Ooh, the states have gone for a number of conditions that will crystallize into requirements for divestments if Paramount fails to meet its expansive promises.

…Which the states likely believe will happen.

It’s a smart way for both sides to kick the problem downstream a bit until there’s a new administration.

It’s also a way for David Ellison to lock himself legally into doing things he personally wants to do (massive amounts of scripted production) while holding off his father and other investors.

It may be that one won’t be reached at all.

The states may be dragging this out until after the November midterms to see if they may have more leverage in DC later.

This sounds like more of a wishful thinking deal-in-principle.

Ellison is promising to make a vast number of cinematic releases (30 per year) but the states are looking for concrete structural requirements, such as to sell off holdings where there would be excessive concentration.

Here is The Hollywood Reporter’s take.

Ellison, for his part, promised to release a minimum of 30 films per year theatrically, though many in the industry remain skeptical about how long the company can sustain that level of production.

Bonta had maintained he’ll only accept structural remedies, which typically involve companies selling off parts of the combined business. It’s believed a sticking point for the states in any settlement involved Paramount operating the two studios as independent businesses and selling off parts of its cable business. For Ellison, parting ways with CNN was a no-go.

Still, the specifics of a deal are still TBA, including any potential divestitures.

I’m feeling pretty blue about the future if the franchise just now.

The hype around a cinematic feature just feels like recurring sucker-punch. I will only buy in once there’s both a trailer and a release date.

And there’s the complete lack of desire to give Paramount any money.

I thought the 50th anniversary was under promoted but this is just dire — other than a couple of official coffee table books and the Le Creuset pieces.

They won’t remain in the packing in our home, but they may help motivate some uptake of cooking skills among the not quite adults.

Some of both. A 1701 grey Dutch oven and a deep bluegreen Klingon braised are available in the ceramic-enameled cast iron. The shuttle is ceramic bakeware. There are also Starfleet and Klingon knobs that can replace the plain ones you may already have.

Here’s the link for the Canadian site.

I balked at Le Creuset for decades due to the price.

Once we got our first Dutch oven, there was no going back. It’s so much less hassle cooking to have pots and braisers that work well. The price is worth it, especially if you shop the online sales and get 30 or 40% off. However, these are full price plus a premium over regular equivalents.

That said, it took my partner less than 2 hours to ask which items we should be ordering…

This is one time the merch will be worth it.

I find it interesting how much attention franchise fans give to crowd-sourced ratings on IMDb and Rotten Tomatoes when we know that they are brigaded. Why give any credence to manipulated data?

As I have been watching more content from China recently, I have learned that the manipulation of social media and streaming audience data, especially ratings, is a very high profile public discussion outside North America.

In fact, there have been repeated attempts to develop and patent algorithms in China to detect manipulated ratings and streaming audience data and correct for them. None have successfully proved they can clean up brigading and manipulation to the satisfaction of national authorities.

I think that I can almost enjoy how much people are getting bent out of shape by this on other social media. (I confess to scanning a few of the comments under that TrekMovie article.)

Dropping in belatedly to say that my partner and I felt this was an improvement over the season premiere, and we felt it got things back on track.

Dropping back to add that Youku is making Mystic Nine available through free ad-supported video on demand through its app or through its YouTube channel. One episode is being released per day.

As of today, 13 episodes are posted in Youku’s English subtitle playlist and 12 on the English dub playlist on YouTube.

The continuance of Paramount+ as a standalone streamer is entirely dependent on the delay of the merger. I would take anything the current management says with a certain amount of skepticism as they are having to carry on while the antitrust challenge is ongoing.

Ellison has been transparent that he is looking to consolidate the WB and Paramount streamers or at minimum restructure and retarget their content and audiences. He’s looking for synergies and in his justifications to investors regarding the merger, he’s specifically cited the intention for Paramount and WB to use Skydance’s animation studios.

