depends on his telepathic powers, and those of his three aides, to communicate with others. The USS Enterprise-D is dispatched to Ramatis III to bring Riva to the planet. Captain Jean-Luc Picard, Worf (Michael Dorm), and Deanna Troi are transported down to Ramatis III to pick up Riva.”

From Lorabella’s journals at the West Pipe Space Academy, before she becomes Vela Kurv

Prior to beaming down, Troi senses some discomfort from Worf. At first Worf denies it, but Troi insists and continues to press the issue. When Riker (Jonathan Frakes) and Picard turn to inquire, Worf admits to some discomfort because of Riva. Picard understands and explains to the others that Riva had played a key role in negotiating several peace treaties between the Klingon Empire and the Federation.

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Worf tells the away team that before Riva, there was no Klingon word for “peacemaker.” When Picard, Worf, and Troi eventually materialize on Ramatis III, however, there is no one to be found.

Memory Alpha summarizes, “Worf, Riker, Riva and his chorus beam down to the site. Riva calls for a specific kind of table and torches from the Enterprise to set the stage, though the two factions arrive before they are beamed down. During this initial meeting, Riva tells the two factions that they have shown true courage by coming to this summit.

As Riva continues to speak, a rogue member of one of the factions suddenly opens fire at the negotiation team, missing Riva due to Riker’s interference but instead killing his whole chorus. The enraged leader of the faction instantly executes the rogue subordinate and quickly throws up his hands, pleading for them to stay. In the confusion, Riker orders immediate beam-out of Riva, along with himself and Worf.”

Riva decides that the best way to resolve the confrontation is for him to teach sign language to both factions, believing that as the factions learn to talk to him, they will also learn to talk to one another. The Enterprise leaves Riva on the planet to resolve the issue and carries on. Picard thanks Troi for her help with Riva and says that while she can read his thoughts, he wanted to tell her himself.

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RileyRose Author McKesson is a Bestselling Author, Award Winning Producer, and a Content Creator of Emerging Media & Digital Productions. She is also the creator of superhero Vela Kurv books.

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RileyRose is a professional writer and producer that is currently working on a film project with Chas. Floyd Johnson, Executive Producer of NCIS TV series, as well as the Producer of Red Tails (2012), which he produced with George Lucas and (LucasFilms).

Rose co-produced the documentary project, ‘The Green Girl’. It revealed the story of the life of Susan Oliver in the award winning move. It was funded on both crowdfunding websites: Kickstarter, and Indiegogo. The film has won three awards.

 

 

 

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Rose has written treatments, story synopses, and analyses. Rose has produced several short films for Sundance Film Festival. She has also worked with the Webby Award Winning web series creator of BZ Shorts.

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Star Trek TNG episode "The Outrageous Okona."

ENTERTAINMENT – Vela Kurv Laughs at “The Outrageous Okona” on Star Trek TNG

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Teri Hatcher and Billy Campbell star in Star Trek TNG.

 

 

Ever continuing with the Federation mission to render aid in space, the Enterprise-D rescues the captain of a broken-down freighter, only to become involved in a dispute between feuding worlds–each world demanding custody of their guest, “the outrageous Okona”.

From Lorabella’s journals at the West Pipe Space Academy, before she becomes Vela Kurv

 

Captain Picard’s guidance and direction of his crew becomes contagious, and Ensign Wesley Crusher inadvertently spurs the freighter captain to be accountable and stand and resolve the feud over his capture.

Billy Campbell and Michael Dorn star in Star Trek TNG.

In the end, Okona’s action causes the leaders of these two worlds to reach the truth which unites them in a mission they could not have imagined. One leader’s son strongly in love declares his intention to marry the feuding leader’s very pregnant daughter.

Picard’s conviction for the practical leads to the truth and rescues more than a broken down freighter, the resolve will hopefully be a lasting peace between these two feuding worlds. What a lesson in leadership and command for me.

