Category film

Apr 14 2022

The Neutral Zone Studios

Hubby and I decided to visit “The Neutral Zone” studios on one of their almost monthly fan appreciation weekends recently. Also, since these sets are rented out, the only time to see them is during scheduled events, so certainly see the calendar on the website prior to planning a visit.

The facility is actually a warehouse in Kingsland, Georgia, where the web series Star Trek Continues was filmed. The sets occupy a space just under 10,000 square feet, which is small by Hollywood standards, but the sets include many of the areas which would have been used on the original Star Trek series. While the original sets were destroyed more than fifty years ago, the blueprints are available, as are screen shots from the original series. The sets at The Neutral Zone were constructed over more than a year, then used for a while by the makers of Star Trek Continues. When CBS/Paramount decided to reboot Star Trek (making such series as Discovery, Picard, and Prodigy) they basically told the folks making Star Trek Continues to wrap it up, so the sets became available for fan films. Indeed, it is possible to rent The Neutral Zone for an event or to make your own film, as long as the script meets the restrictions put in place by CBS.

The set visit begins with a guided tour. We began our tour with Ray Tesi, who currently owns the sets and manages the studio, then Vic Micnogna, who was the visionary behind Star Trek Continues, took over. Vic also plays Captain Kirk in the series, and if you haven’t seen it and are a fan, you really should take a look at the eleven full length episodes. Ray began with some background, then took us to engineering, then just across the entryway to the main ship, which is arranged in a circle, just like TOS. We visited sick bay, the briefing room, Captain’s quarters, the transporter room, auxiliary control, the Jeffries tube and brig, and the big finale is the bridge set. The guide(s) explained how the sets were built originally, and how the sets might be used in filming now. For instance, the Captain’s quarters, with a bit of redressing, can be any crew member’s quarters.

After the tour, with a bit of flexibility to avoid the next tour, attendees are welcome to take pictures. Just imagine, you, too can be pictured standing in the transporter room or on the bridge, either at the helm or even in the captain’s chair. We also purchased the entire series on DVD, and as Vic was there, he autographed the case for us.

Star Trek, even for non-fans, is a bit of a cultural phenomenon. Who doesn’t know such phrases as “Beem me up, Scotty?” For non-fans, The Neutral Zone is probably not a tourist destination, but for the thousands upon thousands of those who are fans of the original Star Trek series, the set tour is an amazing experience. I urge travelers to take a look at the websites for both The Neutral Zone and Star Trek Continues for a bit of research prior to scheduling a trip. As a fans of all vintage Star Trek series, including Star Trek Continues, this was a “must see” for us, and it did not disappoint.

Feb 7 2022

The Sound of Music Companion by Laurence Maslon— a brief review

Since I was quite young, I have loved this musical, as have many other people. I’ve owned the sound track in various forms, as well has having first a VHS then a DVD of the film. However, recently I read a short but glowing recommendation for this volume, so off to eBay I go, and low and behold, I got the book in a box with yet another DVD and sound track CD. Sweet!

This is what I’d call a “coffee table” book in size, but the content is a bit more than some such books. The forward is by Andrew Lloyd Webber, who was engaged in putting on a revival of The Sound of Music for the stage in London around the same time as this book (2006) but the book itself begins with the story of Maria von Trapp, the subject of a couple of books prior to her story being turned into the now famous musical.

For those of us who discovered the story via the 1966 movie, the musical actually begins a bit earlier, as a Broadway vehicle for Mary Martin. The music was done by Rogers and Hammerstein, of course, and the book takes the reader through much of the creative process, with photos of notes and typewritten song lists, as well as pictures from the Broadway and traveling productions. There is quite a bit of detail regarding the modifications done as the play was transformed into the movie. Fans of the film will know much of the content, no doubt, but there are nuggets of information which should prove interesting for even well-read aficionados, and there are quite a number of pictures taken during the lengthy location filming in and around Saltzburg.

There’s a bit of information regarding the careers of the “children” in the film, and a couple of pictures showing them all grown up. However, the book doesn’t end there. As this play is still being performed in various venues, there is some detail regarding its continued success. The last section is a fairly detailed recount of the revival done by Lloyd Webber’s production company.

