Shatner in Space

ENTERTAINMENT – Have You Watched Captain Kirk, I Mean “Shatner in Space” on Prime?

This documentary is indescribably touching as it captures the Star Trek actor’s rocket voyage. Even if it is a Jeff Bezos ego trip

There are two competing schools of thought when it comes to William Shatner’s space mission. The first is characterized by a kind of awestruck wonder over the beautiful symmetry of it all: Shatner starred in Star Trek, Star Trek inspired a generation of engineers, the engineers built a rocket, the rocket flew Shatner into space. The second tends to think that letting a billionaire indulge an actor by flying him to the brink of the atmosphere in a spaceship shaped like a willy might not be the best use of our resources.

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Shatner in Space is firmly for the first crowd. A 45-minute documentary about his mission, it airs on Amazon Prime. Jeff Bezos owns Amazon Prime. He also owns the rocket that Shatner flew on. Anyone expecting even an iota of criticism would be better off looking elsewhere.

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If you watched the news coverage of William Shatner’s journey into space on Bezos’s Blue Origin spaceship, New Shepard, you’ll have a rough idea of what will happen here. A 90-year-old man, at the invitation of the world’s richest man, travels up to the edge of space and returns transformed. Upon leaving the capsule on its return to Earth, Shatner tries to grasp at the profundity of what he saw up there; wide-eyed and slack-jawed, he struggles to articulate the fragility of life on Earth. Meanwhile, Bezos cuts him off to spray some champagne around like a tinpot go-kart champion.

 

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The champagne moment, unsurprisingly, has been sliced out of Shatner in Space. What’s left walks a fragile line. The show is part monument to Bezos’s ego, because of course it is, but it is also an incredible document of a man at the end of his life witnessing the great beyond. If you can stomach the former, there’s a good chance that the latter will move you to tears.

Shatner in Space: Captain Kirk’s in a willy-shaped spaceship – and it’s poetry in motion

William Shatner inside a Jeff Bezos ego tri… sorry, rocket. Photograph: Amazon

Here, Shatner acts like a man who knows his time is coming. He speaks almost exclusively with a hushed sincerity that is frequently at odds with those around him. In a quiet moment with Bezos, for example, Shatner leans in and asks if he is scared of death. Coming from anyone else, it would be a stone-cold conversation killer. But Shatner’s age, and his yearning to know what’s next, can’t help but draw you in. You are forever on his side.

In the run-up to the launch, Shatner shares an incredible story. When Star Trek was cancelled in the 1960s, his affectations of celebrity cratered around him. His marriage ended. He couldn’t afford a home, so he bought a truck and lived in it. And it’s from the truck that Shatner watched the moon landing. A man who had played an iconic space adventurer, watching mankind’s greatest moment at his lowest ebb. Sure, it’s probably a story he has told countless times before, and over the years it is likely to have been sanded and smoothed for maximum impact, but it lends his space trip a lovely poetry.

When Star Trek was cancelled in the 1960s, his affectations of celebrity cratered around him.

Shatner’s willy-shaped spaceship. Photograph: LM Otero/AP

The voyage itself is equally revelatory. As the rocket reaches its highest point, and everyone is allowed to unclip themselves, most of the passengers start giggling at the sensation of weightlessness. Not Shatner, though. He clings on to the window, staring at the blackness of space, eyes wide with revelation. “That’s it,” he whispers to himself. “I’ve got it.”

William (centre) may finally get to go to space for real (Picture: Moviestore/Shutterstock)

Now, part of me thinks that, if Jeff Bezos got his way, then everything that ever airs on Amazon Prime would be a variation of Shatner in Space. We’d be beaten over the head with long, lush pro-Amazon infomercials that could never really be shown anywhere else because they border so shamelessly on propaganda. But in this instance, I’m inclined to cut it a break. Shatner in Space is a document of what space means to Shatner, and what Shatner means to everyone he has inspired. The sight of him immediately postflight, crying and wrestling with the magnitude of what he has just witnessed, is indescribably touching. What an unexpected treat.

