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TemporalFlux wrote:

Sliders made the list:

https://screenrant.com/most-underapprec … eddit/amp/

Jerry and his twin brother are sure to be proud

One of the funniest things about SLIDERS is how it's constantly mis-remembered as a time travel show or a show about travelling to other planets. SLIDERS is a niche show. SLIDERS is a show beloved by a small number of people. But the premise of SLIDERS really has the potential to go from the niche of this forum to becoming a global mainstream brand if NBCUniversal can see its value.

I never watched the original QUANTUM LEAP aside from the Pilot, but I listened to all of REWATCH PODCAST with Tom and Cory covering QL, so I feel well-equipped to watch the new show and I'll follow Martin Gero anywhere. A great showrunner.

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Over here in Canada, I am worried about the rise of fascism with the Conservatives having been taken over by Pierre Poilievre who is basically Informant. Informant was basically Donald Trump but with Tracy Torme's vocabulary and writing skills. In short, Pollievre and Informant were Donald Trump but smart.

Informant said lots of unbelievably stupid and cruel things, but he presented them in a form that made them seem initially digestible; he cloaked his cultism and fascism and homophobia and misogyny in the language of social justice and realism rather than just copy-pasting from incel forums and Trump's social media. One prime example was Informant's constant, unceasing sympathy for slave owners and human traffickers and sexual abusers who look like Caucasian women like Allison Mack.

Informant was a genius. He may have said stupid things, but Informant wasn't stupid. For example, Informant may spout antivax views on Twitter (or did until I put him in Twitter's sights), but you and I both know Informant has probably had four if not five doses by now. 

The next Donald Trump will be like Informant: capable, competent, organized, focused and will not be defeated by blundering ineptitude.

I'm starting to think our best bet might be to just see whatever Temporal Flux worries about at night and then take that on first. TF was worried about inflation over a year and a half before it started becoming front page news.

Yes, I heard about it on the Pieces of Eighth podcast (which is focused on the Eighth Doctor). 1996 TV movie screenwriter Matthew Jacobs did an interview where he told the podcasters about this documentary.

There's one curious thing that Jacobs mentioned. In the behind the scenes book DOCTOR WHO: REGENERATION by TV movie producer Philip Segal (with Gary Russell), Segal told a story about Matthew Jacobs saying that Jacobs' father Anthony was an actor who'd been in the First Doctor story "The Gunfighters" (playing Doc Holliday), that Jacobs had been on the set for filming, and that his father were estranged that father and son only made peace when Anthony was on his deathbed, and that Jacobs brought this sadness and longing into the script for the TV movie.

This is peculiar because in the interview, Jacobs said that this story about his familial estrangement was completely made up by Segal and not true. Segal made up this unflattering portrait of Jacobs' father and put it in a widely distributed behind the scenes book for Reasons. I wonder if Jacobs' documentary will offer any theory as to why and if it will offer a fuller portrait of Matthew and Anthony Jacobs.

One of the things about writing fiction: characters sometimes have to say and do things that aren't 'realistic' but are necessary due to the medium, the format and the production.

I got into DOCTOR WHO when it was off the air. My experience of DOCTOR WHO was the Eighth Doctor novels and audioplays; there was no TV show on the air during 1999 - 2005 when I discovered the series, but there were all the novels since 1987 and all audioplays from 1999 onward. The Eighth Doctor had only been in the 1996 TV movie, but his novels and audioplays made it feel like DOCTOR WHO was an ongoing, present day series. Slider_Quinn21 once remarked that I was unlike most scifi fans: I considered media tie-in novels and audioplays and comic books 'canon' and took them as seriously as the TV and films to which they tied in. This is probably why.

The Eighth Doctor had only one onscreen appearance in the 1996 movie and presumably regenerated offscreen when the DOCTOR WHO TV show came back in 2005 with the Ninth Doctor. But in 2013, for the 50th anniversary special, the Eighth Doctor actor and the 2013 series produced a canonical internet special, a short film called "Night of the Doctor" where the Eighth Doctor dies on his last adventure and regenerates into his subsequent self. In this short film, the Eighth Doctor prepares for death and names his companions. "Charley, C'rizz, Lucy, Tamsin, Molly -- " he intones, referring to all of his audioplay companions.

He doesn't mention his book companions. He doesn't mention his comic book companions. I wondered why, given Sam, Fitz, Compassion, Anji or Trix (novels) or Izzy, Destrii (comics) never appeared onscreen any more than the audioplay characters. The Big Finish audioplays had initially suggested that the Eighth Doctor plays were in a separate timeline from the novels, but after the novel line had concluded, a subsequent audioplay had an anthology where the Eighth Doctor had a single audioplay adventure with Fitz and one with Izzy, declaring that the novels were set in the past of the Eighth Doctor audioplays. Also unmentioned were Samson and Gemma, two companions who had only appeared in one audioplay.

Of course, actor Paul McGann could not have played a scene where he had to list off 14 separate companions; screenwriter-showrunner Steven Moffat had to choose a limited number. Five names was probably the maximum. It made sense for Moffat to choose the five most well-known companions of the Eighth Doctor.

Lucie had been in the BBC7 radioplays and was probably familiar to about 400,000 listeners. Charley had been the Doctor's first audioplay which probably had an audience of 250,000 fans (just guessing). In contrast, the Eighth Doctor novels sold maybe 25,000 - 50,000 copies each (according to one of the writers talking about his sales).

The audience for the TV DOCTOR WHO during this era was 12 - 13 million viewers. Most of them would have no idea who the Eighth Doctor had travelled with in novels, audioplays and comics. The companions with the biggest audiences had to be the ones whom the Eighth Doctor would refer to before he died.

There is possibly some rationale to why the Doctor spoke of those names. Charley vanished on him without a proper farewell (as far as he remembered because his memory of her was partially erased). C'rizz, Lucie and Tamsin died. Molly was separated from him and when he found her, decades had passed and she felt too old to have any more adventures with him. Perhaps the Doctor was referring to the companions with whom he felt he'd left things unresolved. Since the short film, the Eighth Doctor audioplays have added more companions (Liv, Helen, Bliss) and with this reasoning, none of these new companions can die.

There was no easy solution to this issue aside from simply not having the Doctor name any companions. However, when Paul McGann spoke the lines in 2013 that named the audioplay companions, he sparked a new interest in the audioplays and drew quite a bit of attention to this media tie-in product which made more sense than trying to spark interest in a series of 1997 - 2005 novels that had been out of print by 2013.

Whose names should the Eighth Doctor had named? Who would he have named if there weren't marketing and audience considerations? If it weren't for the writer trying to canonize the audioplays, would the Doctor have named any names at all?

It's a conundrum that will forever fascinate me.

I stand by all of the above.

**

I find that in criticism of content, entirely too much criticism can be summed up with: "You didn't write what I would have written, so what you wrote is bad."

This is a cognitive bias and an error in judgement where one person declares that their subjective and personal tastes in fiction, a highly personal and individual set of likes and dislikes, are an objective standard and any content that doesn't match this one person's obsessions and distastes is flawed and worthless. This is not a perspective to which I subscribe. My belief is that content should be evaluated in terms of three questions:

What was the creator trying to accomplish?
Did they accomplish it?
Why or why not?

When we claim that a piece of writing failed because it was a historical drama and we prefer spaceships in our stories, we are not reviewing the material based on its attempted merits. It is arrogant to declare that the only material worth producing is the material we ourselves would write. It's entirely possible to simply say that we personally do not enjoy certain kinds of fiction.

I'm not a fan of the LORD OF THE RINGS movies because I don't connect to large scale battle scenes. I had the same issue with INFINITY WAR. I don't really gravitate to shows with male protagonists because I have trouble relating to men. I don't like vampire protagonists too many stories have them preying on innocent people and being presented as the protagonist. That doesn't mean people shouldn't write these things and it would be shockingly rude and dismissive of people's talents to claim that something is "creatively bankrupt" "100%" just because I personally would not read it or seek it out or enjoy it.

There's also the fact that writers are only human. Writers aren't omnipotent or omniscient even when creating worlds through typing prose or screenplays. Writers have gaps and limitations of knowledge. Writers have strengths in writing certain kinds of scenes and weaknesses in writing others. As a result, writers often have to choose what to emphasize in their work at the expense of other story elements. SHERLOCK prioritizes the semi-dysfunctional friendship between Sherlock and John over the actual mysteries. COMMUNITY prioritizes the interactions of a friend group at a college over actual academics. STAR WARS prioritizes one pilot's interaction in one conflict over the larger scale of the actual star wars. Now, someone might prefer a focus on mysteries or schoolwork or the larger interstellar conflict, but that doesn't mean those works are flawed on those grounds. Instead, the questions would be:

What was the creator trying to accomplish?
Did they accomplish it?
Why or why not?

If you dislike SHERLOCK, COMMUNITY and STAR WARS, these questions could still lead to a negative review, but it would be a negative review that came after engaging with the actual aims of the writing as opposed to saying it fell short of the reviewer's hypothetical projects.

I haven't watched as much STARGATE as I'd like to, but Martin Gero created and ran BLINDSPOT for five seasons and I was really impressed by his ability to create and manage a formula, maintain running arcs, create variations with each season to prevent story elements from becoming tiresome, manage an ongoing mythology with climaxes and resolutions and stories after arcs were concluded, and handling budget cuts while ensuring that the series finale was still an event-sized story.

BLINDSPOT is about a woman (Jaime Alexander, Sif from the THOR movies) who wakes up naked in Times Square. She has amnesia, she is covered in tattoos, she is taken into protective custody by an FBI team. They discover: each tattoo on her body leads to information about a crime committed by a corrupt government official and indicates a larger conspiracy to an unknown and cataclysmic endgame. Furthermore, the woman, dubbed Jane Doe, realizes she has advanced fighting skills and weapons training that would outclass the most seasoned soldiers. Each episode of BLINDSPOT investigates a tattoo and a crime while trying to get to the bottom of who Jane Doe is and where she came from.

BLINDSPOT did a great job in its first two seasons of creating a myth-arc and then revealing it wholly by the Season 2 finale. Season 3 then created a new mythology from the remnants of the old one. Season 4 explored Jane's original identity being at odds with who she is now. BLINDSPOT boasted astonishing fight scenes, enticing puzzles a dark sense of humour, excellent use of procedural tropes, and Jaime Alexander was grippingly compelling as the lead. Martin Gero completely understood the appeal of his show and when his dark stories found lighter moments in guest-stars and unexpected onscreen chemistry, Gero capitalized on it, bringing a comic relief guest-star in as a regular and deepening some of the unplanned partnerships.

BLINDSPOT was hit with a serious budget cut for its final season. While the location filming and fight scenes fell away, Gero did a good job of having such intense character-oriented storytelling that the show remained strong even if the budget was clearly low. Gero was unfortunately forced to kill off a character to cut actor costs, but Gero made sure to bring that actor back for some special guest appearances to pay tribute to the performer. Gero did numerous bottle episodes to save money which allowed the BLINDSPOT series finale to have a big budget production with lavish location filming in New York City with guest-stars from every previous season and an elaborate and extensive final fight scene for Jane Doe.

Gero was strategic and smart with his writing and his money even when that money was running low. Gero never allowed his disappointment with the lack of network support or studio funding stop him from giving his show his full effort. Gero ensured that Jaime Alexander was always filmed as an athlete and a warrior rather than as a pinup girl or a BAYWATCH lifeguard. Gero wrote detective stories with wit, humour and a genuine love for each character on the show. Basically, Gero was the exact opposite of David Peckinpah and Bill Dial and he would be an excellent choice to run any TV show.

QUANTUM LEAP fans have a lot to look forward to with Martin Gero as their showrunner.

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(1,683 replies, posted in Sliders Bboard)

I had hoped David Zaslav would not be doing a slash and burn on WB-Discovery, but I think it's clear that's his only plan. The agreement between HBO Max and creators is that HBO Max would get the money for subscriptions brought in by the content and then creators would get residuals for ongoing viewing. HBO Max has pocketed the subscription money and then ceased residual payments. Will any talent want to work with WB's film or streaming content departments if this is how WB does business with BATGIRL and other HBO Max projects?

