I don’t have a satisfying answer for that one - wireless power transfer is NBD in the TNG era, so maybe it’s just an extreme version of that?

Reno once had a line about replacing the warp plasma conduits with “polaric” ones, so maybe they don’t use plasma at all?

But the Athena seems to, so 🤷

I’ll go for a deeper cut and say the Nova class. Small, purpose-built, and pretty cool-looking.

I’m assuming it makes sense in-universe, but my brain is still trying to figure out how.

In “Scavengers”, right after Discovery gets her refit, Saru says, “even her nacelles are now detached, improving maneuverability and enabling us to be more efficient in flight.”

I found this pretty puzzling, but it eventually dawned on me that the explanation is probably seen most clearly with Book’s ship. There are a few times when we see his ship rearrange itself on the fly to navigate the many, many debris fields present in the post-Burn galaxy - it looks like the detached bits let them dodge debris without actually changing their course or speed.

We do get a glimpse of Discovery doing something similar late in season 5, when they ram their way into the Breen dreadnaught - the nacelles tuck themselves up and behind the saucer, reducing the ship’s profile.

I’d like to see a little more scrutiny of the way the media reports on and frames these things, too.

There are far too many stories that basically start and end at “this government project will cost X millions/billions/whatever,” without putting any effort into exploring whether that’s a lot of money in context. It’s always going to sound like a lot without proper analysis.

It was a bizarre choice to exclude Sam and Quorra, but all things considered they did it pretty well. Shame we will likely never get the continuation that they laid the groundwork for.

Your comment reminded me that I still hadn’t seen Tron: Ares, so I rectified that tonight.

It’s…perfectly fine? It looked cool, it sounded cool, it had a basic plot that worked well enough. That meets the threshold of Tron expectations for me.

The company’s LED virtual production work includes House of the Dragon, Star Trek: Discovery, Star Trek: Strange New Worlds, Avatar: The Last Airbender, Reacher and Amazon’s critically acclaimed Cada Minuto Cuenta. PXO has seven creative studios and four LED volumes in the US, UK, Germany and Canada.

This is significant, to say the least.

SPE shared its intent with Televisual to eventually close the Pixomondo ‘umbrella,’ and integrate some of its capabilities into other areas of Sony.

I wonder what this means for the actual facilities.

I assume you’re referring to Kurtzman, but it seems to be like that’s exactly what he’s doing? Of the six series we’ve had under his watch, he’s been the showrunner of two of them. The rest of them seemed to be fairly free to execute their creative vision, for good or ill.

That, I’m not so opposed to. No sense in visiting that time period if you’re not going to check in on the status quo of the neighbours!

The Rios one is a lot of fun if you enjoyed “A Piece of the Action”…

almost an anthology of legacy characters being visited by the Titanprise with the bridge full of offspring.

Oof, that would be real uninteresting, to me.

I’d watch it, and I’m sure they could do great things with it…but as presented, Terry Matalas’ vision left me pretty cold. Captain Seven was definitely the most compelling part of it all (and Raffi, I do like Raffi), but it mostly just seemed to be, “here’s a new Enterprise in that era that you miss!”

And that’s fine…but it doesn’t really point to a compelling story on its own. But take the basic premise, give it to another showrunner, and jettison Jack Crusher into the nearest black hole, and you have my attention.

thanks for the recommendation, BTW

Hey, you’re welcome! I stalled out on the Riker one, which I guess is the third one. I should pick it up again one of these days.

I don’t particularly want it to happen, based on what we saw in PIC’s third season, but I feel like Sirtis is a little…confused here.

The oldest cast members of the hypothetical series would be Jeri Ryan and Michelle Hurd - everyone else would be a recurring guest star, at most…

The Scrubs revival is surprisingly good, picking up like there hasn’t been a 15-year gap since season 8*.

*Season 9 has been memory-holed.

Albums are such a lost art, it kills me.

If I remember correctly, the Sussex property itself is inadequate for modern security needs, so I agree completely, with the caveat that they should find another location.

It’s honestly shocking that they pulled the plug on this one.

In her People interview, Gellar singled out one executive. “We had an executive on our show who was not only not a fan of the original, but was proud to constantly remind us that he had never seen the entirety of the series and how it wasn’t for him,” she said. “That’s very hard when you’re taking a property that is as beloved as Buffy, not just to the world, but to me and Chloé. So that tells you the uphill battle that we had been fighting since day one, when your executive is literally proud to tell you that he didn’t watch it.”

Gellar did not name the person; according to multiple sources, the executive Gellar was referring to is [Craig] Erwich.

This seems like a tale as old as time, though.

a federally funded agency is doing away with an efficient electronic system, with no clear plans for its replacement.

What am I missing?

Much sadder circumstances, but Jerry O’Connell, Wil Wheaton, and Carol Kane all took the stage during the Rob Reiner tribute.

It’s always seemed to me that the Firefly cast got the “best” version of Whedon.

Which in no way absolves him of anything he did on other productions - just an observation.