When it comes to these photo centric books, sometimes one thumbs through, reading the captions, and that’s that. With this book, I read it, all in a couple of days. While it was not suspenseful, it was interesting and kept my attention from the forward to the credits. That’s rare for me. So, for fans of the film, it a top pick. For those interested in how a feature film is developed, it is also of more than passing interest. And, as it is no longer new, it is quite affordable, too. Win-win!

Nov 13 2021

Redshirts by John Scalzi—a brief review and commentary

Fans of Star Trek, the original series, will immediately understand the premise of this very humorous novel. For the few folks who aren’t familiar with the show, there were a handful of officers who were the “stars” of Star Trek. In the show, the starship ventured from planet to planet. Often, one or more officers left the ship on “away” missions, and they were almost always dangerous. Those bridge officers were usually accompanied by security officers, and in the color scheme of the original series, security staff wore red shirts. As the show couldn’t lose any main cast members, the extras, playing security staff, would invariably be the ones to be maimed or killed.

In Redshirts, the author follows a young officer assigned to the Intrepid, the flagship of the Universal Union. Ensign Dahl is thrilled to be onboard, but soon becomes apprehensive, because he quickly realizes that when lowly crew members accompany the captain, its chief science officer, or its chief engineer, those lowly crew members would bear the brunt of any dangerous action. In other words, Ensign Dahl is a “red shirt” without actually wearing a red uniform. So, as a very intelligent young officer, Dahl must navigate the command structure of the Intrepid and learn how to stay alive. Quickly, he figures out that it is best to be anywhere other than on an “Away Mission.”

At times, Redshirts is laugh out loud funny. For instance, any attack on the ship will take out the lower decks, but the bridge always remains unscathed. And one young lieutenant has so many close calls, but he never dies, as he is a “main character.” Soon it becomes apparent that only a few characters will always survive. More experienced crew members seem to have figured out how to dodge being tapped for away missions, thus newbies like Ensign Dahl are more likely to end up dead. Rather than explain what they do and what the manage to figure out, I will simply say that the novel goes where the reader might not expect. And, while the novel really is funny, it is also a bit challenging.

Not since Galaxy Quest have I seen such a good parody of television space opera. Fans of the genre will certainly find something to like in Redshirts. And, for those few folks who have never seen Star Trek in any of its various iterations, this novel is still funny, but probably won’t resonate quite so well. However, the novel is rather, well, novel in that it doesn’t end at the end. Instead there are three sections after the end, called Codas. Some reviewers liked them, some did not. Hopefully, some of my readers will take up the challenge and try this book.

Science fiction fans tend to be smart, and it takes some smarts to appreciate this novel. That said, it is quite creative.

Mar 28 2021

Star Trek Voyager: A Celebration

While all Star Trek series are worthy, some are just more interesting than others. Deep Space Nine has some great characters and acting, but initially suffered from being “stationary” rather than zipping around like the Star Trek ( the original series) or Star Trek: The Next Generation. As Roddenberry’s vision had sharpened and the syndication model freed him from many constraints, probably TNG is the overall best series. Certainly, the acting is amazing and the scrips are often really great, too. But, as special effects have become better and better, TNG suffers a bit in that area. Enter Star Trek: Voyager, which had a seriously huge void to fill, as it debut was a mere six months after TNG ended its seven year run. I also reviewed a book, Star Trek Voyager, A Vision of the Future, written during Voyager’s run, which is good, but last year, this volume, written as an anniversary edition, does a much better job of explaining the series as a whole, from development to the two part ending episode, “End Game.”

Upon receiving the book, I thought it would be one of those “coffee table” books, long on pictures and short on words. Nope, although there are many pictures. Indeed, the use of now decades old still pictures from the series is sometimes a weak point. However, there are drawings, pictures of behind the scenes contributors, and plenty of text. Overall, I really enjoyed the book, which is written in short segments which can be quickly read, but there are many sections, and these don’t necessarily need to be read in any fixed order.