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Jordan Elsass is mentally ill and needs help. From what I can tell, the antivaccine trickery started with his mother who blamed some infant health problems he had on his vaccinations and attempted to sue the Arkansas Department of Health in an incoherent filing claiming that her son became autistic. I can't say whether or not Elsass is or isn't autistic, but this antivaxxer delusion started at home.

Elsass was surrounded by vaxxed and boosted coworkers for all of Season 2, so his adherence to his antivaxxer value system is probably due to a family-driven indoctrination that social media undoubtedly deepened. His absurd value system led to a difficult time in Season 2 where pandemic protocols were relaxed for the S+L cast and crew but not for Elsass whose studio-mandated lockdown never ended because it was the only way for it to be safe to film around him.

The segregation and loneliness clearly made him crack even as he adhered to his belief that vaccinations are dangerous and evil; he was ostracized by his castmates from all social functions. He said on social media that restaurants and other businesses refused him entry because he couldn't offer a vaccine receipt back when Canada was still requiring it for indoor public spaces. He was probably under strain because his belief is that vaccines are deadly and dangerous and yet, nobody on S+L died from their 3 - 4 doses and the cognitive confusion there would have been disorienting.

He said that he was checking into a mental ward for a two week hold and would then go to Vancouver for Season 3 of S+L; he never made it back to Vancouver.

It is encouraging that Elsass recognized that he was having a mental breakdown and sought help even though he didn't seem to see that his refusal to vaccinate was making it difficult for him to work, alienating him from his coworkers and now his refusal to meet pandemic protocol quarantine requirements for an unvaccinated actor has cost him an excellent job and probably his career. Elsass is to be pitied and I hope he is still in care and can free himself of what was inflicted on him by some truly bad parenting and self-destructive choices.

However, I think it's for the best that SUPERMAN AND LOIS is free from having to work with an anti-vaxxer actor even if said actor was a brilliant talent. They are probably going to be a lot happier working this year and they can find a new actor for Jonathan who can live up to Superman's values of truth, justice and a better tomorrow (that's right, they changed it).

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(1,683 replies, posted in Sliders Bboard)

Jordan Elsass will not be returning to SUPERMAN AND LOIS for Season 3. Jonathan Kent will be recast.
https://tvline.com/2022/08/16/superman- … -3-recast/

The word I've heard through the grapevine: Elsass is a fervent antivaxxer and a supporter of illegal occupations of public property in Canada. He cited various allergies to refuse vaccinations during Season 2 of SUPERMAN AND LOIS. He was able to somehow secure an exemption from the studio vaccine mandate.

Due to the strict pandemic protocols of testing and distancing, SUPERMAN AND LOIS was able to film with Elsass, but Elsass continued to deride vaccinations on set and loudly declare that vaccines don't work. The cast stopped inviting him to offset social functions. Due to being unvaccinated, Elsass could not travel to conventions or various promotional events.

The (self-inflicted) workplace isolation and alienation and various other mental health crises saw him checking himself into a mental ward shortly after Season 2 of SUPERMAN AND LOIS. He was scheduled to show up in Vancouver for Season 3 preproduction. He never showed up. Without two weeks in quarantine, Elsass effectively made it impossible to film any scenes with him.

Nobody who has worked with him was particularly surprised or disappointed.

...

Look, I've had four doses of Moderna and if these were dangerous, you'd never hear the end of it from me.

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(3,555 replies, posted in Sliders Bboard)

My present understanding: convicted felons can run for office. The Constitution (Article II, Section 1, Clause 5) sets the only qualifications for the US presidency (natural born citizen, 35 years old, 14 years a resident of the US). It doesn't rule out criminal convictions. However, Trump could conceivably escape jail by agreeing to never again run for public office for a lighter sentence; Trump might find that his criminal cases make him an absentee candidate unable to do the public appearances with which he's obsessed; Trump's assets could be frozen; Trump could find it financially and logistically impossible to campaign.

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Can Trump run for the presidency from jail? Could he win from jail?

It's interesting that the first episode they made and originally planned to start with was not an origin story that introduced the series and characters but was, instead, a story that could come later in the run.

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(1,098 replies, posted in Sliders Bboard)

Warner Bros. is giving serious thought to not releasing THE FLASH. I don't think they'll actually shelve it for a tax writeoff (SPRINGTIME FOR BARRY?), but they thought about it.
https://www.cbr.com/warner-bros-may-she … egal-woes/

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Hi, regardless of everything Ezra Miller may or may not have done (and obviously did), let's remember that Ezra Miller is non-binary and uses they-them pronouns.

I know that nobody here is transphobic and that these misgenderings are either typos or because Miller's character describes himself as "a good looking Jewish boy" in JUSTICE LEAGUE, meaning many people understandably assume that Miller identifies as male when off camera. Ezra doesn't identify as a man or a woman.

We should always respect people's chosen identities even if people are sometimes supervillains who have tormented Barry Allen in ways that would make Eobard Thawne take a step back and rethink his direction in life.

I assume that Miller will be recast, possibly with Elliot Page.

I think that is a fair take on canon.

I'd like to say that all STAR TREK novels exist in a side-universe adjacent to the TV shows and movies... but then the novels went and blew up their continuity in the three volume CODA series.

**

Slider_Quinn21 said he'd heard that actor Wil Wheaton (Wesley Crusher) had a certain "dickishness" to people in his private life and at conventions. I finished reading STILL JUST A GEEK, the new edition of some of Wheaton's blog entries with new content. Wheaton was at the center of a seriously messed up situation from ages 7 to 30.

Wheaton annotates his original 2004 writings where he calls out a lot of his 1980s to early 2000s behaviour. He says that in the 2000s, he would blog about auditions and name the specific projects for which he auditioned before casting decisions had been made.

Speaking now in 2022, Wheaton says that it was grossly inappropriate for him to name the projects as it was putting pressure on casting directors. He also regretted taking each rejection at each audition so personally.

Wheaton also notes in 2022 that his 1995 - 2004 audition performances were probably not good; he'd been auditioning for roles where the character was "dangerous", where the character didn't care about other people's opinions.

Wheaton said he had played each (potential) character as unthreatening and insecure. It was perfectly understandable if people didn't hire him to perform as hyperconfident, reckless characters.

He observed: his best performances came from playing characters who didn't have a father. Who were trying to fill that hole with friendship, submachine guns, piloting a starship, or tormenting Sheldon Cooper. It was completely mismatched to the roles Wheaton was pursuing in the 2000s.

Wheaton in 2022 also apologized for the published 2000 - 2004 diary entries where he objectified women, saying it was crude to talk about female fans that way and disrespectful to his wife.

In the annotations, Wheaton describes himself as "an asshole" in his teen years and twenties, finally elaborating. He says that he was frequently moody, withdrawn and rude on the TNG set. He also looked down on the ORIGINAL SERIES actors for doing convention appearances and making a living off of decades-old work instead of doing anything new.

He was uncomfortable with fans talking to him because each interaction made him think he'd end up mining only his STAR TREK work like the TOS actors (and he notes the irony he ended up doing exactly that). He didn't want fans touching him; no hugs, no handshakes.

Wheaton explains: his mother forced him into child acting work when he was 7 years old. From that moment forward, Wheaton's life was going to sets to perform mostly among adults, doing photoshoots for teen magazines, and acting as a monetizable asset to support his parents' lifestyles.

He was repeatedly told by his mother that he'd wanted this career; he was repeatedly disparaged by his father if he didn't get a job. Wheaton felt under pressure (at age 7) to support his family as the only person working. His father mocked him when he felt tired from working so much. His mother told him he wasn't tired or upset about working so much. Wheaton barely spent time with friends his own age: his circle was the TNG cast (adults), and his manipulative mother and degrading father.

Reading between the lines, I'd guess Mr. Wheaton was insecure that his little boy was the family breadwinner; hating Wil allowed Mr. Wheaton to avoid any guilt for wringing all the money he could from the boy and working Wil until Wil cracked under the pressure and quit STAR TREK.

With all his film and TV work, young Wheaton had been too isolated to develop age appropriate social skills. His parents didn't love him, only the money he brought in. Interacting with fans or normal human beings felt like another form of being squeezed for profit. He became hyperaverse to physical contact and an anxious wreck of a human being.

Wheaton seemed to have a guardedly civil relationship with his parents from 1999 to 2009. Starting in 2009, before doing THE BIG BANG THEORY and getting a decent payday out of it, Wheaton decided to take over his finances as a grown-ass 30 year old man. He told his mother and father to hand over the financial details of the Wil Wheaton corporation (the registered business that received and processed all of his acting earnings and paid the taxes and union fees).

Wheaton's parents refused. Wheaton took action (or threatened legal action) and got all the banking information and receipts. Wheaton discovered that from 1986 to 1994, his parents had taken 85 percent of his earnings from his STAND BY ME and TNG performances and transferred that money into their own accounts. No savings, no investments. His parents took it and spent it.

Wheaton's parents had also taken 100 percent of Wheaton's residual payments from TNG from 1994 to 2009. These residuals for syndicated reruns and DVD releases had been hundreds of thousands of dollars a year, all of it going into Mr. and Mrs. Wheaton's pockets even as they watched their son -- whose work had earned all of this money -- facing crippling debt, foreclosure and potential homelessness, and starvation from 1999 to 2005.

Wheaton had borrowed money in 1999 from his parents for his wedding and house and frequently had to borrow additional amounts to buy food for his wife and adopted children (his wife's kids from a previous marriage). Wheaton discovered that the loans had come from his own corporation. Out of his residuals. His parents had lent Wheaton his own money and made him repay with interest.

Wheaton had spent 1999 to 2009 thinking all his STAR TREK money was gone (spent on a house for his new wife and her kids). Feeling stupid for leaving STAR TREK and its regular pay and savings. Ashamed for condemning his wife and children to life on the poverty line. But STAR TREK had never stopped paying Wheaton.

Paramount had been sending Wheaton six figure residuals every year since the mid-90s -- and his parents had intercepted the money for 15 years even as they saw Wheaton struggling to feed himself and his wife and his sons.

Wheaton demanded repayment, but his parents had spent all of the purloined funds, thinking they could appropriate Wheaton's annual STAR TREK payments indefinitely. Mr. and Mrs. Wheaton declared that as they had managed Wil's acting career on TNG, they were entitled to all of his residuals.

Wheaton promptly removed them from his corporation; his parents were enraged but had no legal recourse (it's the Wil Wheaton Corporation) and presumably didn't want their child labour exploitation in the press. Wheaton cut off any further contact and seethed for 10 years before making an angry 2020 Father's Day blog post where he raged about his father and mother (who, I assume, are still fuming that their abuse-fueled free ride is over).

When parents exploit their children this way, the children grow up believing that everyone on Earth will treat them the same way much as the Kaylon believed that any biological lifeform would be a threat. I can see why Wil Wheaton has a reputation for "dickishness". It could be well-earned, but he deserves pity. He is really screwed up.

I can see why Wheaton might be socially deficient, troubled, anxious, and suspicious of anyone and everyone after going through all of the above. The only winner here is Wheaton's psychotherapist; Wheaton is going to be attending sessions forever.

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The FBI would not raid the home of a previous president unless they had probable cause, a boatload of probable cause.

It's possible Trump was warned, but given his lack of poker face and visible agitation, he seems scared of what the FBI found. The reason Merrick Garland has been criticized in the press and online: the Department of Justice has taken almost no publicly visible action against Trump. This is standard practice to avoid giving the targets of their investigations any warning before they secure warrants and crack open safes.

**

I wanted to say: anyone who is an anti-masker or an anti-vaxxer should stop watching TV and movies. TV and movies were possible pre-vaccine and possible now because of pandemic protocols and employer mandates for vaccination.

Without pandemic protocols and mandates, cast and crew would get sick and no production can afford to be paused indefinitely. Without pandemic protocols, there would have been no series finale for SUPERNATURAL and no new episodes of CW superhero shows or of THE ORVILLE.

