Total Pageviews

Showing posts with label Star Trek. Show all posts
Showing posts with label Star Trek. Show all posts

Tuesday, September 09, 2025

What If Gates McFadden Hadn't Returned to Star Trek: The Next Generation?

In our world, actress Gates McFadden played Chief Medical Officer Doctor Beverly Crusher on Star Trek: The Next Generation for every season except the second, when she was temporarily replaced by Diana Muldaur playing Doctor Katherine Pulaski. Covering the behind-the-scenes drama causing McFadden's (and Crusher's) temporary absence from the USS Enterprise is beyond the scope of this thought experiment, to wit: What if Gates had not returned for seasons three through seven? And what if Diana Muldaur declined to become a series regular, leaving after season two? 


Enter Anne Twomey

Imagine if the showrunners dipped back into the well of previous actresses who auditioned for the Pulaski or Crusher roles. Imagine further they took a second look at Anne Twomey, who auditioned for Crusher a couple of years before. In this reality, Twomey plays Doctor Rachel Arbogast

Doctor with a Difference

To differentiate Arbogast from Crusher and Pulaski, the showrunners give Arbogast a wacky sense of humour; she loves to pull pranks, insert puns into conversations, and tells Mom jokes (though she's not a mother). They also give her a darker backstory than either of the show's previous CMOs. She doesn't warm to the other series regulars until several seasons have gone by, nor they to her, seeing as they've already gone through two CMOs. Wesley Crusher, in particular, is initially the most standoffish. 

As the third season unfolds, we learn Arbogast spent several years ships on the front lines of a mysterious, little-spoken-of war; she survived some gruesome encounters and pulled a lot of people through grave injuries. She lost a lot; maybe she lost everything. She doesn't talk about it. It's in her service record, but you'd never know it coming from her; Riker, Picard, and Troi are the only ones who know the full details, but the other characters (and the audience) won't learn her whole story for a while. 

Alternate Episodes

In many episodes, the show doesn't require a specific character or actress to carry out the role of doctor; any medical professional would do. But in certain episodes, Crusher's replacement by Arbogast would make a difference. Here are a few examples: 

In the real-world version of "Evolution," the show's season three premiere, Doctor Crusher's return is briefly explained and she enjoys a warm reunion with her son Wesley.  But in this version, there's no Crusher and therefore no reunion. Instead, we meet Arbogast when she's called upon to treat Dr. Stubbs, the episode's guest star. Maybe she gets a few extra moments of character development in a meeting with Picard; Crusher and Picard had a short conversation about her return, so there's time in the episode to give the audience a bit of a backgrounder on Arbogast. And maybe the rest of the episode continues as normal; at this point, with the show on doctor number three in as many years, the producers might not yet have decided if Arbogast is going to be a major character or not. Perhaps she gets a scene with Guinan at the end of the episode, just as Crusher did in the original timeline. 

In "Who Watches the Watchers?", maybe Rachel refuses to mind-wipe the Mintakan, Liko. This doesn't change the outcome of the episode, but gives us a bit of insight into Arbogast's character; she's seen such terrible trauma that she refuses to inflict injury on a patient, no matter what the cost. This puts her in conflict with Picard and the Prime Directive, and puts her position (in the real world and the world of the show) in jeopardy. We wonder how long she'll stick around. 

In "The Enemy," Worf's decision to refuse to donate blood to save the injured Romulan results in a long-standing low-key animosity between Arbogast and Worf. Unlike Crusher, Arbogast doesn't have much history with Worf at this point, so her opinion of him is tainted by a decision she must accept as a medical doctor, but privately disdains as a matter of principle. Hard to imagine the TNG writers allowing TOO much tension among characters in the main cast, but maybe they'd allow the thread to play out just a little, at least until events in a later episode cause Rachel to re-evaluate Worf. 

"The High Ground" would be Dr. Arbogast's first big episode, since she's the one that gets kidnapped by Ansata separatists on Rutia IV. Maybe she's more sympathetic than Crusher was to the Ansata point of view; perhaps her experiences on the front lines showed her that sometimes "terrorism" was the last resort of a subjugated people. In fact, we might uncover hints that the Federation was the aggressor in the unnamed war Arbogast participated in. But while she may have some sympathies, Arbogast knows what side she's ultimately on, and for the first time we see that she's no stranger to combat, taking a much more active role in the climactic rescue than Beverly did. Maybe Arbogast is the one that kills Finn, forced to because he was drawing a bead on Picard. 

In "Deja Q," perhaps Arbogast treats the de-Q'ed Q a little more warmly than Crusher did in our timeline, since this will be the first time she's met him. 

In "Hollow Pursuits," Arbogast is less disturbed than her crewmates to find she's objectified in Barclay's hologram, and the episode ends on a dry, suggestive coda: "Let me know if you ever want to try the real thing, Reg." 

There's no romantic plot for Arbogast in "Transfigurations," but from this point forward she develops a strong interest in transhumanism, something most humans in Trek seem to frown on, given the evidence of the various shows. 

