If you’re a Netflix subscriber, there’s a major change coming to the subscription service that you may need to take note of. Netflix has begun rolling out a new update that is supposed to clamp down on “password sharing,” i.e. where people in different households share a single Netflix account. What this means is that if you have relatives or friends who use your Netflix login, things are going to get a lot more complicated.
Essentially, Netflix will begin forcing all of its users to designate one network as their “home” network, and all devices using that Netflix account will have to log in on that home network at least once a month. If they don’t, or if Netflix’s algorithm suspects that there’s a case of “freeloading,” as the company has insultingly termed it, additional verification may be required – such as entering a code sent to the registered email address.
There is a solution, though, for all of you “freeloaders” out there! Netflix will very generously allow you to continue to share your password – for a fee, naturally. In Chile, Peru, and Costa Rica, where this scheme is being trialled, the additional charge will be $2.99 (approx. £2.44 here in the UK). Inventing a problem or inconvenience in order to sell a solution is a business model as old as time itself, but there are good reasons to think that it won’t work in this case.
The mistaken assumption that Netflix is making is the same fundamental misunderstanding that the music industry made in the early 2000s when Napster and other sharing sites first rose to prominence: that for every password shared, they’re missing out on a subscriber. The music industry incorrectly assumed that every download was akin to a CD not being sold, and Netflix is making the same basic mistake more than twenty years later.
This is desperation from Netflix, as the company clearly has no idea how to gain more subscribers in an increasingly competitive streaming market. Rather than trying to reach new groups of people by creating or licensing films and shows that would appeal to them, Netflix is banking on the flawed notion that this crackdown will lead to millions of new subscribers. It won’t.
Most folks who access Netflix via a friend or family member’s account won’t magically be transformed into new subscribers by this move. And the aggressive, insulting way that the company has approached it is even likely to turn people away – being compared to pirates and being called “freeloaders” is not a great way to win support for what was always going to be a controversial move.
Netflix has been upset with password sharing for a long time, but the truth is that it has been a huge benefit to the company. It’s very hard to put a price on the kind of chatter and buzz that some of Netflix’s shows have attracted on social media, and in part that’s been possible because of, not in spite of, password sharing.
Let’s break it down. Password sharing means more folks have access to Netflix – potentially tens of millions more people are able to watch the shows and films that Netflix has created and licensed. Practically all of those folks use social media, and when they see something they like, they hop online to talk about it. Hashtags trend on Twitter, Facebook posts get more likes, Instagram pictures get more comments, and so on. The resultant online buzz hypes up shows, leading to more and more people becoming aware of them, wanting to watch them, and in turn, signing up for Netflix.
Netflix shows as diverse as Wednesday, Tiger King, and Squid Game have all blown up in the last few years. Why is that? Because of the conversations they prompted on social media, with many “freeloaders” joining in those conversations, amplifying them, and spreading Netflix’s brand to a wider audience. This is the power of social media – and doing anything at all that cuts off potential viewers can be catastrophic.
I’ve made this exact same argument from the other side in relation to Paramount+ and the Star Trek franchise. Because Paramount+ has been so slow to arrive in practically every country outside of the United States, it’s been much, much more difficult for any of the platform’s shows, including the renewed Star Trek franchise, to gain much attention online. Because most folks can’t watch these shows, they don’t talk about them. Hashtags don’t trend, posts reach a smaller audience, and the resultant lack of online chatter harms Paramount+ in the United States as well as around the world.
Netflix is about to make the same mistake. By cutting off potentially tens of millions of viewers from its platform, Netflix won’t only fail to pick up new subscribers, it’ll almost certainly see its big investments fall well short of expectations. It will be much more difficult in the months and years ahead for another Wednesday or Squid Game to take the online world by storm, because with an audience that’ll be tens of millions of people smaller, those shows won’t gain as much attention.
We’ve been able to see for a long time that the streaming market is becoming oversaturated, with too many corporations all chasing the same audience using the same business model. Quite a few of these streaming services are not long for this world, and by the end of the decade – if not sooner – we should expect to see many failures and closures.