 

 

Gal Gadot as Wonder Woman 1984

ENTERTAINMENT – Wonder Woman 1984 May Have Tanked In Critical Reviews But Box Office Returns In A COVID-19 Environment Ranked #1 Comparatively

Gal Gadot stars in Wonder Woman 1984 and ranks #1 at Box Office

Variety reports the Box Office for ‘Wonder Woman 1984’ at $5.5 Million Domestically, and $118 Million Globally. “Wonder Woman 1984” used its lasso of truth to rope in a modest $5.5 million over the New Year’s holiday. The sequel also ensnared another $10.1 million from overseas markets, bringing its global total to a ho-hum $118.5 million.

Wonder Woman may be an iconic comic book character, but the film’s lackluster results aren’t that surprising given how severely coronavirus has upended the movie business.

However, the weekend’s domestic grosses do represent a steep decline, signaling waning interest from fans, and are a far cry from the box office returns of pre-pandemic blockbusters. Stateside, “Wonder Woman 1984,”  which is being released by Warner Bros., has earned $28.5 million.

The superhero sequel, which is currently suffering some social media backlash for not rising to the level of its beloved predecessor, is being simultaneously released on HBO Max in a bid to bolster the WarnerMedia streaming service and as a concession to a global health crisis that’s left the theatrical distribution landscape severely diminished. The company has issued some vague numbers touting “Wonder Woman 1984’s” popularity on HBO Max, but little in the way of hard data. With a budget of $200 million, the film had better goose subscription numbers for the service to make up for the tens of millions it will likely lose at the box office. Warner Bros. did announce that Gal Gadot and director Patty Jenkins will reunite for a third film in the franchise, a sign that it believes the Amazonian warrior is a vital part of its plans for growing its DC cinematic universe.

Beyond “Wonder Woman 1984,” Universal and Dreamworks Animation’s “The Croods: A New Age” pulled in $2.2 million in its sixth week of release. That pushes the animated sequel’s domestic haul to $34.5 million and its global total to just under $115 million. The film is being released due to a pact between the studio and major exhibitors such as AMC and Cinemark by which the movies can get released premium video on-demand with two weeks of their theatrical debuts.

In return, struggling theater chains get a cut of the digital revenues. Universal also released “News of the World,”a western that reunites Tom Hanks with his “Captain Philips” director Paul Greengrass.

The film grossed $1.7 million, pushing its domestic total to $5.4 million. Netflix bought the international rights to the movie this winter. Hanks stars as a Civil War vet who must return a young girl who was captured by natives to her remaining family.

Sony’s “Monster Hunter,” a video game adaptation with Milla Jovovich, took in $1.2 million to bring its domestic total to $6.3 million. Lionsgate’s “Fatale,” a psychological thriller with Hilary Swank and Michael Ealy, grossed $700,000 in its third weekend of release. That brings its total to $3.1 million.

Focus’ “Promising Young Woman,” which like “News of the World” and “The Croods” sequel is part of its parent studio Universal’s deal with exhibitors, picked up $660,000 in its second weekend. Its domestic total now stands at $1.9 million. “Promising Young Woman” has inspired a great deal of chatter over its provocative look at sexual violence and revenge, and has earned awards buzz for star Carey Mulligan’s performance.

Opening sequence in Wonder Woman 1984 with Gal Gadot

Disney and Pixar’s “Soul” has been streaming on Disney Plus over the holidays, but it has been made available in theaters in overseas markets such as China, Saudi Arabia and Thailand. The animated story of a middle school music teacher whose soul gets separated from his body grossed $16.5 million in its second weekend of release. That pushes its total to $32.5 million.

The grosses for these movies were modest (at best), ushering in 2021 on a muted note.

Still, Hollywood, hit hard by coronavirus, is eager to turn the page on last year and to look forward to a time, perhaps a few months from now, when the general public will be vaccinate and moviegoing will return as a popular pastime.

