‘Star Trek Into Darkness’ – Do Star Trek Fans Want Star Trek To Be Unsuccessful and Unpopular?

In the wake of my review recently, I had a lot of great responses both here and on Facebook from fans and non-fans alike.  It appears that the piece opened up a good dialogue about the subject of Trek-fandom and their disdain for the Abramsverse.  What I found out, and I really kind of knew this, is that there is a segment of the fandom that really didn’t like the first film for all of the goofiness and, well, f*cking with the established history of the franchise, but don’t necessarily hate the film or the Abramsverse.  They’re skeptical of the new film, but they aren’t the butt-hurt, hater crowd. I just want to make clear that my criticism of the negative attitude by a certain segment of the fanbase is by no means a criticism overall of fans who are skeptical and have issues with a lot of the goofy shit present in both of the Abrams films. After all, there’s seriously a lot of goofy shit in both of these films (more blatantly in the first) and I wouldn’t expect fans to not take issue with them or to dismiss them out-of-hand.

This… is a BIG “no-no”

I recently noted that that it had just dawned on me that the aft-end of the nacelles (engines) on the Enterprise in Star Trek (2009) glowed (and glowed brighter when the engines were “revving up”) and how as a Trek fan that annoyed the piss out of me because Roddenberry was insistent on the fact that the propulsion methods should not bare any resemblance to contemporary methods of propulsion, i.e., nothing coming out of the tailpipe. This is why the end-caps went from having all of those little round vents on them in the first pilot to just being those round globes during production.

That’s an important detail that the producers just ignored. To make matters worse, what did they do with the engines this time? F*cking CONTRAILS. 

Then something very unexpected occurred: I realized those contrails looked bad-ass. Yes, they are in complete contradiction with everything I know about the franchise, but eff me if they don’t look wicked awesome and if I think that (considering I hate the concept in general) you damned-well know that the non-Trek fan in the audience thinks so, too. And that’s kind of where I think a lot of us fans stand. There’s a bit of self-loathing going on and guilt, here. “I shouldn’t like this but I do,” and that’s what kind of made me realize that you have to take these films in from the objective perspective of someone who’s just being introduced to the franchise… or just likes kickass action films. The foundation for the principles of the franchise are certainly there even of they eff up some of (or a lot of) the details of the minutiae but, on that note, Ron D. Moore does make a very good point that it is that minutiae that has contributed to making the franchise inaccessible to new audiences.

What I think has made it difficult for the fanbase in general to not be skeptical was the shock over the destruction of Vulcan in the first film. That hit me like a ton of bricks because of how integral Vulcan is to the mythology and because there wasn’t even any setup to get us prepared for it. It was like, “Pew, pew, pew… BOOM… Vulcan’s gone.”

“And of course, our intention is to completely ass-rape the entire franchise…”

That being said, having issues with the goofy shit is normal. Being cautious is normal, but I have to tell you that there really is a certain segment of the fandom that has hated this new vision of Trek since the Vegas Trek Convention of 2008 when Zachary Quinto and Leonard Nimoy were on stage on the last day discussing it and warning the fans that it’s going to be different but they’re going to like it.  This carried on through December of 2008 when more and more details were starting to come out and the chorus of hate was reaching a fever-pitch… even though they had not seen a single frame of the film. That just seemed absurd to me and it especially seems absurd when I see the irrational hate spewed at this new film by the fans who hate it for the sake of hating it at this point. I get skepticism as a reaction to the first film, but the “haters” have the exact same complaints about this film that they did the first one (or they’re just contriving false criticism about the plot) and I don’t even know how one could rationally come to that considering how much better EVERYTHING is about the new film and how it actually felt like Star Trek.

Lens flares… seriously? Spock and Uhura having a relationship? It’s not Star Trek, it’s Star Wars? C’mon… seriously?

They have spoken… and they do not approve.

I’ve come to a conclusion about this irrational hatred toward the Abramsverse and I’m not saying that my conclusion is right or wrong, but it is something to consider. I have a feeling that this segment of the fanbase doesn’t want Star Trek to be popular. Whether they realize it or not, their issues have nothing to do with the quantifiable changes to the franchise, just the idea of change itself.  Allow me to explain.

Star Trek, for better or worse, has a justly earned reputation for having a strong appeal for kids who were, shall we say, less than popular. A lot of these kids felt excluded by the more popular and athletic kids because they were different. These “nerdy kids” were smarter, they were more intuitive, they were more curious, they were more creative and they were also socially awkward and they were non-conformists. There’s nothing worse than being a non-conformist during elementary and high school.

Future Scientists? Perhaps. Future All-American Athletes and Prom Kings? Not so much…

Then they found Star Trek which provided an outlet for their personalities and interests as well as an escape but more importantly they found a community of other like-minded folks to belong to, and that’s very important for all human beings. Star Trek is theirs and theirs alone and I can tell you from my own personal experience, the Trek fandom that was excluded socially easily transitioned to becoming the excluders when they found their niche.

I wasn’t always a Star Trek fan, I became one in 1997 because of Star Trek: Deep Space Nine. When I was growing up, I was a casual viewer. I would watch Star Trek and then Star Trek: The Next Generation when it happened to be on but I wasn’t ever scheduling time to watch the franchise. I enjoyed it but my life certainly didn’t revolve around it. I was 18 when Star Trek: Generations came out and I was at a friend’s house on opening night and some of his friends had come over who had just seen the new film. Even if you weren’t a Trek fan, you knew that the big deal in that film was the “rumor” of the death of Kirk. When I casually asked one of these guys whether or not Kirk was killed, I was given a response something along the lines of, “Yeah, but it’s complicated… the Nexus, blah, blah, blah…” with eye-rolling and dismissive short responses pretty much implying, “You’re not a Trek fan, you wouldn’t understand and I’m not explaining it you.” To sum it up, instead of embracing my interest in Trek, they basically rejected me from their clique the same way they had been rejected socially… which was a mistake because I was good at getting girls and booze… which they weren’t good at.

“That bastard Abrams even brought his f*cking Stormtroopers with him to MY Convention! Where is he?!”

And this is kind of the attitude that I’m reminded of and I’m seeing, now. These same people who bitched (and still do) relentlessly about what producers Rick Berman and Brannon Braga did to the franchise in the mid-to-late 90’s and into the 00’s want to see Trek in 2013 go back to those days. Not because it was better, but because it was their exclusive domain. They may hate Rick Berman (which is something that Berman alludes to on the Star Trek: Enterprise Season One Blu-ray Special Features and seems very taken back and upset by even to this day about)  for being “the sonofabitch who ruined the franchise” (a sentiment that I believe is unfair, in general… there were many factors involved) but he’s their sonofabitch.

Oh, that’s EASY! What’s wrong with the picture is that a pretty girl who’s not a castmember is wearing a Starfleet uniform.

Trek is their club and it shall not be interfered with by that Star Wars lover and non-fan J.J. Abrams and the legions of other non-fans that now like it.  As I noted, my wife liked the first film and her interest in Star Trek is so beyond limited that when it’s on, she stares at the screen like one of those magic eye pictures waiting for the sailboat to appear and the last thing a Trek fan wants is for pretty women to like it (despite the fact that if they cleaned off the coke-bottle glasses off and opened their flippin’ eyes they’d notice that there are plenty of hot Star Trek fans right at their damned conventions).  They want Trek to be just popular enough that it only gets other Star Trek fans involved.

Well, unfortunately for them, this is an absurd goal because as I pointed out in the review, there simply aren’t anywhere close to being enough of us to support the franchise and keep it successful. Trek has to make its tent bigger in order to survive and if that means tearing down a lot of the established aspects of the franchise and introducing more ‘splosions and action, well that’s just a reality that has to be accepted or we’ll lose Trek forever.  Sorry, but the best thing for Trek to be successful is that it has to get fans of Star Wars (which is pretty much everyone) to watch it.  Historically, it has been rare to find Star Trek fans that weren’t also fans of Star Wars.  On the other hand, however, it was rarer yet to find Star Wars fans who were also fans of Star Trek.  There’s a reason why that has held true until recently and it comes down to accessibility.

At its core, the principles and concepts of Trek have been able to find mass-appeal for more than 46 years regardless of race, creed, age, income level, educational level, sexual orientation… whatever. The issues the franchise has had to overcome have been in regards to execution in production, not theory or principles.  And that’s really, at this point, what the major changes have been about; how Trek goes about telling its stories and from my perspective, if telling Trek’s stories in a manner that appeals to all audiences requires an execution more like that of Star Wars and less like that of Star Trek: The Motion Picture, that’s what needs to be done and it should be embraced by all of us… provided that the finished product isn’t total shit.

