PRO

📚 Escape Route by Cassandra Rose Clarke

by

61/2023 – ⭐️⭐️⭐️

The last of the three Prodigy middle-grade novels. Where the first two were set roughly during the break between the first and second half of the first season, this one is set during the gang’s shuttle trip to Earth. In need of a spare part for the shuttle, they find a mysterious moon that may have the part they need…if they’re all allowed to leave.

As with the rest, it’s another fun, quick adventure. To my (50-year-old) eyes, when reading all three back-to-back, it suffered a bit from having so many similarities to the first book, also by the same author: a search for a missing part leads the crew to a mysterious location where they get captured and have to figure out how to escape with the part they need. But for the age range these books are actually aimed at, the similarities might not be as noticeable.

Me holding Escape Route

Prodigy Saved, But Netflix Makes Me Grumpy

by

First, the good news: Star Trek Prodigy, including its second season, will end up on Netflix. From Executive Producer Aaron J. Waltke on Mastodon:

At last we can share the news… Star Trek: Prodigy has landed!

Our show is beyond thrilled to be joining NETFLIX for the ongoing adventures of the Protostar crew.

[…]

The possibilities are endless now that the world can see all 40 episodes of Prodigy’s first and second seasons in one place…with the potential for more….

If you wish to see more…viewing the show on Netflix as soon as it drops…is unequivocally the way.

I must admit, I have mixed feelings about this.

The good side, obviously, is that Prodigy’s second season will actually be seen. And Aaron implies that there’s even a chance that, with enough viewership, they might get the option to continue on.

I just hate that this is going to end up (heck, it’s already there in Aaron’s post) being a “PLEASE WATCH IT ALL IMMEDIATELY YOU CAN’T WAIT YOU MUST BINGE IT ALL NOW BECAUSE THAT’S THE ONLY WAY NETFLIX THINKS PEOPLE WATCH ANYTHING AND THE ONLY CHANCE OF EVER GETTING ANY MORE” campaign.

I don’t like binging. I like watching an episode at a time, enjoying the story, letting it play out over time. Especially in shows I really enjoy (like the Star Trek universe), being able to think about an episode, enjoy the fanservice and callbacks, nitpick apart the retconning or mistakes, and generally geek out about it. But with full-season drops and the pressure to watch it all immediately (or, if they do decide to do weekly single-episode drops, to watch the newest episode within 24 hours of its appearance, preferably two or three times)…ugh.

And as someone who has a partner who isn’t as much of a Trek geek as I am, sometimes I don’t get a chance to watch a new episode for a few days — which by today’s standards, apparently means I’m not a real fan, and doesn’t count towards Netflix’s labyrinthine accounting of whether a show actually sticks around and gets more seasons, or suddenly disappears with the next budget cycle.

If it’s something I watch on my own, I watch when and as I can; if it’s something I want to watch with my partner, we watch it on our own schedule, and either way I resign myself to our numbers possibly not counting. Which is unfortunate, but I want to enjoy the things I enjoy, not feel like I have to rush through them faster than I like out of some weird sense of duty or obligation.

I also wonder how physical media factors into this. For instance, I’ve re-watched all of Lower Decks a couple times — but only the first watch was streamed, all re-watches were from the Blu-ray I purchased. Are home media purchases weighted higher because we’re likely to be re-watching things more, even if it’s not tallied in a database somewhere? Or, since there’s no way to tie an individual streaming account to a physical media purchase (well, in a perfect world; these days, who knows?), do they just look at my account as only having watched it once, so I must not be that interested?

Sigh. Streaming sure is convenient, but the backend business model is such trash.

So, yes, I’m happy that Prodigy will continue. I just wish Paramount had actually treated it like a full-fledged member of the Star Trek family and given it the support it should have had from the get-go.

Fingers crossed that this option goes well, though. And all grumbling aside, I really do wish Aaron and everyone else the best with this!

Scaling Back Star Trek

by

Adapted from a Twitter thread:

My biggest hope for Star Trek going forward (Strange New Worlds, Discovery S5, whatever else comes out) is that the writers rediscover the ability to tell small stories.

Disco S1 was the Klingon/Federation war, with a half-season jaunt into the Mirror Universe that removed the Emperor of the Terran Empire, returning to a decimated Federation. S2 was the Red Angel and the battle against Section 31’s Control to save all life in the galaxy. S3 had a shattered Federation because of the Burn, which destroyed most of Starfleet and nearly entirely wiped out warp drive; the actual damage and death toll (both immediate and long-term from the lack of intersystem transportation) is never specified but likely isn’t small. And then S4 had the entire galaxy at risk from a randomly moving literally-planet-shattering device, with at least one inhabited planet destroyed and Ni’Var and Earth under threat (because, of course, Earth must be under threat of destruction fairly regularly).

Then in Star Trek Picard S1 we have synthetics on a mission to destroy all organic life before they can be destroyed. S2 ups the stakes from there with a timeline variant that has altered the course of the entire known galaxy.

It seems like every season of every show has to have some sort of Big Bad that is Bigger and Badder than the last Big Bad. The stakes are always so high that it’s become virtually meaningless. One death is a tragedy, millions are a statistic, billions are a plot device.

This is part of where the first season of Prodigy has been a bit of a breath of fresh air. So far, at least, it’s been relatively small-scale: One group of young adventurers finding a ship and trying to escape their captor. There are signs, of course, that this may change, with the Protostar apparently carrying some sort of viral doomsday weapon that could wipe out Starfleet. Which…well. Here we go again. Why must everything be super-sized?

Lower Decks is the sole entry that has been doing well at having a more focused, smaller scale. Whether intentional or a side effect of having lower deck crew for main characters, it hasn’t gone too large-scale (or when it has, it’s been in the background and we only get hints for comedic effect).

Maybe the stated goal of going back to a more “planet of the week” format for Strange New Worlds will also mean that not every event will be an EVENT. I really hope so. Because while yes, sometimes it can be fun to have a Big Bad that’s Very Big and Very Bad, if you do that every time, it ceases to be particularly interesting.

Big drama can come from small events. Not every threat has to be planet-, system-, galaxy-, or universe-spanning to be threatening.

None of this is to say that I haven’t been enjoying the modern reinvigoration of the Star Trek universe. I have, quite a bit! I just find myself wishing that the stakes weren’t always turned up to 11. That’s good for Spinal Tap. Less so for Star Trek.