This makes sense if they want to break down the sets.

There was a report posted elsewhere claiming that the viewership has been greater than expected but they still canceled it.

It’s a silver lining to see Shatner using his platform for the greater good.

Definitely a YMMV situation. I have seen all three Kelvin movies and liked the first best of the lot

Beyond didn’t redeem itself for me. The motorcycle ridiculousness put it in the Nemesis category for me. There’s also the fact that none of the rest of the family would watch with me after the first one.

That said, the movies are being led by completely different people at this point.

Kurtzman is only negotiating television production not movies. My point was that the movie people have yet to prove themselves in even being able to deliver a cinematic feature in the franchise. So, would be an extreme risk to lock a 5-7 year deal that includes television production.

It depends on whether the intent is to integrate the movies and television.

No one involved with the new movies has proven their ability to deliver on Star Trek, whatever their other credentials.

It would be a major risk to give any untested production company and EP the kind of multiyear contract needed to run the franchise.

I’m always concerned that having an unresolved cliffhanger has the opposite impact.

It discourages new viewers from trying a show and undermines the case for a movie.

A Firefly to Serendipity outcome is vanishingly rare.

And unlike Farscape, the production company partner can’t get the IP back and make a limited series or streaming movie to resolve it.

That’s not in the announcements

Variety confirmed that CBS Studios and Kurtzman are continuing to be in negotiations for a renewed partnership.

Skull Island is actually my favourite of the Monsterverse movies. It really redeemed Kong as a character for me.

I saw Weaver as more representative of the British and American women photojournalists that broke the most important stories of the mid 20th century.

Clare Hollingsworth from the UK broke the start of the Second World War. Other American women played a similar role in Vietnam and Cambodia.

It seemed a smart and authentic way to include a woman in the mission, other than as a Monarch scientist who already knew that there exist Titans.

Choosing a blonde actor for the role may visually connect to previous Kong films but it also is accurate to the women photojournalists she’s representing.

As a side note, the two Monarch scientists who survived live on to be the parents of a character who appears in one of the subsequent movies. The Randas aren’t the only multigenerational Monarch researchers it seems.

They put the show on a small niche streamer that doesn’t have an audience in the demographic that the show was made for.

The show did much better on Amazon channels than on Paramount+ — ranking 1 or 2 across its run. That tells you that the problem is that Paramount+ has narrowed its audience to Sheridanverse fans, not that the show isn’t good.

Every show Paramount+ has tried to attract the younger GenZ audience with has failed. And the streamer is failing — which is why Paramount has been bought and the streamer will be merged with HBO Max.

While that may be your view, I hope you’re not going to work against the show or shows like it either.

Because very many people who between 40 and 55 did brigade against this show, gave it very negative reviews, and discouraged others from watching it without watching a full episode themselves. To the point that Psychology Today wrote a feature article The Trouble With Review Bombing.

Anyone over 35 is not in the key demographic. I dare say that’s most 90s Star Trek fans and most of us on this board.

But if we go out of our way to say that if it’s not made for us we’ll attack it relentlessly so that younger, target viewers won’t even try it, then it’s not going to serve anyone.

And yes, I have seen the entire season of SFA. I watched it with my partner and one of our GenZ kids. And I have signed the petition.

There’s a new change.org petition for a 3rd season of Starfleet Academy that broke 500 signatures in the first hour.

No idea if the executives would pay attention but it’s a way to counter the narrative of the negative brigading the show has been dogged by.

Variety claimed an exclusive and that they had an inside source.

This has the feel of drafted internal and external communications messages going out earlier than agreed.

There wasn’t a goodbye letter at the time of the Variety exclusive — but Deadline and everyone has it now.

And, as expected, someone in the UK has posted a Change.org Renew Starfleet Academy for a third season petition in the last hour.

It seems that my initial reaction was overly hasty and upset.

As I just replied to another post, towards the end of the article, Variety says, citing an unnamed source:

According to an individual with knowledge of the situation, Kurtzman and CBS Studios are currently in talks for a new deal that will keep him in the CBS fold. In addition to his work on “Star Trek,” he has produced shows like the “Hawaii Five-O” reboot, “Scorpion,” and “Salvation.”

The odd thing is that Variety seems to be saying that, according to the same unnamed inside source, negotiations are still underway for Kurtzman and Secret Hideout to continue production for CBS Studios (which I failed to notice on my initial read of the piece).

According to an individual with knowledge of the situation, Kurtzman and CBS Studios are currently in talks for a new deal that will keep him in the CBS fold. In addition to his work on “Star Trek,” he has produced shows like the “Hawaii Five-O” reboot, “Scorpion,” and “Salvation.”

If so, I’m wondering if someone leaked the specific detail of the termination of Starfleet Academy with the hope of a fan campaign to save it…

I just realized there’s even a fried egg in there.

A more measured take VS than I can manage at present.

My partner commented “It wouldn’t take much with the Ellisons” when I said it was reportedly canceled but, I have been hoping that there just might be more sophistication in the analysis of the show’s potential in a bigger, broader streamer.

My own thoughts go to women like my mother-in-law now in her 90s, or the superfan Bjo Trimble, who watched and supported Star Trek and other science fiction media, decade after decade, without seeing many women like themselves in principle roles.

They weren’t watching because of their husbands or kids, they were enjoying science fiction for themselves and their views, and all the related licensed media and merchandise they bought produced exactly the same advertising and other revenue.

Yet, entitled middle aged guys — who aren’t even in the key youth demographic anymore — want to define the franchise and seem to be being listened to.

Older person that I am, I recall the boys in the neighborhood would take their toys and wouldn’t join imaginative play unless they got to be the hero. I guess they never changed.

”…the show failed to find its significant audience.”

Put a show on a streamer that is targeting a completely different audience, and let the entitled vocal fans run wild with unchecked brigading, and then be surprised by low “crowdsourced” ratings.

Sigh.

This is depressing, if accurate, in that it may also be a signal that the new owner is looking for a new production company to manage the franchise just when things had finally and consistently stabilized with Secret Hideout.

I’m not hopeful for an SNW continuation in a Year One show, or Tawny’s project either.

It’s available as a BlueRay screencap from TrekCore…

Might be best to download directly from there:

https://tas.trekcore.com/gallery/thumbnails.php?album=61

Definitely replicators, and ones that are presumably more sophisticated than the 24th century ones on Voyager given the general use of programmable matter by Starfleet in the 32nd century.

What’s challenging in the 32nd century setting is that more advanced technology exists but it’s availability is very uneven.