In "The Best of Both Worlds" Arbogasts's role is functionally identical to the one Crusher played, but she's more calculated and determined on the away team mission to the cube, though the end result is the same; failure to rescue Picard. And like Crusher, she removes Picard's Borg implants in Part II. 

In "Family," we learn what happened to Arbogast's last commanding officer, the woman who was her best friend and spiritual sister. A holodeck conversation with that officer's avatar reveals something of Arbogast's trauma to the audience, but not to the other characters, providing a bit of dramatic irony for seasons to come. 

"Remember Me" simply doesn't happen in this version of the show. Instead, the producers go for a different bottle episode, a Troi-centric story that has the counselor guiding a severely wounded but recovering security officer through his PTSD--a rare opportunity to see Troi performing her official function. 

In "Data's Day," Arbogast introduces Data to the art of the prank, mostly because she thinks it's hilarious that Data just won't get it. 

In "Q-Pid," Arbogast quips "Now I see why you guys find this maniac so annoying." She also uses a rapier in combat instead of a clay pot. 

In "The Host," Arbogast isn't fazed at all by the Trill life cycle. Of course she and Odan still part ways by episode's end, but only because Arbogast has to stay on the show. The conclusion has more of a "It was a fun ride!" vibe. 

Arbogast doesn't entirely agree with the choices made by "The Masterpiece Society," but following on from her interest in transhumanism established in "Transfigurations," she considers staying behind, in contrast to the Society members who decide to leave thanks to the influence of the Enterprise crew. In the end she decides not to stay on the colony, but because their approach to transhumanism isn't quite radical enough for her...

"Ethics" reinforces the chilly relationship between Arbogast and Worf, but only in lines like "Mr. Worf and I might not get along, but damned if I'm going to risk his life on your experimental treatment." But surprisingly, Worf opens up to Arbogast during a consultation. "I have seen the warrior's fire in your eyes and in your actions. You hide it well, but you know that I cannot live like this. Because you could not live like this." Arbogast realizes Worf is right, and cooperates with Dr. Russell. The operations succeeds, but without the death fakeout of the original version of the story. Arbogast berates herself for working with Russell, going as it does against her professional ethics, but this feeling is tempered by a feeling that sometimes the ends justify the means. 

"Realm of Fear" turns out pretty much the same, but with some more flirting from Arbogast toward Barclay as she treats his "transporter psychosis." 

"Chain of Command" reveals that Dr. Arbogast makes a more badass commando than Dr. Crusher, but the episode goes pretty much the same was as in our timeline. 

"Suspicions" reveals Arbogast to be even more stubborn in her pursuit of the truth behind Reyga's death. 

When Picard and Arbogast are "Attached," Arbogast learns how much Picard misses Dr. Crusher, which explains, perhaps why he's never warmed to the woman who took her place. Picard learns, finally, the full truth of Arbogast's heretofore hinted-at past, and it drastically changes their relationship - perhaps even calling into question Picard's original choice to have Arbogast replace Pulaski. They form an uneasy understanding by episode's end, but the tension will remain for the rest of the series. Note that only Picard knows what happened - the audience isn't privy to this information. 

In "Parallels" Arbogast doesn't appear--but Gates McFadden returns as Doctor Crusher in several of the quantum realities visited by Worf. 

"Sub Rosa" relies completely on Crusher's backstory, so it's replaced by "Uncomfortable Truths," a bottle episode in which an old colleague of Arbogast visits the Enterprise and accidentally reveals a shocking truth: during a battle in the mysterious war hinted at in earlier seasons, Arbogast was forced to choose between blowing up a starship with a full crew infected by an insidious biological weapon or trying to save the crew and risking infection of the entire Federation. 

We learn that against the orders of her commanding officer, Arbogast beamed a photon torpedo into the engine room of the infected ship, destroying it and killing all aboard. A turning point in the war, this act proved the Federation's resolve in the eyes of the enemy, who agreed to a brokered peace. Only this prevented Arbogast from being cashiered, especially when it was discovered that Arbogast herself had dismissed a potential cure proposed by one of her colleagues - a treatment that, further experiments later proved, would have worked. 

Picard, of course, learned all this in "Attached," and he shares his prior knowledge with his senior officers, each of them dealing with conflicting emotions. Worf is surprisingly supportive, given that Arbogast made a "warrior's choice." Data is sympathetic, given that her choice was logical with the information and choices she had at the moment. Riker, Troi, and LaForge are horrified and acknowledge it will make their working relationship with Arbogast difficult. 

Arbogast decides to leave, not being able to bear the umbrage of people she's grown to love and respect. She and Picard share one last scene in the transporter room. "What will you do now?" he asks. "I failed because I was human," she says bitterly. "I'm going to see if I can rectify that." Picard shakes his head in sorrow, but knows she's made up her mind, and beams her over to the USS Kurzweil. In the transporter room of the Kurzweil, an unseen figure greets her: "Dr. Arbogast. Let's talk about your future." 

