UrLogicFails

I just finished watching Star Trek Discovery a day or two ago and it didn't really hit me until I was reading about Calypso, but it feels like the show-runners are very pessimistic about the concept of a Federation. I am not sure if this is considered old news, but I would be interested in examining the show-runners' outlooks more closely.

While the collapse of the Federation is in a way no fault of its own (the Federation didn't cause the burn); the idea that all it would take would be a scarcity of gas to break up the interplanetary union feels counter to the original ideals of Star Trek's optimism.

The idea that teamwork and ingenuity can overcome most adversity feels integral to Star Trek (at least to me), so the idea that running out of fossil fuels is all it would take to split up the Galaxy's largest symbol of unity feels out of place.

This is an especially powerful slap in the face when in Season 5 they have developed the Pathway Drive after only a few years of working together again. It felt as though there was truly not a strong enough reason for the Federation to collapse and be on the brink of destruction than the fact the show-runners really like the Federation falling apart.

You could make the case that it also has to do with the destruction of most of their fleet, but in Season 1 basically all of Starfleet is destroyed, and that's hardly even referenced again.

As an aside, in the five seasons of Discovery, I think the Federation has fallen (to varying degrees) four times.

1. Reduced to a single star-base and a handful of ships by the Klingons
2. Completely overtaken by Control
3. The collapse after The Burn
4. Becoming the V'Draysh in Calypso

In regards to the V'Draysh concept, I am willing to cut the writers a little slack, because from a meta perspective it feels like Calypso was originally intended to go between Season 2 and 3. This is fully a guess on my part, but I suspect at the time of writing/filming Calypso there might have been a more vague idea of what was wrong with the Federation in the future and the method of time travel to the future may not have been locked down yet. I would not be surprised if the V'Draysh was going to be the Federation in Season 3 and the crew would somehow find themselves on Discovery after it waited in place for 1000 years.

Having said that, though, the writers decided to canonize Calypso as taking place after Discovery ends, so it could be considered a fourth collapse (though technically the V'Draysh are never canonically recognized as the Federation, so there is some wiggle room).

While these are much more minor points by comparison, I would also like to address the phaser design in the future as well as the Progenitors philosophy differences between Season 5 of Discovery and TNG.

While a minor gripe, I thought returning the phaser form factor to a more gun-shaped form was also indicative of the show-runners' head-space.

Phasers went from looking like futuristic laser guns in TOS to looking something like an electric razor in TNG. While this made them less "cool," it signaled a priority on peace and diplomacy. While phasers were weapons, their presence was solely utilitarian and not for intimidation.

Discovery's return to the gun-shaped phasers feels like an out of universe emphasis on "coolness" and action, and an in-universe departure from the emphasis on diplomacy.

You could make the case that this now scrappier Federation no longer had the luxury of diplomacy to rely on, but it still feels pessimistic to think the Federation would abandon their ideals in times of hardship.

As I said, I know it's a comparatively minor gripe to put so much weight into a relatively small prop, but I feel like there is a lot to be said about design language and what it implies about the world of the show.

Finally, there is the issue of the Progenitors. I am positive I am not the first person to say this, but there is a definitive shift from the Progenitors wanting all their disparate species to come together in the unifying pursuit of knowledge to them saying "whoever gets here first is the best and can use this godly power however they want."

This shift from the ideal being universal brotherhood to focusing on being the best species reflects the show-runners' own lack of priority on the concept, which is reflected in their repeated destruction of the Federation.

I understand the idea of wanting your show/movie to be "gritty" and "realistic" (see every DC superhero movie after The Dark Knight), but it's out of place in a show as optimistic as Star Trek.

I'm not sure such an open-ended question can be definitively answered, but why didn't the Discovery show-runners believe in the Federation?

I've noticed a rise in enamel pins over the past few years and enjoy them as a compact and durable piece of art.

Unfortunately, I don't know how to use the pins I have amassed over the years; hence my question of what you do with your pins.

I've been watching a lot of Star Trek lately and wanted to make a fun space themed wallpaper (and icon pack) for myself.

For this project, I painted each of the planets and debris on separate layers in Procreate and designed the ship/window wallpaper in Illustrator. While lining up each layer was a pain, having them move independently was crucial to give the wallpaper a sense of depth.

Surprisingly, getting the clock widget and weather widget to look right was much harder than anticipated. I couldn't find any open source customizable clock widgets; and Breezy Weather was not as customizable as I had hoped. In the end I think the results turned out great, though.

While this isn't news about new technology, I thought it was an interesting look about how predatory EULAs can still hurt us even years later in seemingly unrelated ways

Archive.org link

Some key excerpts:

After a doctor suffered a fatal allergic reaction at a Disney World restaurant, Disney is trying to get her widower’s wrongful death lawsuit tossed by pointing to the fine print of a Disney+ trial he signed up for years earlier.

Tangsuan was “highly allergic” to dairy and nuts, and they chose that particular restaurant in part because of its promises about accommodating patrons with food allergies, according to the lawsuit filed in a Florida circuit court.

