Golden Vision Blog

T his may read more like ruminations of a casual Star Trek fan. Such people exist right? I genuinely had my doubts about Star Trek: Discovery (2017-present). I actually didn't have that much of an interest to be frank about it. I won't deny I wasn't just a little bit intrigued with  Star Trek: Discovery in the hands of Bryan Fuller ( Hannibal ). Could it or would it come close to being as good as Star Trek: The Original Series (1966-1969) or at least Hannibal if we were to compare apples to oranges at least in terms of quality? Obviously some prefer Star Trek: The Next Generation (1987-1994) even more, a seriously gloriously restored on Blu-ray. While others embraced the deviation from formula set by Star Trek: Deep Space Nine (1993-1999) and the likes of creative upstarts involved with it including Ronald D. Moore ( Battlestar Galactica , Outlander ). Star Trek: Voyager (1995-2001) had its own advocates (along with detractors; is anyone ever really happy

"I wanted to draw things that don't exist in the real world." -Tsutomu Nikei, Anime News Network (2016)- For large, visually immersive and expansive worlds Tsutomu Nikei never fails to create something special whenever his imagination is put to pen and pencil. Knights Of Sidonia was the next elevation into the mind of Nikei. The next phase in his evolution as an artist and world builder was Knights Of Sidonia . For the confinement that is Sidonia it is at once a world that is vast, complex and seemingly unending in itself. As an animation Knights Of Sidonia  is at once unique and unusual and yet there is a kind of accessibility to the series that seemed elusive in Tsutomu Nihei's' disconnected, isolated, unending world of  Blame! . Blame! involved the story of an interminable city world, but there was a kind of obtuse, impenetrability to the seemingly wordless manga as well as the adapted Netflix film. Personally the manga is jaw-dropping and

"T o me Vegas In Space was the model of what the series should have been: funny, fast moving, adventurous, but with one or two of those serious, poignant moments. After Vegas In Space, Gil suddenly had no interest in doing the funny stuff. I don't know what happened. I don't know what went on in his mind. But he clearly decided he didn't want to do the jokes anymore. He started taking the character more seriously than the character should have been taken. There was also a communications problem; I don't think we were ever able to quite communicate on the level that we should have. Gil didn't understand that jokes can exist comfortably in the same script as more serious stuff. He was always throwing jokes out on the set. Without that kind of light-hearted spin to our scripts, we just had shows that were essentially melodrama. And to my way of thinking, many of them just sat there. The resulting shows were not anything that I had seen in my head when I was

"W e were still under the Charlie's Angels influence. I can't remember if it came from the network or the studio, but there was definitely pressure to get lots of women in strange, semi-revealing costumes." -Anne Collins, Starlog Magazine #231 (p.71)- "B iddy biddy biddy, what a guy." -Twiki (voice of Mel Blanc)- W e've all heard of Pigs In Space , a recurring sketch on The Muppet Show (1976-1981), and maybe this is a poor analogy, but Buck Rogers In The 25th Century (1979-1981) sometimes plays like Babes In Space or Babes In The 25th Century . The female quotient feels even more amplified for Buck Rogers In The 25th Century , Season One, Episode 5, Vegas In Space (produced before S1, E3/4 Planet Of The Slave Girls but airing after that installment). And there is no shortage of the kind of skin that seems often absent in today's science fiction. There are legs, arms and cleavage galore in every few minutes of the latest installment. P