THE ORVILLE took three years to produce its third season because it was necessary to retool itself on its already strained budget for distancing and masking; it had to retool again to loosen up a bit (but not entirely) once vaccines became available.

Without masks and vaccinations, the cast and crew would get sick and continually reinfect themselves until there would be no one to perform scenes or film them or edit them or make the costumes or dress the sets or scout the locations. Any production without pandemic protocols would be unable to keep filming and eventually become too expensive to keep paused and fail to produce any content to broadcast, stream or present in cineplexes.

Anyone who attacks masks and vaccines should not enjoy the media that is only possible through the safety of masks and vaccines.

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I will get to the other stuff later, but for now, I want to thank TF for his service to SLIDERS in watching the porn parody and encourage him to seek therapy and any other assistance needed in having seen even a few frames of what I am sure was a horrific and disturbing viewing experience.

I tend to highlight how Marc Scott Zicree risked life and sanity on that terrible day where he locked himself in an edit bay with all of Kari Wuhrer's direct to VHS movies to figure out how to write for Maggie in Season 4, but watching whatever the hell this thing was to make screencaps sounds much much worse.

Please have a hot beverage and think of better days.

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(194 replies, posted in Sliders Bboard)

I was prepared to waive my usual disinterest in pornography to watch this SLIDERS porn parody until I saw that they cast a white man to play Rembrandt which makes me wonder if porn, in addition to not being made for me, is also extremely racist.

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I can't tell you what a SLIDERS porn story would be in terms of actual pornography because I don't watch porn. I'm not against it, but they don't make it for me. An... acquaintance showed me a few clips once during a very awkward evening and what it comes down to: most porn available is, from what I've seen, all about women as objects to provide male pleasure. That simply isn't what I want to see of women in media.

My desires are very different. My favourite episodes of ARROW are when they introduced the character of Mia Smoak, a college-aged girl who is revealed to be the daughter of the Green Arrow. She is played by the extremely athletic Katherine MacNamara (SHADOWHUNTERS). And I would feel my heart soar every time I watched Mia run, jump, dive, roll, punch, kick, swing, pivot, ricochet, dodge, block, parry, grapple, or nock an arrow to her bow and fire.

All I can tell you is that if SLIDERS -- for whatever reason -- had to have sex scenes inserted into its stories, well, there are already SLIDERS stories that were broadcast where their plots and character arcs would have been deepened and enhanced and further explored by sex scenes which are already in the stories -- they were just offscreen.

"Sympathy for the Devil". Holy S-word, this book is amazing. Drop whatever you're doing and go buy and read or listen to this incredible ORVILLE story right now. It's stirring, powerful, disturbing and highly relevant to our world. It's too bad they couldn't film this story for Season 3. This was Seth MacFarlane doing the ORVILLE version of SCHINDLER'S LIST. I accept it as canonical and as Episode 8-B of Season 3.

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Interesting theory that Zaslav cancelled the BATGIRL release to try to save WB's DC slate from Ezra Miller: https://www.cbr.com/batgirl-dceu-contin … cellation/

In other news, "Sympathy for the Devil" was to be Episode 9 of ORVILLE (or it is at least meant to take place after Episode 8). Due to budgeting issues, it was released as a novel instead. It's also an audiobook. Please note that you do not have to buy the product off Amazon; I bought my copy from Kobo.

https://www.amazon.com/Orville-Sympathy … 09Z76NZRH/

I haven't finished it yet, but the critical question for Slider_Quinn21: is "Sympathy for the Devil" canon? I understand that to the world at large, TV has a much bigger audience than a novel and TV generally won't accept a novel as canon. But this novel was written by Seth MacFarlane. Does the fact that series creator and showrunner Seth MacFarlane wrote the novel elevate it to canonicity whereas it wouldn't have the same weight if it were written by a STAR TREK freelancer?

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In this other post, I remarked that with "The Breeder", SLIDERS tried to make a sexy porn movie and through incompetence made a body horror movie that isn't sexy but in fact repulsive in every way.
https://sliders.tv/bboard/viewtopic.php … 123#p13123

I wonder: if SLIDERS can do any sort of story in any genre, what are the pornographic, sexual stories of SLIDERS? Oddly, I don't think anyone needs to make them up; they have already been told but the sex was offscreen. By this, I mean that if SLIDERS were to do a sexually charged story that had sexual fantasies, the sex should be character and plot relevant. And SLIDERS has (mostly) written, filmed and aired these stories. However, there is not one SLIDERS sex story; there are four, one for each of the four original sliders.

I think Quinn's SLIDERS sex story was probably in "Love Gods" where he agrees to father Jane Hills' child. If there had been an actual sex scene, I think it would be about this older lady trying to make it as pleasant and romantic as possible for this reluctant but understanding college kid and also show that Quinn is someone who guards himself very much, holds himself apart -- and that he's giving Jane Hills a degree of intimacy that he doesn't usually grant anybody at all and trusting her to love and care for the daughter he'll never know. A sex scene would have added a lot of weight to Quinn bidding her farewell at the end of the episode.

I think Wade's SLIDERS sex story would probably be in "Obsession" where Wade has intense memories of having sex with Derek during their past life where their sex scene would be intensely trusting and warm and add to why Wade feels an instant connection and familiarity with Derek when she meets him again. This would make Wade feel more violated when Derek reads her mind without permission and add to the theme that consent is a conversation and Wade having consented to sex and intimacy and potential mindreading with Derek in the past does not mean that consent is eternal.

I think Rembrandt's SLIDERS sex story is probably in "The Weaker Sex" where Serena flatters, wines, dines, seduces and dumps him and a sex scene would be a parody of the male gaze where Rembrandt is the object of conquest which would make his lie about him dumping Serena when she dumped him funnier.

I think the Professor's SLIDERS sex story is probably in "Double Cross" where his double was cheating on his wife with Logan. I imagine that a sequel to "Double Cross" could reveal that the Professor found a disturbingly detailed diary from his double about having sex with Quinn's double. This leads to the Professor and Quinn have to deal with the painful awkwardness that their two doubles had a sexual relationship and think about how gender in some ways dictated their father-son bond. Meanwhile, Rembrandt finds it hilarious and Wade is mortified.

I think "Love Gods" might have benefitted from some more characterization via a Jane/Quinn sex scene, but "Obsession" and "Weaker Sex" would not have been deepened by additions; what's already onscreen is completely sufficient. And a Professor/Logan sex scene might have been interesting character work for a sequel to "Double Cross" where Quinn and Arturo are desperately trying to never ever ever discuss how how their doubles were having an affair, but it wouldn't be worthwhile for "Double Cross" itself.

If SLIDERS were to tell sexually-charged stories well, these stories would require the sexuality and fail to function if the sex were taken out. It wouldn't be like "The Breeder" where the sexuality is completely at odds with a non-humanoid biological form seeking to reproduce through infestation.

Spoilers
















Season 3 of THE ORVILLE was very good. The "crew becomes monsters" and "crew encounter deadly fantasy scenarios" episodes were misfires. But the other eight episodes went from strength to strength. The Charly character was very well-handled. Given that the actress, Anne Winters, is reportedly dating showrunner Seth MacFarlane, some eyebrows were raised, but the optics seem okay given that Charly was meant to be a one season role with a clear conclusion and exit no matter how her relationship went. And given that THE ORVILLE brought Alara back again for a brief cameo when the actress (an ex of MacFarlane's) had no contractual obligation or financial need to return, it seems likely that, as Temporal Flux said years ago, MacFarlane's conduct is professional and appropriate.

Season 3 did a good job using its extended-length episodes to sell developments that most shows would force like the Krill and Moclan alliances with the Union falling apart and the Kaylon peace accord. Season 3 did a great job of making seven out of ten episodes focused on important social issues from DeepFake and politics to transphobia to intergenerational trauma to bigotry and then doing a sequel to "Majority Rule" for the season finale.

I felt like Season 3's last episode was a series finale. It ends with a gathering and almost all loose ends resolved and Alara returning so that all original cast members are present. It ends with a guardedly hopeful note for our own present day climate emergency and global war. It ends with nuance, both allowing Lysella to 'escape' from a troubled planet but carry the wounds of her world with her. It ends with warning that ORVILLE can't save us, only inspire us to save ourselves. It ends.

I hope there's a Season 4, but there are difficulties. Season 3 took so long to make that all cast and crew contracts have expired. If Disney+ renews the show, not everyone may be available. Most cast members, Seth MacFarlane included, finished working on THE ORVILLE and have found other jobs. There is no contractual agreement to bring them back if they won't or simply can't leave their current jobs. Even MacFarlane is busy running his new TED series. A Season 4 could conceivably have a very different if not completely new cast with a new writing team and MacFarlane only consulting if he isn't free to return fully. I think MacFarlane knew this and therefore wrote and filmed Season 3's finale as the last ORVILLE story ever.

Sorry, I misunderstood the question which I see now was a request for the SLIDERS episode that one finds relaxing.

I am not sure such an episode of SLIDERS exists for me. As far as I can tell, only one episode of SLIDERS was ever made specifically to make the viewer 'relax' (in a way) and it was a failure. I myself don't really watch SLIDERS to take it easy. SLIDERS at its best is too engaging, too thought provoking, too challenging, too stimulating.

I guess "Summer of Love" is pretty lighthearted and "The King is Back" is pretty low stakes; so long as Tracy Torme is running the show, Rembrandt is never in real danger.

But even then, "Summer of Love" and "The King is Back" are fascinating explorations into rhythm and blues, black families and black pop culture and all the characters strike me as Torme writing loving pastiches of all the black people he and his father Mel must have known.

The way Torme writes black characters is interesting. A lot of TV in the 90s like BABYLON 5 wrote black characters as white people played by black actors. Torme writes black people with the knowledge that to be black is to have experiences that are unique to them.

Rembrandt-2's family in "Summer of Love" is in a constant state of competition and control. They constantly need to show off and show each other up; even Rembrandt being (presumed) dead is viewed as a chance to one-up him. But Torme renders that with loving amusement. These characters are all obviously based on people Torme knew in real life.

I think Torme can tell that black people have always had to work twice as hard as white people just to earn half as much if not less. Privileged or racist white writers often paint black people as greedy, but Torme quietly observes that black people are denied so much economic opportunity; it isn't greed as much as survival.

Rembrandt-2 in "Summer of Love" clearly hated the competition (and his wife) so much that he joined the army to fight in a hopeless war. Rembrandt-2 in "The King is Back" couldn't stand having to represent all black people and fled the spotlight, but his absence hurt his bandmates and closed doors and opportunities.

I find myself thinking about all these things and these are supposedly my two 'relaxing' episodes of choice. I think only one episode of SLIDERS was ever made for relaxation: it was "The Breeder", an episode explicitly designed as a brainless, male gaze driven, masturbatory fantasy to stare at Kari Wuhrer's liposuctioned stomach and scalpel refined brows and collagen-inflated lips and the two leaky bags of saltwater pressed into her chest.

But even when SLIDERS aimed for this very low-hanging, very easy target, it failed. It completely crashed. Let's take this seriously: let's say SLIDERS, being a multigenre series that can do any kind of story, decides it wants to do a pornographic film that could be broadcast on FOX. What is the format of pornography? I'm somewhat speculating here; I don't object to pornography, they don't seem to make it for me, but the goal in this instance would be to create a sexual fantasy in which the average male viewer can imagine themselves having sex with a sexually liberated Maggie Beckett who propositions Rembrandt, random male strangers and a random woman. This would be the porn episode of SLIDERS. This is the only format that would make sense for goal of this episode: to let the viewer vicariously enjoy Kari Wuhrer's body.

SLIDERS didn't make a porn movie with "The Breeder" which is odd because they were trying to make one. Somehow, they made a horror movie instead. Maggie isn't an enticing male fantasy in this episode, even in terms of the male gaze. She's hideous and the episode is nauseating. Yes, Kari Wuhrer wears a very tight, very low cut dress and gets naked and slips into a pool and is absurdedly sexual with every male character. But Maggie maims the one man who takes an interest in her and kills everyone else whom she seduces.