Netflix felt like a behemoth, an unassailable juggernaut at the pinnacle of the streaming game. And why shouldn’t it? Netflix was the pioneer of this business model, and its success is what directly led to the creation of Disney+, Paramount+, Apple TV+, and many of these other platforms as they sought to imitate its success.
But Netflix has become vulnerable, and this attempt to clamp down on “freeloaders” shows just how desperate the company is. Its position as the market leader has been challenged, and its ongoing success is no longer assured. It’s not inconceivable any more that Netflix might end up as one of the casualties in the “streaming wars” – something that would have seemed impossible not so long ago.
Netflix needs to walk this back and apologise – today, if possible. Treating its own audience so badly, with terms like “freeloaders” being thrown around, is appalling, and this money-grubbing move was always destined to end in failure. Netflix is in a better position than many companies in this market, and is still a synonym for “streaming” in many households. But even brand names that are so well-known that they enter the popular lexicon can still end up failing – just ask Skype about that!
For a long time, Netflix was almost the default streaming platform that people would pick up. A good mix of films, television shows, original content, and more was a tempting offer – especially for the price. But as Netflix continues to jack up its prices and behave in ways that aren’t consumer-friendly (to say the least) its reputation is slipping. As more companies enter the market – and crucially, reclaim or even buy back their own properties – Netflix feels diminished. This attack on password sharing is a symptom, not the root of the problem.
I dumped my Netflix subscription last year, when the platform lost the Star Trek franchise to Paramount+. There haven’t been many Netflix projects in that time I felt were must-watch events… and that’s the platform’s biggest problem by far. It needs to get a good mix of older and newer content, and create shows that people actually want to watch. Cancelling popular shows because they didn’t generate new subscribers in large numbers is kind of missing the point – Netflix is in a position right now where retaining current subscribers, and convincing lapsed ones to rejoin, is a much more pressing concern.
So that’s what’s going on. Be aware that Netflix plans to implement this change if you still use the platform, and it’s probably also worth keeping an eye on the streaming market. It could be a very interesting year!
Wait… does this mean there could finally be an opening for Paramount+ to take the world by storm? Nah!
This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
This article deals with the sensitive subject of transphobia and may be uncomfortable for some readers.
When the Harry Potter books emerged in the late 1990s, I missed out on the craze at first. It was only around the time of the third book in the series that I was convinced to check them out; it had become an unavoidable phenomenon by then, and even though I was outside of the nominal target age range and had long since moved beyond kids’ stories, I felt that the Harry Potter stories were good fun and had a lot to offer. I even went as far as to pre-order a couple of the remaining titles, reading them as soon as they were available.
Although I was never “in” the Harry Potter fan community, I definitely held the books in high regard, and when the films came along I enjoyed those as well. Harry Potter became a point of pride, in a way, as a British person; in an entertainment landscape so utterly dominated by the United States, Hollywood, and American films and television shows, here was a distinctly British entertainment property that was taking the world by storm.
When the Harry Potter film series came to an end at the beginning of the last decade, so too did my involvement with the franchise. I found the first Fantastic Beasts film to be poor, I wasn’t in a position to be able to see the Cursed Child stage play, and although I’d still have said that the films and books were decent, I was in no rush to go back and re-read or re-watch any of them. Harry Potter had come and gone for me – as indeed it had for most of its audience outside of the hard-core fandom.
The recent conversations around JK Rowling, prompted in large part by the upcoming video game Hogwarts Legacy, have dragged up the Harry Potter series for me, though, and it’s fair to say that my feelings have changed a lot since I first sat down to read the books more than twenty years ago. JK Rowling has leveraged the fame and money that Harry Potter brought her to go to some pretty dark places, and as a result I’m one of a growing number of people who can’t support, enjoy, or take part in the Harry Potter series, Hogwarts Legacy, or anything else related to it any longer. In this piece I want to explain, as best I can, why I feel that way.
