Filion made unfortunate statements defending Joss Wheadon and arguing that he should be’uncanced’’

https://nypost.com/2022/06/23/nathan-fillion-wants-joss-whedon-uncanceled-so-they-can-work-together-again/

https://insidethemagic.net/2022/06/nathan-fillion-joss-whedon-controversy-ct1/

There are widespread reports of toxicity between Fillion and his Castle costar Stana Kari’s.

https://www.hellomagazine.com/film/20230131163149/nathan-fillion-feud-co-star-stana-katic-details-castle/

In 2019, a cast member of The Rookie quit citing sexual harassment and racial discrimination.

https://www.hollywoodreporter.com/tv/tv-news/rookie-star-quits-claims-she-faced-sexual-harassment-racial-discrimination-1229109/

In a conversation that I saw elsewhere, there were points made regarding some fairly cringey elements in the original seasons that would not be well received by progressive audiences now. However, reworking these would invite backlash.

It’s a fine thing to thread around and it’s not obvious that the creators or Fillion are up for it. Fillion in particular has managed to alienate a lot of fans in the past decade.

This looks to be a nonstarter, especially after Hulu cancelled the Buffy reboot. Disney seems to be reigning in and focusing now that it has full control of Hulu.

If the IP was owned by WB or Paramount/CBS, it might have a chance, but this appears to be more of a case of Fillion and the some of the original creators trying to make a case to use the IP than any interest from Disney.

Actually, yes.

It has very high viewership globally. It was top ranked on Apple in the US and Asia, and much of Europe, although relatively less in CANZUK countries where the Togo Godzilla franchise is less well known.

However, as always, there are personal preferences.

It has the AppleTV resources so, the vfx and Titan action scenes are always excellent.

As a live-action television show, it leans more to mystery/skullduggery and character drama compared to a cinematic feature. Also, the first season is designed as an entry point for audiences and demographics with no previous experience with the franchise so it’s a slow build.

If you enjoyed Kong: Skull Island, you will likely enjoy this show.

All this means is that if all you want to see is kaiju fighting, this may not be for you.

And for me.

One always thinks there will be time. Regrettably, we have to learn the lesson through experience, some of us more than once.

I am going to admit right now that one of the reasons the I’m endeavouring to create a space here to discuss Monarch: Legacy of Monsters (M:LOM) and the Monsterverse, is because the show on AppleTV is getting a lot of coded and outright brigading from some of the same sort of fans in the US specifically.

Legendary Pictures and Television creators have done their best to bring to American, English language Godzilla productions the kind of emotional narratives that were always present in Japanese Godzilla productions no matter the restrictions of an action-focused cinematic feature. (I confess my own fan history with the franchise is with the older Japanese production eras and continuities.)

With 10 episode seasons, M:LOM has plenty of time for complex multigenerational character narratives and is delivering, filling in the gaps in bigger cinematic events. With women in major roles in front and behind the camera, LGBTQ and other representation, it’s intentionally working to draw in a broader demographic with a new entry point. It’s also succeeding in its ranking on AppleTV to the point a spinoff will start production this June.

Yet, it’s got a steady stream of posts along the lines of “I don’t really like those characters, do you?” and “Why are those young people making stupid choices?”

M:LOM’s clear themes of “hurt people hurt people” and consequences for actions are challenging but important, much as the Psychology Today piece says.

Taking on these themes and showing flawed three dimensional characters struggling through them in the context of multigenerational trauma makes for great genre television — providing the “they’re making my franchise woke” voices don’t swamp the show.

This is cool. It’s very small amounts.

The key issue is that they are making antimatter at CERN but the magnetic fields at CERN impede studying/analysing it.

Checking in with a nearby physicist, the amount is so small that even in the worse case it would be unlikely to set off a radiation detector.

In return for this sagesse, I was subjected to several witticisms on the detectable rate of decay in the bananas we have awaiting to be turned into banana bread.

Starfleet Academy appears to be having a Streisand Effect moment in broader media.

Who would have thought that brigading review sites with 1/10 comments and copypasta derision might finally reach the point that even Psychology Today would stop to write a ‘Wait! What?!!’ piece.

Apppreciated.

And we appreciate the new subscribers who’ve been able to find us through this and other discovery-focused communities.

Appreciated!

Glad this is still pinned here.

I might finally have the time to get into this game (although our youngest is convinced I’ll never make it through the tutorial).

This era of Star Trek has quite a few A-listers actually.