Maggie snaps their arms. She strangles them. She chokes them to death so that the parasite can infest their bodies with its offspring. It speaks to how broken and damaged David Peckinpah and Alan Barnette were that they sought to make porn and somehow made repulsive, sickening body horror.

This is not anybody's sexual fantasy no matter how much they might like undernourished women who have been surgically-augmented for the male gaze. I'm not a very sexual person, and some people might appreciate bondage and sadomasochistic sexuality, but would even those people want to be drowned in a pool or strangled and infected by a savage parasite in a gym shower?

"The Breeder" was SLIDERS one and only attempt at an episode for its audience to watch to 'unwind'. I find it unlikely that this bleak, angry, hateful, contemptuous episode could ever be appreciated even in terms of a sexual fantasy. Would people watch it just to see Kari Wuhrer in states of undress? I find that impractical; anyone who wanted to watch Kari Wuhrer's nude scenes could have gone to a video rental store to find her direct to VHS features.

I do have a certain fondness for relaxing TV shows. VIRGIN RIVER is a show where the stakes are so low and the consequences so mild that I watch it while doing laundry. I have similar feelings about THE BIG BANG THEORY and YOUNG SHELDON. Another super low-stakes TV show I love is the 90s ELLEN sitcom in which my favourite episode is the one where Ellen has to move a fridge.

If SLIDERS had been set in a fast food restaurant called Sliders (mini hamburgers!) with Quinn on the grill, Rembrandt on cash, Wade on drive-thru and the Professor as the manager, then SLIDERS would have been a lightweight product. But SLIDERS is not a product for relaxation. It isn't a low-stakes show and even when it tried to do that (once), it couldn't pull it off.

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I am cautiously optimistic that HBO Max will flourish and thrive under WB-Discovery. I am wary of the people involved; I don't like how the WB-Discovery team led by David Zaslav seems to consist entirely of white men -- but for the moment, they say that they intend to maintain and extend HBO Max's scripted series programming with increased investment even as they move it to the Discovery streaming platform (technologically).

https://bleedingcool.com/tv/warner-bros … n-hbo-max/

Zaslav says that WB-Discovery won't release films just to make a fiscal quarter or until they are ready; this is the exact reverse of the WB regime that rushed JUSTICE LEAGUE to theatres with incomplete effects.

https://deadline.com/2022/08/batgirl-ax … 235085520/

I feel nervousness towards Zaslav. I have heard that in terms of business, he is a slash and burn artist and a potential micromanager. He could be like David Peckinpah but sober. I've also heard that he is gregarious and charming, as friendly as Cleavant Derricks and Jerry O'Connell after a pot of coffee. That could be true or it could be Zaslav's PR team talking.

But at the end of the day, he wants to make money. He wants WB-Discovery to make money with DC properties and he is saying in the press that he believes WB-Discovery will make money if WB-Discovery fosters an environment where DC properties are managed by a Kevin Feige equivalent that can actually produce, film and release Superman and other DC movies that are successful and profitable.

However, his vision of profitability may involve massive layoffs, dismissing creative voices, prioritizing Caucasian male-driven projects, ending successful licensing deals with Berlanti Productions, reducing HBO Max to nothing, cancelling SUPERMAN AND LOIS, cancelling STARGIRL, etc.. That's what many worried fans are speculating. I hope that isn't the case. Zaslav says that WB-Discovery needs to exploit their DC intellectual property rather than be the studio that owns Superman and can't seem to produce any Superman movies.

I don't know if he'll be an improvement on the previous regime of Kevin Tsujihara (who handled JUSTICE LEAGUE) and Walter Hamada (who handled/didn't handle Ezra Miller). It is possible that Zaslav will see that treating creatives and characters well is profitable and it's his job to make WB profitable.

Tom Rothman is the FOX executive responsible for the disastrous X-MEN ORIGINS: WOLVERINE (actual title), but in the years since, he facilitated the Marvel-consulted Spider-Man moves and launched INTO THE SPIDER-VERSE into cinematic history. Robert Greenblatt is the FOX executive who repeatedly cancelled SLIDERS and pushed for SLIDERS to bring in a male gaze designed character like Maggie Beckett, but he also saved NBC's CHUCK for a third, fourth and fifth season. Zaslav could be great. He could also be bad for DC... but DC was already in a lousy place with its films.

I felt that SLIDERS fans might relate to this story. As SLIDERS fans, we have an interest that is very much a niche subject, even among science fiction fans.

Niche: Adjective denoting products, services, or interests that appeal to a small, specialized section of the population.

Even with SLIDERS itself, our fondness is niche. Of the 88 episodes, even diehard fans only unreservedly like about 15 - 25 of them. SLIDERS isn't a mainstream interest like LOST; it isn't a science fiction mainstream hit like STAR TREK and STAR WARS. A lot of the fun we have here on this message board is behaving like SLIDERS is a STAR TREK level franchise when the truth is, in terms of viewing figures, SLIDERS might find itself competing with STAR TREK novels and the novels might still win.

When we talk about interdimensional travel in other TV shows, we can't refer to it as "sliding" with any certainty that others will know what we mean. I refer to Quinn Mallory as the definitive science hero of the twentieth century, but I am fully aware that the definitive science hero of that era is Mr. Spock, not Quinn.

To me, this puppet wedding concept where all wedding guests were required to puppeteer puppets is an example of two people with a niche hobby (puppeteering) that they are insisting is mainstream and universal; they have vastly overestimated the appeal of an extremely specialized, small-scale interest; they have fallen into magical thinking where they assume anyone who holds a two pound puppet will instantly infuse it with characterization and animation. In reality, an untrained person holding a two pound puppet will get tired and bored after five minutes.

Something a writing mentor once taught me about writing: the best writing comes when a writer creates a scenario and then lets it play out naturally, letting characters act and react according to their natures and the elements around them rather than dictating who does what and what happens.

I feel that HAT BOY AND DAISY MUST DIE! had some strengths and weaknesses. The main weakness, I feel: I don't think the bride and groom have enough characterization beyond their inability to socialize outside of puppetry.

The story is not clear on why these characters need everyone in their lives to love puppets as much as they do; I don't need everyone in my life to love SLIDERS (in fact, I advise against it; SLIDERS is a pretty abusive TV show). At the same time, if the story were to offer an overly sympathetic explanation, the frustration with the couple might seem hurtful.

The story works right now with the couple not knowing where to draw the line: it was reasonable for the professional puppeteers to bring puppets to perform; it was destructive and pointless to demand that civilians also be puppeteers.

Anyway. Every time I visit my niece, she gives me five cards with the SLIDERS logo on it. Each time I mention SLIDERS, she takes away a card and after she has all five cards, I am not allowed to bring SLIDERS up again. "SLIDERS is a niche interest," she explained to me. "It shouldn't dominate the conversation."

I have always objected to the idea of "favourites" and prefer to add additional categories.

My favourite Quinn episodes are "As Time Goes By" and "The Guardian". "As Time Goes By" shows Quinn at his most vulnerable and fallible; "The Guardian" shows Quinn at his most mature and capable. Both episodes show Jerry O'Connell playing Quinn with a gentleness that O'Connell sadly lost later on in Season 3 and has never truly regained. "As Time Goes By" and "The Guardian" are both Quinn engaged in an human experiment. "As Time Goes By" presents Quinn as an improvising and interpid science hero who is "as slippery as an eel" but who makes mistakes and misjudgements. "The Guardian" reveals that Quinn is a man haunted by trauma but defined by mercy and his gift for problem solving.

My favourite Wade episodes are "Last Days" and "Obsession". Both have scenes where most female characters would behave a certain way but Wade offers an unexpected and character-defining reaction. In the face of certain death in "Last Days", Wade doesn't fall apart or grieve or need comfort; she tells Quinn that she feels deeply connected to her doubles and that she will live on even if she dies here. In "Obsession", a man romances Wade with a note-perfect recreation of her bedroom gained by reading her mind. Wade is outraged at the violation of her private thinking.

My favourite Rembrandt episodes are "Summer of Love" and "The King is Back" with honourable mentions for "Invasion" and "Murder Most Foul". "Summer of Love" with Rembrandt attending his own funeral is a delight and Rembrandt's cheery egotism in "King is Back" is hilarious. "Invasion" shows Cleavant's dramatic abilities at a high point when Rembrandt recognizes that his 'father' is an impostor. "Murder Most Foul" has Rembrandt intimidate a secretary to save Arturo and Cleavant's brilliant performance reminds you that Rembrandt isn't a cop but a stage performer putting on a (scary) show to help the Professor.

My favourite Arturo episodes are "Eggheads" and "Post Traumatic Slide Syndrome". "Eggheads" shows the Professor at his most vulnerable with his dead wife alive on this world. PTTS shows the Professor at his most cravenly self-serving, showing Arturo's darkness and lack of integrity -- only to reveal that this treacherous Professor is a version of Arturo who never developed the loving friendships that our Arturo built with Quinn, Wade and Rembrandt. John masterfully reveals that while the Professor's morality may be questioned, the true Professor would never betray the sliders.

My favourite Maggie episodes are "Slide By Wire" and "The Return of Maggie Beckett". "Slide By Wire" reveals that Kari Wuhrer has plenty of range but was rarely given any scripts to let her demonstrate her skills; "The Return of Maggie Beckett" has some excellent character work. Both are written by Chris Black who has such an obvious crush on Kari Wuhrer (who also scripted her singing in "Way Out West"), but Black's attraction to Wuhrer leads to him writing good scripts for her to perform and I think that is a good thing (but if we get some sort of #MeToo revelation, I will change my mind).

My favourite Colin episode is "Way Out West". Charlie O'Connell does a great job presenting Colin's burning rage and moral integrity as he defeats Kolitar but doesn't murder him. Once again, Chris Black wrote an excellent teleplay (from Jerry O'Connell's pitch).

My favourite Mallory episode is "New Gods for Old" which is an excellent showcase for Robert Floyd's acting. David Gerrold's writing is splendid.

My favourite Diana episode is "Applied Physics" which is a splendid exploration of the Diana character; once more, Chris Black proves himself a spectacular screenwriter working on a truly wretched era of the series.

In terms of historical value favourites:

The Pilot is a showcase for how film-quality television was presented in the early 90s in long, gently-paced takes, limited effects and location filming.

"Invasion" is a beautiful piece of 90s science fiction television when the series 'factory' has been running for awhile: it uses existing and/or minimalistic sets and small-scale effects used to imply a larger world and mythology beyond each shot.

"Double Cross" is a demonstration of 90s action shows with chase scenes and CG effects.

"The Breeder" is a perfect (perfect as in complete in its nature) example of how 90s TV filmed women's bodies through the lens of the male gaze.

"Slidecage" is an artifact of what late above average 90s cable sci-fi shows looked like with moderate-cost interior sets (used from the cancelled TIMECOP series).

"Revelations", "The Great Work" and "Map of the Mind" are a demonstration of poor quality 90s screenwriting where page counts and timeslots were filled with characters repeating the same information over and over again until commercial.

"Please Press One" is an artifact of what poor 90s cable shows looked like with beige hallway across beige hallway.

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My understanding of the tax writeoff strategy: if WB-Discovery goes through with it, they can never release BATGIRL. Ever. If they earn so much as a penny in even indirectly, BATGIRL is no longer a writeoff and WB will lose its tax break. And having read more: I understand that writing BATGIRL off makes financial sense even if it's terrible from a fan perspective. There might even be some creative sense given the dire state of THE FLASH, as you've noted.

It wasn't very fair of me to say that WB-Discovery's decisions don't make sense. It would be fairer to say that the previous WB regime's decisions didn't make sense and the new WB-Discovery team are in a bad situation with a lot of bad options.

The BATGIRL movie was greenlit by the former WB regime for the HBO Max streaming service. WB was aiming to replicate Netflix's business model: infinite subscriber growth fuelled by exciting films that would draw viewers to sign up for the service. WB was releasing its entire theatrical slate to streaming.

But Netflix and all streaming services hit a wall; subscriber growth wasn't infinite. Netflix peaked and is now losing subscribers. All streaming services are struggling. After BATGIRL was greenlit for $70 million, studios found that movies don't draw in subscriptions as well as ongoing TV shows.

