StillPaisleyCat

Some interesting details mixed in this assessment. Since there’s been relatively little promotion, thought others would appreciate the amplification.

This is a great interview with some significant behind the scenes perspective, and affirmation that fan advocacy is having an impact.

KEVIN: When interested parties with offers come forward, we’re going to be a part of that conversation. . . All we know at our level right now is that there’s active talks happening, right now. . .

** TREKCORE: What can Prodigy fans do to support the efforts that might be happening behind the scenes?**

DAN: I think they’re doing exactly what they —

KEVIN: They’re doing more!

DAN: More than we ever asked for, or expected.

KEVIN: All the noise they’re making out there is fantastic. I don’t think that telling Paramount+ to pick us back up again is going to happen; I think they’ve made their choice. Now it’s about telling Amazon, Netflix, Hulu, or whoever that “Hey, here’s a great freaking show!”

DAN: Just tell people about the show! Because I think Prodigy looks like one thing from an outsider’s perspective — it could look like a young show, or a show that someone might not be into. But when people say “There’s some great storytelling in there!” or “You don’t even need to have children to enjoy Prodigy…”

KEVIN: Spread the word, it’s an all-ages show.

John Orquiola is continuing to give us solid original content on Screen Rant, defying my perception of it as a clickbaity outlet.

Christina Chong opens up a lot about her trajectory as a performer and her personal relationships that informed the 4 songs on the EP album.

Also noted for those who prefer physical media - she is selling CDs through her Spotify store. Copies are limited.

And people wonder why the Titan-A’s holodeck Ten Forward program ran when the ship was power rationed…Or, how many space anomalies does it take before Starfleet mandates failsafes?

For those unfamiliar, every month Simon and Schuster offers an array of Trek ebooks at a promotional discount price.

In the US and Canada, they are $ 0.99, in the UK £ 0.99z, through the major ebook platforms. Not sure about other countries.

It’s a great way to dip into Treklit at an affordable price. Even better, the authors get their full residuals for each book. It’s a win-win for readers and writers.

This month’s offerings include a trilogy of Q-focused stories from Greg Cox as well as several TNG books from a diverse group of writers, including Diane Duane. There are also some TOS stories from Greg Cox and Lee Corey. This group will be available until September 3rd.

Swallow is the author of several well received Star Trek tie-in novels, both for the new shows and the Relauch novelverse (as well as for some other fandoms).

He’s also one of a few British authors writing for Trek.

While my preference isn’t to link to a vendor site, Round 2 (AMT’s parent) doesn’t seem to be posting these forthcoming releases on their own website yet. (Hope this is cool with community rules.) This vendor apparently saw these at a fair and booked supply. Credit to them for getting the information up.

Suggest folks outside the US contact their local/regional independent AMT stockists to see if they can preorder. Round2/AMT seems to be planning to have a presence at a series of toy fairs and trade events through the fall, so it sounds like there will be opportunities for other vendors to carry them.

Winter 2023-2024 seems the expected release time for these new models.

The TMP and Undiscovered Country Ktinga battlcruisers are newly rereleased along with the Enterprise D and the TOS K-7 space station.

cross-posted from: https://kbin.projectsegfau.lt/m/moviesandtv@lemmy.film/t/26728

As picketers gathered in front of Netflix and Warner Bros. Discovery locations, outgoing WGA East president Michael Winship said the AMPTP is different than in 2007-2008: "It's just gonna take a little while longer."

I had been curious to see what the Trekyards guys’ first-look analysis would be based on the preview clip shared at STLV. Thought others might be too.

As usual, I find they can be overly rigid on some points, but can agree that for a new, large science vessel that would carry families, Voyager-A seems to be lacking windows.

Paramount Global is often characterized as late to the party and at best an underdog.

It’s helpful perspective to compare then to how mammoth Disney is managing through its transitions.

By all accounts it’s continuing to flail, and Bob Iger’s tone-deaf mid-July public statements seem to be pouring accelerant on a reported dumpster fire of internal morale.