Source: IMDB, The Guardian, Metro

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Shatner in Space

 

 

 

 

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The Orville on Hulu

ENTERTAINMENT – Season 3 of “The Orville” Returns on Thursday, Mar 10, 2022, Episode 1 “New Horizons!”

Seth MacFarlane’s sci-fi comedy series The Orville returned for a charming, but sedate second season premiere that focused more on character moments than interstellar crisis, now we’re waiting on season 3…

Right from the word ‘engage,’ Seth MacFarlane‘s sci-fi comedy The Orville has had more than a few factors working against it. What with its arrival at the same time as the official Star Trek spinoffStar Trek: Discovery, and MacFarlane’s pedigree as the mind behind Family Guy (a show that has long since outstayed its welcome), FOX’s series had an uphill battle to climb in its first season. However, despite itself, persistent viewers found that The Orville refreshingly steered away from the obnoxious cutaway humor MacFarlane is known for and his true mission – to provide a light-hearted, earnest, casual homage to episodic ’90s space opera like Star Trek: The Next Generation. It’s basically an excuse for MacFarlane to do TNG cosplay, and given its modestly successful results, it’s hard to begrudge him that wish. With “Ja’loja”, The Orville plays to its strengths with an understated, character-driven second season premiere that functions more like a day-in-the-life starship story than anything involving aliens or galactic peril. The main premise of “Ja’loja” (which MacFarlane himself wrote and directed) admittedly sounds like something from a Family Guy cutaway gag: what if Klingons got pon farr, and instead of having sex every seven years, they had to take an annual leak on their homeworld?

 

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As the episode opens, that time is nigh for straight-faced security officer Bortus (Peter Macon), and so Captain Ed Mercer (MacFarlane) redirects the Orville to Moclus for the highly ritualized ceremony. This offers the crew a bit of downtime to deal with their own personal issues, and that they do – “Ja’loja” is primarily concerned with the dating lives and parenting skills of the Orville‘s occupants, especially as most of them look for dates to Bortus’ Ja’loja ceremony. As such, the episode’s runtime flits lazily between subplots including Ed’s lingering feelings for first officer/ex-wife Kelly Grayson (Adrienne Palicki) amidst her growing courtship with the ship’s schoolteacher (Chris Johnson); Dr. Claire Finn (Penny Johnson Jerald) recruiting the android Isaac (Marc Jackson) to help her deal with her increasingly rebellious son Marcus (BJ Tanner); navigator Gordon (Scott Grimes) asking chief engineer (and self-professed “girl guru”) John Lamarr (J Lee) for advice on asking out the ship’s attractive new cartographer (Michaela McManus); and security chief Alara Kitan (Halston Sage) awkwardly trying to date the people-pleasing, poetry-writing Dann (Mike Henry).

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There’s not a lot plot-wise to propel “Ja’loja” forward, which makes it a strange choice for a second season premiere – focusing on reintroducing the ship’s crew and the state of their varying relationships.

The Orville starship.

If the season 2 premiere of The Orville is any indication, the not-quite Star Trek spoof from series creator and star, Seth MacFarlane, has found its footing and maybe its identity in telling smaller, more character-driven stories, that better serve its sometimes confounding mix of sincerity and irreverence. The series may have been a hit with audiences when it aired on FOX last year, but it didn’t strike a similar chord with critics, who took issue with the show’s often awkward balance of broad humor and earnest dramatic storytelling in season 1. Add to that the feeling that The Orville was really just a collection of not-great Stark Trek fan fiction, and you had a series that was destined to irk someone, in some way or another.

The catch was, of course, that The Orville wasn’t meant to be as divisive as it was. Clearly designed to be a crowd-pleaser, the series ultimately fell short in that endeavor. But, after its first season, the show returned with a late-2018 premiere that was boosted by its post-football slot on FOX. Moreover, MacFarlane’s sci-fi series made its surprisingly quiet return with a softer, less ambitious, but more successful character-driven episode that, despite still struggling to balance its tone, feels like a template for a more worthwhile season of television.