In the past year, it's become obvious that BATGIRL's two hours won't bring in $70 - 90 million worth of HBO Max subscribers. In contrast, a single season of SUPERMAN AND LOIS is $120 million, offers 11  -  14 hours of content, and brings in subscriber revenue over years because it's a series and not a single installment product.

Even before the streaming crash, BATGIRL was a very peculiar financial proposition. It was basically a TV movie, the streaming time equivalent of three episodes of SUPERMAN AND LOIS, but the WB studio set BATGIRL up to be three to four times more expensive than three TV episodes.

The reason SUPERMAN AND LOIS produces more for less: a TV show's extended lifespan allows longterm planning. TV shows can spend big on sets, effects models and costumes and use those assets across multiple seasons. A superhero movie has to produce those startup items for short-term use, producing less with more in terms of dollars-to-content.

A TV show uses TV salaried-actors and can take advantage of Vancouver TV tax credits because they're creating longterm jobs and longterm community investment. BATGIRL filmed in Glasgow, Scotland for a limited period with Michael Keaton and JK Simmons and its $70 million budget went to $90 million with pandemic protocols.

M. Night Shyamalan was once asked why his movies had gotten so terrible and why he improved on TV; Shyamalan said that big budget films had made him self-indulgent while TV's lean resources forced him to shed his excesses. Berlanti Productions, which produces SUPERMAN AND LOIS, seems to run a tighter financial ship than WB's film studio with WB's costly and unprofitable reshoots of SUICIDE SQUAD and JUSTICE LEAGUE.

Why won't WB-Discovery just eat the cost and release BATGIRL? After any merger, corporations try to cut costs and they clearly think BATGIRL will lose money as a streaming release but lose less as a tax shelter.

Writing BATGIRL off is terrible from an optics standpoint. BATGIRL had a Latina lead and a female-forward media profile. While cast and crew were paid, they now likely have no reel to showcase their skills for future jobs (as the movie, if a tax writeoff, can never be released or used for profit), no profit participation earnings and a massive public embarrassment.

It looks like WB-Discovery is paying bonuses/kill-fees to Leslie Grace, directors Adil El Arbi and bilall Fallah, Michael Keaton and other cast and crew to try to soothe the ruffled feathers.

Looking at it now, I don't understand why BATGIRL was a $70 million TV movie. It would have made more financial sense as a PEACEMAKER-type streaming series. A $70 million BATGIRL series of 10 episodes (effectively the SUPERMAN AND LOIS budget) with guest appearances from JK Simmons and Michael Keaton would have been a far better streaming service product than a two hour movie. Ten episodes can be marketed as an event. Ten episodes draws an audience to a streaming platform, gives them more time to sample that platform's other content and decide to stick around.

Even so, will creators who are female and people of colour ever want to work on medium-budget projects with WB-Discovery? Whatever loss is staunched by BATGIRL now being an unreleased tax shelter may not be worth the terrible PR and the sense that WB-Discovery is erratic, flaky and unreliable.

But even creatively, the new WB-Discovery regime is in a very difficult position. Their precedessors hired Ezra Miller whose violent rampages made THE FLASH a radioactive property. THE FLASH was supposed to start a revitalized DC Extended Universe by integrating Michael Keaton's Batman into the new Miller-led DCEU and removing Ben Affleck as Batman. BATGIRL was set in this post-FLASH, Miller-led DCEU.

BATGIRL had Keaton's Batman with JK Simmons' Commissioner Gordon from JUSTICE LEAGUE. But now, there will be no Miller-led DCEU. BATGIRL became irrelevant to the future of DC properties.

The Miller-led DCEU is dead. WONDER WOMAN and AQUAMAN will probably see a third and final installment each as films independent of the Millerverse and the Snyderverse.  The ARROWVERSE is wrapping up.

Still, I think WB-Discovery would be better off just releasing the BATGIRL movie as a purchase-to-view product to iTunes and Google Play. Charge $15 to download it. For HBO Max subscribers, offer the movie for a $7.50 payment for the first three months before making it subscriber-available without additional cost.

Release BATGIRL to a limited edition $200 blu-ray with the digital BATGIRL YEAR ONE comic, audio commentary from cast and director, all the Yvonne Craig episodes of BATMAN, a storyboard-edit of the movie, deleted scenes, CG animatics and other special features of random crap sitting on WB's hard drives that won't take any money to assemble.

Accept that any losses are better than coming off as a studio too incompetent to release the films it makes.

After that, WB-Discovery might want to start over with the DC feature properties. I think the best thing for WB-Discovery would be to hire Berlanti Productions to steward their feature films from now on. Berlanti Productions has been making $25 million SUPERMAN movies at a rate of five movies/15 episodes a year. 

In contrast, MAN OF STEEL cost $225 million and there is no real sequel. BATGIRL cost WB at least $90 to make and not release it. THE FLASH has cost $200 million, taken a decade, isn't in theatres and is already a slow-motion bus crash of a movie.

I don't think you can make a Henry Cavill SUPERMAN movie for $30 - 50 million, but you can definitely make a SUPERMAN AND LOIS movie for that. And a SUPERMAN AND LOIS movie with an entry-level storyline and a $50 million budget doesn't need to earn $1 billion to be profitable.

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I have no idea what is going with the legion of headless chickens running Warner Bros. right now, but there is no sense and no reason behind much of anything they've done since MAN OF STEEL aside from WONDER WOMAN, AQUAMAN and SHAZAM turning out quite well.

BATMAN VS. SUPERMAN was re-edited into incoherence; SUICIDE SQUAD was hacked up in the edit room to chase the humour of GUARDIANS OF THE GALAXY; JUSTICE LEAGUE is probably the most hated movie ever made; WONDER WOMAN 1984 had Diana have sex with a bodyjacked man without consent. They have been working on THE FLASH with Ezra Miller since 2014 and somehow haven't released it as of 2022; they nonsensically waited until Ezra Miller tried to strangle a woman and then they decided to finally shoot the film.

They released a Harley Quinn feature film that was inexplicably titled BIRDS OF PREY and nonsensically rated R over a few profanities which prevented a potential teen audience from watching the film. And despite having Henry Cavill on some sort of contract, WB can't seem to produce another Superman movie or even get him to cameo in SHAZAM.

Now they're arbitrarily cancelling a low-budget BATGIRL movie made for a streaming service while hell-bent on releasing THE FLASH with star Ezra Miller renowned for assault, harassment, threats, kidnapping, exposing small children to loaded firearms, threatening other small children, grooming. Even if BATGIRL is the worst superhero movie ever made, is it more unreleaseable than THE FLASH?

I don't know what the hell they're doing; they don't seem to know either.

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Season 9 of THE FLASH will be 13 episodes and be the final year for the show and the Arrowverse as a whole: https://www.hollywoodreporter.com/tv/tv … 235190162/

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This is pretty messed up: the BATGIRL movie is being shelved despite being filmed and complete. It will not be released on HBO Max or in theatres.

https://www.cbr.com/batgirl-movie-cance … enings-dc/

$90 million dollars to make it and WB held test screenings and has decided not to release it as it is considered so terrible that it will damage the DC brand. This brand has been damaged already by the middling reception of BATMAN VS. SUPERMAN, the box office bomb that was JUSTICE LEAGUE, Affleck quitting Batman (but making cameos), the inability to get a new Henry Cavill Superman feature off the ground, BIRDS OF PREY failing to market itself as a Harley Quinn movie, and basically anything Ezra Miller ever does.

I have to wonder how bad BATGIRL is considered when WB has decided this low(er) budgeted film starring Leslie Grace, JK Simmons and Michael Keaton should never ever ever ever ever be seen by anyone outside WB. It should be noted that the pre-JUSTICE LEAGUE WB regime declared that Zack Snyder's version of JUSTICE LEAGUE was "unwatchable", but having watched the Snyder Cut, I certainly don't think that's true.

There has been a merger (WB-Discovery) since BATGIRL was first greenlit. The desire is for big budget event movies again whereas post JUSTICE LEAGUE, the wish was for lower budgeted fare like, well, BATGIRL. It's baffling to me that they'd shelve BATGIRL but be determined to release the dead-end that is Ezra Miller's FLASH movie.

Not sure what's going on here...

The plot of "Pilot", by David Liss, has Mulder and Scully encountering a visitor from a parallel universe in which THE X-FILES is a TV show. This visitor offers Mulder and Scully VHS cassettes of the "12" seasons of the show so that they can watch them and learn "the truth". Scully protests that a fictionalized version of their lives from a parallel reality may not offer any answers; Mulder counters that surely a TV version of their lives would have "narrative coherence" and a conclusion (hahahahaahahahahahahhahaah). The argument is rendered moot when the visitor and the tapes are blown up.

I guess it was okay.

**

If I had my way, there would be numerous anthologies of SLIDERS stories. However, the stories would all be written by Nigel Mitchell and edited by Temporal Flux. I guess then it wouldn't be an anthology if only one writer writes all the stories. But... I'd still rather all the stories be written by Nigel Mitchell and edited by Temporal Flux.

I recently wrote a short novella: HAT BOY AND DAISY MUST DIE! It's about a puppet-themed wedding and the disaster that results as the evening ends in fury and fire.

It's 6,000 words long. Google Docs will let you read it online or download it in rich text, plain text, PDF or ePub.

https://docs.google.com/document/d/1Hg5 … sp=sharing

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(3,555 replies, posted in Sliders Bboard)

There are three people I know to be utterly without fear. Matt Murdock. Hal Jordan. Merrick Garland.

(Steve Rogers is only mostly fearless; he's still scared of his dad.)

I think I've figured out THE ORVILLE in Season 3. It is no longer a workplace comedy set aboard a starship. It is no longer STAR TREK: THE NEXT GENERATION with normal people who have lapses of competence and ability and good judgement. THE ORVILLE is TNG but with heartfelt and warm and stirring character arcs and emotional quandaries whereas THE NEXT GENERATION was an emotionally cold series with muted emotions and little to no character progression. If THE NEXT GENERATION were made today, it would be THE ORVILLE.

Still miss all the jokes.

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(1,683 replies, posted in Sliders Bboard)

Sick at home today, turned on Season 2 of STARGIRL and... couldn't follow what was going on at all. Who are these people? What are they talking about? What are their powers and codenames?

I realized, despite adoring Season 1, I had somehow forgotten all of it. But that's okay. STARGIRL is a great show and I'm happy to start at Season 1 again.

Spoilers










The week's episode had a scene where Topa, an adolescent, decides to ask someone out on a date. She asks Gordon Malloy, chronologically a grown-ass man, to dinner. Malloy tells her that he sees her as family, as a sister, and she can talk to him any time she wants about anything and reinforces that he's happy to be her older brother. Malloy then tells his friends not to make fun of Topa.

I know Gordon is an arrested adolescent (and obviously, that's why Topa related to him), but he handled that really well, exactly as he should have. Gordon turned Topa down while making sure not to embarrass her or insult her.

Seth MacFarlane has this joke about how TNG had the most professional characters in the most professional workplace ever. No one was ever hungover, tired, bad-tempered, impatient; no one ever failed to do exactly the right thing, but more critically (and at times unbelievably), the characters always did the right thing in the right way.

This is in contrast to real life where most of us here do the right thing too -- but because we aren't TV characters, we will often do the right thing clumsily and miss the mark. If in Gordon's position (Gordon being an adult man being asked out on a date by an inappropriately young girl), we might express aggravation where Gordon expressed appropriately familial affection. We might be caustically dismissive where Gordon was understanding but firm about the correct boundaries. We might be horrified where Gordon gently kept his cool.

Gordon didn't just do the right thing (which I'm sure all of us here would or have done in his situation); he did the right thing in the right way. Which has me wondering -- now that THE ORVILLE is no longer doing the comedy and no longer having its characters do the right things ineptly and incompetently... how is it different from STAR TREK: THE NEXT GENERATION?

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(140 replies, posted in Sliders Bboard)

I listened to the first episode. Welling and Rosenbaum are avoiding saying the words "Chloe Sullivan" and "Allison Mack", not discussing any of her scenes or character. It'll be interesting to see how long they can maintain that avoidance of a critical character and performer who has ended up exactly where she deserves to be (jail).