The book begins, logically, with series development, and then there’s a short (two page) section devoted to the title sequence. I had no idea that this part (often “skipped” while streaming) was nominated for an Emmy award. Interspersed with the more technical aspects of the series are longer passages about the characters, beginning, of course, with Captain Janeway. The authors (two principal and two others, along with a general editor and a sub-editor) rely upon previously published material as well as newly conducted interviews with some cast members, as well as writers, producers, artist, and a host of others. Kate Mulgrew, who played Janeway, is among those who share memories in this book, and she discusses how much pressure was upon her as the first female captain of a Star Trek series, and how she approached the character as well as learning the scientific language necessary in this sort of show.

As there were many episodes (16 the first season, and 26 in each of the following six seasons) not all of them are featured, but sections devoted what are termed “key” episodes are mixed in with the other segments. The first, “Caretaker” is the two part pilot, and some of the other key episodes include “Tuvix” a character created by a transporter accident in which Neelix and Tuvok are blended into one individual. Each character gets a section, and most of multi episode villains do also. There are a couple of segments about the ship, one about the Delta Flyer, which is a smaller ship built by the Voyager crew about halfway through their journey, as well as segments about the special effects department, the makeup artists, the costumers, the writers, and the directors. As a fan of Voyager since it originally was broadcast, I knew quite a bit about the series, but there’s a lot of new material. For instance, I knew that some of the actors directed certain episodes, but I did not know that Star Trek actually fostered this by holding a “director in training” program. Roxann Dawson, who played Lt. Torres, directed a couple of episodes of Voyager, but went on to become a sought after director. She states that the program changed her life.

Bob Picardo took advantage of the DIT program and directed episodes of Voyager, but he also gets a writing credit, as he pitched a story line which was used, and he co-wrote the script. Robbie McNeil, who played Tom Paris, also directed multiple episodes of Voyager and went on to direct other projects.

When TNG was in production, many of the special effects were done with models, but by the time Voyager was being produced, digital graphics were beginning to be more cost effective, as well as allowing more creative shots, so as the seven seasons went by, more and more VFX were done digitally. However, in the show’s 100th episode, “Timeless”, the ship is depicted as crashing into a snow and ice covered planet. The visual effects crew found that digital snow wasn’t working, so they ended up doing a practical shot with a model crashing into a tray of baking soda. I’ve seen that episode several times, and I am amazed by how good it looks on the screen.

For fans of Star Trek Voyager, this book is a real treat. For readers interested in television, particularly directing, writing, and special effects, it is worthy. Casual readers or those who just “look at the pictures” might be a tad disappointed in this book, but I read it cover to cover, with a couple sections earning a second reading. For now, it has a spot on my “keeper” shelf, too.

Jan 13 2021

Time for Dystopian Science Fiction?

Reader’s Alley, a nifty site for bargain eBook lovers, divides their science fiction offerings into sub-genres: sci-fi romance, sci-fi thriller, and science fiction, dystopian. While those first two descriptors would seem self-evident, the dystopian flavor is considered by some (mostly jaded members of academia) as the only serious science fiction. Typically, I avoid reading dystopias because they tend to be so darned depressing. But, with all that is happening in the news, which I also try to avoid, perhaps it is time to take a look at the genre.

One of the finest books about the history of science fiction is Brian Aldiss’ Trillion Year Spree, which covers science fiction literature from its beginnings to the early 1980s. Aldiss does discuss many sub-genres, but the thread of dystopia runs strongly throughout his encyclopedia of science fiction in printed form. The term, dystopia, is applicable to “a world in which everything is imperfect, and everything goes terribly wrong. Dystopian literature shows us a nightmarish image about what might happen to the world in the near future. Usually the main themes of dystopian works are rebellion, oppression, revolutions, wars, overpopulation, and disasters. On the other hand, Utopia is a perfect world – exactly opposite of dystopia.”

Science has, until recently, been viewed as a two edged sword; while it can make life much better, mis-use of science has been the root of all sorts of evils. Frankenstein, by Mary Shelley, is often considered to be the first science fiction novel, and the dark side of science is clearly the central theme of the novel. Dr. Heidegger’s Experiment and Rappacini’s Daughter, short stories by Nathaniel Hawthorne, also feature mis-use of science as their main themes. When teaching those stories, which used to be in many American Lit anthologies, one way to make it simple for students is to say, “Hawthorne is basically telling his readers, ‘don’t mess around with Mother Nature’.”