GEEK ALERT! BBC: Matt Smith Leaving ‘Doctor Who,’ The Search For Number Twelve Begins…

Via The Official Blog:

The BBC is today announcing that Matt Smith is to leave Doctor Who after four incredible years on the hit BBC One show. Matt first stepped into the TARDIS in 2010 and will leave the role at the end of this year after starring in the unmissable 50th Anniversary in November and regenerating in the Christmas special. During his time as the Doctor, Matt has reached over 30 million unique UK viewers and his incarnation has seen the show go truly global. He was also the first actor to be nominated for a BAFTA in the role.

Matt quickly won over fans to be voted Best Actor by Readers of Doctor Who Magazine for the 2010 season. He also received a nod for his first series at the National Television Awards, before winning the Most Popular Male Drama Performance award in 2012.

Matt has played one of the biggest roles in TV with over 77 million fans in the UK, USA and Australia alone!

Matt Smith says: “Doctor Who has been the most brilliant experience for me as an actor and a bloke, and that largely is down to the cast, crew and fans of the show. I’m incredibly grateful to all the cast and crew who work tirelessly every day, to realise all the elements of the show and deliver Doctor Who to the audience. Many of them have become good friends and I’m incredibly proud of what we have achieved over the last four years.

Having Steven Moffat as show runner write such varied, funny, mind bending and brilliant scripts has been one of the greatest and most rewarding challenges of my career. It’s been a privilege and a treat to work with Steven, he’s a good friend and will continue to shape a brilliant world for the Doctor.

The fans of Doctor Who around the world are unlike any other; they dress up, shout louder, know more about the history of the show (and speculate more about the future of the show) in a way that I’ve never seen before, your dedication is truly remarkable. Thank you so very much for supporting my incarnation of the Time Lord, number Eleven, who I might add is not done yet, I’m back for the 50th anniversary and the Christmas special!

It’s been an honour to play this part, to follow the legacy of brilliant actors, and helm the TARDIS for a spell with ‘the ginger, the nose and the impossible one’. But when ya gotta go, ya gotta go and Trenzalore calls. Thank you guys. Matt.”

Steven Moffat, lead writer and executive producer, says : “Every day, on every episode, in every set of rushes, Matt Smith surprised me: the way he’d turn a line, or spin on his heels, or make something funny, or out of nowhere make me cry, I just never knew what was coming next. The Doctor can be clown and hero, often at the same time, and Matt rose to both challenges magnificently. And even better than that, given the pressures of this extraordinary show, he is one of the nicest and hardest-working people I have ever had the privilege of knowing. Whatever we threw at him – sometimes literally – his behaviour was always worthy of the Doctor.

But great actors always know when it’s time for the curtain call, so this Christmas prepare for your hearts to break, as we say goodbye to number Eleven. Thank you Matt – bow ties were never cooler.

Of course, this isn’t the end of the story, because now the search begins. Somewhere out there right now – all unknowing, just going about their business – is someone who’s about to become the Doctor. A life is going to change, and Doctor Who will be born all over again! After 50 years, that’s still so exciting!”

Having starred alongside three different companions, Amy Pond (Karen Gillan), Rory Williams (Arthur Darvill) and most recently Clara Oswald (Jenna Coleman), Matt’s Doctor has fought Daleks and Cybermen, as well as Weeping Angels in New York. Regularly heard shouting ‘run’ and ‘Geronimo’, through Matt’s Doctor fans have been introduced to a new culinary combination – fish fingers and custard!

Matt’s spectacular exit is yet to be revealed and will be kept tightly under wraps. He will return to BBC One screens in the unmissable 50th anniversary episode on Saturday 23rd November 2013 – TUNE IN!

We’ll have exclusive quotes from Jenna on this site tomorrow and a special video from Matt – coming soon!

REVIEW: ‘Star Trek Into Darkness’ & A Message To Star Trek Fans: Get Over Yourselves, You’re Not That Important

This summer director J.J. Abrams takes “Star Trek Into Darkness” as the young officers of The U.S.S. Enterprise set course for their most epic journey yet. Abrams reunites with the team that created the fun, the humor, and the spirit of 2009’s acclaimed hit reboot of the beloved franchise. On this second voyage, they’ve amped the action, raised the emotional stakes and launched the Enterprise into a high-wire, life-or-death game of chess with an unstoppable force of destruction. With everything the men and women of The Enterprise believe on the line, love will be challenged, friendships will be torn and sacrifices must be made for the only family Captain Kirk has left: the crew he commands.

It begins with a homecoming, as The Enterprise returns to earth in the wake of a controversial galactic incident, its brash Captain still itching to head back into the stars on a longer mission of peace and exploration. But all is not well on the Blue Planet. A devastating act of terror has exposed an alarming reality: Starfleet is being attacked from within and the fall-out will leave the entire world in crisis. Captain Kirk leads the Enterprise on a mission like no other spanning from the Klingon homeworld to the San Francisco Bay.  Aboard The Enterprise the enemy among them has a shocking talent for destruction. Kirk will lead them into a shadowy mirror-realm of doubts where they’ve never gone before – navigating the razor-thin lines between friends and enemies, revenge and justice, all-out war and the infinite potential of a united future. – Paramount

FOR FURTHER INFORMATION AND EXPLANATIONS OF CERTAIN PHRASES AND TERMS, PLEASE FOLLOW THE HYPERLINKS PROVIDED THROUGHOUT THIS PIECE.

Our Score: 92/100

A Very Non-Plussed (Perhaps, Terrified) Marina Sirtis (Star Trek: The Next Generation) and Myself, 2008

I have to be honest, as much of a fan of Star Trek that I am (to the point where I have a room in my house dedicated to my fandom, I paid for a lifetime membership to Star Trek: Online before it was free-to-play and I have gone to Star Trek Conventions every year since 2003), after the first installment from J.J. Abrams of the rebooted franchise, I wasn’t really expecting that much from Star Trek Into Darkness.  Don’t get me wrong, the first film was a lot of fun and it was certainly great to see the franchise being given the big-budget treatment it deserves and has been lacking and it was also great to see Trek introduced to a whole new generation who overwhelmingly embraced the 2009 film (to the tune of almost $400 million worldwide).  When I reviewed the first film, however, my biggest complaints were that Abrams was playing it safe (other than the gratuitous and unnecessary destruction of Vulcan) and basically delivering us a cookie-cutter summer blockbuster that was really shiny but lacked substance with its plot and had holes big enough to drive a truck through.

Four years later, although I stand by that assessment, I’ve realized that upon reflection, there were a lot of things about the first movie (that I generously gave a 7.5/10 when I reviewed it) that didn’t sit well with me and mostly because it appeared that though Abrams and his go-to-team of Damon Lindelhof, Alex Kurtzman, Robert Orci and Bryan Burk (who are all admittedly passionate fans) had an appreciation and reverence for the franchise as a pop-culture icon, they didn’t seem to have any interest in keeping the core principles and concepts of the franchise intact.  Granted, Star Trek was created for television and television shows never translate well to feature film (see: Star Trek: Insurrection which is basically a two-hour episode of the Star Trek: The Next Generation with a $58 million budget) and the price of making a successful Trek film is that you have to sacrifice a lot of what the franchise is about to capture the imagination of the audience.

Yes, That Is Indeed Tom Hardy and He Pretends That Star Trek: Nemesis Didn’t Happen, Either.

That being said, just looking back at the first nine films (as far as I’m concerned Star Trek: Nemesis never happened), even though they lacked a lot of the more cerebral elements and social commentary that the franchise is known for, they still had the sense of adventure and exploration that are certainly hallmarks in their own right.  This wasn’t the case with Abrams’ Star Trek (2009) and all indications were that this new film was going to be more of the same and although I expected it was going to be big and loud (and mind you, I do love big and loud), it wasn’t going to have much in the way of substance or plot.

I couldn’t have been more wrong, and old-school Trek fans who hate the Abramsverse are going to hate this review and me by the end of it.

STID begins with a fantastic opening action sequence a la the Mission Impossible films with Kirk (Chris Pine) and McCoy (Karl Urban) being chased by a bunch of less-than-friendly natives who are obviously part of a primitive aboriginal society.  In the background, there’s a pissed-off volcano that’s ready to blow.  Through all of the madness we discover that Kirk and McCoy (who were in robes to hide their identities) are frantically trying to avoid contact with this alien culture in order to not violate the Prime Directive. For those who aren’t Trek fans, the Prime Directive is the most sacred law in Starfleet. General Order One prohibits, among other things, interference with the natural development and evolution of less-developed cultures.  So, while all this is going on there’s a little bit of exposition and they explain why they are trying to avoid the native folks and why it’s so important.  As a Trek fan, I sat there, cautiously optimistic and thinking,”OK… this is a good start.  They’ve incorporated the Prime Directive and they are more-or-less accurately explaining it.”