Very interesting recollections with Welling and Rosenbaum remarking that Lex has barely interacted with Clark at the point when Lex is declaring that the Clark/Lex friendship will be "the future" and Rosenbaum noting how weird it is that Lex is clearly meant to be a college graduate who is almost seductively befriending a high school student (who, despite Welling's age, spends four seasons in high school and is therefore 15).

Welling and Rosenbaum say SMALLVILLE had no choice but to do monster-of-the-week episodes in almost every single episode of the show's lifespan. That is nonsense and it speaks to how neither Welling nor Rosenbaum are showrunners or television writers. Welling was a good producer in Seasons 8 - 10, but he was not a writer. The television shows GILMORE GIRLS and EVERWOOD were set in small towns and neither needed to introduce monsters of the week. SMALLVILLE could have told stories about the crises facing Smallville as a small town: farms getting squeezed out, the gradual breakdown of services and local businesses, the menace of Lexcorp, prejudice, poverty, education, loneliness.

SMALLVILLE was unfortunately showrun by two privileged, wealthy residents of Los Angeles who had likely never set foot into a small town and did no research whatsoever on what stories could be told in this setting, nor did Alfred Gough and Miles Millar devise and execute any ongoing character arcs and conflicts.

The argument that SMALLVILLE needed weekly freaks-of-the-week for superhero action sequences was soundly disproven over 10 seasons. SMALLVILLE never had a real superpowered fight. It never had the budget to pull it off except in brief flashes. This repetitive plot device to create enemies for Clark to fight was pointless. SMALLVILLE never pulled off superhuman combat; it was only good at doing the supersaves as Clark pulled people out of crashing cars or yanked them away from bullets and train wrecks and collapsing buildings and explosions.

SMALLVILLE fell into this error because the pilot was scripted with little to no thought as to how the ongoing series would work. Welling and Rosenbaum have noted how the age difference between Clark and Lex was not considered for their weird friendship nor was it ever really explored. Jonathan took issue with Lex's presence in Clark's life, but he never said anything as cutting as remarking that surely Lex could find some twentysomethings to be friends with instead of a high school student.

The other lack of thought: SMALLVILLE made Clark invulnerable right from the start and gave him superspeed that let him transform into a red blue blur. This made Clark so powerful that SMALLVILLE struggled to come up with situations where Clark would struggle to save someone or defend himself. IF SMALLVILLE had kept teenaged Clark Kent's powers at the level of Angel on ANGEL (enhanced strength but not enough to lift trucks; able to leap 1/4 of a tall building at a single bound, injured by gunfire but able to recover over days), Clark would have been a lot easier to write and his powers could have increased gradually over time.

Writer Doris Egan offered Gough and Millar a solution: the Kryptonite freaks had Kryptonite in them, so they could be more capable of hurting and injuring Clark. Gough and Millar refused, insisting on Clark being invulnerable which then required a level of threat for Clark that the show could never produce. Egan quit after Season 1 along with most of the Season 1 writers.

Throughout SMALLVILLE's lifespan, the actors and directors and set designers and costumers and effects artists -- basically anyone who worked in Vancouver -- seemed to be super-invested in the series. However, the showrunners -- who worked in Los Angeles -- seemed deeply uninterested in their show. In Season 8, the oriignal creators left and that changed, but in Season 10, the writers being at a distance from the Vancouver set caught up with them again.

Grizzlor wrote:

However, the series may not last very long if Peacock's nascent track record is any indication, and they could "run out of time."

Peacock's track record is... not exactly relevant to the QUANTUM LEAP 2022 revival.

QUANTUM LEAP is airing on NBC broadcast television with a premiere date of September 19.

https://www.nbc.com/nbc-insider/quantum … -this-fall

I don't know what the hell that is, but I'm not sure what scares me more: the listing describing how this DVD set somehow contains a sixth season of SLIDERS or the fact that Quinn and Rembrandt nonsensically appear on the box art twice in the same panel. The side art panel with the vehicles is also deeply disturbing. I may actually buy this box set just to safely detonate it.

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(140 replies, posted in Sliders Bboard)

Tom Welling and Michael Rosenbaum will be recording a podcast covering every episode of the second worst television show ever made, SMALLVILLE. https://www.talkvillepodcast.com/

SLIDERS probably remains the worst television show ever made. I am sorry, but I do SLIDERS no favours by pretending that "This Slide of Paradise" didn't leave it at the bottom of the pile.

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(934 replies, posted in Sliders Bboard)

Spoilers













I don't have the best or strongest connection to the Dr. Strange character in the Marvel Cinematic Universe. Was he out of character in NO WAY HOME?

I am a fan of Benedict Cumberbatch's performance in SHERLOCK. But I confess, I'm not a huge fan of him in general. I find that he has a tendency to offer extremely lazy performances. James McAvoy (young Xavier) once referred to a certain class of actor/performance where the focus is on maintaining an accent and behaving as though affecting a voice that isn't the actor's natural speaking is the only effort needed in a performance.

I find that Cumberbatch, when using an American accent, is so focused on tweaking and adjusting his accent that there is little characterization in his body language, expressions, movements, reactions, etc.. Dr. Strange, at least for me, is one of those roles for Cumberbatch where he's too accent-focused and not character-focused. Cumberbatch's limitations/laziness as an actor weren't an issue for Sherlock Holmes, a character who is extremely mannered and theatrical; the lack of characterization comes off as Holmes' relentless focus on deductive reasoning. But when Cumberbatch is playing a more vulnerable character, it's awkward.

Anyway. Most people don't seem to mind or enjoy Cumberbatch's work, and that's personal taste. But for me, I don't have a good handle on the character because the actor throws me off.

**

MULTIVERSE OF MADNESS seems really hated by WANDAVISION fans who say Wanda being evil is out of step with the WANDAVISION TV show where she kidnapped / imprisoned / brainwashed an entire town and became physically violently and dangerous when peacekeeping forces attempted to free her prisoners and when her captives demanded an explanation and their freedom and ultimately gave the townspeople their freedom because the illusion became unsustainable due to an interloper's interference (as opposed to any moral realization on Wanda's own part).

Have no fear. No doubt. No disbelief. Dr. Sam Beckett will leap again.

And once he does, we must ask him to succeed where all others have failed. We must ask him to do what no one else has been able to do. We must ask him to find and rescue Quinn Mallory (Jerry O'Connell), Wade Welles (Sabrina Lloyd), Rembrandt Brown (Cleavant Derricks) and Professor Arturo (John Rhys-Davies).

I guess if Sam has to start with saving his niece, Margaret Allison Beckett (Kari Wuhrer), that's tolerable; she is family after all. But after that, he must retrieve the other sliders. I don't care how many Kromagg battlefields he has to traverse, how many emotion-eating amusement parks he has to endure, how many rock star vampires he has to slay, how many super-intelligent snakes he has to wrangle, how many zombies he has to shoot with melted butter, how many Dream Masters he has to caffeinate, how many Desert Storms he has to weather, how many two dimensional beings he has to flatten, how many intelligent flames he has to ask for help or how many breeder parasites he has to neuter. He has to get the sliders back.

Surely, for a genius-level intellect like Sam, he could get it done before lunch.

On the subject of changes... can Disney release the Original Trilogy in 4K without all the Special Edition changes? Is it physically possible at this point? It unfortunately won't be as simple as rescanning the masters.

I just finished some upscaling work on STAR WARS (fan-made 4K77 version) and EMPIRE (fan-made Despecialized version). The 4K77 version of STAR WARS was a 4K scan of a 35mm film print meant for theatre projection. It definitely didn't have 4K-level detail because a projection print is at least two generations removed from the original master negatives and the original is covered in mismatched levels of grain that change from shot to shot due to the mutiple layers of film to create effects.

After downscaling it to 1080p and running it through Topaz AI's grain-to-pixel algorithm, the film now has consistent grain across all shots and within that 4K scan was a 1080p level of detail. Some of the more heavily grainy scenes, after the cleanup, have a slight flickery quality. It looks like a well-presented 1977 film in 1080p.

The Despecialized EMPIRE was a 720p project combining 1080p blu-ray content with 35mm film scans for the original effects footage that looked grainy and blurry amidst the sharp blu-ray footage. But with Topaz AI upscaling it to 1080p, the sharpness and grain levels have all been levelled out; the film no longer looks mismatched. There will be a 4K80 fan release of a scanned 35mm theatrical print eventually and I imagine it'll look a little sharper than what I have here, and be a 1080p level release in a 4K file.

RETURN OF THE JEDI has a 4K scan of a 35mm release print that was fade-free and only needed to be cleaned of dirt and scratches after the scan. However, some scratches and dirt remain (although it isn't distracting). It doesn't look like a 4K level of detail to me; still it's 1080p quality.

I think Disney could get a 1080p release through scanning theatrical release prints for cleanup, but not 4K. They could definitely do a better job than fans at cleaning up scratches and dirt since they have entire facilities for that.

I suspect that George Lucas destroyed any master negatives of the Original Trilogy that contain the theatrical releases, meaning Disney can't simply rescan those in 4K.

I would like to think that Disney has all the original film elements, however, meaning that all the composite shots (locations, effects, lightsabers) could be recreated from the raw film recordings and then reassembled into a matching cut. They could scan the Special Edition masters, remove the CG scenes, and replace them with recompiled versions of the original effects footage made from the raw elements.

Alternatively, they could take any of the missing effects footage 35mm release prints, clean up the film stock, scan it and then perform AI upscaling to get it closer to a 4K presentation (although it'll still look less than 4K, just without the blocky blurriness of a stretched-to-4K image). As effects footage in motion, it might be close enough to not be distracting.

I suppose Disney could do what fan editors have done: scan 35mm prints in 4K, choose the best video quality shots and scenes from each of them (the prints are all of differing quality), reassemble the theatrical cuts, do cleanup of scratches and dirt, do colour correction based on 16mm fade-free prints and then use AI upscaling to clean up and sharpen the 4K resolution image to have a 4K-approximating level of clarity. It still won't be 4K detail, but it won't have the mild blurriness of a 1080p image being displayed at double its true size.

Disney might even pay the fan editors for their fan-created digital scans of release prints. Disney could then do AI upscaling on those scans to get them closer to 4K. Disney would have more time and graphics processing power to spend on each scene. It could pass for 4K.

Passing for 4K without being entirely there might be a good option, however. If the image quality is too modern, then the 1977 limitations of the image content can seem incongruous. If the image is always slightly less sharp than a movie that was released last week, then it's clear throughout that is a piece of art from a bygone era.

RussianCabbie_Lotteryfan wrote:

That would be great.  The Hollywood Reporter article did say "original star Bakula, who was previously expected to be involved in some capacity, is not currently attached to the update" and also mentioned he was working on another pilot for that season.

It is very common for actors to deny that contractual agreements are in place until disclosure conditions have been met. Andrew Garfield denied that he would appear in SPIDER-MAN: NO WAY HOME. James Marsden denied that he would appear in X-MEN: DAYS OF THE FUTURE PAST. And so on.

Bakula's lack of announcement strikes me as (anti-)publicity. You don't center a series around searching for Sam Beckett if Bakula isn't ready to reprise his role; QL seems inclined to withhold Sam so that his appearance will be surprising. In addition, Bakula is never going to be too busy to do guest appearances on QUANTUM LEAP because he will never allow himself to be too busy to be out the studio door and headed home by 6 PM.

Slider_Quinn21 wondered why Leia in A NEW HOPE didn't mention her adventures with Ben Kenobi in OBI-WAN KENOBI. Why does Leia's message to Ben say, "Years ago, you served my father in the Clone Wars"? Why doesn't her message instead say something more relevant to herself and Ben, something like, "Years ago, you saved me when I was kidnapped by Imperial Inquisitors?" I offered a long, convoluted explanation about the geopolitical alliances and covert conflicts of the STAR WARS universe that I nearly fell asleep writing.