In the remaining season seven episodes, Suzie Plakson at long last returns as Doctor Selar, newly promoted to take Arbogast's place. She'll go on to appear in all five (!) TNG films. 

Arbogast doesn't appear again until "All Good Things," in the portions set 25 years in the future. She serves the same story function as Crusher did in the original episode, but without the Picard/Crusher romance beats; instead, we see that Arbogast has transformed herself into a cyborg--cold and efficient and in control, far from the practical joker of her early appearances. Old Picard is freaked out by this, given his experiences with the Borg, but knows he has no choice but to work with her. The episode plays out pretty much as it did in our world, but with one difference: before Picard joins the poker game, we see him composing a letter to Arbogast, asking her to meet the next time their ships are (relatively) close; he has something important to share about her future. 

But with Plakson's Doctor Selar taking McFadden's Crusher role in the four TNG feature films, there's no compelling reason to revisit Arbogast's thread in those films. Instead, she doesn't return--nor does Crusher--until the third season of Picard, where we see that her quest for transhumanity has had tragic consequences--though she goes out a hero...

Saturday, September 06, 2025

Landing Party Gear

To create a little more storage space and home décor, I've been installing display shelves around our first floor. This new shelf is now home to my collection of Star Trek landing party equipment replicas. 
 

Wednesday, July 30, 2025

Mark Lenard: The Lost Conversation

Today Sylvia and I went to Leduc to check on Mom's house and take care of some estate matters. On the way home, perhaps because my mind was already occupied by loss and regret, I told Sylvia the story of my conversation with Mark Lenard, a well-regarded character actor best known for playing Sarek, father of Spock, in one episode of Star Trek, two of Star Trek: The Next Generation, and three of the feature films. 

Except there is no story--at least, no story I remember. 

In the late 80s and early 90s, I attended a number of science fiction conventions in Edmonton and Calgary. On one such occasion, Mark Lenard was a guest. I definitely attended one of his panels, but it was in between convention events that I had a laid-back conversation with the man. 

The conversation took place in a niche with a couple of tables and chairs on one of the middle floors of Edmonton's Chateau Lacombe--or so I believe. The conversation took place in the late afternoon; the niche was dimly lit, but the sun shot beams of radiance through the windows, casting stark shadows. 

Mr. Lenard and I weren't the only ones present; I believe there were at least one or two acquaintances from the Edmonton Star Trek Society (now known as the Edmonton Speculative Fiction Society). 
 
Mr. Lenard was charming, soft-spoken, and self-effacing, and the conversation wasn't about Star Trek or acting, but friends, family, work, and the like. 

And that's all I remember. As a student of film and television and a huge fan of Star Trek, you'd think I'd have that day fixed in my head with all the clarity of an IMAX film, but . . . 

Mark Lenard is gone now, like Mom. And now I wonder how many things I'll forget about her, and curse myself for it. 

Monday, May 19, 2025

Captain Challis' Choice

While watching the second season of Andor, a thought occurred to me: Colm Meany would be wonderful as Lynnic Challis, an Imperial officer with growing doubts about the Empire he serves. I can just see him starting out as a veteran officer of the Old Republic who gets taken in by the Emperor's propaganda, only to slowly realize his duties are becoming more and more onerous. You could do a whole season about one person's choice--to stay safe and support tyranny, or rebel and risk everything? 

I guess that's really just Andor all over again, but with a minor shift in point of view. 

Never mind. Just watch Andor. It's phenomenal. 


Saturday, May 17, 2025

My Contribution to To the Journey

To the Journey--Looking Back at Star Trek: Voyager was released to its backers a few days ago, and I watched it this morning. I didn't find this film nearly as strong as What We Left Behind--Looking Back at Star Trek: Deep Space Nine; it's a little too meandering, a little too unfocused, but To the Journey is well-intentioned and practically overflowing with empathy, though at the cost of glossing over some of the behind-the-scenes drama. I learned a few new things about the show's production, so I'm glad I backed it. 

Plus, for the second time, I get to see my name in the credits of a Star Trek-related production. I'm a little embarrassed to admit how much that thrills me, even if all I did was tack on an extra $50 to my pledge. Hey, technically the money men are producers, right? 
 

Tuesday, May 06, 2025

Why I Watch the Intro

I can see why some people might not find much value in the opening credits of television shows. Once you've seen an opening title sequence once, why watch it again for every subsequent episode? 

I watch title sequences because they serve as a transition from everyday reality to the world of the show. The music and visuals evoke specific emotions meant not only to introduce us to the cast and other creators, but to put us in the right frame of mind for the drama or comedy to come. For genre or so-called "high concept" shows, title sequences often include a narrative thesis for new viewers, welcoming them to landscapes that might be difficult to grasp without some kind of introductory exposition. This was especially important in the days before the Internet made finding information as easy as typing a question onto a screen. 

Imagine, for example, watching a random episode of Gilligan's Island sometime during 1965 without its famous title sequence: 
 

The jaunty theme song tells us the who, what, when, where, and how of the show in a way that invokes lighthearted hijinks. The new viewer knows exactly what to expect: seven people with disparate backgrounds and personalities are castaways on an uncharted island, and they're hoping for rescue. 