Then the other shoe drops…

Kirk and McCoy manage to make it back to the Enterprise by jumping off of a cliff into the water and swimming to her.  Y’see, they hid the Enterprise underwater.  Now, unlike the other butt-hurt fans out there who have been bitching about this scene for the last six months or so, I don’t really have a problem with that because other than an episode of Star Trek: Voyager (30 Days) where they had to send a shuttle into a planet that was basically a big ball of water floating in space because Voyager couldn’t handle the pressure of the water at a significant depth, there has never been anything mentioned in the franchise that said it was impossible for a starship to be submerged underwater (seriously, it can travel exponentially beyond the speed of light through the pressures of the vacuum of space but the damned thing can’t survive in a few feet of water?).  No, what I had a problem with was what came next and we find out what the true purpose of their mission was: to go into the volcano and put a device in there that will render the volcano inert, thereby saving the lives of the primitive culture.

Stop. Right. There.

Just when I was thinking that they had FINALLY gotten the essence of Trek right (open with a scene exploring a planet, inclusion of the Prime Directive), they have Spock (Zachary Quinto) intentionally violating the Prime Directive… which they had just said they were trying to adhere to no matter what the cost.  This really caught my attention because the dilemma of allowing a culture to go extinct in order to follow the Prime Directive’s position of the natural development of said culture has come up on more than one occasion on Trek and it’s been dealt with in a variety of ways.  The difference between how the issue has been dealt with before and this time, however, is that in the past they at least acknowledged the conflict with the Prime Directive, sometimes followed the Prime Directive despite the ethical conflict and sometimes just said, “F*ck it… we’re violating the Prime Directive.” Kirk, McCoy and Spock in this film, on the other hand, are yapping incessantly about how important the Prime Directive is in these sequences when the concern is about being seen… and then they don’t even acknowledge that they are violating it by saving these people to begin with.

What the holy f*ck was that?  At this point, I started looking at my clock on my phone and wondered how much longer I was going to have to sit through this nonsense… and then it happened; the most important scene of the film (that most people probably didn’t realize was the most important scene) and how I knew STID was vastly superior to its predecessor.

After the scene was over and Kirk again violates the Prime Directive by flying the Enterprise out of the water in order to save Spock from inside of the volcano in the nick of time (thereby exposing the big freaking spaceship to the guys in loin-cloths with spears… whoops!) they go back to Earth and Spock is mad because Kirk violated the Prime Directive to save him and Kirk is annoyed because Spock doesn’t seem to understand that saving his friends is far more important to him than that pesky Prime Directive. They both get called into Admiral Pike’s (Bruce Greenwood) office and he dresses both of them down for the violation of the Prime Directive (and the fact that Kirk lied in his Captain’s Log about the incident… again… whoops!).  Pike explains (basically to the audience) that their mission was ONLY to observe and report.  Kirk objects asking if he was supposed to let those people die and Pike tells him, “Yes!” which is exactly what he should have told him. So now, as Pike explains, there are consequences.  Kirk gets his command of the Enterprise taken away and is ordered to go back to Starfleet Academy to finish his coursework (remember, they give him a field commission at the end of the first film in his third year).

So, not only did the film redeem itself by addressing the morally questionable side of the Prime Directive, it also addressed the issue of consequences for following a moral code that is sometimes in contradiction with your orders.  This sets the tone for the entire film. Classic Kirk, classic Trek.  Bravo, and it’s about flippin’ time.

Section 31: Starfleet’s Very-Own Men in Black.

It only gets better from there, with a storyline full of moral conflicts, wonderful references to fan-favorite aspects of the franchise spanning everything from the Klingon homeworld (although, it’s Qo’noS not  Kronos, you dopes) to model ships of the NX-01 Enterprise (Star Trek: Enterprise), the Phoenix (Star Trek: First Contact), The XCV-330 (an Original Matt Jefferies design for use in a Gene Roddenberry project that never happened in the 1970s ) and the NX-Alpha (from the ENT episode First Flight) as set pieces and of course an epic adventure spanning across the stars (you’ll recall that the space adventure of the last film was fly to Vulcan, watch it blow up, maroon Kirk on Hoth to get eaten by a vagina monster and then they go back to Earth).  But the best fan-favorite inclusion in this film and perhaps of any Trek film ever is the active role of Section 31, the rogue, technically non-existent, clandestine shadow organization operating within Starfleet Intelligence first seen in Star Trek: Deep Space Nine that is determined to protect the the Federation regardless of the costs, how many laws it breaks or how many people it kills. It’s one of the darkest and most unseemly aspects in the Trek Universe and it’s in complete contradiction with all of the values and principles of the Federation and Starfleet… which is exactly why we love it.

One of the great things about this film from the perspective of a Trek fan that wasn’t really present during the first go-around is that these actors, although bringing their own unique style and personalities to these classic characters, really feel like their beloved original counterparts from the original series and the original feature films. Chris Pine is a young James Kirk, Zachary Quinto is a young Spock, Karl Urban… well it is quite possible that Karl Urban is actively channeling the spirit of DeForest Kelley and he may have been doing so since he learned the role was available and lobbied for it. He’s even more McCoy-like in this film (as if it was possible) than he was in the last one.  With the exception of Urban, this “becoming the character” didn’t happen in the last film.  Yes, Chris Pine may have been called James T. Kirk, but I really didn’t feel that he was Kirk.  This positive development of the characters was present for the entire ensemble cast.  Zoe Saldana is very convincing as the self-assured and passionate Uhura, Anton Yelchin plays the part of the brilliant, albeit young and self-conscious Pavel Chekov with aplomb and Simon Pegg nails Montgomery Scott (Scotty) as well as James Doohan did, bringing a sense of comic relief while at the same time applying his brilliant engineering skills to prove to be the miracle worker he is known for being. And yes, I know that’s blasphemy to even suggest.

As far as villains go, this time around we are given two of them but in true Trek-fashion, they are very complicated, shades-of-gray adversaries… again, as opposed to the very one-dimensional, bent-on-revenge Nero (Eric Bana) from the first film. Peter Weller makes his mark on the franchise again (he also appeared as the main villain, John Frederick Paxton in the ENT penultimate two-parter Demons and Terra Prime, arguably, the two best episodes of the series) by playing the dedicated but ruthless Admiral Marcus whose goals are slowly revealed to the audience.  Benedict Cumberbatch (Sherlock) plays the mysterious and elusive Starfleet Officer John Harrison who is responsible for a horrific terrorist attack and finds an unlikely ally with Kirk and crew until his true identity is ultimately revealed as is the danger he presents.

Is the film perfect? Please, it’s a summer blockbuster and a Trek film… how could it possibly be perfect?  Even if you’re not a Trek fan, you have to laugh at some of the absurdity when it comes to the science in the film.  I was hoping to forget about Scotty’s magical transporter that can “beam” people across the galaxy and even onto starships traveling at high warp speed, but of course they had to use that dopey piece of tech again in ST:ID. I’m just wondering: has it occurred to anyone that a transporter capable of doing this would make starships completely unnecessary, and thus, make Starfleet pointless? And I seriously could do with a whole lot less of Spock crying.  Spock is only allowed to cry when he is under the influence of a space virus that makes him drunk.  He is not allowed to cry simply because he is sad.

Star Trek: The Next Generation (Harrison O’Halloran)

If you are a Trek fan like myself, there are plenty of cringe-worthy moments that induce serious eyeball-rolling where they just absolutely rape the original source material with their references to the original series and films (these moments are VERY integral to the film and not casual) and to be quite honest it seems  intentional.  It’s kind of a big “F*CK YOU” to the old-school Trek fans who are critical of the Abramsverse and hate it for the sake of hating it.  On the other hand, looking at these references from the perspective of objectivity, the truth is that no one except for the most dedicated fan would know any different (they dipped their toe in the water in the first film with this approach with the Kobayashi Maru scene but it wasn’t very effective because there was no context). The real purpose of these references, however, which we grant completely violate the established storyline (because… y’know… the franchise has NEVER contradicted itself over the past 46-plus years) is to make a very strong statement to the fandom about where these new adventures fit within the franchise.  You’re right, this is not the Star Trek that you remember but it is indeed Star Trek and we are firmly establishing ourselves within the franchise by taking the spirit, theme, characters and even the established plotlines and re-envisioning them all for a contemporary audience while staying true to the original principles of the franchise… and you’d better get used to it because the fact of the matter is that your kids like our new Star Trek far more than your old Star Trek.

The bottom-line, though, is that as much as the old guard fandom complains about nonsense like the overuse of the “lens flare” effect technique (it’s been four f*cking years… sing another tune, already), the Anheuser Busch brewery used as the engineering set (which no one would have even known about to complain about if the producers hadn’t made such a big deal about it during the last film), the design of the Enterprise herself, experimentation on Tribbles, the ship in the water, the obnoxiously oversized U.S.S. Vengeance and of course all of the other goofiness that does rear its head in the film that I spoke about, none of these issues detract in any meaningful way from the quality of the film and its “Trekness,” as it were. This film is so well-done that I’ve even come to accept the biggest blasphemy of the first film, the destruction of Vulcan, which is something that I never thought I would accept.  To make matters worse for the anti-Abramsverse Trek fan, audiences love these films and by the end of the summer, these first two Trek films by Abrams will mostly likely have grossed more globally than the previous ten films combined… which brings me to the portion of the show where I address the fanbase directly.