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Captain Ed Mercer (MacFarlane) and ex-wife Kelly Grayson (Adrienne Palicki) in The Orville.

The idea of a frazzled starship captain having to work with his ex-wife feels like a very bro-ey Seth MacFarlane premise, but part of The Orville‘s charm is that it seemed to get over the groan-worthy ‘marriage bad!’ jokes in favor of treating Ed and Kelly as two professionals who were always able to put their appreciation for each other’s talents before any personal resentment.

There’s not a lot plot-wise to propel “Ja’loja” forward, which makes it a strange choice for a second season premiere – focusing on reintroducing the ship’s crew and the state of their varying relationships. Chief among those is the Ed-Kelly dynamic, which has always been The Orville‘s Achilles heel since it dropped the more overtly Family Guy-esque humor in its first few episodes. The idea of a frazzled starship captain having to work with his ex-wife feels like a very bro-ey Seth MacFarlane premise, but part of The Orville‘s charm is that it seemed to get over the groan-worthy ‘marriage bad!’ jokes in favor of treating Ed and Kelly as two professionals who were always able to put their appreciation for each other’s talents before any personal resentment. Not so here; now, Ed’s suddenly hoping that he can work things out with Kelly again, which causes her no small amount of consternation – not just for their problems with timing, but for the inevitable ethical dilemmas that come from sending officers into dangerous situations. Sure, Ed comes to his senses eventually (and even offers some helpful, if sexist, advice for her all-too-accommodating beau: “be a little stupid every day, and really stupid every once in a while”), but let’s hope the will-they-won’t-they Ed/Kelly drama is finally put to bed. They work a lot better as partners, as they already proved to each other multiple times last season.

The rest of the show’s subplots provide comparatively shallow retreads of the same character beats we’ve been hammered with these characters so far. Alara’s awkward and insecure about her fitness for the job, Gordon’s a big awkward doof who learns the wrong lessons from the still-boring Lamarr (his transfer to engineering didn’t give him any more of a personality), and Isaac doesn’t understand human social cues. However, when combined they offer an intriguing case study for MacFarlane’s stated mission for The Orville as a show: to turn Star Trek into a workplace comedy, complete with all the “excessive casualization of space travel” that entails. In a vacuum, there’s little inherently interesting about watching a parent-teacher conference in space, or see Gordon suit up in a leather jacket that’s easily 75% zippers (“You always want one more zipper than you’re comfortable with,” Lamarr tells him) for a holodeck dating simulation. But in concert, “Ja’loja” feels like the kind of day-in-the-life exploration of space travel we didn’t get much in Star Trek outside of “Data’s Day” or “Lower Decks”.

It’s a shame, then, that little of this material really sticks out beyond the casual-Fridays atmosphere of the ship itself, which is already a staple of the show. There’s only so far you can take a ship full of a crew that’s, like, really chill with each other, especially when you don’t throw them into a sci-fi scenario that clashes entertainingly against their laissez-faire attitudes. A hangout episode isn’t a bad idea, but give us more entertaining scenarios to dig into in the future. As Star Trek: Discovery‘s second season looks to borrow a little of The Orville‘s irreverence, the latter show seems prepared to take itself a bit more seriously like the former. It’s a curious tonal recalibration for both shows, and it’ll be interesting to see how they handle those changes. It’s tough to predict The Orville‘s intended course from this reserved Season 1 episode, but here’s hoping it puts a button on some of the show’s lingering character beats so its innocuously charming crew can move onto the business of exploring the universe.

Source: Screenrant, IMDB, and The Spool

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Star Trek Discovery

ENTERTAINMENT – “Star Trek Discovery” Beams Into My Path

When it comes to modernizing any piece of IP, making its characters more broadly representative of the world off-screen is an obvious first item on the to-do list, and it’s one Fuller has a history of doing well. Discovery is no exception.