Then there's the brilliant opener for each episode of The Rockford Files



Before we even see James Garner as Jim Rockford, the camera pans across his desk as someone (a different person each week) leaves a message on his answering machine, usually leaving some kind of bad news. Images of the titular private eye flash across the screen; Rockford usually looks pensive, pained, or puzzled, in keeping with the cheerfully fast-paced, liltingly ironic theme music. We also see images of Rockford's environment, the urban Los Angeles of the 1970s, along with a couple of shots of his father, a key supporting character. The fast-paced editing--which includes many shots of Rockford's signature vehicle, a gold Pontiac Firebird--suggests plenty of action and adventure, serving as a nice contrast to the music; subliminally, we expect some laughs to accompany the car chases and fistfights. 

Finally, consider The Waltons

Jerry Goldsmith's magnificent theme plays over images of a tranquil forested mountainscape and a cozy two-story home nestled in its valley. Here live The Waltons, a large extended family whose members clearly love and support each other, expressed without words as Pa brings home what is clearly the family's first radio. The fashions and technology on display, combined with the score, create a sweetly nostalgic sense of time and place; we imagine a time that perhaps included more struggle, but perhaps, too, more innocence. (We know it's an illusion, but a comforting one.) 

A carefully crafted introduction is crucial to our understanding not just of a show's plot or characters, but its ethos. Would Law & Order feel the same without "In the criminal justice system . . .?" Would Star Trek be a cultural touchstone without "Space, the Final Frontier?" 

I don't think so. And that's why I watch the intro. Every time. 

Friday, January 24, 2025

Vivisection 31

Star Trek: Section 31 (Olatunde Osunsanmi, 2025) is the first direct-to-streaming Star Trek feature film. It also has the distinction of being the worst Star Trek feature film of any kind. 

Based on Section 31, the shadowy spy organization first seen in season six of Star Trek: Deep Space Nine, this new film pulls Section 31 from dark corners and into the spotlight, thereby subverting and missing the point of the original DS9 episodes featuring 31. Rather than asking questions with some nuance and ambiguity about moral actions in times of war, Section 31 (the film) tries to turn one of Star Trek’s most despicable villains into a hero while replacing spy intrigue with fight scenes and explosions. 

Mission Briefing

Control speaking. You are directed to watch a very special episode of Mission: Impossible reskinned in Star Trek: Discovery and Suicide Squad (the worse one) garb. Believe in the extremely plausible redemption arc of Emperor Philippa Georgiou (Michelle Yeoh), admitted genocidal cannibal and torturer from the Mirror Universe! Watch her team up with a ragtag assortment of unlikeable Section 31 agents to chase a McGuffin before it wrecks the galaxy! Revel where no Star Trek story has revelled before! Revel, I say! 

Well, in the words of another Control before me, “That’s why it’s called Mission: Impossible, not Mission: Difficult.” 

Dark Origins

Originally developed as a new Star Trek series, Section 31 was whittled down into a single film presumably because Michelle Yeoh became way too busy (and expensive) to commit to a series in the wake of her escalating popularity rising from Everything Everywhere All at Once. This turn of events is a blessing, leaving us with just a couple of hours of agony instead of several seasons’ worth of pain. 

13 Things Wrong with Section 31

Cinematography. The camera can’t sit still, transitioning from snap-zoom to snap-pan to shaky-cam to torturously elaborate spins and swoops that distract from the story telling. 

Editing. The hyperkinetic editing brings to mind the excesses of later Bourne movies; it’s distracting and fails to capture the stunt work of the fight scenes, rendering them impotent. 

Plot. In a remote corner of the galaxy, outside Federation space, someone has a doomsday device and it’s up to our heroes to get it out of the hands of the bad guys. Absolutely by-the-numbers with not a single interesting take on a very old trope. 

Dialogue. The dialogue is filled with painful catchphrases stolen from 21st century sitcoms and action movies, ruining our immersion in what’s supposed to be the far future while annoying us at the same time. None of the cheap laughs land at all.

Characters. Aside from Emperor Georgiou, who benefits from the character development she enjoyed on Star Trek: Discovery, none of our protagonists exist as other than as science fiction tropes decades old. There’s a sexy vamp, a grizzled combat veteran (with a thrown-in backstory established strictly in dialogue to tie the story back to better movies and shows), the comic relief, a shapeshifter, the Starfleet officer pressed into Section 31 service because she somehow messed up (never explained), and a guy in a really janky-looking mech suit. 

Cheap laughs and cultural insensitivity. Two of the characters have exaggerated Irish (?) accents because ha ha, accents are funny and just add to the quirkiness of this lovable bunch. You’d think we’d have outgrown this kind of humour by now, but no. 