As noted by the four year campaign of hate against the Abramsverse films, some corners of Star Trek fandom continue to be under the impression that hundreds of millions of dollars should be spent to make the Star Trek movie that coincides with THEIR vision of what the franchise should be about. This makes me giggle to no end because not only has that never been the case in the films (following the formula of Crisis/Introduction of Villain, Action, Resolution, Roll Credits), but it was also never the case for the television franchise.

At the height of the franchise’s popularity, Star Trek: The Next Generation was getting 14 million viewers per week; guess what percentage were actually “fans,” i.e., those viewers who followed the franchise religiously and spent money on the merchandising…

It was 2%… and do you know why? Because the franchise on television, like ALL television shows that’s not on a niche network wasn’t and isn’t made for niche science fiction audiences or even the Star Trek fans. It’s made for the general 18 – 49 demographic with the purpose of getting as many of those viewers watching from week-to-week as possible because that’s what advertisers pay the big bucks for.

Advertisers do not give two-shits about 2% of the viewing audience, they care about the other 98% and how many of them fall into that coveted demographic. Ergo, Paramount/CBS Television or whoever is producing the shows don’t give two-shits about the fans, either. What they care about is producing a show that makes them as much money as possible from advertisers and that means that the primary goal in production is to have as much mass-appeal as possible.

It is no different for the Abramsverse films or the ten films that came before them. We as Trek fans seriously need to get the f*ck over ourselves and understand the reality of the situation: Star Trek is not only not specifically made for us, but the fact is that it’s made for everyone else BUT us, regardless of the visual medium.  Hell, the first film (Star Trek: The Motion Picture, 1979) was produced as a response to the success of Star Wars and its mass-appeal, not because Paramount thought to themselves,  “We have to bring this franchise back because a cult fanbase is clamoring for it.”  They weren’t looking to get Trek fans into the theater, they were looking to get EVERYONE into the theater… just like Star Wars did.

And not for nothing, but Trek fans should be worshipping the ground that Abrams walks on because he was the only one with any clout in Hollywood who saw any value left in what was a completely dead franchise after the disasters of both ENT and ST: NEM.

And why were they such disasters? Because producer and Roddenberry heir apparent to the franchise, Rick Berman, was so obsessed with this nostalgic notion of remaining true to Roddenberry’s vision to the exclusion of all else that he allowed the franchise to be stuck perpetually in 1990 well into the new millennium. The 18 – 49 demographic evolved generationally and their tastes changed while Trek stood still.  No offense is intended toward Berman (who many fans do hate) who is responsible for many great things in the franchise but the facts are the facts.

Don’t want to believe it? Just look up some interviews with Ronald D. Moore (former writer/producer on TNG, DS9 and VOY and creator of the Battlestar Galactica reboot) as to why he was so frustrated on TNG and VOY and why he ultimately left VOY.  He talks about it at length with Rod Roddenberry (Gene Roddenberry’s son) on the Trek Nation documentary but if you really want to get some insight, just listen to the audio commentary on the Battlestar Galactica DVD/Blu-ray sets.

Moore recognized how stale and repetitive the franchise had become by the mid-1990s and understood that it was not keeping up with the changing tastes of its target audience. As he explains it, he wanted to do the things on VOY that he ultimately did on BSG but was told he couldn’t because it wasn’t in strict keeping with Roddenberry’s vision. The result: Trek goes into a 10-year tailspin culminating with the untimely cancellation after a mere four seasons of its last series that was getting a lousy two million viewers per week (ENT).

And what does Moore think about Star Trek (2009)?:

“The bottom line was, it really worked. I enjoyed it. I think most people enjoyed it. And I think it opened the door to a new generation of fans, because the franchise up to that point, as I said earlier, was so encumbered by its own continuity and its own back stories that I think it was really, really difficult to get new people to try Star Trek, because there was just such a huge learning curve they had to go through. Now, with the re-imagining of it, people could just start over and enjoy it and then go discover all the various permutations and spin-offs later on. It has to be inviting for people to sample it for the first time, and it did.”

Star Trek (2009) made nearly three times as much money as its next closest competitor within the franchise. It’s not Roddenberry’s vision? Good. The reality is that audiences (excluding the insignificant numbers that comprise Trek fandom) don’t want Roddenberry’s vision of how a Trek show or film should be made anymore. It’s old, tired and outdated and it doesn’t coincide with their worldview or expectations when it comes to television and film viewing options.  It’s simply not sophisticated enough for today’s contemporary audience and it certainly doesn’t work on television when audiences have 500 channels to choose from.

That being said, they do once again want Trek and regardless of whatever anyone may think about the content of these new films, it is simply foolish to not recognize the positive role that Abrams has played in reviving this, until recently, very dead franchise.

Trek fans who hate the Abrams vision need to go see STID twice, maybe even three times and bring three friends each time because how well this film does will have a direct impact on the possibility of Trek returning to television in the near future (where it truly belongs to begin with). But whatever the pouty fandom does, it’s in their best interest to get over their inflated sense of self-importance, stop complaining and simply be thankful that Trek has a future now thanks to the likes of Abrams… which is something that couldn’t be said five years ago.

SyFy: ‘Continuum’ Season Two Premiere Date Announced (TRAILER!)

Via Press Release:

SYFY’S POPULAR SERIES CONTINUUM WILL RETURN FOR SECOND SEASON

THIRTEEN ALL-NEW EPISODES BEGIN AIRING FRIDAY, JUNE 7

NEW YORK – March 26, 2013 – Syfy has announced its popular time traveling police drama Continuum will return for a second season. The 13 all-new episode season will premiere in its new time period beginning Friday, June 7 at 10PM (ET/PT).

During its first season, Continuum delivered 1.35 million total viewers, 644K Adults 25-54 and 537K Adults 18-49. In its time period, the series ranked #6 in Adults 25-54 and #10 in Adults 18-49 among all cable entertainment programs with at least three telecasts (based on most current data).

New episodes of Continuum pick up after the gripping Season 1 finale when Kiera Cameron (Rachel Nichols/Criminal Minds, Alias) fought a ticking clock to prevent a cataclysmic act of terrorism.

Cameron is a cop from the future who finds herself trapped in the present day, swept along when a group of fanatical terrorists escaped their planned execution in 2077 by vaulting back in time.

Continuum co-stars Victor Webster (Castle, Melrose Place) as detective Carlos Fonnegra and Erik Knudsen (Jericho, Scream 4), who plays teen tech genius Alec Sadler.

Executive producers of Continuum are series creator Simon Barry (The Art of War), Pat Williams (Smallville), and Tom Rowe (Tin Man). Continuum is a Showcase original series and is produced by Reunion Pictures in association with Shaw Media.

Syfy is a media destination for imagination-based entertainment. With year round acclaimed original series, events, blockbuster movies, classic science fiction and fantasy programming, a dynamic Web site (www.Syfy.com), and a portfolio of adjacent business (Syfy Ventures), Syfy is a passport to limitless possibilities. Originally launched in 1992 as SCI FI Channel, and currently in more than 98 million homes, Syfy is a network of NBCUniversal, one of the world’s leading media and entertainment companies. (Syfy. Imagine greater.)

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GEEK ALERT! UPFRONTS 2013: SyFy Announces Fall 2013 Programming Slate, 14 Scripted Series In Development

Quick and dirty, here, folks. Just got this press release and we wanted to get it up as quickly as possible.

What should be noted is that there are only two new scripted series coming this fall, however, this is not particularly surprising.  SyFy tends to premiere new shows all throughout the calendar year as opposed to the major networks.

