Roddenberry himself was adamant that Star Trek’s history had to remain a possible history for viewers. So, the dates can slip as long as the major events don’t.

That is why he put WW3 later than implied by TOS, delaying it to the mid 21st century in the TNG pilot ‘Encounter at Farpoint’ even though that led to a contingent of TOS fans insisting that it ‘had to be a separate universe from the one of the original series.’

While writers never explicitly resolved this onscreen during the Berman Era shows, preferring to weasel with offscreen head canon in interviews saying that perhaps the Eugenics Wars were covert and going on unknown in the 90s, the new shows have dealt with this problem head on by acknowledging that temporal incursions do affect the timing of major events without making it a separate timeline.

SNW and Prodigy have been able to make this clear onscreen in canon with the expert help of the franchise’s excellent physicist science advisor Dr. Erin Macdonald. (She did her PhD with the team in Scotland that got the Noble prize just a couple of years later. She’s truly on top of modern theoretical physics.)

The Backlash as Canada conservatives’ ‘our home’ video features other countries Party deletes video after viewers list gaffes, including scenes of US, Serbia and Slovenia – plus Russian jets

No joke, and the story has legs internationally regrettably.

This isn’t 10 or 15 years ago when global stock video clips were just taking off standard resource in ad company toolboxes.

It’s not an urban myth at all that Tom Paris was a renaming of Nick Locarno.

Kirsten Beyer (now a senior producer in the Secret Hideout shows) verified this point with Jeri Taylor (creator of Voyager) back when Kirsten was writing the Voyager Full Circle Treklit books. It’s covered in an afterward. Doubt that would have been cleared for publication if not true.

That said, whatever the meta situation, onscreen canon can be whatever the current EPs want. So, I’m curious where they’ve decided to take this.

I really liked this and found it sweet.

As others have said, we haven’t seen many of these kind of recounting experiences episodes, but in this transition season it feels like we’re owed one.

While we could have just seen more of the main four leading others in B & C plots, this allowed them and us to take stock of their progress as leaders - except Tendi, but I think we saw a different angle on leadership from her on Orion.

Actually there’s both metric evidence and statements by senior Netflix executives that a show has to do well in the first few weeks to be renewed.

They’re also very committed to their drop it all at once, or at most in 2 parts per season.

So it creates an environment where shows are rarely renewed unless they are top of the streaming charts.

They may have a different decision criteria for kid and family shows though.

Be ready for mid 20th attitudes, special effects and theatrics style production…and camp.

At nearly 60 years old, TOS is actually more bearable for me again than it was watching it in the 1990s - 30 years in it seemed cringey.

But what it does have is wild and trippy Star Trek energy, the kind of vibe SNW is recapturing for modern audiences. Lower Decks too.

TNG was going for a more professional cerebral vibe, and less fun. It was a nice contrast to TOS, but it’s nice to have something new with that vibe. Voyager really leaned into the weird in its journey across the Delta Quadrant, but played it straight more often than not.

Here’s the key issue and principle buried deep at the bottom of the article.

She said a main area of discussion at the confab is how globally-minded digital companies had “really revolutionized our industries for a lot of good reasons” and added: “No one is saying to get Facebook or Google out of Canada — Canadians love and appreciate these services.”

Tait said Canadian broadcasters and services were required to pay taxes and services and invest in Canadian content, meaning companies as powerful as Alphabet and Meta would simply be paying into a existing system. “We all have requirements regarding local news so that there is a provision in a country of only 40 million to support our own domestic industry,” she said. “We would ask Facebook to be held responsible in the way we treat our own companies.”

It’s still in production.

As Waltke clarifies in the interview at the link:

Q …When the removal from Paramount+ was first announced, Prodigy was reported to be cancelled, but technically that isn’t right is it?

A. Yeah, as far as I know. There was a lot of confusion because it was kind of announced alongside a number of shows that were I believe, officially cancelled. But at the bottom of some of those articles, you saw the caveat of like, “Oh, we’re actually still producing our show and we’re shopping it around for the potential for more episodes and licensing.”

Agreed. But this is a societal dependence.

Too many clubs, churches and communities organizations, and small businesses found Facebook easier to maintain than websites, so many people became dependent on that platform.

The challenge is that governments have a duty to meet their constituents where they are, especially in emergencies. So they send out Tweets, ‘grams and posts directing people to the information on official sites.

Before the Internet, people would turn on their radios or televisions. That’s why in most jurisdictions (including the United States) broadcasters and cable carriers MUST carry emergency broadcasts, superceding regular programming. The wave of climate-related emergencies raise the question of whether internet aggregator platforms should be required to do the same.

As an aside, governments and public new sources maintain websites that are accessible. Due to a Canadian Supreme Court decision requiring government platforms to be accessible to persons with disabilities, Canadian new sites have user interfaces that are adaptive.

It’s likely the impact of the sudden and unexpected death of Melissa Navia’s husband led to a lightning of her role in the second season.

She’s written about how hard it was for her to go into production just a couple of months after that. She was a musical theatre performer as a child, so it’s likely that a larger singing role was planned for her in 2 x 09. We can be thankful that she has apparently decided to stick with her career after some profound doubts in 2022.

Season 3 was originally scheduled to start production May 2nd, just before the start of the strike. It’s only the impending strike date that caused them to stand down on that.

This tells us that the script for the season premiere has been locked for some time.

It’s geared to families but not children only.

It’s fantastic. Many fans will argue it’s the best of the current group of new shows.

It is intended for people with no experience of Star Trek though so it starts out feeling more like another franchise in the Pilot. By the 6th episode it’s unapologetically very Star Trek.