Glad to hear you liked it.

It’s so hard to keep track of shows when they’re only renewed after the season ends and the production timelines are so very long. That’s why it’s exciting to know that there’s a second show going into production and more in development.

Please do join in our weekly discussion threads on Monarch: Legacy of Monsters (aka M:LOM). Our community is just getting going and it’s grey to welcome other enthusiasts.

Sound like a decision was made on high that the 60th anniversary would not take place without a Star Trek show under weekly release.

Not sure what specific canceled show you might be thinking of…

Monsterverse is specifically used for all the movies, comics, games, animated and live-action television made by Legendary (Pictures, Comics, Games, Television etc.) using licensed Toho Godzilla and other kaiju.

The Monsterverse continuity began with Godzilla (2014), then Kong: Skull Island and continued with several more cinematic features. At this point, with 12 years of releases, it is the second longest running continuity in the 70+ years of the Godzilla franchise, with the Showa era remaining the longest.

Monarch: Legacy of Monsters, a partnership between Legendary Television and AppleTV, is viewed as a global success. Its second season is currently in weekly streaming release on AppleTV. It’s being very successful in attracting new fans and expanding the audience for Godzilla and other kaiju.

A second spinoff Monsterverse series focusing on Lee Shaw in a 1980s Cold War context has been greenlit by AppleTV and is starting production in June.

That said, while this community is featuring the Monsterverse continuity, we’re open to posts and discussions about all Toho, Toho licensed and related kaiju media.

Please feel welcome to post and comment about other eras and continuities.

I’m going to say that I saw some of the problems to come in BSG season three, but I still bought the physical media up to that point.

I don’t think you can blame it all on the writers strike, any more than you can blame Picard season two or Discovery season four’s weaknesses on the pandemic.

Other shows managed better. It’s the test of a good senior production executive to manage through those situations.

I was deeply disappointed in where For All Mankind took its women characters. I was hoping that having Naren Shankar join after he finished with The Expanse would redeem it, but it just kept getting worse in its treatment of women.

• !a driven engineer who becomes the head in Houston only to fall into a honey-trap and feed the Soviets information!<

• !an astronaut who played up her physical beauty and whose top-gun husband became a despondent alcoholic when she leaves him responsible for the kids!<

• !an astronaut who hides her sexual preference through a fake marriage!<

• !the neglected wife of an astronaut who is stalked and manipulated into a one time sexual encounter with a young man she once looked after as a child, then carries the burden of responsibility for the impact of his obsession.!<

We’re going to need to differ on Ronald D. Moore.

I wish Trek fans would stop calling for him to helm the franchise when we have not seen adequate evidence that he can carry through to make the kind of Trek that represents IDIC for future.

What I am seeing from him is a pattern of starting great new shows but not having as great ideas about following through long multi season arcs.

The Battlestar Galactica reboot was riveting for the first two seasons and then spiralled to a disappointing conclusion.

For All Mankind spun out in seasons two and three with an Oedipal storyline about a kid who becomes obsessed with his foster mother and wreaks havoc. Not to mention that all the heroic women characters in from season one had to be shown to deeply flawed by season three in a very male-perspective way.

For All Mankind isn’t as bad in terms of having a cisgender-male viewpoint writing women leads as say the Sheridan show Lioness, but it’s not succeeding as a show women see themselves in.

Thanks! I’ll add that to the original post.

While I expected this to be a character-focused and Monarch-Apex skullduggery episode given the title, I somehow didn’t quite expect the gut punches right to the last seconds.

M:LOM keeps me riveted with the character stories but the Titan scenes were excellent nonetheless, however brief.

The juxtaposition of the two different time periods continues to be an incredibly effective narrative tool.

Even if one knows the broad strokes of the earlier trio’s future, we’re still invested in the details of Keiko, Bill and Lee’s lives and explorations in the earlier timeline. Having Kurt and Wyatt Russell echo one another’s mannerisms, in addition to the physical similarities, really helps sell them as the same person in different times.

Now — especially after having rewatched the opening scenes of the series premiere with the older Bill Randa on Skull Island, I really have to wonder if he survived somewhere…

Is there any chance of seeing John Goodman back in a third season?

The key thing is that this is disciplinary and after the fact.

Some municipalities in other provinces do have provisions for extras floors to be permitted beyond regular zoning in exchange for a number of lower cost dedicated accessible units throughout the building that have covenants restricting them to tenants or owners (in the case of condos) with disability certificates.

This model has been successful in creating lower cost affordable and integrated housing for persons with disabilities.

However, it’s intended to function as an incentive, with accessible units designed in on each floor in exchange for more floors. It’s not a remediation.

I’m not sure I can agree on the camera work. This show has come a long way from the JJ Abrams directorial tricks embraced by Discovery and other shows of this production era.

I actually thought that Producing Director Osunsamni was restraining himself noticeably in his use of whipping cameras as compared to his directing style in previous shows.

Kurtzman set a directorial mandate for the show in the opening episodes with longer pans and more close ups on the characters. He even commissioned special amorphic lenses that enable close ups within the large sets. Jonathan Frakes mentioned that the directional norms for SFA are quite different and that he enjoyed the opportunity on his episode to rely more on shots where he closed in on the characters.

For this episode, the choice of using a shifting drone view for a remote news audience made sense in the context of an otherwise static scene of Nus’ theatrical show trial.

I always thought that the insistence on every Paramount+ show having 10 episode seasons — which was mandated by the executives in charge of streaming when the ViacomCBS merger happened — was weird.

Other streamers are not that rigid and vary season structures depending on what the show is. While 12 episode seasons are rare, I can’t see the streamer that merges HBO Max and Paramount+ being quite so rigid.

The newly merged conglomerate has a myriad of practical decisions to make in merging Paramount and WBDiscovery. It will take time for all of the parameters of their streaming model to be fully established and implemented but we can expect some significant rethinking.

One of the things that stands out - pun intended - about Starfleet Academy, is that the directors and production crew aren’t trying to hide the differences in height.

Holly Hunter isn’t afraid to let it be seen that she doesn’t even come up to Sandro’s shoulder.

Unlike Patrick Stewart who seemed to want more orange boxes deployed to minimize his height difference in Picard than has even been necessary in the constraints of old standard definition in TNG, the actors are comfortable being different in height and the directing style is working with it.

I’m feeling the same way.

This is the most coherently plotted live action Trek of the current era. The showrunners and writers room knew what they wanted and laid down all the pieces to get there.

I’m going to say that while Anisha’s punch of Brakka’s (as they say in comics) most punchable face seemed logical and a necessary catharsis, I don’t like that Ake stooped to that herself, however understandable the motivation.

I still feel, based on how much difference an extra two episodes per season makes to a low budget show like The Ark, that SFA would be stronger and better able to serve its large cast with 12 episode seasons.

I hope we get more on SAM’s development and integration of her two memories in season two.

Likewise, there definitely feels that there’s unfinished business between Anisha and Ake. I am going with Anisha being resigned to accept who her son has become but unsure of her own future.