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EngineerSean posted:I'm trying to think of who the ninth character was, is it Wesley? I never considered him really a main cast character. Picard Riker Data Dr. Crusher Troi Yar LaForge Worf Wesley Denise Crosby left in the first season. Wil Wheaton left in the fourth season. Gates McFadden left after the first season because producer Maurice Hurley was sexually harassing her. Diana Muldaur came on for second season as Dr. Pulaski, and then she left and McFadden came back starting the third season.
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Dec 2, 2015 01:14
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Angela Christine posted:It was a pretty awful WTF capper to the show. I have this mental image of Rick Berman and Brannon Braga sitting around a conference room table. The show's being canceled, after ratings flagging for years going back into Voyager. The fans won't stop making GBS threads on them. It wasn't always like this. They remember when Captain Kirk and Captain Picard were on the cover of TIME Magazine. "Things were so much simpler back then. TNG was so much fun to work on. I wish we could just do TNG again."
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Dec 4, 2015 17:59
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CharlieWhiskey posted:In my version of the fantasy, Berman then strangles Braga for alienating Ron Moore and not being able to keep his dick in his pants. Remember, Braga whined that "Behr just came in and poo poo on everything we did", and Moore pretty well crapped all over Voyager in an interview.
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Dec 4, 2015 18:25
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Luigi Thirty posted:Janeway found a renegade Q, Quinn, earlier in the show. He was a philosopher who wanted to commit suicide after Q being made temporarily mortal on TNG opened up many questions about immortality. On the run from the Continuum, he asked for asylum on Voyager. We got a lovely JAG episode where Quinn summoned Maury Ginsberg, the guy who found a disconnected cable at Woodstock, to tell the court that Quinn gave him a lift to Woodstock and I guess he banged Quinn's girlfriend? Anyway, Quinn was made mortal and he drank hemlock provided by Q and killed himself. was that the episode where Q straight-up offers to zap Voyager back home and Janeway says something like "we'll find our own way, thanks"? Orange Sunshine posted:You forgot to mention the bad lighting. Harsh shadows everywhere, weird colored lights everywhere. There's a pink light on one wall, some green lights shining over here, some blue lights over there. It wouldn't be Star Trek TOS without colored lights against the walls in every drat scene. you're just saying that because theatricality is "out" and high-detail 'realism' is "in" these days
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Dec 7, 2015 17:22
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Luigi Thirty posted:That was the one with Quinn. Q thanks her and says he'll send Voyager home if she wants. She says no, we'll do it ourselves holy poo poo that's even worse than i remembered how did the writers possibly write that with a straight face Powered Descent posted:That's the one where there's been serious speculation that the script was submitted as a joke, and the showrunners just didn't pick up on it and made it anyway. The thing with TOS is they were always desperate for shootable scripts. The producers thought going to major sci-fi writers would be a slam-dunk, and then found out a lot of these guys who were used to writing anything they wanted would put stuff in their scripts that was either never going to make it past the network censors, or would be insanely expensive and time-consuming to actually shoot. Meanwhile, just about all of the normal veteran TV writers didn't want to waste time figuring out how the Star Trek setting worked when they could just be banging out another procedural or Western. On more than one occasion Gene Roddenberry was literally writing lines for an episode that was already shooting. So here comes Gene Coon, formerly a showrunner on Star Trek himself, the guy who literally invented the Klingons and wrote some really killer episodes previously. He left the show in part because of creative differences with Gene Roddenberry - specifically, Roddenberry being a tight-rear end and not appreciating the lightheartedness that Coon supported - and offers to write an episode. The people who are left at Star Trek are ecstatic. Here's a proven writer who knows the setting and the characters, and also knows just how much it costs to have Our Heroes beam down to a planet or shoot a phaser pistol or what have you. Barring the script being unshootable or totally unacceptable to NBC, they're going to buy it. The guys who were left at Star Trek weren't that dumb, and were also almost certainly still on friendly terms with Coon. (Roddenberry having since skipped out because he knew third season was going to be the last, and he figured why waste time honoring his contract when he could be out hustling for new work?) I'm pretty sure they knew just how ridiculous the script was... but they also probably didn't have a lot of choice in the matter.