Direction. There’s no tension in any of this. There are foot, hovercar, and spaceship chases without any zing or real stakes. Also, the actors are either explicitly told to ham it up or the director just can’t control them. Half of these performances are so over the top you want to throw things at the main viewscreen. Er. The TV, I mean. The other performances are TOO understated. And finally, an unforgiveable sin outside of parody: the protagonists walk toward the camera in slow motion to show how badass they are. At least there wasn’t an explosion blooming behind them. 

Twist. There’s a twist. This isn’t a spoiler, because you’ll see it coming from a mile away. Actually there are two twists. You’ll  see both of them coming from two miles away. Each twist is explained with exposition and flashbacks to be sure you understand each twist. 

Music. The music, even though created by the talented Jeff Russo, is bland as bland can be, especially for an action film. 

Phasing. Remember that episode of TNG where LaForge and Ro are out of phase with the rest of the people on the Enterprise, and yet they don’t fall through the floor? Section 31 makes the same mistake and compounds it by having a character get stuck while passing through a wall without the wall exploding or their foot being severed at the ankle. 

Most embarrassing surprise cameo ever. Oh boy, I would have loved this for this person if it had been any other Star Trek project. Alas. 

Extreme stakes. Far too often in modern Star Trek the heroes face galaxy- or even universe-threatening disasters, and Section 31 does the same. NOT EVERY STORE CAN HAVE STAKES THIS HIGH. The impact is utterly lost. 

And most importantly and most damning of all: Why is this even a Section 31 story? The way this tale is structured, it could just as easily been the crew of the USS Cerritos taking on this mission. Or the folks from DS9. Or maybe a pack of Klingon warriors. Any of these would have worked just as well as Section 31, because there’s no spycraft in this story! There’s no skullduggery! No questions of morality or ethics are ever raised, aside from one character’s note that “I’m here to make sure no one gets murdered.” This film is about Section 31, but aside from the limited participation of Control—the mission commander—this story has none of the essential trappings of the organization it’s purportedly about, nor does it touch any of the original themes raised in DS9 in any meaningful way. It’s “rule of cool” taken to ridiculous extremes, except none of it is cool.  

Stories I Enjoyed More Than Section 31

Every other Star Trek film. Yes, including Star Trek V: The Final Frontier, Star Trek: Nemesis, and Star Trek Into Darkness

“The Alternative Factor”

“And the Children Shall Lead”

“The Way to Eden”

“Turnabout Intruder”

“Shades of Gray”

“Endgame”

“These Are the Voyages”

Season two of Star Trek: Picard

At least these episodes and movies, as flawed as they are, were made with a level of professionalism and pride that eclipses the laziness and cynicism on display in Section 31. Every example named above tried to be about something--or at the very least was brought low by production difficulties. Section 31 has no such excuse. 

I would also rather rewatch

  • Any Transformers film
  • Artemis Fowl
  • The Blind Side
  • Attack of the Clones
  • The Rise of Skywalker

Well…maybe not that last one. But boy is it close. 


Thursday, January 16, 2025

In Dreams, He Walks: David Lynch, 1946-2025


When you exclude family and friends from the equation, my approach to life is upheld by three great pillars: Superman's altruism, Star Trek's optimism, and David Lynch's surrealism. And as much as I adore Superman and Star Trek, it is the works of David Lynch that bring me closest to understanding--or at least appreciating--the great mysteries of existence. 

My first exposure to Lynch was The Elephant Man, followed a few years later by Blue Velvet--both incredible films that pitted cruelty against compassion, a common theme in Lynch's work. 

But it was Twin Peaks that captured me, heart and soul, way back in 1990. I saw in Dale Cooper, Deputy Andy, Deputy Hawk, and Sheriff Truman the kind of men I aspired to be. I saw in Bob my terrible weaknesses and darkest thoughts. And in the world Lynch built, one of awe and mystery, compelling and unknowable, wondrous and terrifying, I saw the landscapes of my dreams. 

Much of Lynch's work is rife with violence and misery of the harshest kind in settings that seem rational on the surface, but hide corruption and malignancy. Thankfully, the evil in his worlds is matched by figures of great kindness, integrity, and valour, and forces of light that help in the limited ways they can.  

Lynch's heroes often fail, Dale Cooper chief among them; as revealed in The Return, his saviour complex ultimately dooms him, along with poor Laura Palmer, "saving" her from her true salvation to the forces of light in Twin Peaks: Fire Walk with Me

Or that's one interpretation. Lynch's work is full of delicious ambiguity; it demands our full attention and cries out to be re-watched for new meaning. Despite that ambiguity, though, I believe a couple of themes shine through his body of work. 

First, David Lynch loved people and felt deeply about the cost of human suffering. Second, David found amazing beauty in the universe, even if that beauty was contrasted with terror; perhaps he felt one was necessary for the other. And third, to paraphrase Stephen King, I think David Lynch suspected there are other worlds than these. I hope he's exploring them now and creating new art. 

For these reasons and so many others, I felt a deep connection with David Lynch--though I'd never met him, and never will, except in dreams

Thank you, David, for the gift of your art, in all its baffling and wondrous forms. Rest in mystery. 