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ENTERTAINMENT – Wonder Woman 84 Premieres On HBO Max As A Complicated Reimagining Of Familiar Themes

“As lovely as Aphrodite – as wise as Athena – with the speed of Mercury and the strength of Hercules – she is know only as Wonder Woman, but who she is, or whence she came, nobody knows!” – All-Star Comics, December 1941

 

Sitting down to watch Wonder Woman 1984, staring (Gal Gadot) , initially my excitement was fairly high because the impactful Wonder Woman film that premiered in 2017 was such a wonderful lesson in feminine heroism. I was hopeful for a return of such feminine strength of character portrayal, and the film’s opening sequence that begins with Diana’s (Wonder Woman’s) adolescence on her native island of Themyscira or the Amazonian’s place of origin also known as The Paradise Islands. The cinematography of this sequence is quite beautiful. We are given a hint of a lesson to come that focuses on honesty and truth and after all isn’t that what Dr. William Moulton Marston, an international psychology icon, intended for his creation of “Wonder Woman”?

She is described from the very beginning as a, “character founded in scholarship,” by the Phi Beta Kappa (ΦBK) Key Recorder in Autumn of 1942. We learn as a young child, she learned why truth was such an imperative for the Amazonian women that they all lived by. Wonder Woman becomes a reminder for mankind to live up to such a higher calling for society, and when certain villains fall short, she’s around to hold their deeds accountable for the sake of a redemptive world. The opening sequence is very much in the tone of the original film, an excellent depiction of supreme athleticism, muscular control and a love for the continuous struggle of fair competition. This is what draws us into the world of such superior women.

Gal Gadot and Kristen Wiig star in WW84.

The film translates into a less perfect time for fashion, political consequence (or Reaganism) and accountability of deeds in the 1980’s. Some of the fractures of the time include a harsh recall of fashion with padded shoulders and fanny packs. Between 1980 and 1982 the U.S. economy experienced a deep recession, the primary cause of which was the disinflationary monetary policy adopted by the Federal Reserve. The recession coincided with U.S. President Ronald Reagan’s steep cuts in domestic spending. Unfortunately, when the economy grew, it was unsustainable. That’s because in Reagan’s second year there was a very serious recession, and the poverty rate reached 15%. The early 1980s recession was a severe economic recession that affected much of the world between approximately the start of 1980 and early 1983. It is widely considered to have been the most severe recession since World War II.

Take note, spoiler alerts begin here!

Many disconnects in story also fall hard and fast as a citrine “Dreamstone” is found by the Smithsonian that is imbued with magical powers by the god of lies, also known as the Duke of Deception in the film WW84. It has apparently been around for centuries and often popped up in civilizations that have collapsed. This should have been a warning bell but the alarm and threat of the stone is not heavily dramatized until the effects of such granted wishes have begun to call in the cost for such wishes.

Kristen Wiig begins to find her footing as Cheetah in WW84

Before Max Lord, played by Pedro Pascal, (an opportunistic media entrepreneur, an oil tycoon, and an enemy of Wonder Woman), wishes to become one with the stone, Diana Prince (AKA Wonder Woman), and Barbara Minerva (Kristen Wiig), both inadvertently wish upon it – Diana wishes to be reunited with Steve Trevor (Chris Pine) , while Barbara Minerva wishes to be strong, sexy, cool, and special. These wishes are granted but, we learn later, that they come at a cost.

Chris Pine as Steve Trevor and Gal Gadot as Wonder Woman in WW84.

Diana begins to lose her powers while Barbara loses some of her humanity. Barbara becomes one of the big bad’s in the movie by taking the form of Barbara Minerva’s Cheetah, she becomes the initial form of a “powered” Minerva in WW84. Barbara slowly transforms into the Cheetah, first by becoming more like Diana Prince.

Chris Pine and Gal Gadot star in WW84.

So much of WW84 is filled with cliché’s and gapping story holes. I am the biggest fan of female superheroes. I have followed Nichelle Nichols as Lt. Uhura in the original Star Trek for years. From childhood I embraced Lindsey Wagner as The Bionic Woman and Lynda Carter as Wonder Woman in the original TV series. These inspirations encouraged me to create my own interpretation of a biracial female superhero in the books of Vela Kurv. However, so much of the story fell flat with Steve Trevor’s re-emergence in this film; while in the TV series, his re-emergence with the timeline change was just so simply explained.