First of all, I believe that each of us has an inalienable right not to be compelled, forced, or shamed into supporting a company, product, or public figure when what they say and do conflicts with our values and beliefs. This applies to conservatives who say they won’t support “woke” corporations and it applies equally to anyone who doesn’t want to lend their support to companies and individuals who express homophobic, transphobic, and other kinds of bigoted views. Whether we agree or disagree with someone about the importance of an issue, the fact remains that we all have the right to determine what’s important to us, where our values lie, and to try – insofar as possible in a corporate capitalist system – to avoid companies and entities that don’t share those beliefs and values.
This is the very definition of “voting with your wallet.”
It doesn’t have to be explained in such lofty philosophical terms, but this is basically what it boils down to. For some folks, JK Rowling’s transphobic public statements, her continued financial support for transphobic organisations, campaigns, and causes, as well as other decisions she’s taken and statements she’s made mean we don’t want to support Harry Potter, Hogwarts Legacy, or anything else in the franchise.
Now I’d like to get into some of the reasons why I came to the decision to undertake what essentially amounts to a boycott of Hogwarts Legacy and Harry Potter.
I first started to feel uncomfortable with the way JK Rowling was treating the franchise when she began going back to the books and clumsily tried to insert characterisations and narrative elements that were simply not present – nor even implied to be present – in the original work. She seemed to be doing this for “internet points;” for the clout of being able to claim that she had actually created a series that was more progressive than it truly was.
What Rowling was attempting to accomplish with an unsubstantiated claim that, for instance, the character of Dumbledore was gay, was to award the Harry Potter series – and herself as its author – further prestige and recognition that was unearned. At a time when Rowling’s other endeavours were failing to come anywhere close to recapturing the magic (no pun intended) of Harry Potter, making very public statements about her only genuinely successful work was a way for her to retain a level of attention and relevance – and by keeping a spotlight on Harry Potter at a time when many of the series’ more casual readers and viewers were drifting away, it was a way to try to keep the cash flowing.
Long before JK Rowling started down a path that would lead to overt transphobia, I think it was pretty obvious that she was someone who was struggling to let go of Harry Potter. By returning to the series to put out a sequel in the form of a stage play, signing another deal with Warner Bros. to make films based on the book Fantastic Beasts and Where To Find Them, and having the online forum/community Pottermore created, Rowling signalled both a desperation to stay in the spotlight and a cold-hearted greed as she sought to keep the money coming in.
But during this period, Rowling was more a figure of fun than anything harmful. Sure, it wasn’t great to see her trying to almost arbitrarily assign new sexualities and other traits to characters in the Harry Potter books, but it came across more as pathetic attention-seeking than anything malicious. Rowling saw that the LGBT+ movement was advancing, felt that the lack of open or even implicit LGBT+ characters in Harry Potter was hampering its ongoing success, and tried to remedy that in a pretty shameless way. It was sad, almost pitiable… but something I felt was, at most, worthy of being joked about.
JK Rowling’s very first public step down what we now know to be a transphobic path seemed pretty innocuous at first. I actually interpreted her Twitter post – in which she responded to an article by Devex that used the phrase “people who menstruate” – to be harmless wordplay. People who write a lot often like to play with words, as I can attest, and by sarcastically responding to the post it seemed, for a moment at least, that what she was doing wasn’t anything serious.
But over the following months and years, Rowling has clearly become increasingly transphobic.
Let’s define what we mean by “transphobia” so there are no misunderstandings. Someone who is transphobic has an irrational hatred toward transgender and gender non-conforming people. In this context we aren’t using “phobia” to refer to a fear, but to refer to dislike, disapproval, prejudice, discrimination, and/or hatred. And to be especially clear: if someone says they believe that transgender people, and trans women in particular, should be “treated with dignity,” but then refuse to even accept that transitioning is possible or oppose laws that would affirm someone’s true identity, they are transphobic. Saying they believe in treating people with “dignity” has become a buzzword in some right-wing circles, but if they can’t back up that word with any meaningful action, then it’s nothing but cover for something overtly harmful.
One half-serious Twitter post that may have been tone-deaf does not constitute transphobia, although it clearly hinted at a deeper dislike or disapproval of transgender and gender non-conforming people. But if that had been Rowling’s sole contribution to the debate, or if she had walked it back, apologised, or even simply ignored transgender issues thereafter, we wouldn’t be having this conversation. But she didn’t – when faced with pushback, she doubled-down.