Tuesday, December 31, 2024

There Will Be Time (to Read): Books I Read in 2024

Two years running! 

For the second year in a row, I've read 100 books in 12 months. That number used to be what I considered a minimum annual number for me, but as chronicled here at The Earliad, my speed and focus have diminished somewhat with the growing responsibilities and waning capabilities of middle age. Maybe I'm rebuilding to what used to be my old normal? 

OVERVIEW

In 2024, I read

  • 83 works of fiction and 17 works of non-fiction
  • 52 science fiction novels, 15 Star Trek media tie-ins, 11 mainstream, three horror, and two fantasy
  • 33 books by women and 67 books by men
  • 28 books from the 2020s, 18 from the 2010s, 18 from the 2000s, 13 from the 1990s, six from the 1980s, eight from the 1970s, 4 from the 1960s, 3 from the 1950s, and one each from the 1940s and 1890s. 
  • Eight books by Hugh Howey, six by Catherine Asaro, four by Stephen Baxter, and three each from Robert Silverberg, Jo Walton, and Connie Willis
   COMMENTARY AND ANALYSIS

Of the books I read this year, 30 were re-reads from authors including Jo Walton, Connie Willis, Stephen King, Robert Heinlein, Patricia Highsmith, Stephen Baxter, Les Daniels, Isaac Asimov, and others. 

I also revisited several works by Catherine Asaro while at the same time reading her newest novels for the first time. Prior to this year I hadn't read her first novel, Primary Inversion, since it was released as a mass market paperback in 1995. I was still in my 20s! The horror. I found myself surprised by how much plot is crammed into Primary Inversion; I could have sworn at least a couple of its major events occurred in later books of the Skolian Empire series. 

Speaking of the 1990s, I picked up B.F. Skinner's Walden Two at the Wee Book Inn sometime during that decade. It sat on a shelf until Skinner's name came up in the infamous orientation film featured in the season two premiere of Lost. Having read only the back cover to that point, I figured I'd read the book to see if there were any clues to what might be going on in the world of the show. Unfortunately, Skinner's prose is incredibly dry, so I put the book aside until, well, this year. Walden Two is really more manifesto than novel, and reads like a professor's self-assured polemic against the status quo as it was back in the 1940s. His solution, which in hindsight absolutely informed the Dharma Initiative backstory for Lost, was utopian social engineering, a method for creating self-sufficient communes free of want and violence. 

Walden Two was something of a curiosity for me this year, so I'll turn to the books that really impressed me (for good or ill) in 2024: 

  • The Ministry for the Future, Kim Stanley Robinson, 2020. This near-future SF novel begins with a catastrophic heat wave in India that kills millions and triggers, at last, serious global action on climate change. It's a harrowing read, because Robinson describes an all-too-plausible future of diminishing resources and increasing violence. The titular Ministry is tasked with overseeing a kind of holding action against the collapse of civilization, and he goes into some fascinating detail about the societal changes required to achieve a best-case scenario that, from our perspective today, remains terrifying to contemplate. 
  • System Collapse, Martha Wells, 2023. Another Murderbot tale, yay! 
  • Demon Daughter and Penric and the Bandit, Lois McMaster Bujold, 2023 and 2024. More Penric and Desdemona adventures, yay! 
  • The Road to Roswell, Connie Willis, 2023. A lovely comedic tale of love, aliens, and UFO enthusiasts pratfalling around the deserts of the US southwest. Seems timely in the wake of all the UAP buzz in the news this year. 
  • Shift and Dust by Hugh Howley, 2013. I read Wool, the first of Howley's Silo books, way back in the teens, but only finished the series this year. I really enjoyed Shift, which explains the origins of the mysterious silos, and Dust was a satisfying conclusion, though the series epilogue in the Silo collection left something of a bittersweet taste in my mouth. 
  • Shadrach in the Furnace, Robert Silverberg, 1976. I've been working my way through the Hugo and Nebula nominations for years now, and Robert Silverberg has his share of those nominations, of which I read three in 2024. Shadrach in the Furnace was my favourite, a psychedelic fever dream of body horror, totalitarian dystopia, and state surveillance. 
  • Never Let Me Go, Kzuo Ishiguro, 2005. In science fiction there are several examples of a peculiar trope involving societies that grow clones strictly to harvest their organs to extend the lives of the rich and powerful. Ishiguro weaves a dreadful poignancy into the trope, gently bringing us into the world of several such clones who are conditioned from birth to accept and embrace their fate. It's heartbreaking, as any such inhuman system should be. Inhuman? No. All too depressingly human, and something that could plausibly happen someday...if it hasn't already in some dark corner of the world. 
  • Planet X, Michael Jan Friedman, 1998). Not all media tie-in novels are bad. Planet X is bad. Very bad. Imagine a world in which Marvel's X-Men meet up with Captain Jean-Luc Picard of the USS Enterprise to investigate the sudden appearance of new mutants springing up on a non-aligned world in the Star Trek universe. The original X-Men comics have been rightly identified as a solid vehicle for telling stories about prejudice and othering, and that's the theme Planet X tries to take. It's not an awful idea on its face, but the novel reads like a kid playing with random action figures, mashing them together with sound and fury. 