DC Comics fans are getting a double dose of Wonder Woman this holiday season. Not only is HBO Max streaming Wonder Woman 1984 starring Gal Gadot on Dec. 25, the channel is also giving fans a special treat by featuring the original 1970s Wonder Woman TV series starring Lynda Carter.

The original Wonder Woman series ran for three seasons from 1975 to 1979. The first season originally aired on ABC, and had Wonder Woman coming to America in the 1940s during World War II disguised as Diana Prince, assistant to military man Major Steve Trevor (Lyle Waggoner). When CBS picked up seasons 2-3 of the show, the title changed to The New Adventures of Wonder Woman and took place during the ’70s instead of the ’40s.

Lyle Waggoner and Lynda Carter star in Wonder Woman TV Series.

Inside The Comics & The TV Series

In general, the Wonder Woman timeline hasn’t been a major issue when it comes to exploring the ongoing relationship between Wonder Woman and Steve Trevor. In the comics, Diana first encountered Steve and entered man’s world during WWII, not WWI, and Steve didn’t die during their first mission together. Instead, he remained a major love interest for Diana and served as an ambassador between humanity and the Amazons.

Nor have the Wonder Woman comics had to deal with the same timeline problems as the DCEU. DC’s comic book universe operates on a sliding timeline, with origin stories constantly being updated in order to keep characters rooted in the present day. Diana may have originally debuted during WWII, but her origin has changed to show that she appeared in the DCU in the modern day alongside heroes like Superman and Batman. When DC’s New 52 relaunch began in 2011, it was established that Diana has been active in man’s world for roughly five years.

Chris Pine and Gal Gadot reunite as Steve Trevor and Wonder Woman.

The movie looks to be more in the vein of the 1977 TV series in this regard. That series ran for three seasons, with the first taking place during WWII and the latter two jumping ahead to the 1970s. Actor Lyle Waggoner played a version of Steve Trevor for all three seasons, but in Seasons 2 and 3 he played Steve’s son, Steve Jr. The series was never very specific as to what happened to the elder Steve, only revealing that he died at some point in between Seasons 1 and 2 after being promoted to Major General.

 

“This world is not yet ready for all that you will do,” as Wonder Woman.

Wonder Woman emerged in 2017 as a proud statement of how well a woman can change the conditions for mankind in the positive with a well measured dose of balance procured with a female hand of superhero, not just a protagonist doled out with fighting power and speed. She is capable and strong, of course, but she is filled with heart and caring for the condition of mankind and their part in the world as time turns, is how she was depicted.

Gal Gadot as Wonder Woman.

It was my wish that WW84 would reflect again, such a stand as described by her creator, William Moulton Marston in March of 1945, “Frankly, Wonder Woman is psychological propaganda for the new type of woman who should, I believe, rule the world.” Instead this Wonder Woman of 84 had her hands tied up in clumsy gold wings that dragged and clanged. She didn’t need them to fight Cheetah or Max Lord, all she needed was what she used in the end, her task to remind mankind to believe in truth and stature. This positioning is so much better than the padded shoulders and fanny backs that reminded us of how bad this fashion was in the 80s. The best scenes in the film were in the opening sequence on Themyscira and the final Easter-egg-sequence inside the credits of WW84 starring Lynda Carter. I’m holding onto my belief in the dynamic duo of Gal Gadot and Patty Jenkins for a hard-hitting comeback. And I’m still very hopeful for Wonder Woman III.

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Vela Kurv Enjoys Star Trek TNG in “Elementary, Dear Data”

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Star Trek The Next Generation’s (TNG) famous Captain Picard encourages his crew to explore their own curiosities for exploration with favorite hobbies, even though such tactics sometime expose the ship to great risk. During an adventure on the holodeck, in which Data is portraying Sherlock Holmes, Geordi asks the computer to create a Moriarty adversary capable of defeating Data.
Since the request specifies that Moriarty should be greater than “Data” himself (and not the Holmes character), the resulting character proves himself capable of far exceeding Geordi and Data’s expectations.


 

From Lorabella’s journals at the West Pipe Space Academy, before she becomes Vela Kurv

A lesson is learned in what is possible in holodeck programming. Moriarty becomes almost self aware. Picard is intrigued by the development and allows the character not to be erased and more knowledge is gained on what is possible inside the holodeck aboard the starship Enterprise.