Starfleet Academy is helmed by Oscar winner for best actress Holly Hunter (in The Piano), has two time nominee Paul Giamatti (one each nominations for best and best supporting actor) as well as Tig Notaro who is nominated this year for her documentary and has also been nominated twice for Emmys.

Akiva Goldsman, co-showrunner of Strange New Worlds has an Oscar for best screenwriter for an adaptation from another medium (for A Beautiful Mind).

We will never see 26 episode seasons again.

It currently takes more than one week to shoot a 42 minute episode.

Also, actors are not willing to lock into shows that leave them unavailable for movies or other television shows.

Star Trek and other streaming series are able to cast A-listers not just because they are willing to pay high pay rates and list them as executive producers but also because the A-listers are able to lock in multi season contracts with Star Trek while still being available to do other things.

But 10 episodes is not the maximum possible. Large ensembles like Starfleet Academy have enough main cast members that not everyone has to be on set every day.

As well, it’s possible that 4 or 6 episode limited series might be the perfect vehicle to bring back a Legacy character or explore something like the Department of Temporal Investigations. Under the old management those weren’t negotiable.

Why Paramount had such a bizarrely rigid policy after the ViacomCBS merger has never been adequately explained.

Glad to hear you liked it.

It’s so hard to keep track of shows when they’re only renewed after the season ends and the production timelines are so very long. That’s why it’s exciting to know that there’s a second show going into production and more in development.

Please do join in our weekly discussion threads on Monarch: Legacy of Monsters (aka M:LOM). Our community is just getting going and it’s grey to welcome other enthusiasts.

Sound like a decision was made on high that the 60th anniversary would not take place without a Star Trek show under weekly release.

Not sure what specific canceled show you might be thinking of…

Monsterverse is specifically used for all the movies, comics, games, animated and live-action television made by Legendary (Pictures, Comics, Games, Television etc.) using licensed Toho Godzilla and other kaiju.

The Monsterverse continuity began with Godzilla (2014), then Kong: Skull Island and continued with several more cinematic features. At this point, with 12 years of releases, it is the second longest running continuity in the 70+ years of the Godzilla franchise, with the Showa era remaining the longest.

Monarch: Legacy of Monsters, a partnership between Legendary Television and AppleTV, is viewed as a global success. Its second season is currently in weekly streaming release on AppleTV. It’s being very successful in attracting new fans and expanding the audience for Godzilla and other kaiju.

A second spinoff Monsterverse series focusing on Lee Shaw in a 1980s Cold War context has been greenlit by AppleTV and is starting production in June.

That said, while this community is featuring the Monsterverse continuity, we’re open to posts and discussions about all Toho, Toho licensed and related kaiju media.

Please feel welcome to post and comment about other eras and continuities.

I’m going to say that I saw some of the problems to come in BSG season three, but I still bought the physical media up to that point.

I don’t think you can blame it all on the writers strike, any more than you can blame Picard season two or Discovery season four’s weaknesses on the pandemic.

Other shows managed better. It’s the test of a good senior production executive to manage through those situations.

I was deeply disappointed in where For All Mankind took its women characters. I was hoping that having Naren Shankar join after he finished with The Expanse would redeem it, but it just kept getting worse in its treatment of women.

• !a driven engineer who becomes the head in Houston only to fall into a honey-trap and feed the Soviets information!<

• !an astronaut who played up her physical beauty and whose top-gun husband became a despondent alcoholic when she leaves him responsible for the kids!<

• !an astronaut who hides her sexual preference through a fake marriage!<

• !the neglected wife of an astronaut who is stalked and manipulated into a one time sexual encounter with a young man she once looked after as a child, then carries the burden of responsibility for the impact of his obsession.!<

We’re going to need to differ on Ronald D. Moore.

I wish Trek fans would stop calling for him to helm the franchise when we have not seen adequate evidence that he can carry through to make the kind of Trek that represents IDIC for future.

What I am seeing from him is a pattern of starting great new shows but not having as great ideas about following through long multi season arcs.

The Battlestar Galactica reboot was riveting for the first two seasons and then spiralled to a disappointing conclusion.

For All Mankind spun out in seasons two and three with an Oedipal storyline about a kid who becomes obsessed with his foster mother and wreaks havoc. Not to mention that all the heroic women characters in from season one had to be shown to deeply flawed by season three in a very male-perspective way.

For All Mankind isn’t as bad in terms of having a cisgender-male viewpoint writing women leads as say the Sheridan show Lioness, but it’s not succeeding as a show women see themselves in.

Thanks! I’ll add that to the original post.

This is very helpful in putting the situation in context.