MONTH-BY-MONTH

January
The Taking of Pelham One Two Three (John Godey, 1973) 
Dawn of Rebellion: The Visual Guide (Pablo Hidalgo and Emily Shkoukani, 2023)
The Ministry for the Future (Kim Stanley Robinson, 2020)  
The Jigsaw Assassin (Catherine Asaro, 2022) 
Double or Nothing (Kim Sherwood, 2023) 
The Lost Worlds of 2001 (Arthur C. Clarke, 1972)
The Turning of the Screw (Henry James, 1898) 
Voyage (Stephen Baxter, 1996) 
System Collapse (Martha Wells, 2023) 
The Zombie Survival Guide (Max Brooks, 2003) 

February
World War Z: An Oral History of the Zombie War (Max Brooks, 2006)  
Demon Daughter (Lois McMaster Bujold, 2023)
There Will Be Time (Poul Anderson, 1972) 
Moonseed (Stephen Baxter, 1998) 
The Star Fox (Poul Anderson, 1965) 
The Spacetime Pool (Catherine Asaro, 2008) 
Life After God (Douglas Coupland, 1994) 
The Road to Roswell (Connie Willis, 2023) 
Superman: The Complete History (Les Daniels, 1998) 
Primary Inversion (Catherine Asaro, 1995) 

March
Turtles All the Way Down (John Green, 2017) 
The Last Hawk (Catherine Asaro, 1997) 
More Than the Sum of His Parts: Collected Stories (Joe Haldeman, 2020) 
Wool (Hugh Howley, 2012) 
Shift (Hugh Howley, 2013)
Dust (Hugh Howley, 2013) 
Silo (Hugh Howley, 2020) 
Girls, Interrupted: How Pop Culture Is Failing Women (Lisa Whittington-Hill, 2024) 
Space (James Michener, 1982) 
Just the Nicest Couple (Mary Kubica, 2023) 

April
Firestarter (Stephen King, 1980)
Walden Two (B.F. Skinner, 1948)
Homecoming (Christie Golden, 2003) 
The Giver (Lois Lowry, 1993)  
Batman: The Complete History (Les Daniels, 1999) 
Flood (Stephen Baxter, 2008) 
The End of the World Is Just the Beginning (Peter Zeihan, 2022) 
The Farther Shore (Christie Golden, 2003) 
The Bicentennial Man and Other Stories (Isaac Asimov, 1976)
Burn (Bill Ransom, 1995) 

May
A Choice of Catastrophes (Michael Schuster and Steve Mollmann, 2011) 
Crisis of Consciousness (Dave Galanter, 2015) 
Savage Trade (Tony Daniel, 2015)
Beacon 23 (Hugh Howley, 2015) 
With a Mind to Kill (Anthony Horowitz, 2022)  
Never Let Me Go (Kazuo Ishiguro, 2005) 
The Downloaded (Robert J. Sawyer, 2024) 
When the Sparrow Falls (Neil Sharpson, 2021) 
Shadrach in the Furnace (Robert Silverberg, 1976) 
The Stochastic Man (Robert Silverberg, 1975) 

June
Thorns (Robert Silverberg, 1967) 
You Like It Darker (Stephen King, 2024) 
Half Way Home (Hugh Howey, 2010) 
Wonder Woman: The Complete History (Les Daniels, 2000) 
Sand (Hugh Howey, 2014)
The Speed of Dark (Elizabeth Moon, 2002) 
Black Fire (Sonni Cooper, 1983) 
Finding Serenity (Jane Espenson, 2004) 

July
Across the Sand (Hugh Howey, 2022)
Foundation’s Triumph (David Brin, 1999) 
Ark (Stephen Baxter, 2009)
Planet X (Michael Jan Friedman, 1998)
Mr. Scott’s Guide to the Enterprise (Shane Johnson, 1987) 
The Three-Minute Universe (Barbara Paul, 1988) 
No Time Like the Past (Greg Cox, 2014) 

August
Penric and the Bandit (Lois McMaster Bujold, 2024) 
The Incident Report (Martha Baillie, 2009) 
Nuclear War: A Scenario (Annie Jacobson, 2024) 
Godzilla and Godzilla Raids Again (Shiguru Kayama, 1955) 
The Man Who Saw Seconds (Alexander Boldizar, 2024)
Serpents in the Garden (Jeff Mariotte, 2014)
The Ministry of Time (Kaliane Bradley, 2024) 
The Rings of Time (Greg Cox, 2012) 
The Last Day (Andrew Hunter Murray, 2020)  
S.H.A.D.O. Technical Operations Manual (Chris Thompson and Andrew Clements, 2022)

September
The Twin Paradox (Charles Wachter, 2020) 
The Down Deep (Catherine Asaro, 2024) 
Report from Planet Midnight (Nalo Hopkinson, 2012) 
The Talented Mr. Ripley (Patricia Highsmith, 1955) 