Also of note, if you’ll recall, we posted a piece from last year regarding the dozen or so scripted series that SyFy was developing.  As you read further, you’ll notice that eight of them are not mentioned in SyFy’s press release.  Here is the list of shows that were in development last year at SyFy that we have no word on as of yet, but appear to have been shelved.  We’ll keep you posted:

UPFRONTS 2012: SyFy Announces 2012 – 2013 Schedule, 12 New Scripted Series In Development

• Rewind  Rewind revolves around a team of military field operatives and civilian scientists who must use untested technology to travel back in time to alter events and change the future — and avoid a devastating terrorist attack. Shane McRae stars as Sean Knox, ex-Special Forces who ranks as a field operative in a special division of the Department of Homeland Security.
• The Adjustment Bureau  In this drama, based on the hit movie starring Matt Damon, guardian angel-type agents work to keep the world according to The Plan. They create everything from plane crashes to coffee spills in order to steer people to realize their true destiny. But there is one thing the operatives and their Chairman can’t control — free will.
• Grave Sight   From the best-selling author of True Blood, this Charlaine Harris book series follows Harper Connelly – a young woman with a unique gift. After being struck by lightning as a teenager, Harper can sense the location and last memories of dead people. She teams up with her protective stepbrother, Tolliver Lang, to help find a missing teenage girl — only to uncover a network of lies and murders throughout a small town in the Ozarks.
• Untitled Booster Gold Project  Based on the best-selling DC Entertainment Comic, this is the story of a washed-up athlete from the future who travels back to the present in hopes of becoming the greatest superhero of all time. But instead of chasing criminals, his main priority is chasing fame and money. Booster Gold discovers that being a hero takes more than just a megawatt smile.
• Seeing Things  Based on the comic Grey Legion from Platinum Studios, after a cop meets his violent demise, he returns as a ghost to close his last case. But the only person who can help him is a socially awkward man who is realizing for the first time that his hallucinations may not be all in his head.
• Defender  In the aftermath of an intergalactic war between humans and transhumans, the starship Defender, populated by a combustible mix of former enemies, is sent on a seemingly simple goodwill mission, which turns into a fight for their lives and for the safety of the Universe at large.
• The Family  For generations, an alien family has hid amongst humans in plain sight using their advanced intellect to carve out a life for themselves as their family grew. But when the family patriarch that kept peace amongst the factions dies, a war begins to brew with some members believing the time has come to reveal themselves, and their superior power, to the inferior human race.
• One Mile Straight Down  When a powerful earthquake hits California and opens up a chasm bigger than the Grand Canyon, it reveals an enormous hidden ocean lying deep beneath the earth’s crust. Billionaire adventurer James Exeter works with the government to take an advanced nuclear submarine down to explore it and discovers more than he ever could have imagined.

Via Press Release:

SYFY UNVEILS NEW QUARTERLY MULTIMEDIA EVENTS “RINGWORLD,” “HELIX,” “DOMINION,” “UNBREAKABLE” AND “OPPOSITE WORLDS”

OSCAR-WINNER JAMIE FOXX TO EXECUTIVE PRODUCE, WRITE AND DIRECT HORROR ANTHOLOGY SERIES

UPCOMING REALITY SERIES JOE ROGAN QUESTIONS EVERYTHING, COSWORLD AND FANDEMONIUM

NEW YORK – April 10, 2013 – Syfy and Chiller President Dave Howe today unleashed the imagination of the advertising community by announcing an original programming slate featuring Oscar-winner Jamie Foxx (Ray, Django Unchained) executive producing, writing and directing a horror anthology series, a trio of new reality series – Joe Rogan Questions Everything, Cosworld and Fandemonium – and 19 scripted and reality development projects, including The Jim Henson Creature Shop, a creature competition program.

Howe further announced a groundbreaking strategy of major quarterly multiscreen events showcasing new high concept programs, including Ringworld, a miniseries based on Larry Niven’s classic novel; Helix, an epic thriller from Battlestar Galactica’s Ronald D. Moore; the scripted series Dominion (working title) from Sons of Anarchy writer Vaun Wilmott; Opposite Worlds, a real life Hunger Games-type competition, and Unbreakable, an unscripted program testing contestants through mental and physical extremes.

In making the announcement, Howe said: “This upfront season, we’re embarking on a bold and ambitious new programming strategy that further reinforces Syfy as the premier destination for high-concept, boundary pushing entertainment experiences. Building on the transmedia sensation Defiance, Syfy will create and deliver buzzy and highly social event programming every quarter that will stand out in the marketplace. These interactive tent-poles embrace the second screen experience our unique and valuable Igniter viewers now expect, and deliver greater and deeper partnership opportunities for our advertisers’ brands. Going forward Syfy is committed to delivering innovation through smart, upscale, aspirational original content, backed up by the scale and gender balance of a top 10 network.”

Bolstering its powerhouse scripted programming lineup, Syfy announced that the five-episode series from Jamie Foxx will join Defiance, Warehouse 13, Being Human, Haven and the upcoming Helix from Ronald D. Moore (Battlestar Galactica). Syfy will also begin production on the pilot of High Moon, from Bryan Fuller (Pushing Daisies), based on John Christopher’s best-selling novel The Lotus Cave.

Said Mark Stern, President, President, Original Content, Syfy, and Co-Head, Original Content, Universal Cable Productions: “By shattering the boundaries of conventional storytelling, Syfy has become synonymous with provocative, quality television. Each year, the bar for success is raised by the expectations of our audience – and ourselves. We’re always reaching for greater imaginative heights. These new creative alliances, with this illustrious roster of award-winning talent, underscores Syfy’s commitment to bringing our viewers the very finest programming.”

New original scripted development projects – including 8 from Universal Cable Productions — will include No Place from Robert Zemeckis (Back to the Future), Clandestine from Gale Anne Hurd (The Walking Dead) and Sojourn from Jason Blum (Paranormal Activity). These will expand the existing development slate highlighted by Proof, produced by M. Night Shyamalan (After Earth), the British cult favorite Blake’s 7, directed by Martin Campbell (Casino Royale), and Dominion from Defiance director Scott Stewart and writer Vaun Wilmott (Sons of Anarchy).

From MGM Television and Universal Cable Productions (UCP), Syfy announced that it is developing miniseries based on Larry Niven’s award-winning novel Ringworld, as well as Arthur C. Clarke’s Childhood’s End, from executive producer Michael DeLuca (The Social Network) and UCP.

Previously, Syfy announced it is developing Philip K. Dick’s The Man in the High Castle from Ridley Scott’s Scott Free Productions, writer/executive producer Frank Spotnitz, Headline Pictures and FremantleMedia International; Stephen King’s Eyes of the Dragon, from UCP and Ostar Productions, and Darkfall, from UCP and Jim Henson Productions, as long form productions.

Building on Syfy’s hit reality programming like Face Off and Ghost Hunters, new unscripted series will range from Fandemonium, a dizzying ride into the fan girl and fan boy cultures, Cosworld, which follows the country’s hottest cosworld players, and Joe Rogan Questions Everything, an investigative series hosted by Joe Rogan (Fear Factor).

Among the unscripted shows in development is a paranormal project with Meat Loaf; The Jim Henson Creature Shop, a creature competition program from Jim Henson Studios; Unbreakable, based on The Death Race, an extreme endurance race held annually in Vermont, along with current reality pilots such as Opposite Worlds, in which twenty people live in two distinctly different worlds – the Past and the Future.

Syfy further announced that upcoming second screen initiatives will be included in Helix, where viewers can use Syfy Sync to gain real-time access to the research lab depicted in the series through a two screen experience called “Access Granted”; for Unbreakable, viewers will be able to Skype with contestants via a Facebook App to predict who’ll win each week’s challenges; Google Plus Hangout Chats with the cast of Fandemonium; the Cosworld cast vlogging to share fantasy secrets with fans, and viewers will have the ability to select alternate endings for Jamie Foxx’s horror anthology series.

In delivering valuable viewers to its programming, Syfy’s Igniters drive consumer behavior and new products through social media. Compared to viewers of the top 10 cable networks*, Igniters are:

· 62% more likely to be “Super Influential” video game consumers

· 40% more likely to have friends ask their advice before buying electronics

· 32% more likely to keep up with the latest advances in auto technology

· 32% more likely to have people copy what they do/wear

· 24% more likely to have family/friends ask for and trust their advice on soft drinks

· 16% more likely to recommend vacation travel to people

· 14% more likely to see movies opening weekend

*based on Simmons/MRI data

A global brand, Syfy is currently available in 60 countries, reaching nearly 145 million households.

NEW REALITY SERIES

Joe Rogan Questions Everything (working title) – Premieres Tuesday, July 16 at 9PM — Life-long unexplained paranormal mystery-addict Joe Rogan ventures into unknown worlds and untapped territories to search for answers to life’s most startling theories. Having explored these questions for years on his podcast, Joe now takes his journey to the next level, traveling the country and knocking on any door necessary to find the truth. In his own unique and inquisitive style, Joe will stop at nothing to quench his curiosity for the unknown. Production company: A. Smith & Co. Executive producers: Arthur Smith, Joe Rogan, Kent Weed, Frank Sinton, Michael Braverman, Tod Mesirow, Barry Bloom, Jeff Sussman and Chandra Keyes.

Cosworld (working title) – Premieres Tuesday, August 27 at 10PM– Cosworld is a tantalizing six-episode docuseries that lifts the veil on the imaginative world of cosplay competition. The series follows some of the hottest cosplay stars as they make a splash at comic book conventions around the country. The show dives deep into their lives, following their process as they create extravagant and visually arresting costumes each week. These individuals will constantly defy odds and race against the clock to transform themselves into amazing fictional characters that push the boundaries between fantasy and reality, all in hopes of impressing the convention judges to win a cash prize and the chance to become a cosplay legend. Production company: 51 Minds, an Endemol Company. Executive producers: Mark Cronin, Courtland Cox and Dave Caplan.