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Dec 8, 2015 05:23
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Also, people with monochrome sets could still watch the color programming. One channel still served all televisions. Would tuning a regular TV into a 3D channel show regular video, or would it be hosed up? Because if you can't just tune the regular TV to a channel showing 3D content, congrats you have to add more channels which means more money.Met posted:Why are half of the alien races in TOS human? They couldn't be bothered to throw some fake antennas, forehead ridges, or anything? At least the natives in a Private Little War all had the exact same poofy blonde wig. A big part of it is time and money. As one example, Klingons were preferred over Romulans as adversaries in part because they didn't have to worry about making helmets and pointed ears. I mean, keep in mind, TOS was literally getting secret deliveries of costumes from illicit (non-union) sweatshops in order to keep costs down. You have to custom-make every fake antenna and forehead ridge, and have people applying that makeup to every guest actor wearing it. And keeping their shooting schedule on time was always a struggle as well. Every time you have to stop shooting because the goddamn fake antenna fell off or came out of position, again, the director's sweating bullets not knowing if he's going to be able to wrap the episode before going into overtime, let alone something so indulgent as a second take to really dial in the performance. And even with all their heroic efforts to save time, and even with getting pre-empted a couple of times for holidays, their schedules slipped enough that they had to request a rerun in the middle of the first season, which won them no friends at NBC. It really wasn't laziness. The people who worked on TOS busted their asses making that show.
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Dec 8, 2015 17:16
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EvilTaytoMan posted:I watched Star Trek Generations recently. I forgot how bad the lighting was for the ship scenes. Like were they trying to cover up the piss stains on the carpet or something? Bad lighting compared to what?
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Dec 14, 2015 18:21
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The lighting in late TNG was incredibly boring, are you telling me people actually preferred the doctor's office lighting?
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Dec 14, 2015 18:37
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i think he always liked having a beard. riker supposedly only started having a beard in season 2 because frakes came back after hiatus rockin' a beard and gene roddenberry loved it.
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Dec 15, 2015 18:28
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Hillary Clintons Thong posted:how would one search efficiently for short form erotic star trek fan fic, does it have a term? Its for a secret project reminder that the term "slash fic" actually originated with star trek fans in the 70s writing erotic fiction it's a reference to the slash in "kirk/spock"
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Jan 2, 2016 20:58
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"slash fic" literally predates the internet
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Jan 2, 2016 20:58
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DarkMalfunction posted:I was always surprised the Federation never really utilised combat drones of some variety. If you pick at any space opera setting long enough, it'll fall apart pretty quickly. Any "actual" starship combat would be pretty boring to depict in a TV series. It would basically be radar (or subspace sensors or w/e) blips on a screen, the shooting and movement would take place at speeds far too fast for a human to deal with directly i.e. you'd never have a need to show a person pressing a button to fire phasers or whatever. Any war would basically just be huge swarms of drones being mass-produced at a factory and sent off to die en masse against the enemy's swarm of drones. There'd be no need to have people involved in the battle, unless you really felt like you needed to have a couple nearby to update the drones with new objectives as the war unfolded. Space opera is very big on presenting visually dramatic metaphors. Star Wars came out in 1977, long after the introduction of air-to-air missiles, but the starfighter combat is all still very WW2-style dogfighting with guns. The Star Trek episode Balance of Terror came out in 1966, long after submarines no longer needed to surface to attack or to recharge their batteries, but the confrontation with the Romulan bird of prey is still very WW2-style destroyer vs. submarine combat. Both of these examples were anachronistic when they came out, and the producers knew it. Producing those sequences in those fashions was a deliberate decision.
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Jan 7, 2016 20:28
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Entropic posted:Weirdly it seemed like in TOS, Rodenberry and the other show-runners had no problem with Starfleet basically being the military and the Enterprise being a military vessel, even if it was one on an 'exploration' mission. It wasn't until TNG that Rodenberry seemed to really start pushing his weird utopian ideas about what the Federation was supposed to be. Like you never saw kids and families on the original Enterprise. Roddenberry's views shifted during the 70s especially after he started experimenting beyond just weed and booze
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Jan 8, 2016 19:44
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