Truth be told, I’m a late comer to the “Star Trek Discovery” franchise. I did watch the initial first season but got lost in the translation before heading into season 2. Boy-oh-boy am I glad, I found this series again. I’m a fan of the Discovery cocreator Bryan Fuller and have followed the project with interest since his involvement was announced. As has been widely documented, Fuller exited the project mid-production of season one, in part to focus on his Starz drama, American Gods, and in part due to conflicts with CBS over budget (which eventually totaled more than $6 million an episode), time frame (the series was originally supposed to launch in February 2017), and whether the series should be an anthology (Fuller was pro, CBS was con). Along with Alex Kurtzman, who also worked on the latest Star Trek film trilogy, Fuller is still billed as creator, and cocredited with the story for the first three episodes, but the writer-producer is no longer involved with Discovery’s day-to-day creative decision-making.

Yet the final product still maintains a distinctly Fullerian bent. There are the macabre episode names, like “The Butcher’s Knife Cares Not for the Lamb’s Cry,” and imagery, like a Klingon ship covered in sarcophagi. There’s also the pointed diversity, which fits seamlessly into Star Trek’s historic humanism — or rather, interspecies consortium-ism — while still being unprecedented even in this most liberal of properties. Protagonist Michael Burnham (Sonequa Martin-Green), a mutineer turned conscript, is a woman of color, as is her captain at the series’ onset, Philippa Georgiou (Michelle Yeoh). (Some observers grumbled at Discovery killing off Yeoh’s character and replacing her with a white, male captain, though Yeoh’s star power suggests that she was always a temporary presence.) Meanwhile, chief engineer Lieutenant Stamets (Anthony Rapp) and ship doctor Hugh Culber (Wilson Cruz) are in a committed partnership, an initial piece of background information that becomes the emotional crux of the first season finale as Stamets’s experimental work puts his life in danger. When it comes to modernizing any piece of IP, making its characters more broadly representative of the world off-screen is an obvious first item on the to-do list, and it’s one Fuller has a history of doing well. Discovery is no exception.

 

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But every adventure connects in some way with both the Discovery and Discovery’s overarching goal: defeat the Klingons.

Discovery took three full chapters, the only three provided to critics in advance, to set up its core story. The first two, Battlestar Galactica–style, were almost a self-contained movie, depicting the Klingon confrontation that would result in Michael’s mutiny, full-scale war, and the death of Captain Georgiou. The third established the premise, with Captain Lorca conscripting Michael, now a prisoner, to the crew of the Discovery, a vessel dedicated to developing a means to essentially teleport through space using a so-called “spore drive.” Science!

All that exposition means that Discovery got a full third of the way through its season before it started to explore — and when it did, there wasn’t much time to do it without feeling like a distraction. Self-contained episodes did make an appearance, with the crew spending one particularly fine episode trapped in a time loop and Burnham, Tyler, and First Officer Saru (Doug Jones) splitting off for an old-fashioned “let’s go to a trippy planet and interact with a new species” romp. But every adventure connects in some way with both the Discovery and Discovery’s overarching goal: defeat the Klingons.

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Throughout the season, Martin-Green manifests that guilt in a haunted intensity that hovers over every scene without overwhelming them and gives Michael an internal conflict that transcends a mere repetition of Spock’s Vulcan logic–human emotion divide.

Discovery’s attempt to have it both ways — an epic and an anthology of short stories — also shortchanges the season-long stories as often as the reverse; the most significant Klingon character, an albino zealot named Voq (Javid Iqbal), vanishes abruptly, taking a compellingly ambiguous villain off the board just as his character’s taking shape. A popular fan theory holds that he’s still around in disguise, but that doesn’t make his disappearance any less jarring to the casual viewer.