They allegedly raised the issue upfront, inquired about the safety of specific menu items, had the server confirm with the chef that they could be made allergen-free and asked for confirmation “several more times” after that.

After about 45 minutes, Tangsuan “began having severe difficulty breathing and collapsed to the floor.”

“The medical examiner's investigation determined that [Tangsuan’s] cause of death was as a result of anaphylaxis due to elevated levels of dairy and nut in her system,” according to the lawsuit.

He is seeking more than $50,000 in damages and trial by jury “on all issues so triable.”

In late May, Disney’s lawyers filed a motion asking the circuit court to order Piccolo to arbitrate the case — with them and a neutral third party in private, as opposed to publicly in court — and to pause the legal proceedings in the meantime.

The reason it says Piccolo must be compelled to arbitrate? A clause in the terms and conditions he signed off on when he created a Disney+ account for a month-long trial in 2019.

Disney says Piccolo agreed to similar language again when purchasing park tickets online in September 2023. Whether he actually read the fine print at any point, it adds, is “immaterial.”

“Piccolo ignores that he previously created a Disney account and agreed to arbitrate ‘all disputes’ against ‘The Walt Disney Company or its affiliates’ arising ‘in contract, tort, warranty, statute, regulation, or other legal or equitable basis,’” the motion reads, arguing the language is broad enough to cover Piccolo’s claims.

“There is simply no reading of the Disney+ Subscriber Agreement which would support the notion that Mr. Piccolo agreed to arbitrate claims arising from injuries sustained by his wife at a restaurant located on premises owned by a Disney theme park or resort which ultimately led to her death,” [Piccolo's legal team] wrote in the 123-page filing.

They confirmed he did create a Disney+ account on his PlayStation in 2019, but he believes he canceled the subscription during the trial because he hasn’t found any charges associated with it after that point.

“In effect, WDPR is explicitly seeking to bar its 150 million Disney+ subscribers from ever prosecuting a wrongful death case against it in front of a jury even if the case facts have nothing to with Disney+,” they wrote.

The court has scheduled a hearing on Disney’s motion for October 2.

Piped link

In Theaters February 14, 2025

Archive link

Some key excerpts:

Skydance executives who are set to take over the owner of CBS, Nickelodeon and MTV have identified at least $2 billion in cost cuts that can be made at the company, much of it from its linear media operations, according to Jeff Shell, who is slated to be named president of the new entity.

David Ellison, the Skydance chief who will become the CEO of a “new” Paramount, put a spotlight on his plan to boost the media conglomerate with content from his entity, which controls certain rights to top Paramount franchises like “Top Gun” and “Mission: Impossible.” He envisioned a new company that combined Skydance’s animation business with that of Nickelodeon, and CBS Sports with Skydance’s sports documentary division.

Shell indicated a willingness to sell certain non-strategic assets — which he did not immediately identify — and suggested the company hoped to add to the CBS Sports portfolio, which boasts the Masters golf tournament, Big Ten football, part of the NCAA March Madness tournament and NFL rights.

In time, Shell suggested, many of the streaming services were likely to be bundled together. The current streaming experience “‘is not great,” he said, with consumers forced to pay high fees to continue to receive most services. The current consumer experience “is not sustainable,” he added. “I think you already see the bundling process starting to happen,” he said, because consumers may have favorite media brands, but still crave a unified experience. “If you’re in that bundle you’re going to win, and if you’re not, you’re going to be in trouble.”

Archive link

Some key excerpts:

DreamWorks Animation has announced that “Shrek 5″ is officially in development, with a far, far away release date of July 1, 2026. Original “Shrek” stars Mike Myers, Eddie Murphy and Cameron Diaz are all confirmed to return.

Antonio Banderas’ return as the feisty feline Puss in Boots is not yet confirmed. “Shrek 5” will be directed by Walt Dohrn, who served as a writer and artist on “Shrek 2” and “Shrek the Third,” and as head of story on “Shrek Forever After,” in which he also voiced Rumpelstiltskin. “Shrek 5” will be produced by franchise returner Gina Shay and Illumination founder Chris Meledandri; Brad Ableson serves as co-director.

Archive link: http://archive.today/c0FEu

Some key highlights:

Dave & Buster’s [...] recently announced plans to let patrons place real-money bets on the company’s main attraction: its arcade games.

The suburban gaming den’s new betting operation is part of a partnership with Lucra Sports, a technology company that describes its product as “gamification services.” In practical terms, Lucra licenses its software to other businesses, allowing them to integrate certain kinds of betting into their existing apps and websites. Lucra deals in the kinds of bookie-free “peer to peer” bets—say, on the results of a night of bowling or a game of pickup basketball—that might have previously been sealed with a handshake.

The chain is expected to roll out all of this in the coming months, and it will be available only to adults

Beyond that, neither Dave & Buster’s nor Lucra Sports—which both declined to comment—is saying what kinds of betting will be allowed and at what scale.

Gambling on games of skill has a much easier time cruising past legal roadblocks.

