After some time down the rabbit hole, I found there’s another possibility…

Hanna Barbera, that made the cartoon Godzilla, created Godzooky, and would retain the rights rather than Toho.

The IP rights would have transferred to Warner Brothers when they bought Hanna Barbera.

While WB isn’t actively involved in M:LOM, they are partners in the overall Monsterverse IP with Legendary Entertainment. So, using one of their own legacy kaiju, bringing an old fan favourite to live action, could be seen as a way to give new life to those rights.

Okay…. This one is a heartbreaking episode.

Of the midseason finale kind, but one that makes one wonder where the season will go from here.

10/10

Gotzooky?!!

Seriously?

Is there any information that Legendary Entertainment has a licence to use him?

And here I had been thinking more of an analogue to Heisei era Baby Godzilla being a possibility given the intergenerational theme of the show.

Upvoting for the Godzilla reference.

There’s more cross-fertilization between the franchises than many realize.

The franchise wouldn’t exist if my 90 something year old mother-in-law and women like her didn’t watch it all and buy the books and magazines since 1966.

Or, if I and my partner and others hadn’t been watching since TOS was in first run.

Having defended TNG against TOS fans who wanted it killed, and having seen TAS killed by fan campaigns in the mid 1970s, I have no time for people in their 40s and 50s who would rather kill a show than have new Trek that might be meaningful to my GenZ kids.

The question has to be why entertainment conglomerates continue to engage in subrational behaviour (from a pure economic theory perspective).

While narratives created on X/twitter, IMdb, Rotten Tomatoes, YouTube and other social media do have real impact — witness the positive social media build up of K-Pop Demon Hunter — they do not represent the full picture of audience potential or actual viewership.

So, why give into it?

The conglomerates are more focused on the perceptions of advertisers (who determine revenues), shareholders (which impact share prices) and the stances of regulators that set and govern the ground rules of the industry.

This is nothing anyone can claim is a well functioning entertainment marketplace.

In such a situation, assertions about things failing due to ‘not finding an audience’ are naive or disingenuous.

No one was “shoving anything down your throat.”

You don’t need to watch.

You may have been the key 15-34 year old demographic that advertisers and marketers target back in the 1990s. If so, you are not the key demographic now. Why do you think others should be paying for your preferences?

Good thing people stuck with TNG season one despite rehashes like ‘The Naked Now’, offensive episodes like ‘Code of Honor’ and most of a season of sub par offerings.

What did you think about the relationship of the siblings with Mothra?

It felt as though, in the movies, the Monsterverse franchise EPs weren’t willing to have the same psychic bond between them that existed in prior continuities between ‘the twins’ and Mothra.

::: However, as we get midway into season two of Monarch: Legacy of Monsters it seems as though Cate, and to a lesser extent Keiko, have some of bond with Titan X. ::: (M:LOM spoiler)

I’m assuming that you’re watching Monarch now given both its time periods take place before Godzilla: King of the Monsters. Or are you sticking to release date?

It’s possible on a regular basis.

However, as with other high profile accounts, one expects that messages that are high profile would be cleared with the person under whose name the official account is made.

This makes sense if they want to break down the sets.

There was a report posted elsewhere claiming that the viewership has been greater than expected but they still canceled it.

It’s a silver lining to see Shatner using his platform for the greater good.

Definitely a YMMV situation. I have seen all three Kelvin movies and liked the first best of the lot

Beyond didn’t redeem itself for me. The motorcycle ridiculousness put it in the Nemesis category for me. There’s also the fact that none of the rest of the family would watch with me after the first one.

That said, the movies are being led by completely different people at this point.

Kurtzman is only negotiating television production not movies. My point was that the movie people have yet to prove themselves in even being able to deliver a cinematic feature in the franchise. So, would be an extreme risk to lock a 5-7 year deal that includes television production.

It depends on whether the intent is to integrate the movies and television.

No one involved with the new movies has proven their ability to deliver on Star Trek, whatever their other credentials.

It would be a major risk to give any untested production company and EP the kind of multiyear contract needed to run the franchise.

I’m always concerned that having an unresolved cliffhanger has the opposite impact.

It discourages new viewers from trying a show and undermines the case for a movie.

A Firefly to Serendipity outcome is vanishingly rare.

And unlike Farscape, the production company partner can’t get the IP back and make a limited series or streaming movie to resolve it.

That’s not in the announcements

Variety confirmed that CBS Studios and Kurtzman are continuing to be in negotiations for a renewed partnership.

Skull Island is actually my favourite of the Monsterverse movies. It really redeemed Kong as a character for me.

I saw Weaver as more representative of the British and American women photojournalists that broke the most important stories of the mid 20th century.

Clare Hollingsworth from the UK broke the start of the Second World War. Other American women played a similar role in Vietnam and Cambodia.

It seemed a smart and authentic way to include a woman in the mission, other than as a Monarch scientist who already knew that there exist Titans.

Choosing a blonde actor for the role may visually connect to previous Kong films but it also is accurate to the women photojournalists she’s representing.

As a side note, the two Monarch scientists who survived live on to be the parents of a character who appears in one of the subsequent movies. The Randas aren’t the only multigenerational Monarch researchers it seems.

They put the show on a small niche streamer that doesn’t have an audience in the demographic that the show was made for.

The show did much better on Amazon channels than on Paramount+ — ranking 1 or 2 across its run. That tells you that the problem is that Paramount+ has narrowed its audience to Sheridanverse fans, not that the show isn’t good.

Every show Paramount+ has tried to attract the younger GenZ audience with has failed. And the streamer is failing — which is why Paramount has been bought and the streamer will be merged with HBO Max.

While that may be your view, I hope you’re not going to work against the show or shows like it either.

Because very many people who between 40 and 55 did brigade against this show, gave it very negative reviews, and discouraged others from watching it without watching a full episode themselves. To the point that Psychology Today wrote a feature article The Trouble With Review Bombing.

Anyone over 35 is not in the key demographic. I dare say that’s most 90s Star Trek fans and most of us on this board.

But if we go out of our way to say that if it’s not made for us we’ll attack it relentlessly so that younger, target viewers won’t even try it, then it’s not going to serve anyone.

And yes, I have seen the entire season of SFA. I watched it with my partner and one of our GenZ kids. And I have signed the petition.