October
Humans: An A to Z (Matt Haig, 2014) 
Pawns and Symbols (Majliss Larson, 1985)
What Entropy Means to Me (George Alec Effinger, 1972) 
Cast No Shadow (James Swallow, 2011) 
Half Past Human (TJ Bass, 1971) 
Here (Richard McGuire, 2014) 

November
Tunnel in the Sky (Robert Heinlein, 1955) 
The Hollow Man (Dan Simmons, 1992) 
Farthing (Jo Walton, 2006) 
Ha’penny (Jo Walton, 2007) 
Jane: The Woman Who Loved Tarzan (Robin Maxwell, 2012) 
The Time Traveler’s Wife (Audrey Niffenegger, 2003) 
Half a Crown (Jo Walton, 2008) 

December
Miracle and Other Christmas Stories (Connie Willis, 1999)
The Art of the Amazing Spider-Man (John Romita and Stan Lee, 2024) 
Fantastic Four: Full Circle Expanded Edition (Alex Ross, 2024) 
Time Tunnel (Murray Leinster, 1964) 
DC Comics Style Guide (Paul Levitz, 2024) 
The Wailing Asteroid (Murray Leinster, 1960) 
The Dead Hand: The Untold Story of the Cold War Arms Race and Its Dangerous Legacy (David E. Hoffman, 2009) 
The Life Impossible (Matt Haig, 2024) 

And finally, here are Bruce and Leslie's stats for 2024! 

That's it for 2024. Happy New Year, all. Keep fighting the good fight. 



Thursday, November 21, 2024

USS Manitoba

This season on Star Trek: Lower Decks, one of the show's recurring characters was transferred from the show's "hero ship," the USS Cerritos, to the USS Manitoba, named for the province of my birth. Naturally I'm tickled, even though we don't actually see the Manitoba on screen, and the series' untimely cancellation after this season means we're unlikely to ever see it. 

Still, Manitoba represent! 

Saturday, October 05, 2024

The Inevitable Compleat Star Trek Do-Over

  1. Human civilization is likely to reach a level of technological maturity such that creative individuals will be capable of using generative AI and other software tools to create brand new episodes of Star Trek independently. 
  2. Given the number of Star Trek fans obsessed with canon, some number of Star Trek fans will re-create selected episodes of the show(s), changing them only to correct continuity errors. 
  3. A subset of these creative, technologically savvy Star Trek fans will be obsessed enough with visual continuity that they will redo visual effects and create virtual sets, costumes, props, and actors such that shows originally produced during different decades of the 20th and 21st centuries will be completely recreated so that shows produced decades apart but set within the same fictional time period (for example, Star Trek and Star Trek: Strange New Worlds) will be remade to be completely visually consistent, from exterior starship shots to costume designs to actor appearances.  
  4. Given the rate of advances in computing power and generative AI capabilities, we can expect to see a Compleat Star Trek free of continuity errors before the end of the 21st century, extending from prequel Star Trek: Enterprise to the upcoming Star Trek: Starfleet Academy and all the shows in between (and forthcoming). 
The question of whether or not this is a good thing is left as an exercise to the reader. 

Monday, June 03, 2024

Phase II Shuttle Concept

Way back in the late 1970s, Matt Jeffries designed a new two-person shuttlecraft for the ultimately unrealized Star Trek sequel series Star Trek II, also known as Star Trek Phase II. It's too bad we never saw this design onscreen; I think it's very sleek and retro all at the same time, and would have made a nice partner for the classic shuttle. 
 

Saturday, June 01, 2024

Gaming and Guinness XVIII Logo II


Here's the G&G logo I wound up using after some back-and-forth consultation with Jeff Pitts, my partner in organizing this year's swag. 

Friday, May 31, 2024

Tuesday, April 23, 2024

Change One Letter of a Star Trek Episode Part Three

"The Mage"--Captain Christopher Pike and his stalwart crew encounter the mysterious Xevious Galagan, who claims to be a powerful mage with the means to destroy the Enterprise. But is he sorcerer or charlatan?

"Where No Mao Has Gone Before"--The Enterprise uses the slingshot maneuver to transfer a United Earth team of historians to study the Chinese Civil War undercover. But when they return to the future, they find it inexorably changed . . . 

"She, Corbomite Maneuver"--A beautiful alien causes chaos on the Enterprise with an irresistible erotic technique she calls the Corbomite Maneuver.

"Fudd's Women"--an irascible rabbit hunter from the 20th century is rescued from hibernation--but he falls in love with the three Enterprise crew responsible for reviving him.

"The Man Tray"--The Enterprise visits a strange new world where women rule, and men are served up on platters--literally...

"The Baked Time"--An accident in sickbay releases all the THC in the ship's stores at the same time, and the crew mellows out.

"Charlie Y"--An Earth teen named Charlie desperately seeks to live out his existence with a species of emotionally distant, non-corporeal aliens, and Captain Kirk wants to know why.