But recently, I found a simpler explanation. Apparently, A NEW HOPE has a deleted and extended scene of Leia recording her voicemail for Ben.

Deleted Leia Dialogue from STAR WARS 1977:

Ben Kenobi. Years ago, I was kidnapped by Imperial Inquisitors and you mounted a haphazard rescue that nearly got me killed on seven separate occasions because you could barely use your Force powers and shit your pants at the sight of Darth Vader.

Then you sent me home on a freighter while you abandoned ship for a suicide mission that you survived through what I can only assume was luck.

After which you visited me on my planet and instructed me to never describe your catastrophic ineptitude to anyone.

I suspect your competence has only diminished in the decade since.

However, I have vital intelligence for the war effort. And my ship has been attacked while passing your wasteland planet.

I need this astromech droid delivered to my father on Alderaan and you are, to my dismay, the only person I know within a light year.

Given your abysmal performance before, I think it likely you'll die failing in this mission. You are not my first choice. And yet, I must ask you to help me, Obi-Wan Kenobi. You are my last hope. Also my only hope, there is literally no one else, I couldn't find Jar-Jar Binks' comm number and I think he moved.

R2D2, erase message. I'm taking a breath, I'm taking a breath, I'll speak to his glory days. R2D2, record second draft:

General Kenobi. Years ago, you served my father in the Clone Wars...

I think it's pretty certain that Scott Bakula will be in QUANTUM LEAP 2022. The show would not be focused on a search for Sam if they hadn't secured the actor; whether they announce it and whether Sam is featured early or in a season finale cliffhanger is another question. Bakula may claim he is not contracted, but contracts can be a private matter where people have every right to lie in order to maintain their privacy until they're ready to publicize it.

QL series creator Donald P. Bellisario is consulting on the 2022 revival. He is named as an executive producer alongside the excellent Martin Gero (BLINDSPOT). That said, Bellisario has been retired since 2007. While he has producing credits on various shows, I don't believe he was actively contributing to them, merely available to offer advice if asked. Bellisario's name is on the show and any lack of involvement would be his own choice due to, again, retirement.

As for involving the original actors besides Bakula... the only other regular character was Al, played by Dean Stockwell, who died in 2022. I suppose you might consider the Ziggy computer a regular, and Deborah Pratt, the voice of Ziggy, is producing QL2022. Aside from Bakula (certainly contracted and not announced), Stockwell (dead) and Pratt (contracted), the only other original actor I can think of from QL would be Dennis Wolfberg (Gooshie) who died in 1994. I just checked and Stockwell and Wolfberg are still dead, so I am not sure what QUANTUM LEAP 2022 can do about it unless you have a resurrection spell to offer.

Making Scott Bakula the lead of a 2022 QUANTUM LEAP would be difficult. After the original series ended in 1993, Bakula deliberately avoided TV and film work that would keep him far from his family for too long. He said that during the 1989 - 1993 series, he barely saw his wife and children. The success of QL gave him a solid financial footing and ensured that he didn't have to take long jobs like QL ever again.

On ENTERPRISE, Bakula's contract gave him a 6 PM hard out for every shooting day, ensuring that Bakula could always have dinner with his family. ENTEPRISE, being an ensemble, didn't require that Bakula be at the center of every single scene of the episode. I don't think QUANTUM LEAP could work this way; whoever is the leading man will be in nearly every scene and Bakula doesn't want to be that leading man any more. He would not have signed on as the lead. He's happy to be a guest-star. To be in an ensemble. To be a supporting cast member.

You can rest assured that Scott Bakula will return as Dr. Sam Beckett; you can be certain that original series creator Bellasario and his former partner Pratt are as involved as much as they want to be.

The real question is whether or not Sam Beckett's inevitable return can lead to the return of Quinn Mallory, Wade Welles, Rembrandt Brown, Professor Arturo and, of course, Pavel the cab driver.

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(934 replies, posted in Sliders Bboard)

I swear I will read this soon. I just finished SHANG CHI and the ETERNALS, so I am ready to get into the MULTIVERSE OF MADNESS.

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(1,683 replies, posted in Sliders Bboard)

"The Bleed," interestingly, didn't originate in a DC comic, but in Wildstorm's 1998 STORMWATCH, followed by THE AUTHORITY. It was described as the space between dimensions. Wildstorm was originally an imprint under Image Comics run by Jim Lee and THE AUTHORITY was a spin-off/sequel/rebranding of the mature (but still heroic) superhero title STORMWATCH and became even more mature but still heroic.

When I say "mature" superhero, I don't mean like THE BOYS; THE AUTHORITY had the superheroes trying to remove the US from Iraq and Afghanistan, disarm North Korea, end third world slave labour, etc. The Authority superhero team used the Bleed as a means of instantaneous teleportation. The Bleed was represented in a red colour, same as the red skies of 1985.

Calling the interdimensional space "the bleed" was a joke from (disgraced) writer Warren Ellis. In print, the "bleed" is when you have artwork that is printed to the very edge of the page. It's necessary to have the art be physically larger than the dimensions of the page so that the paper can be cut with a margin of error and the image is still printed to the edge. "Bleed" is the extra part of the page/image that you can cut.

In a comic book context, the bleed is literally the space outside the pages. (The space between the panels is called the gutter.) "The Bleed" was also used as a source of infinite power to fuel machines in the WILDCATS series.

In 1999, Wildstorm founder Jim Lee moved his company out of Image and sold it lock, stock and barrel to DC Comics. DC kept Wildstorm going for a time as a separate comic book imprint apart from DC continuity, albeit with some crossover issues where Wildstorm's Mr. Majestic met Superman in 2005. These issues of SUPERMAN with Majestic established that the Bleed was (now) part of the DC Universe with the DC Earth as Earth One and the Wildstorm Earth as Earth-50.

In 2008, the FINAL CRISIS comic said that the red skies of CRISIS had been the Bleed collapsing into the DC Universe, retroactively making the 1985 CRISIS the first appearance of the Bleed after all.

Despite this integration, Wildstorm began experiencing severe editorial interference from DC's executive team: issues of THE AUTHORITY with real-world politicians were re-edited to remove public figures, DC slashed Wildstorm's budgets madly and pulped and cancelled various serieses that DC deemed too mature.

The most shocking casualty: THE BOYS. THE BOYS comic book debuted under the Wildstorm imprint (but in its own continuity). After a few issues, DC higher ups were horrified by the Homelander being a twisted inversion of Superman and refused to publish it. DC released THE BOYS back to its creator, Garth Ennis, who took the series to Dynamite for the remainder of its time on the stands.

In another massive screwup, Wildstorm attempted a high profile relaunch of all of its superhero properties with superstar writer Grant Morrison writing new runs of THE AUTHORITY and WILDCATS -- but inexplicably, DC pulled Morrison off his Wildstorm assignments after he had only finished two issues of AUTHORITY and one issue of WILDCATS, leaving both incomplete. Wildstorm still published the other titles (GEN 13, MIDNIGHTER) -- but the lower profile titles had no support from the absent flagship titles. It was as though Marvel had somehow failed to release the CAPTAIN AMERICA: CIVIL WAR movie but released the Thor internet short where he gets a roommate.

Wildstorm attempted another relaunch with the WORLD's END event where the superheroes fail to stop a global nuclear crisis and are now superheroes in a post-apocalyptic wasteland. At this point, most of the readership had given up on Wildstorm and DC shut the imprint down in 2011.

In 2011, DC also relaunched all of the DC superhero titles and Wildstorm characters were now shown to be part of DC's new continuity, its characters retroactively folded into DC's entire history. This included the Bleed concept.

Anyway. In a TV context, it might not make sense to call the Bleed by the same name. It might make more sense as the space outside the narrative of the TV show. It might be "The Commercial" or "The Credits" or "Dead Air."

I imagine it'll still be called the Bleed.

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(1,683 replies, posted in Sliders Bboard)

It's interesting: the CW executive team says they warned the showrunners on THE FLASH, BATWOMAN and LEGENDS: 2022 could potentially be their final seasons. The CW told all the shows that series finales were strongly advised. In response, THE FLASH wrapped up Diggle's plot (and, I guess, decided not to license the GL logo?). BATWOMAN had a finale to their season but had less a cliffhanger ending and more a teaser for Season 4; if there were no Season 4, fans could, in rewatches, stop watching a couple minutes early. But LEGENDS went for a full-blown cliffhanger and after the cancellation, showrunner Keto Shimizu apologized, saying it wasn't the CW's fault and that she'd been given advance warning, took a gamble and it didn't work out.

**

In a podcast recorded before LEGENDS' cancellation, Michael Rosenbaum interviewed Caity Lotz. She said that the first two seasons of LEGENDS were filmed with the showrunners in Los Angeles and the production team in Vancouver having no creative control over the show, forced to follow whatever direction came out of LA even when it was at odds with the on-site situation. This apparently led to rampant overwork for the actors and Lotz, while not naming names, said that several actors were keen to quit.

This explains why LEGENDS lost Rip, Hawkgirl and Hawkman. It is also likely why a lot of LEGENDS' scripts didn't seem to be properly edited; whenever filming issues arose, there was no on-set writer to amend the issues. Lotz says that only with Season 3 did LEGENDS have an on-set producer with authority to make creative changes in response to production issues.

QuinnSlidr wrote:

Aahhh yes. RIP Dean Stockwell. sad

But with A.I., couldn't they replace Dean Stockwell's face on another actor and re-create his voice to be almost identical? We have the technology. One particular freelance Elvis impersonator on YouTube (look up Luigi Leppo) is already doing that with Elvis by creating brand-new songs that Elvis was never recorded on video performing. Done with his exact face, and his exact voice. As I said, we have the tech. We just need a TV show to implement it successfully.

There is also a mobile app that does this (the consumer-grade non-professional version) called Re-face.

I don't believe that DeepFake/ReFace can be implemented successfully for a prolonged performance, nor can Respeecher be effective for an extended scene. DeepFake tends to produce immobile faces that, even with animation, have the rigidity of photographs instead of the full versatility of human facial movement. Elvis' face in those DeepFake videos doesn't have the full emotive expressiveness of the King. It's his skin but the flesh beneath it seems as dead as the man himself.

BOOK OF BOBA FETT uses a fully DeepFaked Mark Hamill and while it's a perfect likeness of his face, the expressions convey the sense of an immobile photograph being animated; it still comes off as a still image rather than a living visage. Respeecher was also used in BOBA FETT to recreate Mark Hamill's early to mid 1980s voice. But while it sounds exactly like Hamill from that era, the simulated voice has an extremely limited range of tone that makes all of Hamill's dialogue sound neutral; he's neutral when he should be suspicious, neutral when he should be challenging, neutral when he should be heartfelt. The face and voice of Mark Hamill may be in BOBA FETT, but the acting ability is absent; there is no sense of a person giving the actual performance.

When applied to a master of the performance artform like Dean Stockwell, I can't see the technology pulling it off properly; the voice, even if there were sufficient source material for Respeecher, would never have Stockwell's charisma and humour. An impressionist would only ever be a copy. The face would only be Stockwell's reanimated likeness, it would not be his acting and his choices. DeepFake couldn't reproduce Mark Hamill's acting; it certainly can't do Stockwell.

DeepFake is great for a few individual shots. Respeecher is effective for a small number of lines. But an extended performance via DeepFake and Respeecher for a featured guest-star or a regular character? It hasn't worked so far and I think it will be a long time before it will; a CG Dean Stockwell would just be a digital mannequin of his face with a thin imitation of his voice and you'd always be aware of it.

Be careful what you wish for.

There's another fan reconstruction of the original trilogy: the D+77, D+80 and D+83 series. The D+ fan editor took the Disney 4K versions of the movies and also acquired 4K scans of the 35mm film (a theatrical print) with the special effects sequences. This editor removed the special edition additions and put the original footage back in place.

I didn't watch the RETURN version because the 4K83 project found such a great print of the film that it doesn't really need any more reconstruction projects. I did check out the STAR WARS and EMPIRE D+ reconstructions.

The D+ reconstruction uses the 2020 4K blu-ray so the picture quality is extremely crisp and sharp with excellent saturation throughout (but relit to be closer to the original theatrical presentation). RussianCabbieLotteryFan would approve of the colour and lighting.

