She was one of the ensemble in The Residence and it worked well for he.

That show had to reshoot the episodes that had been done before the WGA strike because the second on the call sheet unfortunately died during the strike. Not sure if that impacted Wiseman’s availability.

But in terms of her role in Starfleet Academy, it’s clear that the backdoor pilot in season four was viewed as a largely a failure.

The show had been in development hell for some time, but the lead creators changed once again after that episode and it’s writers were dropped from the project.

Neither Wiseman nor Blu del Barrio were strong enough to carry or be compelling in a weak pilot. It looks like they bore some of the weight of senior executive disapprobation.

Great Canadian brand.

I’ve been drooling over Fluevogs in shop windows since I was barely a teenager.

Adding Trek into it just makes the temptation all the greater.

I think I like the Dauntless model better than then onscreen version.

That Voyager-A is interesting.

While many older fans are disappointed that Starfleet Academy is set in the far future 32nd century, I am hopeful that it’s focus on original characters, will be a strength.

Having a few recurring Discovery characters around, and Robert Picardo as The Doctor, doesn’t negate that it’s fundamentally about new characters and not legacy ones or their immediate family.

Like the apparent ‘no technobabble’ edict from on high, with so many ‘kids of’ and ‘sibling of’ characters in the new era, I have to wonder if the IP holder had laid down some kind of structure forcing the creators to tie new main characters to legacy ones.

I am wondering if Pelia was created as much to give Holly Hunter’s character a legacy tie and check the required box for linkage to another character as much as she was to provide a vehicle for Carol Kane.

I think we share a view on Scouts.

I think you missed the point on this though - it’s not a show for or with children.

It’s another go at selling an younger ensemble based on they’re being the offspring of a legacy character.

The article says Archer’s four adult children would be in their twenties and thirties. They would be in different roles and services.

I didn’t like the nepobaby, ‘children of’, angle in Picard and I didn’t really like Archer, so I can’t imagine why they would think this would be the way to draw in an audience.

On the other hand, they could pick up Vanguard for a more serious show.

I’m actually disappointed that United would focus more on Archer’s kids than his government

Someone who actually knows merchandising tie-in’s in charge of them.

For a franchise that has the legacy of the ‘Spock helmet’ and the complete marketing miss on Moopsy, someone who actually has a clue about this business coming in the year before the 60th anniversary can only be seen as having upward potential.

At least, there’s some kind of planning this time.

But Rick Berman was still hassling Terry Farrell to get her to get breast enlargements.

Which is one of the reasons she left the show.

It’s my favourite season just for that.

Yes, there were a few great season one Enterprise episodes such as ‘The Andorian Incident’ directed by Roxann Dawson of Voyager and guest starring Jeffrey Coombs as Shran but it was the fourth season that truly redeemed the show.

It was your assertion that ‘if you’re a fan of older Star Trek’, someone would share your view that irked me.

There’s a lot of older fans that don’t dislike the new shows. We just aren’t feeling the need to caution other older viewers about the new shows.

I felt that way about Voyager at one time.

Watched the episodes once as they came out but wasn’t seeking to rewatch.

But then our kids came along, hit their preteens, and for them Voyager reruns on cable was ‘their Star Trek.’

I watched Voyager more with them during their preteens and early teens than I did during its first run.

And I can say that it DOES stand up to rewatch. More, it has many ‘best of trope’ episodes.

I think perhaps it was Voyager’s unevenness in quality across the entire run or, perhaps fatigue from hundreds of episodes of TNG and DS9 rewatched immediately after they were broadcast, that led me to not appreciate Voyager as much initially.

All to say, I was very wrong about Voyager’s rewatch value, and perhaps many crusty 90s Trek fans are wrong about Discovery too.

Speak for yourself.

I’ve been watching since 1967 and happily watched all five seasons of Discovery as they came out.

I’ve also rewatched them all with other members of our household.

I’ve definitely watched Discovery more times than Enterprise.

I agree Discovery over Enterprise.

It’s hard to hold up the show that showed our first hero captain in the franchise not only condoning but choosing torture as an alternative as being ‘more optimistic’ or ‘more in line with Star Trek’s aspirational vision.’

Then there’s its sharp retrograde to bro culture.

BTW I’m almost as longtime a fan as possible.

My first episode was TOS ‘Devil in the Dark’ on the day it first broadcast in Canada in early 1967.

Since then, I have seen every episode in first run the week it aired EXCEPT when Enterprise went off the rails after 9/11, trying to be an apologia for the appalling reaction of the US which suddenly condoned torture and violations of the international rules based order.

I really find this narrative offensive.

First there’s the mischaracterization of a very young and completely dependent who child completely abandoned with the death of the last adult who cared or supported him.

But more than that, Star Trek is littered with a trope about children with incredible powers to interact with the universe who nearly destroy the galaxy or civilizations or large swaths of them.

It started with Charlie X, and was taken up by every other series, sometimes more than once.

On all those other occasions, our hero ship and crew miraculously saved the day and prevented disaster by psychic or superpowered child who was incapable of adult decision-making.

Discovery called the bluff.

Discovery reversed the trope, had the child’s powers actually destroy civilization.

Instead of the hero crew stopping the disaster in the nick of time (again), Discovery finds the child and solves the problem.

And long time fans are offended by THAT?!!

Discovery is fine overall.

It may not be everyone’s favourite Trek but NO SINGLE SHOW IS EVERYONE’S FAVOURITE.

I’m stooping to yelling because, looking at it as someone who saw TOS in first run, it really can’t be stressed enough that there needs to be new Trek for every generation.

I didn’t expect that our GenZ kids would like Voyager best of the older shows.

And yes, for one of our GenZs, Discovery season one is ‘the best season of Trek’ ever. They have rewatched all the seasons of the show more than I have.

Discovery season 5 was fine in my view. I wasn’t fond of the series epilogue tacked on to the finale.

Season 4 of Discovery has a better premise and structure than Picard season 2 but both seem to suffer terribly from being shot under COVID restrictions. Other shows managed to write around the limitations without such stilted and drawn own scenes. I don’t know what Paramount instructed its writers teams be it’s boggling to see these seasons against the rest now.

Here’s a substack take from Janet Nance ‘Subspace Chatter’

I do like the idea of her being some kind of traveler better than being sacrificed as a fixed point guardian.

But then that commitment to be frozen as a perpetual guardian what makes her sacrifice meaningful.

My problem is that the episode was written from Pike’s perspective rather than Batel’s so that we heard her telling Pike what she was going to to and why rather than seeing that process of acceptance and noble sacrifice from her side.

Relative to the abysmal corporate communications Star Trek has received as a franchise since the ViacomCBS merger (while at the same time largely shutting down more informal social media outreach from anyone but the showrunners), this shows some promise.

It’s hard to imagine that the Skydance merged firm would be yet worse than Paramount for corporate managed communications.