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Star Trek

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Grabthar’s Silver Hammer.

“Rockwell: I wanted to ennoble the coward archetype. I thought of the best cowards in cinematic history, like John Turturro in ‘Miller’s Crossing.’ When we did the shuttle scene I drank four cups of coffee and downed two Excedrin. I wanted to be so hyped that I would have a nervous breakdown on the shuttle.”

On the fifteenth anniversary of a certifiable comedy classic, MTV offers up an oral history of Galaxy Quest. “George Takei: [It’s] a chillingly realistic documentary.”

Ten Forward Couture.

“And then the Enterprise also travels to the planet where everybody dresses like David Byrne in Stop Making Sense.” From successful sci-fi costuming to something of the more hit-and-miss variety, io9 takes a gander at the costumes of the first three Star Trek: The Next Generation seasons. Points for creativity, I suppose.

Chief O’Brien, Working Stiff.

“We know that Miles O’Brien had a lot more fun serving aboard Deep Space Nine than he did aboard the Enterprise, and these ennui-filled comics help explain why. Hanging out alone in the transporter room all day is bound to drive a fellow a bit mad.”

Need more ST:TNG-related humor? io9 also recently pointed the way to this amusing webcomic about Chief O’Brien’s daily grind (before getting reassigned to Deep Space Nine.) Can an actual honest-to-goodness Colm Meaney cameo be far behind?


“You know cold fusion isn’t actually cold, right? It’s only ‘cold’ in the sense that opposed to regular fusion it’s not a bazillion degrees hot…And did you say Spock was in the volcano? Why the hell didn’t they just beam the bomb in there?…And why did Spock have to go with the bomb to set it off? Are you telling me in the 23rd century that people don’t have a way to detonate bombs remotely?”

Io9’s Rob Bricken offers a much-deserved evisceration of Star Trek: Into Darkness (and he doesn’t even bring up the “why Khan’s blood but not one of the other 71 guys” problem.) The first one had a number of egregious plot holes too, of course, but it at least had a charming cast and the benefit of novelty. The charming cast remains, but since Into Darkness is otherwise just a lousy and ultimately insulting remix of Wrath of Khan with a frisson of 9/11, the extreme dumbness here is even more aggravating.

I would say this does not bode well at all for the upcoming Star Wars films, but it seems pretty obvious the main problem here was the writing. Star Trek: Into Darkness is the most blatantly nonsensical film since Prometheus, which I called the most disappointing film of 2012. The most disappointing film of 2011? Cowboys & Aliens. All three were co-penned by Damon Lindelof, who’s clearly supplanted Akiva Goldsman as the hackiest hack in Hollywood. He’s like franchise kryptonite.

Do Green Lights Cause Lens Flare?

“My life, Old Sport, has got to be like this.” Two new TV spots hit for Baz Luhrmann’s The Great Gatsby, now only a little over a month away. As I’ve said before, this looks like it’s either going to be amazing or a total train wreck.

Also in the bin of late, Kirk steps up after a few anti-Federation terrorist attacks in the newest trailer for J.J. Abrams’ Star Trek: Into Darkness. Man, Benny Cumberbatch talks a lot of smack, doesn’t he? Well, if that’s what it takes to get into Smaug shape, so be it.

Still Scruffy-Looking.

Latino Review scores big news from the emerging Star Wars empire at Disney (and many Bothans died to bring them this information): Harrison Ford is officially signed to return as everyone’s favorite Corellian smuggler in the next set of Star Wars movies. Presumably he’ll be joining Luke and Leia in the JJ Abrams sequel trilogy, not the rumored Han Solo spin-off movie. Either way, don’t blow this, Han.

FWIW, as a Star Wars kid, I’m mostly OK with this ginormous SW revival over at the Mouse. The prequel trilogy — especially Attack of the Clones — already broke the seal in terms of bringing bad Star Wars into the world. So, even if this all seems extremely commercialized even for a franchise that was always driven by toy sales, I’m still curious to see other diverse and talented filmmakers playing in the great sandbox Lucas made. But JJ Abrams? Eh. I already saw his Star Wars movie back when it was called Star Trek.

Update: Mark Hamill discusses the current situation.

Sail on, Sunjammer.

The Sunjammer mission – the name is borrowed from an Arthur C. Clarke short story about an interplanetary yacht race — will unfurl a solar sail that dwarfs those that have thus far been tested in space. Where NanoSail-D’s diminutive sail measured just 100 square feet and Japan’s IKAROS measures something like 2,000 square feet, Sunjammer’s sail possesses a total surface area of nearly 13,000 square feet. Yet collapsed it weighs just 70 pounds and takes up about as much space as a dishwasher, making it easy to stow in the secondary payload bay of a rocket headed to low Earth orbit.

Popular Science previews the flight of NASA’s Sunjammer, set for launch in 2014. “The destination for Sunjammer is the Earth-Sun Lagrange Point 1, a gravitationally stable spot way out there between us and our nearest star…Sunjammer will be carrying the cremated remains of various individuals, including Star Trek creator Gene Roddenberry and his wife Majel Barrett Roddenberry.”

It’s Spock!!! Do You Care?!?

Well? Do you?!?

From Hell’s Heart…

After relying heavily on Star Wars for their first outing, J.J. Abrams and co. now borrow from the Dark Knight and the Nolanverse — especially the Inception button — to lend heft to the teaser for Star Trek: Into Darkness, with Benedict Cumberbatch as the new, still unidentified Big Bad. (Khan? Gary Mitchell? Garth of Izar? Smaug? Severus Gruber?) Eh, I’m in…but we just did the vengeance-upon-the Federation schtick with Eric Bana in the last movie.

Secrets of the Supercut.

“Many supercuts provide hard evidence of the existence of tropes long suspected but never quite proved: imperiled characters fretting that they have no cellphone signal; high-tech investigators asking their imaging software to “enhance“; action movie toughs girding for battle by announcing, “We’ve got company.” But what motivates the supercutter to slog through hours of footage to compile these minute observations? And what distinguishes the masters of the form?

In Slate, old friend Seth Stevenson surveys the practice and methodology of supercuts. At the very least it’s both funny and instructive to see how many times, to take the example of ST:TNG, Worf gets denied and bad things happen to Geordi.

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