Nevertheless, Discovery’s issues don’t shortchange what truly matters: the characters. The tie-ins are fairly direct; though Michael is a human, her Vulcan foster father, Sarek (James Frain), is Spock’s biological father, making Discovery’s main character the adoptive sister of one of Star Trek’s most iconic protagonists. We need a crew that can fill the shoes of those that came before them, or at least promise to — the hardest task facing Discovery at its inception, and the one it’s excelled the most at. Michael is a remarkable heroine, carrying with her the almost unimaginable guilt that comes with causing the deaths of her mentor and so many colleagues. Throughout the season, Martin-Green manifests that guilt in a haunted intensity that hovers over every scene without overwhelming them and gives Michael an internal conflict that transcends a mere repetition of Spock’s Vulcan logic–human emotion divide. As a figure from her past intimately familiar with Michael’s mistakes and understandably reluctant to forgive her for them, Saru is a crucial presence; so is her cheerily awkward roommate Sylvia Tilly (Mary Wiseman), an initial comic relief who gradually develops into Michael’s sympathetic mentee.

Going into the second half of its season, Discovery has kinks to work out, but it’s laid the all-important groundwork for a rich and tight-knit ensemble. If my ultimate frustration with a season of television was that, between all the swashbuckling and strategizing, I didn’t get to spend enough time watching characters get to the root of their dysfunctions, then that’s less a complaint than a backhanded compliment.

 

Set 10 years before Star Trek: The Original Series, Discovery quickly showed it had a weird, futuristic edge that had been sorely lacking in the cinematic Abrams-verse. And as the writing staff promised to throw out a core Roddenberry Rule (that a protagonist should be overwhelmingly good) in the lead-up to its premiere, the first two episodes 1,000 percent confirmed that First Officer Burnham would be a character capable of error (and a highly interesting person due to that newfound complexity). We sat whiteknuckled through season one’s mid-season finale, endured endless Mirror Universe pondering to reach an equally action-packed and satisfied S1 finale, watched old favorites like Spock show up in the materials for S2, and then enjoyed the ride as all the tie-ins and throwbacks to old Trek slowly fizzled out in favor of new ideas and discoveries within the universe courtesy of the USS Discovery.

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This season was always going to be do or die, literally and figuratively, even before the events of this year sent the world into chaos.

So much has happened in the rebooted Star Trek universe since we left the Discovery crew last April. Section 31 and Strange New Worlds are in preproduction. Earlier this year, Picard did … all that. And over the past few months, Lower Decks has done basically whatever it wanted, in a way that, for better or worse, has injected a breath of fresh, irreverent air into an otherwise brutal time.

But all this while the fate of our flagship nerd gang has weighed on my mind. This season was always going to be do or die, literally and figuratively, even before the events of this year sent the world into chaos. Finally Discovery was actually going where no one has gone before, rather than filling in the gaps of where others have been going for over a half-century. It’s finally able to grow, unfettered by entrenched canon or unnecessary blockbuster aspirations (or unnecessary white guys — did y’all even see one this week?), into a series that will succeed or fail as a Star Trek show on its own merits. And now? In this economy? Not to be dramatic, but the world really needs Star Trek to be great right now.

Because after the dense, chaotic struggles of last season, “The Hope Is You, Part 1” is everything it needed to be.

So at the outset of the premiere, Michael Burnham (“Science Officer, USS Discovery, serial number SC0064-0974SHN”) scans the seemingly barren planet, where she has crash-landed, for signs of life. After a moment, her Daedalus suit’s computer chirps: “Multiple life signs detected.” That scream of relief and triumph that comes out of Sonequa Martin-Green’s mouth here? That’s the only natural way to respond to this episode. Because after the dense, chaotic struggles of last season, “The Hope Is You, Part 1” is everything it needed to be. It’s exciting; it’s beautiful; it’s funny as hell; it made me full-on sob at the end. And I have no idea what’s going to happen next. Isn’t that great? We made it through the wormhole, and there’s life on the other side.