Because of these legal distinctions, Lucra Sports—which has financial backing from a host of sports executives and professional athletes, including former Milwaukee Bucks owner Marc Lasry and former NFL player Emmanuel Sanders—says its services are legal on some level in 45 US states.

Even in their relatively milquetoast skill-game form, these kinds of betting services normalize something that feels a lot like traditional gambling as most Americans now experience it

Kids too young to grasp how football works or what betting on it might mean will soon be able to encounter a version of it at the arcade, potentially priming them to open their own betting accounts once they hit legal age.

That Dave & Buster’s would decide to dive in right now is best read as an indicator of just how nervous traditional entertainment industries have become about gambling and its capacity to devour their customer base and its disposable income. In its 2022 annual report, Dave & Buster’s identified the spread of legalized gambling as an existential threat, even as the company was continuing to grow and its stock price was soaring.

this move feels motivated more by the fear of being left behind while others profit than by a genuine belief in the value of the product itself.

The vision that’s dancing in executives’ heads, I have no doubt, is something akin to the opportunity to be a little Las Vegas in every American suburb. They should probably be more wary of the likelier—and grimmer—alternative: becoming something closer to most of the other casinos in America, where no parent would ever dream of throwing their kid’s birthday party.

Archive.org link

Some key highlights:

The streamer announced at its upfront presentation to advertisers on Wednesday that it was moving forward with Happy Gilmore 2 with Adam Sandler on board to reprise his role as the titular rage golfer.

Netflix didn’t release any details about the film, such as its story line, writer or director.

Christopher McDonald who played the golfer Shooter McGavin the first film, has suggested his character might return in the sequel.

Archive.org link

Some highlights I found interesting:

After Tinucci had cut between 15% and 20% of staffers two weeks earlier, part of much wider layoffs, they believed Musk would affirm plans for a massive charging-network expansion.

Musk, the employees said, was not pleased with Tinucci’s presentation and wanted more layoffs. When she balked, saying deeper cuts would undermine charging-business fundamentals, he responded by firing her and her entire 500-member team.

The departures have upended a network widely viewed as a signature Tesla achievement and a key driver of its EV sales.

Despite the mass firings, Musk has since posted on social media promising to continue expanding the network. But three former charging-team employees told Reuters they have been fielding calls from vendors, contractors and electric utilities, some of which had spent millions of dollars on equipment and infrastructure to help build out Tesla’s network.

Tesla's energy team, which sells solar and battery-storage products for homes and businesses, was tasked with taking over Superchargers and calling some partners to close out ongoing charger-construction projects, said three of the former Tesla employees.

Tinucci was one of few high-ranking female Tesla executives. She recently started reporting directly to Musk, following the departure of battery-and-energy chief Drew Baglino, according to four former Supercharger-team staffers. They said Baglino had historically overseen the charging department without much involvement from Musk.

Two former Supercharger staffers called the $500 million expansion budget a significant reduction from what the team had planned for 2024 - but nonetheless a challenge requiring hundreds of employees.

Three of the former employees called the firings a major setback to U.S. charging expansion because of the relationships Tesla employees had built with suppliers and electric utilities.

Archive.org link

Some key excerpts:

Cage is set to star in the live-action show “Noir,” which has been ordered to series at MGM+ and Amazon Prime Video. The series will debut domestically on MGM+’s linear channel followed by a global launch on Prime Video.

Per the official logline, “Noir” will tell the story “of an aging and down on his luck private investigator (Cage) in 1930s New York, who is forced to grapple with his past life as the city’s one and only superhero.”

The show hails from Oren Uziel and Steve Lightfoot, who will also serve as co-showrunners and executive producers. They developed the series with the “Into the Spider-Verse” team of Phil Lord, Christopher Miller, and Amy Pascal, all of whom will also executive produce. Harry Bradbeer will executive produce and direct the first two episodes.

The role will mark the first regular television role of Cage’s career.

Archive.org link

Some key excerpts:

Court filings unsealed last week allege Meta created an internal effort to spy on Snapchat in a secret initiative called “Project Ghostbusters.” Meta did so through Onavo, a Virtual Private Network (VPN) service the company offered between 2016 and 2019 that, ultimately, wasn’t private at all.

It’s Meta’s in-house wiretapping tool to spy on data analytics from Snapchat starting in 2016, later used on YouTube and Amazon. This involved creating “kits” that can be installed on iOS and Android devices, to intercept traffic for certain apps, according to the filings. This was described as a “man-in-the-middle” approach to get data on Facebook’s rivals, but users of Onavo were the “men in the middle.”

Facebook ultimately shut down Onavo in 2019 after Apple booted the VPN from its app store.

Prosecutors also allege that Facebook violated the United States Wiretap Act, which prohibits the intentional procurement of another person’s electronic communications. Onavo could also be considered straight spyware, but also seems to fall under the definition of wiretapping, according to prosecutors.

The court filings show chats and emails that depict Zuckerberg as being directly involved in these communications.

Prosecutors allege Project Ghostbusters harmed competition in the ad industry, adding weight to their central argument that Meta is a monopoly in social media.