 


No risk, no reward. A qualified leader cannot be afraid of measured risk, especially when greater useable knowledge is the reward.

 

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Star Trek TNG Where Silence Has Lease

Vela Kurv Sits and Watches “Where Silence Has Lease” on Star Trek TNG

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On Star Trek TNG, “Where Silence Has Lease”

In Star Trek TNG, Captain Picard’s U.S.S Enterprise-D encounters a mysterious void in space. Picard, ever the explorer moves the ship in closer to investigate. To his surprise, it envelops the Enterprise and his crew can’t maneuver out. Picard must now negotiate with an all powerful being that has already killed a crew member in a mere experimentation to view human death.

Picard counters this malevolent species by threatening to destroy the Enterprise. This is a bluff that works and in the end he gains the acknowledgement that next time he encounters this powerful being, it will be amongst the stars and not in a void in space.

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Marina Siritis stars in Star Trek TNG. From Pinterest, Copyright free image.

Vela Kurv is Mystified with “The Child” on Star Trek TNG

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Marina Siritis stars in Star Trek TNG, The Child.


Captain Picard must deal with the unimaginable. Counselor Deanna Troi is impregnated by an unknown alien life-form. Determining whether the life-form is a threat or if it has a peaceful purpose of simply acquiring intelligence is Picard’s best guess. Fortunately a peaceful purpose turns out to be so.

Diana Muldaur stars as Dr. Katherine Pulaski on Star Trek TNGAdditionally Picard meets his crew’s new chief medical officer, Dr. Katherine Pulaski.

Diana Muldaur stars as Dr. Katherine Pulaski

Both aforementioned circumstances are unknowns and are intertwined. Picard’s practical ability to examine and discern allows the threat of a medical contaminate aboard his ship to be exposed. And the fast growing child, an intelligent species in and of itself, sacrifices his young human life to preserve the Enterprise crew. This allows the starship’s rescue mission carrying the medicines needed to eradicate a killing disease to occur. Picard’s tact and resolve is a model to be imitated.

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Star Trey Voyager Resistance Episode

Vela Kurv Watches “Resistance” in Star Trek Voyager

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Janeway is forced to rely on her own devices when Torres and Tuvok are captured by the Mokra during an away mission searching for tellerium.

Star Trek Starship Voyager suffers a serious shortage of tellurium, critical to the ship’s power generation systems. In an effort to acquire the tellurium, Janeway (Kate Mulgrew) and her away team visit a Class-M planet where the people called the Mokra live. The team is forced to operate covertly on the planet, because of the oppressive nature of the Mokra government.

 

After crew members are detained, Janeway is successful in befriending an Alsaurian resistance fighter named Caylem who is killed but not before he is instrumental in helping the Voyager away team deal with the Mokra officials. Janeway is appreciative of his sacrifice; it reinforces her belief system on loyalty, and the unified purpose that has been building between her Voyager crew. This new crew born out of two crews that were juxtaposed in mission and purpose; one renegade, one military, but both now search for a much shortened journey back home to Earth.

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Star Trek Voyager Episode Manuevers

Vela Kurv Watches Revenge in Action in “Maneuvers”

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Star Trek Voyager Episode Manuevers

Chakotay ignores his duties of command believing that his past relationship with former Voyager crew member Seska, a traitor, is responsible for the Kazon warriors that penetrate Voyager’s hull and steal a transporter control module. The device represents a significant security risk since the Kazon do not possess transporter technology in this Delta Quadrant of space.
Chakotay commandeers a shuttlecraft, is captured by First Maje Jal Culluh of the Kazon-Nistrim sect who has unified with Seska. At Janeway’s discretion in allegiance to her first officer Chakotay who much of her crew respects, Voyager rescues him. Chakotay learns that personal vengeance no matter the egregiousness of personal attack is no reason to martyr himself when his loyalty should now always be to the Voyager crew. They are all in their plight together. All crew personnel might align together to find their way home to Earth.
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