Well, Burnham has, at least. Discovery is TBD. She collides with a ship on her way into 3188, so after getting no response from Discovery and sending the suit back to the 23rd century to set the last signal for Spock, she goes looking for him. The pilot is a very good-looking, very distrustful rogue named Book (short for Cleveland Booker) who is in the middle of transporting some clandestine, extremely valuable stolen cargo and wants absolutely nothing to do with Michael. (I don’t blame him; it is a little like she and her idealism came through the wormhole from the spring of 2019, while Book is everyone living through 2020.) However, he is “space broke,” and her offer of a mint-condition, 930-year-old antique tricorder finally sways him into taking her with him to Requiem, the city where he gets work as a courier, to find a comms array to contact Discovery. En route, he reveals several critical new realities that send Michael reeling:

After the Temporal War, during which the Gorn destroyed a whopping two light-years of subspace, all time-travel technology was expressly banned, so her presence here is already sus. (Don’t worry, only fans of Star Trek: Enterprise will already know anything about this 31st-century conflict.)

Suddenly, Burnham and Book are surrounded by people who want to kill Book but will settle on her, since they need him alive to recover the cargo.

Dilithium is now the most precious commodity in the known universe, thanks to a massive disaster known as the Burn, when the “galaxy took a hard left” and nearly all dilithium suddenly exploded, killing millions on warp-capable ships.

Thanks to the Burn, the Federation is virtually nonexistent now, presumably having disintegrated into protectionism in the face of the ensuing resource crisis, so she needs to conceal her “true believer” status in this unfriendly new world.

Requiem and its mercantile were ripped straight out of the nearest cyberpunk franchise, with a splash of surly Mos Eisley Cantina clientele. Apparently, the Andorians and the Orions have allied now, and they run the joint with a decidedly inconsistent hand, first failing to stop Michael at the doors for not having ID (her merchandise is way too valuable to pass up), then flubbing her arrest when Book betrays her by telling her their vault is the comms array and letting her walk into a stasis beam, freeing him to take the rest of her tech. (Yes, yes, we get it: He’s Lando and Han.) They dose her with some vaporized cross between truth serum and poppers to get her to tell them where her merchandise is, which almost goes well. She probably would have told them anyway, but the next few minutes are way more fun and stress free now that our Vulcan-raised xenoanthropologist is absolutely zooted.

“I’m dying to talk about it because today doesn’t happen to people. Ever,” she gushes to her new best friends, Orion Cop and Andorian Cop. “I might be angry. I mean, I’m supportive. I’m so supportive. I am reflexively supportive. And what is that about? I’m overcompensating!!” Eventually, she leads them to the real culprit, Book, who is already getting his teeth kicked in by the guy he stole his secret cargo from, a literal Middle Earth orc named Cosmo. Suddenly, Burnham and Book are surrounded by people who want to kill Book but will settle on her, since they need him alive to recover the cargo. That “LMAO let’s go, I guess” shrug Burnham gives Book before they wordlessly team up and start shooting their way out together added at least a few days on to my life. It’s the same look on my face every time a new disaster strolls into our already flaming hellscape.

So now we know Book is pretty cool — his people are poachers, and he’s the outcast who wants to use their gifts to rescue endangered creatures rather than sell them.

Somehow amid the cross-fire chaos, Book activates his personal transporter and Burnham steals a bunch of dilithium to get Book to take her with him. Thus begins an incredibly cool sequence during which these glorified mall cops chase our heroes through rapid-fire landscapes across this frankly gorgeous planet. Burnham punches Book several times, which seems more than fair.

Long story short, the escape brings out a new side of Book: He’s actually kind of a softboi. That is, he’s not human; he has some sort of spiritual, empathic connection with living things that helps him, for example, instantly grow plants with healing properties to dress Michael’s gunshot wound. Or encourage the endangered, walrus-size worm he’s rescuing to eat the capitalists who want to sell it as a delicacy, but please do spit out our new friend — she’s cool. “I really, really didn’t know how this day was going to turn out!” Michael sputters after being projectile-vomited back up, covered in what might, unfortunately, be digested Andorian.