I actually wonder in hindsight to what degree Paramount and Nickelodeon proactively shut down renewals with animation houses in anticipation of a deal with Skydance.

It’s interesting that they believe that they have leverage — and that it just might be the case.

Ellison suffered a setback that should not be underestimated when Taylor Sheridan unequivocally rebuffed Paramount’s offer to renew his first look contract. He has been Paramount+’s biggest content producer but flatly rejected a renewal, despite extensive personal courting by David Ellison and one of his senior people brought over from Skydance.

So, it’s not obvious that the kind of creatives that Ellison wants to work with will actually be willing to sign on with him. The Hagemans are significant creators in animation and Skydance’s animation studio is a major part of its business. They really are in a position to insist that on Prodigy renewal as part of any deal.

My spouse and I found this season opener disappointing, if for different reasons.

My partner couldn’t get past the bad science. More, something made them feel like they were watching low budget mid 20th century scifi.

I found the performances/acting off across the board. Given the strength of the cast one has to wonder why they were overwrought and unconvincing. The pacing and rhythm of dialogue definitely was part of it. The direction has to be part of it but the episode director has done a lot of better episodes in the this era.

I’m usually pretty forgiving on science and engineering as long as the process feels right. Without the actors selling it, I just didn’t get into the show in a way that allowed for suspension of disbelief.

The cast is saying they feel this is their strongest season yet. Based on episode one, I am unconvinced.

This is good news.

It was well done and might be something Paramount is willing to do more of even if the television franchise is on ice.

It’s not a fan novel.

The Full Circle Voyager series is official tie-in fiction published by Pocketbooks and CBS. Official tie-in fiction is beta-canon. That is, canon until overwritten by something onscreen.

The key thing in this is that the tie-in writer for this series Kirsten Beyer has significant credibility and authority within the franchise. Her research and statements on the legal situation around this are credible and official.

Kirsten Beyer was in the middle of writing the Voyager books when she joined the television writers as of the first season of Discovery. She’s officially got the mandate as the expert keeper of canon in the writers room — even if she’s not always listened too. More, she was made the liaison for the tie-in writers to the shows as of 2017. She’s now a CoExecutive Producer and cocreator of SNW.

When that book was published, and she chased down the history on Locarno/Paris, she had the greatest access to past Executive Producers and internal legal advice and archives. She wouldn’t have claimed that without solid evidence.

I suspect that it had to do with the WGA contract at the time that TNG was in production.

Writers with a script credit got specific residuals for characters they created in a script according to what Beyer wrote. So, taking a one-off character and putting them in a main cast role in a new show would be providing creator credits for the entire show.

Chief Miles O’Brien is a different story altogether. Colm Meany was originally contracted as a background regular as the transporter chief but without a name. These kind of roles are reliable and keep actors eating while allowing them to audition for other roles.

According to what I heard at a Creation Con panel back in the early 90s, the showrunners eventually decided to give the character a name. Colm Meany wasn’t advised, nor was his agent — so Meany actually was raising a complaint that he was being replaced without notice, only to find out he’d been upgraded to a named part.

Kirsten Beyer actually is on the record saying that this was confirmed to her when she was writing the Voyager Full Circle novels.

In those books, she has the incident and the consequences as part of Paris’ backstory that gets thrown in his face in a legal proceeding back on Earth.

My recollection is that she printed this in an author’s note in the specific book so it must have had legal clearance for the tie-in literature.

Unfortunately, that Instagram post seems unavailable now.

In any event, I would be happy to see both James Frain back as Sarek and Mia Kirshner as Amanda Grayson.

I was one of those who really liked their performances as those characters.

The miasma of sadness I feel knowing that the SFA and SNW sets have been ripped down in Toronto and Mississauga is making it hard for me to really get excited and embrace the marketing for SNW season four.

I know I will be watching with my spouse and engaging here, but it’s very really not a great feeling given I was around for TOS’ cancellation, TAS’ cancellation, Enterprise’s cancellation and now the closing of this era.