But then we have the 4K scans of the 35mm film for the special effects sequences and it does not look 4K. It looks like 720p stretched to 4K because the 4K scan is made from a semi-degraded theatrical print whereas the blu-ray is a 4K scan of the master negatives. The 35mm film sequences have a muddy, flickery quality. Even if you ran this reconstruction through Topaz to get the grain consistent, the sharpness wouldn't be consistent. The grain would be normalized, but the image would persist in going from razor sharp 4K blu-ray footage to muddy or smeared 35mm print material.

When Ben and Luke speed into Mos Eisley, D+77 retains the blu-ray landspeeder footage so the shot is sharp and the original Vaseline smeared on the lens to create the hovercraft effect is absent. But we get into Mos Eisley and suddenly, the shots are fuzzier. The Millennium Falcon descends towards Cloud City looking crisp, but D+80 replaces the CG Cloud City shots with the 35mm matte paintings and practical Falcon model, and suddenly, the movie becomes flickery with large grains.

I think it is preferable to go with the 4K77 scan of a 35mm film print of the 1977 STAR WARS where. Even after AI grain-to-pixel conversion, it isn't as sharp as the D+ reconstruction, but it's consistent and you get used to it. I haven't seen the full rescan of 4K80 yet (the fan editors are still cleaning and colour correcting it), but I would expect it to, like 4K77, be consistent in its flaws where a reconstruction will always have a quality gap between the baseline footage and the footage being stitched back in.

Curiously, another path to consistency for EMPIRE is to run the 720p Despecialized version through Topaz and bring it to 1080p. The AI upscale will smooth out mismatches between the 720p and 480p-approximate footage (the scans of 35mm film with an older, lower-res scanning process). There isn't as much of a gap between mildly fuzzy 720p video and fuzzy 480p video. Topaz can make the inconsistency consistent and the Despecialized EMPIRE after Topaz AI cleanup will look... actually a lot like the 35mm print of STAR WARS after a Topaz AI cleanup.

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You're right. The logo isn't there.

https://i.ibb.co/tPZzrjC/emblem.jpg

I just thought I saw it because the top bar read to me as the lantern emblem. Maybe that was the intention without having to pay any licensing fee to WB for GL. But you are correct that the logo is not present.

RussianCabbie_Lotteryfan wrote:

I am pretty disappointed though that Quantum Leap went the route it did and totally rebooted.

That is... less than accurate. From NBCUniversal:

It’s been nearly 30 years since Dr. Sam Beckett stepped into the Quantum Leap accelerator and vanished.
Now, a new team, led by physicist Ben Seong (Raymond Lee), has been assembled to restart the project in hope of understanding the mysteries behind the machine and the man who created it.

Everything changes, however, when Ben makes an unauthorized leap into the past, leaving the team behind to solve the mystery of why he did it.

QUANTUM LEAP 2022 is a revival. It is not a reboot. The lead character is investigating the disappearance of Sam Beckett from the 1989 show.

RussianCabbie_Lotteryfan wrote:

The crossover episode concept is a great way to have sliders get some airtime again.

It was the SLIDERS writers intention that Maggie Beckett is Sam's niece. The General in "The Return of Maggie Beckett" is supposed to be Tom Beckett, the brother Sam saved from death in Vietnam via time travel. Possibly more an in-joke than a direct crossover.

In my head canon, the Quinn we met in the Pilot and the Quinn we met in "World Killer" had one key difference: the Quinn we met in the Pilot spoke with Dr. Sam Beckett in his childhood, but the "World Killer" double didn't.

I imagine that when Quinn was 11, Sam gave a lecture on engineering and quantum mechanics at the California Academy of Sciences in San Francisco. Sam brought along his niece, 17 year old Margaret-Allison, as she'd recently had a fight with her father over something or other and needed some time away.

Both versions of Quinn attended this lecture. Afterwards, 11 year old Quinn rushed up to Sam as he was leaving with a question.  Margaret-Allison instinctively jumped in front of Quinn to block Sam from a perceived threat. 11 year old Quinn smashed right into Margaret-Allison. Both toppled over. Margaret-Allison's bottle of water drenched her white T-shirt rendering it near-transparent.

The "World Killer" version of Quinn tried to take control of the situation by saying something grotesquely oversexual to Margaret-Allison. Margaret-Allison shoved Quinn in disgust. He landed on his ass and crawled to his feet. Sam restrained his niece from beating up a 11 year old and told Quinn to run before Maggie killed him. "World Killer" Quinn fled.

Our Quinn didn't make a joke. Our Quinn got up and immediately pulled off his brown jacket and offered it to Margaret-Allison to wrap around herself. Our Quinn yanked off his flannel shirt as well to let her wear it (Quinn had a T-shirt underneath). Our Quinn apologized with each article of clothing he handed over.

Maggie was furious, but Sam intervened, saying it was obviously an accident as Quinn was sorry and Quinn was literally offering Maggie the clothes off his back. Maggie softened, recognizing that Quinn was a child.

Sam asked Quinn why he had been running. Quinn said he had a question for Sam but had been to shy to ask in the lecture. Quinn said he wanted to study quantum chromodynamics but didn't have the equipment for a physical Lagrangian gauge model. Could Sam give advice to a boy wanting to do science in his basement?

Sam said that as a boy, Sam developed his interest in string theory from the nearly two-dimensional shape of his brother's guitar strings. Sam suggested that rather than attempt a full size model, Quinn could instead use analogues: a football dangled from a hockey stick above a kettle, perhaps.

"Good scientists start small," Sam explained to our Quinn. "World Killer" Quinn never received this advice and made a sliding machine that slid away the entire planet's population.

I'm sure that the QUANTUM LEAP revival (which is a sequel) will focus entirely on the complex relationship between Quinn Mallory, Sam Beckett and Sam's beloved niece, Maggie.

I am certain that the catalyst for Dr. Ben Seong to locate Sam will be Quinn Mallory himself. I can't see how a QUANTUM LEAP revival would be about anything other than the secret and shared history between two science heroes, Dr. Sam Beckett and grad school dropout Quinn Mallory, eventually bringing in Mr. Spock, Sherlock Holmes, MacGyver, Dana Scully, and Dr. Miles Hawkins from MANTIS.

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On a more serious note, one of my favourite shows in recent years was KEVIN CAN **** HIMSELF, a sitcom/drama where we get two different versions of the same reality: one a sitcom with a laugh track, one a bleak HBO Max style drama of desperation and pathos.

Raymond Lee is one of the high points of the show, putting forward a truly excellent performance in his role. He's very good and I'm glad he'll be the lead of the new QUANTUM LEAP.

I feel like fans might prefer that Scott Bakula be the lead, but creatively, there seems to be the sense that without Dean Stockwell as Al, the Sam character can't work in quite the same way and Bakula might be best as the former generation appearing to pass the torch.

I don't necessarily know what I'm talking about, I've seen very little QUANTUM LEAP. However, I did listen to all the REWATCH PODCAST episodes covering it, so I can bluff through any conversation about it.

Watching digital scans of 35mm film prints of STAR WARS and EMPIRE. It's interesting. These true-to-1977 and 1980 versions of STAR WARS and EMPIRE generally look quite good and nicely saturated with lifelike, natural colour as opposed to overenriched, Michael Bay style colour.

However, the Tatooine desert scenes in STAR WARS and the Cloud City scenes with bright light in EMPIRE all look a little washed out and overexposed at times.

It doesn't seem to be an 'error'; this is how the movies looked in the theatre. It seems to reflect how a film camera in the late 70s was not equipped to fully film desert sunlight and the desert scenes are constantly on the verge of overexposure with a chemical process dimming the image and therefore turning brown sand into faded yellow.

It reflects how STAR WARS was an exercise in desperation: an unsupportive studio, a budget that struggled against technological limits, four different kinds of film used throughout (which explains why the graininess jumps from thick to thin from shot to shot). It looks like a 1977 film.

EMPIRE benefitted from some modest advances in colour and film processing. But there are a few borderline overexposed shots now and then. When Leia and Han are Cloud City, the windows behind them are almost completely blown out in whites.

These shots are actually effective in establishing that these films were made under the limitations of the era. And when the lightsaber fights aren't acrobatic exercises, when the spaceships look like repurposed model kits of battleships from toy stores, when matte paintings look more like ink than steel and concrete, when aliens look more like costumes than flesh and fur, when matte lines are visible -- it's fine when surrounded by other era-specific limitations.

I think it's worth it to remaster movies for presentation on backlit TVs instead of cathode ray tubes or projectors aimed at screens, but ever since 1997, George Lucas was trying to make late 70s and early 80s movies look like they were shot on digital cameras. And it didn't work because while the image might look more modern and have CGI pressed on top of it, the content was ultimately restricted by what was possible in 1977 and 1980.

Slider_Quinn21, quite reasonably, criticizes STAR TREK for being stuck in the past of the 23rd century. STAR WARS seemed to get stuck for a long time too in endless re-releases and with fan editors now trying to put everything back the it was in 1977 and 1980.

(There was an unfaded theatrical print of RETURN OF THE JEDI that Team Negative 1 located and scanned, and aside from their usual work in cleaning and reducing accumulated grain, they didn't have to do very much restoration to get it looking bright and sharp.)

Slider_Quinn21 wrote:

I watched A New Hope for the first time in a long time this weekend.  It really holds up.

But since I'm also watching Obi-Wan, I was struck by how he acted.  Other than using the Jedi Mind Trick, Obi-Wan almost never uses the force.  Heck, almost no one uses the Force in the way we think about it now.  It's funny how much the Force evolved from what it is in Episode IV.

And I still think the lightsaber fight between Vader and Obi-Wan is just so awkward.  Alec Guinness looks so scared and defenseless.  I don't know if it needs to look like the refilmed version that a fan did not too long ago, but it would be nice for the fight to not look like two old men hacking at each other.  I know that most of the lightsaber fights in the Original Trilogy look like that, but Episode IV is especially bad.

I wonder if the endless cleanup of STAR WARS for blu-ray, polishing every single image to a low brightness, high contrast sheen is not helpful in this instance. STAR WARS on 4K looks too crisp for a 1977 movie, it has too many shots that look like it was filmed in 2007 and then when the limitations of 1977 arise, it's awkward.

I wonder how it'd have looked to Slider_Quinn21 if the image on Disney+ weren't so pristine but truer to the original presentation, looking like this:

https://i.ibb.co/RNfmSZ1/ben1.jpg
https://i.ibb.co/48gh9rb/darth2.jpg

The light levels aren't relentlessly refined; the grain patterns are present. It looks fine on a 4K TV, but it also looks like a product of 1977 and it doesn't raise expectations that can't be met.

My cleanup isn't going to remove the grain, just remove the sense of static being baked into the picture and make it so that the grain level is consistent throughout instead of going back and forth from thick to thin.

I am running the scan of this 35mm theatrical print from team negative 1 through Topaz. I did, however, reduce the 4K video to 1080p so that my computer could handle it. I set Topaz it to mine all the noise for detail; it doesn't blur, but it will smooth. To avoid the waxy look, I have Topaz adding a modest amount of post-upscale grain. The computer says it'll need five days to finish the job.

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I would say that CW has done extremely well for Berlanti Productions and for Warner Bros., propping up content that Berlanti and WB have sold to international broadcasters, to streaming services, all of which greatly enriched BerlantiP and WB while the CW was only seeing money from commercials during their broadcasts. Since CW was a joint venture between WB and CBS, WB was inclined to keep it going by managing its debt and covering its operating costs -- except WB now has HBO Max that it owns outright, at which point CW became a less attractive location for WB programming.

I've read that Nexstar's primary interest in CW is not their content and licensing deals or anything to do with WB's DC properties. They want the broadcasting infrastructure: the networks and channels across every state. Their goal is to sell mid-range priced air time to political parties, thinktanks, support teams and publicity/propaganda organizations for American elections. They want to be a platform that can be rented to anyone who has the money and interest in trying to get themselves or someone else elected to any and every political office in the United States.