Fandemonium (working title) – Premieres Fall 2013 — From the producer of Jersey Shore comes Fandemonium – a six-part docuseries that celebrates the incredibly unique, often misunderstood, and infinitely fascinating fan girl and fan boy culture. Living together in an LA apartment complex, a tight-knit group of pop culture-obsessed fans continue to find their place in the world and flourish, thanks to their passions and personalities. Whether it’s being first in line for the latest blockbuster, making a lasting impression upon getting the chance to meet their heroes, or just figuring out how to balance their passions with making a living – when these friends get together, it’s flat out Fandemonium. Production company: 495 Productions. Executive producer: SallyAnn Salsano.

NEW SCRIPTED SERIES

Untitled Jamie Foxx Project (five episodes) – Premieres October — Oscar-winner Jamie Foxx will executive produce, write and direct this half-hour, horror anthology — in the vein of Tales from the Crypt/The Twilight Zone – which tells creepy morality tales addressing themes such as envy, jealousy and superficiality. Troy Miller (Flight of the Conchords, Brand X) will serve as executive producer through his production company Dakota Pictures. Writers on the project include Foxx, Mike Ferris (Terminator: Salvation) and John Pogue (Army Wives, Everwood). Writer Jeff Stilson, Jaime King and Julie Yorn will also serve as executive producers. Studio: Universal Cable Productions.

Helix — A team of scientists investigate a possible disease outbreak in an Arctic research facility and find themselves trying to protect the world from annihilation. Co-executive producer & writer: Cameron Porsandeh. Executive producers: Ronald D. Moore (Battlestar Galactica), Steven Maeda (Lost, CSI: Miami), Lynda Obst (Contact). Production company: Lynda Obst Pictures & Tall Ship Productions. Studio: Sony Pictures Television.

NEW SCRIPTED PILOTS

High Moon — High Moon is an imaginative, out-of-this-world series exploring what happens when the countries of Earth establish colonies to mine the Moon’s resources and discover a new form of life. Chaos erupts in a genuinely emotional, humorously thrilling and always unexpected fashion as the people of the Moon race to uncover this life form’s powerful secrets. Co-executive producer/writer: Jim Danger Gray (Pushing Daisies, Hannibal). Executive producer/writer: Bryan Fuller (Hannibal, Pushing Daisies). The pilot is written by Gray from a story by Fuller and Gray. Executive producers: Cary Granat & Steve Granat of Reel FX and Don Murphy & Susan Montford of Angry Films (Real Steel, Transformers). Studio: UCP.

NEW LONG FORM DEVELOPMENT

Ringworld — In Ringworld, based on the Hugo Award-winning novel by Larry Niven, a hastily-assembled team of explorers travels to the farthest reaches of space to investigate a mind-blowing alien artifact called Ringworld – an artificial habitat the size of one million Earths. As they crash land on this enormous structure, they discover the remnants of ancient civilizations, technology beyond their wildest dreams, mysteries that shed light on the very origins of man and, most importantly, a possible salvation for a doomed Earth. Adapted by writer Michael Perry (The River, Paranormal Activity 2), Ringworld is being developed as a four-hour mini-series Syfy event. The project is a co-production of MGM Television and Universal Cable Productions (UCP), with MGM as the lead studio. Executive producers are William S. Todman and Edward Milstein.

Childhood’s End — Based on the Arthur C. Clarke novel, the story follows a peaceful alien invasion of Earth by the mysterious Overlords, whose arrival ends all war and turns the planet into a near-utopia. Childhood’s End will be executive produced by Michael DeLuca (The Social Network) with Universal Cable Productions serving as the studio.

NEW SCRIPTED SERIES DEVELOPMENT

No Place — The residents of a high-tech gated community arise one day to find themselves cut off from the rest of reality. Outside the walls of Paradise Hill is…nothing. Now the neighborhood must figure out how to survive as resources dwindle and tensions rise. Writers: John Brancato & Mike Ferris (Terminator Salvation, The Game). Executive producers: Robert Zemeckis, Jack Rapke, Brancato and Ferris. Circle of Confusion will also produce the project with David Alpert (The Walking Dead) and Rick Jacobs as executive producers. Matt Hawkins and Marc Silvestri serve as executive producers for Top Cow. Studio: Fox Television Studios.

Dominion (working title) – In this series (formerly called Legion), 20 years after evil angels descended from heaven to lay waste to the human souls they felt God had favored over them, a reluctant “savior” must arise to protect Vega, the last remaining stronghold of humanity. The savior has more to fear than just angels, as the elites of this new society conspire to gain power for themselves. Writer/CO-EP: Vaun Wilmott (Sons of Anarchy). Director/EP: Scott Stewart (Defiance). EP: David Lancaster. Studio: Sony Pictures Television. Based on the feature film “Legion'” produced by Bold Films.

Orion –In this space opera Orion, an adventurous female relic hunter, tracks down valuable artifacts while trying to piece together her past. Set amidst an intergalactic war pitting humans against a terrifying alien race, Orion must decide whether to use her abilities to save herself or commit to the cause and unearth long hidden artifacts that could free all of humanity from a horrible fate. Executive producers/writers: Ron Milbauer & Terri Hughes Burton (Alphas). Co-executive producers: George Krstic & Ryuhei Kitamura. Supervising producer: F.J. Desanto. Studio: UCP.

Sojourn — The first detective ever in space is tasked with investigating a murder on a starship — headed to colonize another planet – and instead becomes embroiled in a vast conspiracy involving a mysterious terrible crime dating back to the original launch of the ship 50 years ago. Writer: Phil Levens (Smallville). Producer: Jason Blum (Paranormal Activity). Studio: Lionsgate.

Clandestine – After a clan of bandits are nearly destroyed and left for dead by Coalition forces, they take refuge in the nearest safe haven, a derelict Coalition starship floating in space. Once onboard, they masquerade as Coalition officers while continuing their criminal ways – until they stumble upon a shocking realization about the true nature of the Coalition. Writers: Todd Stashwick & Dennis Calero. Executive producers: Gale Anne Hurd (The Walking Dead) and John Shiban (Hell on Wheels). Studio: UCP.

Infinity — When an alien armada is sighted in the region of Pluto, the Earth government turns to a young billionaire industrialist — who has the only ship ready for interstellar travel — to greet the aliens and avoid a catastrophe. Powered by secret alien technology discovered on Earth in the 1960’s, the ship engages in a firefight that sends them spinning through a wormhole into an uncharted region of space. Lost in the universe, the team struggles to survive as they encounter new planets and alien species, searching for a way back home. Writer: Javier Grillo-Marxuach (Lost). Producer: Berman/Braun Television. Studio: Universal Television.

Silver Shields — When his father is slain by assassins connected to the government of the large nearby city of Pont Royal, farm boy Caymer journeys there to continue his father’s legacy as a member of the local police force — and to solve the mystery of his father’s death. He discovers that his simple country view on life is at odds with the big city, filled with orcs and other magical creatures. Executive producer/writer: Robert Hewitt Wolfe (Alphas). Producer: Aaron Kaplan. Studio: UCP.

Shelter – A massive meteorite is headed toward Earth, forcing 30,000 hand-picked humans to live underground in a government funded shelter in order to start a new society. What begins as a Utopia quickly succumbs to the old human faults and jealousies as certain members of society create alliances to gain favor and power. Meanwhile things on the surface are not what they seem. Humans slowly realize that this event may have been fated and the survivors meant for a greater purpose in rebooting life on Earth. Executive producer/writer: Bruce Joel Rubin (Deep Impact) and co-executive producer/writer Ari Rubin. Studio: UCP.

Untitled Alfonso Moreno Project — After a meteorite strikes a plane, the only two survivors find themselves sleepwalking and waking up with no memory of their actions. On the run from the government, they must figure out what happened to them and prove their innocence. Executive producers: Alfonso Moreno (NCIS) & Ross Fineman (Lights Out). Studio: Fox Television Studios.

LONG FORM SCRIPTED DEVELOPMENT

Eyes Of The Dragon – Based on Stephen King’s best-selling novel. A kingdom is in turmoil as the old king dies and his successor must battle for the throne. Pitted against an evil wizard and a would-be rival, Prince Peter makes a daring escape and rallies the forces of good to fight for what is rightfully his. Writers: Michael Taylor (Defiance, Battlestar Galactica) and Jeff Vintar (I, Robot). Executive producers: Michael Taylor and Bill Haber. A production of Universal Cable Productions and Ostar Productions.