The adage regarding bad strategy executed by “generals fighting the last war” comes to mind. Bob Iger’s attempt to turnaround Disney is seeming a lot like Wellington’s infamous disasterous Crimean War strategy in the mid 19th century.

Many of Disney’s problems come with the territory of running a sprawling media conglomerate in 2023: The once-lucrative tent pole of linear TV is rapidly crumbling, while its theoretical replacement, streaming, is burning through cash. Interest rates are taking their toll. Audiences are growing bored with the seemingly unending number of superheroes, spinoffs and sequels from the vaunted studio…

Iger was already getting called out for attending the Sun Valley conference, a confab known as the “summer camp for billionaires,” after laying off some 7,000 people across the company to save money. But instead of laying low, Iger went on TV and, against the backdrop of idyllic Idaho mountains under a pink sky, absolutely wrecked his comms team’s week.

In the interview, Iger told journalist David Faber that Disney’s non-ESPN linear assets, which include ABC, the Disney Channel, FX and National Geographic, “may not be core,” and that the traditional TV business model was “broken.”

I found this Hollywood Reporter scan of investor reactions well done.

It addresses many of the points of speculation swirling around the Star Trek franchise. (It also gives me pause, as there’s a strong implication that Paramount and other AMTPT members are using the WGA and SGA-AFTRA strikes to cooldown excesses in competitive streaming production at the expense of the creators and talent.)

It covers Paramount Global’s quarterly earnings report, CEO Baklish’s statements around direct to consumer (DTC, i.e. streamers and Pluto) strategy, and the sale of Simon and Schuster.

TLDR: Don’t put credence in firesale narratives that would see the Star Trek IP sold off to another streamer / content producer - but expect tighter constraints and more careful playing of market niches/segments in greenlighting and scheduling new franchise content.

Here are some key points/excerpts…

1. Paramount Global got most of the bad news out to investors last quarter, taking the price punishment in one go. Between the strike and the sale of Simon and Schuster (as well as the debt restructuring announced last quarter) is now in a better cash position, able to lower its relatively high leverage (debt ratio). Its streamers are also expected to be closer to profitable.

… the second quarter saw the conglomerate beat Wall Street estimates and “speak to ‘significant growth’ in earnings for ’24,” the Wells Fargo expert noted. “Paramount is also expecting accelerating direct-to-consumer (DTC) ad revenue in the third quarter, better second-half free cash flow due to the strikes and should see more than 20 percent DTC global average revenue per user (ARPU) growth in ’24.”

2. Don’t expect the Redstone family to break up Paramount Global to achieve a sale.

Steven Cahall, the Wells Fargo analyst also shared his take on what he described as some investors’ “M&A dream.” Mentioning a value of around $25 billion on Paramount’s studio and content assets, Cahall shared: “We can think of five well-heeled buyers for content/studios in isolation, but only one to two (and maybe zero) if networks/DTC are part of a deal.” While “M&A works with a break-up,” he believes that Shari Redstone-controlled owner National Amusements wouldn’t go for that option, writing: “Unfortunately, we think NAI would only consider a deal for the whole.”

3. Paramount Global’s doing a reasonable job of managing the hand it was dealt (in terms of selling off assets) and is moderating its streaming strategy.

MoffettNathanson analysts Robert Fishman and Michael Nathanson, “Although we remain skeptical, Paramount believes DTC can ultimately turn into a meaningful profit driver,” they noted. “Management seemed to concede that it had narrowed the scope of its DTC ambitions, saying it is rejiggering its content strategy to focus on the demographics that have already flocked to the platform with an eye towards increasing engagement and thus reducing churn.”

4. Paramount is doing better in curbing the free fall of linear television

Beyond Wall Street, Third Bridge analyst Jamie Lumley also commented on Paramount’s latest financial and operating update. “In an environment where traditional TV is under increasing pressure, Paramount brought some stability to its TV Media segment with revenue dropping just 2 percent,” he noted. “However, our experts caution that what’s important to see is the fall season given the degree of impact that the writers and actors strike will bring to Paramount’s lineup.”