Later novelists fine tuned dystopian themes, with societies becoming more and more restrictive upon the populace. Aldous Huxley’s Brave New World and George Orwell’s 1984 share these themes, “including the consequences of totalitarianism, mass surveillance, and repressive regimentation of persons and behaviours within society.” Kurt Vonnegut’s short story, Harrison Burgeron is one of the most widely read dystopian stories, due to its inclusion in anthologies for students, and I recently read a news story liking our current government policies to Vonnegut’s didactic work. Y’all, it is scary when dystopia becomes reality.

Of course, many fans of science fiction today seldom, if ever, read it. Instead, what they know of utopia and dystopia is presented via video. Early episodes of Star Trek explored both sides of the scientific divide. The Ultimate Computer, rather dated today, explored the man vs. machine conflict, using future war games as a setting for its rather disturbing premise. Various dystopian novels have been adapted to long form (movies) video, including everything from 1984 to Planet of the Apes. There are literally dozens of dystopian sci fi films. Some are rather laughable now (Mad Max?) but others are quite troubling.

My own fiction, which has many conflicts for characters to attempt to resolve, certainly isn’t “happily ever after, ” but it isn’t as dark as some of these works, and that’s because my outlook on life is more pragmatic. Hopefully, there will be some gravitation away from the totalitarian policies of modern politicians and administrators. But, when I consider what I am seeing when I do go out and about, I wonder. I really do. Remember this: In each fictional dystopia, the goal was to make things better for certain segments of the population, and bad outcomes are unhappy accidents. Be careful what you wish for—

Nov 29 2020

The Crown— review and commentary

Which is which?

Netflix has some amazing original content, and one of its best efforts thus far has been The Crown, a somewhat fictional series based on the reign of Elizabeth II. Written and produced by Peter Morgan, this series begins while Elizabeth is still a youngster, but when her father takes over for his brother (who abdicated the throne so he could be with his “commoner/divorcé” lover) Elizabeth becomes the heir to the throne. From that time period, her father grooms her to serve the people and the royal family, a/k/a The Crown. Seasons 1 and 2 feature Claire Foy as Elizabeth, and former “Dr. Who” Matt Smith is Prince Philip. Perhaps the best performance in this award winning season goes to John Lithgow as an aging Winston Churchill, who guides and yet admires the young monarch as she works to live up to the responsibility thrust upon her when her father dies at a fairly young age.

The Crown does a fantastic job of intertwining history and some suppostion, thus educating a new generation about some of the most important (or at least entertaining) events in United Kingdom in the past few decades. Each season spans several years, so the cast changes in order to better show the aging of the characters. For instance, while Claire Foy is Elizabeth in the first two seasons, the queen is portrayed by Olivia Coleman in seasons three and four. The latter dropped onto Netflix November 15, and Coleman does a really good job as the middle aged sovereign, as does Gillian Anderson as Margaret Thatcher. Another season four cast addition is Emma Corrin, who bears more than a passing resemblance to young Princess Diana. The series has been mostly been praised, but season four is a bit more controversial. Since this season portrays the “fairy tale romance” between Prince Charles and Diana, then quickly lays out the conflicted marital mess that ensued, because apparently Charles didn’t love Diana at all, but maintained his relationship with his former lover, Camilla Parker-Bowles, during most of the marriage, some viewers (and those close to the real people) have been a bit riled.

Of course, Prince Charles and Princess Diana separated then divorced, but younger fans apparently didn’t realize the “why” in the divorce until The Crown brought this back in a big way on the small screen. Recently, the social media accounts of Prince Charles and (now wife) Camilla have been inundated with snarky posts. Furthermore, officials in the U.K. have asked producers of The Crown to assure the public that the show is fictional.

History only works after the fact. Peter Morgan (series creator and chief writer) benefits from the many publications about the British royals, and is able to pick and choose what he presents to the audience in The Crown. Mostly the characterizations and storylines seem spot on, but those close to the royal family point to discrepancies, and no doubt some “fiction” does come in. Regardless of these points, The Crown has extraordinarily high production values. The cast is first rate, the scripts mostly entertaining; and the sets, costumes, and locations all contribute to the feeling of being an eyewitness to history. If you haven’t seen it yet, this series is one of the very best shows on Netflix.