Darkfall – When, without warning, modern forms of power and technology become a thing of the past, Los Angeles, and the world at large, becomes a place where magic rules and life as we know it is turned upside down. Writers: Ethan Reiff and Cyrus Voris (Kung Fu Panda, Sleeper Cell). A production of The Jim Henson Company and Universal Cable Productions.

NEW REALITY SERIES DEVELOPMENT

Opposite Worlds — Opposite Worlds is based on the mega-sensation Latin American reality series, Mundos Opuestos, in which twenty people from all walks of life are mixed together in two opposing teams that live in two distinctly different worlds – the Past and the Future. The Future is a Utopia where every wish can be granted with a push of a button; the Past is a constant struggle for survival. Each week, players compete in a series of challenges to determine who lives in the Past and who lives in the Future, and fight to be the last man standing. Production company: Smart Dog Media. Executive producer: Craig Plestis. Format devised by Canal 13, Sergio Nakasone, Juan Pablo Planas and Veronica Ruaro.

Unbreakable — Based on The Death Race, an extreme endurance race held annually in Vermont, Unbreakable sets to test competitors’ inner resolve to persevere through mental and physical extremes. Nothing is as it seems in this competition, where contestants must navigate through a seemingly natural but altered environment full of obstacles and challenges. Testing each individual’s spirit to its limit, the contestants will either self-eliminate or fall by the wayside, until only one will remain to conquer all. Production company: Pilgrim Studios. Executive producers: Craig Piligian and Joe Desena

The Jim Henson Creature Shop – For generations the craftsmen at The Jim Henson Creature Shop have brought to life imaginative, lovable and memorable characters that have enthralled audiences around the world. Now, aspiring creature makers will have an opportunity to win the job of a lifetime – an apprenticeship with the Creature Shop. Teams of amateur creators will face off to build elaborate and awe-inspiring creatures, ranging from animatronic monsters and fantastical puppets, to life-like beasts and beyond! Creations are judged by Brian Henson – son of Jim Henson and Chairman to the Henson empire – along with top industry experts. Executive producers: Brian Henson (The Jim Henson Company) and Joseph Freed.

Meat Loaf Rocks the Paranormal (working title) — Meat Loaf Rocks the Paranormal features rock legend Meat Loaf and his colorful but divided family of skeptics and believers. Unlike the typical family vacation, Meat Loaf, his two daughters and rock star son-in-law Scott Ian of Anthrax travel to America’s most haunted and famous locations to settle the family’s paranormal debate. Production company: Thinkfactory Media. Executive producers: Adam Reed, Adam Freeman and Leslie Greif.

The Gadget Show – Based on the popular UK series, The Gadget Show previews and reviews the latest technological gadgets fit for mass consumers. Traveling around the globe, the show’s gadget-obsessed hosts highlight the coolest tech trends, world premiere inventions and engineers of the future. Mixing in-studio segments with out-in-the-world product testing, the hosts perform adrenaline-fueled stunts to determine the quality of the hottest new devices about to be put on the market. Production company: All3Media America/North One Television. Executive producers: Stephen Lambert, Eli Holzman and Ewan Keil.

Dead Famous (working title) — When celebrities pass before their time, questions are often left unanswered with their loved ones and fans. Dead Famous sets out to find answers to those questions and to provide closure via a LIVE séance, led by a medium and with friends, family and paranormal investigators in attendance. Leading up to the séance, the Dead Famous host will visit the celebrity’s private locations and collect personal items which will then be used to help make contact. Production company: Smart Dog Media. Executive producers: Craig Plestis, Guiliana Rancic and Colet Abedi.

Graveyard Shift — Graveyard Shift follows Josh Gates as he journeys alongside people whose extreme jobs and bizarre lives start after the sun goes down. Whether holding the night guard position at a notoriously haunted graveyard in Baltimore, installing neon lights in the most extreme skyscraper in the Chicago skyline, or journeying through mysterious underground tunnels with a city’s public works department, Gates will battle his fears and imagination while venturing to places where few dare to go. Production company: Discovery Studios. Executive producers: Josh Gates, Eddie Barbini, and Gary Shapiro.

Make Me a Millionaire Inventor — Based on the British series, Make Me Millionaire Inventor follows a team of engineers and scientists as they hunt through the U.S. Patent Office for the best inventions — never made — to make inventors’ dreams come true. The show will pick different patents each week and track down the original inventors to surprise them with the offer of a lifetime: a chance to finally bring their idea to fruition. The team will then coach the inventors as they prepare to pitch a working prototype to industry pioneers – in hopes of making the most important sale of their lives. Production company: Objective Productions/Kalel Productions/All3Media America. Executive producers: Nick Parnes, Andrew O’Connor and Eli Holzman.

Syfy is a media destination for imagination-based entertainment. With year round acclaimed original series, events, blockbuster movies, classic science fiction and fantasy programming, a dynamic Web site (www.Syfy.com), and a portfolio of adjacent business (Syfy Ventures), Syfy is a passport to limitless possibilities. Originally launched in 1992 as SCI FI Channel, and currently in more than 98 million homes, Syfy is a network of NBCUniversal, one of the world’s leading media and entertainment companies. NBCUniversal is owned by Comcast Corporation. (Syfy. Imagine greater.)

TNT: ‘Falling Skies’ Extended Third Season Trailer (VIDEO)

Season three of Falling Skies returns on June 9th at 9:00 p.m. with a two-hour premiere.

SHOCKER! HBO Renews ‘Game Of Thrones’ For Season Four Within 48 Hours Of Season Three Premiere

Considering that HBO renewed Game of Thrones for seasons two and three within 48 hours of the premieres of seasons one and two, respectively, this really should come as a surprise to no one.  I’m just going to copy and paste this piece and save it in my “Drafts” folder for next year.

Via Press Release:

HBO RENEWS GAME OF THRONES FOR FOURTH SEASON

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Season Three Soars To Highest Viewership Yet

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LOS ANGELES, April 2, 2013 – HBO has renewed GAME OF THRONES for a fourth season, it was announced today by Michael Lombardo, president, HBO Programming.

Based on the bestselling fantasy book series by George R.R. Martin, GAME OF THRONES is an epic story of treachery and nobility set on the continent of Westeros, where summers and winters can last years, and only the lust for power is eternal. The Emmy^®– and Golden Globe-winning series launched its ten-episode third season Sunday, March 31 (9:00-10:00 p.m. ET/PT), exclusively on HBO, with other episodes debuting subsequent Sundays at the same time.

Among the early critical praise for the third season, the Hollywood Reporter called GAME OF THRONES “addictive and outstanding,” while Newsday termed the series “superb,” awarding the show an A+. The Chicago Tribunehailed the show as “spellbinding” and the Washington Post described it as “masterful.”

According to early data, GAME OF THRONES’ season three premiere March 31 on HBO topped the series’ highs, with record viewership for both the 9:00 p.m. (ET/PT) airing and gross audience across the three plays. At 9:00 p.m., it averaged 4.4 million viewers, outperforming (+4%) the previous high of 4.2 million viewers from last season’s finale. GAMES OF THRONES improved 13% in comparison to last season’s premiere of 3.9 million viewers. Across the three plays for the night, 6.7 million viewers tuned in, surpassing last season’s debut night of 6.3 million viewers by 7%. Last season, GAME OF THRONES had an average gross audience (HBO linear plays + HBO On Demand/HBO GO + DVR) of 11.6 million viewers.

For more on the series, visit facebook.com/GameOfThrones and twitter.com @GameOfThrones #GameOfThrones.

Season three credits: The executive producers of GAME OF THRONES are David Benioff, D.B. Weiss, Carolyn Strauss, Frank Doelger, Bernadette Caulfield; co-executive producers, Guymon Casady, Vince Gerardis, George R.R. Martin, Vanessa Taylor; produced by Chris Newman, Greg Spence.

GEEK ALERT! SyFy: Ronald D. Moore’s ‘Helix’ Greenlighted For Full Season

SyFy is reuniting with Battlestar Galactica‘s Ronald D. Moore for a brand new epic SciFi series, Helix, scheduled to begin production soon and air later this year. Not only is this cool on its face because Moore doesn’t slap his name to anything unless it’s awesome to begin with, but SyFy has so much faith in this that they skipped the whole pilot process, opting to order an entire 13 episode season without seeing a single produced episode.  That’s what you call faith.

Via Press Release:

SYFY REUNITES WITH RONALD D. MOORE GREENLIGHTS NEW SCRIPTED SERIES HELIX FROM SONY PICTURES TELEVISION FOR 2013

MOORE AND LYNDA OBST SERVE AS EXECUTIVE PRODUCERS

NEW YORK – March 7, 2013 – Syfy is giving a 13-episode greenlight to Helix (working title), its newest original scripted series for 2013, it was announced today by Mark Stern, President of Original Content, Syfy and Co-Head Original Content, Universal Cable Productions. Helix is Executive Produced by Ronald D. Moore (Battlestar Galactica), Lynda Obst (Sleepless in Seattle, Contact), Steven Maeda (Lost, CSI: Miami, The X-Files) and Cameron Porsandeh, who wrote the pilot, will serve as Co-Executive Producer. The series will be produced by Sony Pictures Television.