So now we know Book is pretty cool — his people are poachers, and he’s the outcast who wants to use their gifts to rescue endangered creatures rather than sell them. And apparently he’s decided Burnham is pretty cool, too, because he finally asks her how far in time she’s traveled, lets her try contacting Discovery using the comms array he’s had in his pocket this whole time, and then, when that fails, takes her to an old Federation relay station couriers now use as a waypoint. Cue the waterworks …

Discovery has even spawned its own spin-off to come, Star Trek Strange New Worlds. Look for an upcoming blogpost on the new series, as well as coverage on S2 of Star Trek Picard!

Here, she meets Aditya Sahil, the Desmond-esque Starfleet liaison who, as we briefly saw in the cold open, has been getting up and going to work for 40 years, all alone, waiting for the day a Federation officer finally showed up. Michael introduces herself — by name, rank, and serial number — and I’ll be damned if I didn’t well up at the look on this dude’s face as he stands up to offer her his assistance. He can’t locate Discovery, but he only has a sensor range of about 30 sectors, because long-range sensors “failed decades ago” — another crushing reminder of all they’ve lost. Worst of all, it’s clear that Discovery is probably not here yet, which means Michael might find them tomorrow — or she might never see them again. This is the new reality she’s going to have to live with: no Federation, no family, and no end in sight.

But, as Sahil puts it, his faith has already been rewarded: “That hope is you, Commander Burnham.” He admits that while his father and grandfather were commissioned Starfleet officers, there was no one to commission him — and thus no one who could raise the Starfleet flag. As I full-on sob over here, Burnham commissions him as her communications chief to continue the search for Discovery, and they raise the flag together. “I don’t know how much of the Federation still exists. I simply do my part to keep it alive,” Sahil says, fully restoring my will to live. “Our numbers are few. Our spirit is undiminished.”

Maybe we’ll get through this nightmare after all.

As we now all patiently wait for a S4, Star Trek as a TV staple looks to be as healthy as it once was when the franchise spent 18 consecutive years on our sets. Discovery has even spawned its own spin-off to come, Star Trek Strange New Worlds. Look for an upcoming blogpost on the new series, as well as coverage on S2 of Star Trek Picard! I’m just thrilled to see so much new and excellent development in the world of Star Trek!

Source:  Arstechnica, The Ringer, Paramount Plus, Vulture, IMDB.

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Star Trek TNG Loud As A Whisper Episode.

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

Vela Kurv Academy School Log

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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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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Tim Russ stars at Lt. Tuvok in Star Trek Voyager

Vela Kurv Watches the “Cold Fire” on Star Trek Voyager

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Star Trek Voyager Cold Fire Episode

The Ocampa Kes once again engages a lesson on where her true new found loyalty lies.


Kes (Jennifer Lien), from the Ocampa species, chooses to align herself with the crew of Star Trek Voyager instead of her new found Ocampa inhabitants found on another spaceborne array created by another sporocystian life-form called Suspiria; the mate of the original Caretaker. The crew searches out the signal that tapped into the Caretaker’s remains aboard ship and finds the 2000 Ocampa who help develop Kes’ psychokinetic abilities to extraordinary levels.

Kes is frightened by the immense powers that were latent in her mind.

Tanis the Ocampa, courts Kes to continue to explore and expand her abilities with him. Suspiria and Tanis attempt to force Voyager personnel to release Kes. Suspiria attacked ship’s personnel because she believed Voyager to be responsible for her mate’s death. Janeway (Kate Mulgrew), reason’s with Suspiria and releases her from capture.

Janeway was hoping to persuade Suspiria to use her array to get Voyager back home to Earth a75,000 year journey. This was not to be; instead Voyager’s entire crew was targeted by Suspiria to be killed. Janeway is successful in driving Suspiria and Tanis into a subspace domain called Exosia, releasing Voyager’s captured and injured crew.

Thanks to Janeway, Voyager personnel have their lives and ship intact to continue on their journey from the Delta Quadrant in order to find a shortened route back home to Earth.

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