Helix is an intense thriller about a team of scientists from the Centers for Disease Control who travel to a high-tech research facility in the Arctic to investigate a possible disease outbreak, only to find themselves pulled into a terrifying life-and-death struggle that holds the key to mankind’s salvation or total annihilation.

“With its well-drawn characters, taut drama, and incredible production team, we couldn’t be more excited to see this intense thrill-ride of a series come to life,” said Mark Stern.

Helix is expected to begin production early in 2013 to debut later this year.

Sony Pictures Television is one of the television industry’s leading content providers, producing and distributing programming worldwide in every genre including comedy, drama and reality series, telefilms and theatrical releases, for every platform. SPT is a leader in local language production around the world with 18 production companies outside the US, and also sells SPE-owned formats in approximately 70 countries. SPT’s worldwide television networks portfolio includes 124 channel feeds, which are available in 159 countries reaching more than 800 million households. Additionally, SPT owns multiplatform video service Crackle and is a part owner of GSN, 3net, FEARnet, and ITN Networks, Inc.

Syfy is a media destination for imagination-based entertainment. With year round acclaimed original series, events, blockbuster movies, classic science fiction and fantasy programming, a dynamic Web site (www.Syfy.com), and a portfolio of adjacent business (Syfy Ventures), Syfy is a passport to limitless possibilities. Originally launched in 1992 as SCI FI Channel, and currently in more than 98 million homes, Syfy is a network of NBCUniversal, one of the world’s leading media and entertainment companies. (Syfy. Imagine greater.)

GEEK ALERT! SyFy: ‘Sinbad,’ ‘Primeval: New World’ Premiere Date Announced

Via Press Release:

NEW YORK – March 28, 2013 – Building on the success of acquired original series such as Lost Girl and Continuum, Syfy today announced that Sinbad and Primeval: New World will join the prime time schedule beginning Saturday, June 8.

Debuting at 9PM (ET/PT), the 12-episode Sinbad follows the epic sea journey of the flawed hero Sinbad, played by newcomer Elliot Knight, who embarks on a quest to rid himself of a curse and embrace his destiny, as he is forced to flee from his home town of Basra. On board The Providence, an intriguing band of travelers is thrown together, including taciturn Norwegian sailor Gunnar (Elliot Cowan/Marchlands), agile jewel-thief Rina (Marama Corlett/The Devil’s Double), and haughty and aristocratic Nala (Estella Daniels/Thorne). Completing the ship’s complement is the odd-ball cook (Junix Inocian/The 51st State) and the cerebral doctor Anwar (Dimitri Leonidas/Grange Hill).

Sinbad is a British Sky Broadcasting presentation of An Impossible Pictures Production. Producer is Grainne Marmion. Executive producers are Tim Haines, Sophie Gardiner and Andrew Woodhead. The series is distributed by BBC Worldwide.

Following at 10PM (ET/PT) will be Primeval: New World. The 13-episode series will star Niall Matter (Eureka), Sara Canning (The Vampire Diaries) and Danny Rahim (Eastenders) as a team of animal experts and scientists investigating paranormal events, while battling both prehistoric and futuristic creatures. Amanda Tapping, who starred in the Syfy series Sanctuary, is on board to direct several episodes.

Based on the original series from Impossible Pictures, Primeval: New World’s creative team is led by executive producers Martin Wood (Sanctuary, Stargate: Atlantis) and Gillian Horvath (Sanctuary, Highlander). The spin-off was created by Judith and Garfield Reeves-Stevens (Star Trek: Enterprise, Sir Arthur Conan Doyle’s The Lost World) and written by Gillian Horvath, Peter Hume (Charmed, Flash Gordon), Jon Cooksey (The Collector, The Outer Limits), Sarah Dodd (Flashpoint, Arctic Air), Katherine Collins (Endgame), and Judith and Garfield Reeve-Stevens.

Primeval: New World is produced by Omnifilm Entertainment. Executive producers for Ominfilm are Gabriela Schonbach and Michael Chechik. The series is produced and developed in association with Bell Media, German free-to-air broadcaster ProSieben, and UKTV channel Watch, with the participation of the Canadian Media Fund, The Province of British Columbia Film Incentive BC, The Canadian Film & Video Production Tax Credit Program, and British Columbia Film. Leading independent studio, Entertainment One, holds the international distribution rights.

Syfy is a media destination for imagination-based entertainment. With year round acclaimed original series, events, blockbuster movies, classic science fiction and fantasy programming, a dynamic Web site (www.Syfy.com), and a portfolio of adjacent business (Syfy Ventures), Syfy is a passport to limitless possibilities. Originally launched in 1992 as SCI FI Channel, and currently in more than 98 million homes, Syfy is a network of NBCUniversal, one of the world’s leading media and entertainment companies. NBCUniversal is owned by Comcast Corporation. (Syfy. Imagine greater.)

SyFy: Face Off Renewed For Season Five

Via Press Release:

SYFY RENEWS ACCLAIMED COMPETITION SERIES FACE OFF FOR A FIFTH SEASON

Season Four Currently Airs Tuesday Nights At 9PM ET/PT on Syfy

NEW YORK – March 18, 2013 – Syfy’s critically-acclaimed hit reality competition series Face Off will return for a fifth season of mind-blowing special effects ingenuity, offering a new group of rising SFX make-up artists with the opportunity to compete and showcase their imagination and creativity. Production on the new season begins April 2013 in Los Angeles for a Summer 2013 premiere.

“Face Off continues to prove itself as a ratings hit, earning critical and viewer accolades alike, and we are proud to bring the series back for another stunning season,” said Mark Stern, President of Original Content, Syfy, and Co-Head of Original Content, Universal Cable Productions.

Season four of Face Off currently airs Tuesday nights at 9PM ET/PT on Syfy. In its fourth season, Face Off is averaging 1.6 million viewers 18-19 and 2.7 million total viewers in Live +7.

In tomorrow night’s all-new episode, the remaining four contestants face off in a challenge inspired by Syfy’s highly-anticipated new series,Defiance, which premieres Monday, April 15 at 9:00PM ET/PT. The remaining four artists – Eric Fox of Riverside, CA; J. Anthony Kosar of Lisle, IL; Kristian Kobzina of El Segundo, CA; and Wayne Anderson of Fort Meyers, FL — head to the lab where they meet Kevin Murphy, the Executive Producer of Defiance.

Defiance is an epic drama that will unfold as both an original series and a multi-platform video game – the first-ever convergence of television and online gaming, featuring an interconnected world between the two mediums as they evolve together into one overall story. The artists learn that the world of Defiance features a myriad of incredible aliens and that their Spotlight Challenge is to create the offspring of two of them. To help inform and inspire their makeups, they are surprised with a trip to Toronto where they visit the incredible set of Defiance. After meeting the cast and crew, they excitedly head back to Los Angeles to get started on their designs. When they return to the lab, the reality that this is their last chance to make it to the finale is palpable, and their frayed nerves show as each of them struggles to bring their huge concepts to life. It all leads to an incredible showing on the Face Off reveal stage where their alien creations are presented to special guest judge,Defiance director Michael Nankin.

The competition culminates with the season four finale on Tuesday, March 26 at 9PM ET/PT when the final three contestants face the incredibly difficult task of creating waterproof makeups for the spectacular show, Le Reve: The Dream at the Wynn Hotel in Las Vegas.

Face Off is a competition/elimination series exploring the world of special-effects make-up artists and the unlimited imagination that allows them to create amazing works of living art. As a member of the multi-generational family dynasty whose name is synonymous with the make-up effects field, actress McKenzie Westmore brings expertise to her role as host of the series. Some of SFX world’s most celebrated figures return to judge the competition — multiple Academy-Award winner Ve Neill (The Hunger Games, Pirates of the Caribbean), industry veteran Glenn Hetrick (CSI: New York, Heroes, Buffy the Vampire Slayer), and creature designer Neville Page (Avatar, Prometheus). World-renowned Hollywood makeup artist Michael Westmore serves as the contestant mentor.

Face Off is a production of Mission Control Media with Dwight D. Smith, Michael Agbabian and Derek Atherton serving as executive producers.

Syfy is a media destination for imagination-based entertainment. With year round acclaimed original series, events, blockbuster movies, classic science fiction and fantasy programming, a dynamic Web site (www.Syfy.com), and a portfolio of adjacent business (Syfy Ventures), Syfy is a passport to limitless possibilities. Originally launched in 1992 as SCI FI Channel, and currently in more than 98 million homes, Syfy is a network of NBCUniversal, one of the world’s leading media and entertainment companies. (Syfy. Imagine greater.)