Although JK Rowling had begun to lose her status as the Harry Potter series slipped out of the mainstream cultural conversation, she was still someone who was held in high regard. She’d become far less important as Harry Potter began to be eclipsed by other, newer franchises, but if you had asked almost anyone throughout the 2010s about JK Rowling, chances are you’d have heard them say something positive about her – or at least about the Harry Potter series. This pushback that she got for her initial transphobic post was the first time since becoming a household name that she’d gotten any kind of major criticism in public – and it clearly had a huge psychological impact on her.
Rowling’s initial beliefs about sex, gender, and gender identity may be understandable, to an extent, because of the era in which she was born and the society in which she was raised. Even when I was at school in the ’90s, “sex education” lessons entirely excluded any mention of homosexuality, and the idea that someone could transition from one gender to another was never even discussed in any health or even biology lesson. If transgender people were mentioned at all, it was for the sake of mockery; “trannies” were the butts of jokes and figures of fun, and nothing more.
Some people of my generation still cling to those beliefs even as science and society have moved on in leaps and bounds – but thankfully, better education, increased awareness, and more scientific and sociological research into sex, gender, and gender identity have already changed minds. Unfortunately, though, people are using JK Rowling’s public and vocal transphobia to try to push back against the societal acceptance of trans people – and even to attack legislation that protects trans rights.
Rowling herself has become the figurehead of this movement, and the current Conservative government in the UK has been able to turn the question of trans rights into what is insultingly termed the “trans debate,” in part using Rowling and others like her as cover for some seriously harmful legislation that either seeks to block the advance of trans rights in the UK, or in some cases, actively rolls back pre-existing trans rights.
This is the real crux of the JK Rowling problem: her status and wealth have allowed her free rein to spearhead one of the worst and most aggressive anti-trans campaigns anywhere in the western world, lending undue legitimacy and standing to a point of view that is mostly shared by a bizarre coalition of religious fundamentalists, paleoconservative reactionaries, and internet trolls. At a time when LGBT+ rights were advancing across the board, Rowling stepped in and has actively worked to push back against those rights, scoring some successes as the current Conservative government and its allies use her and the people who support her as a shield.
This is why I can’t “separate the art from the artist,” as some folks have suggested. Because what JK Rowling is doing is still happening and is continuing to actively cause harm to trans people, I find myself in a position where I can’t support the Harry Potter franchise. Moreover, with Rowling retaining ownership of the franchise, any purchase of books, films, video games, and other merchandise gets her a cut of the proceeds – and as we’ve just been discussing, Rowling uses some of her money to provide financial support to transphobic campaigns, causes, and organisations. I feel that making any new purchase of Harry Potter merchandise, at this time, is akin to donating to such causes myself – something I would categorically never do.
Last time we talked about JK Rowling we touched on this concept, which is referred to in some academic circles as “the death of the author.” Taken from the title of an essay by French critic Roland Barthes, “death of the author” is primarily about discovering one’s own interpretation of a published work independent from the original intent of the author and who they are or were – but I would very strongly argue that it doesn’t apply in this case, and that separating JK Rowling from Harry Potter is impossible as long as she remains in control of the franchise and continues to monetise it.
There are plenty of authors and other creators whose work I would also choose not to support under similar circumstances – but they’re either long dead, no longer actively involved in their franchise, or their franchise has been taken over and moved on. This is the key difference, and while there are many, many creative people who were unpleasant or even harmful during their careers and lifetimes, JK Rowling is continuing to cause harm to her targets right now.
I also found some of JK Rowling’s recent attacks on the Harry Potter fan community to be pretty distasteful, showing how little respect or appreciation she has for the people who quite literally gave her the position and power that she’s wielding. In her recent book The Ink Black Heart, Rowling clumsily inserts a character as a stand-in for herself, then makes that character the target of an angry and murderous mob stemming from an online fan community. The book, much like everything else Rowling has tried outside of Harry Potter, got mixed reviews and didn’t sell especially well. But the intent was there – and Rowling has shown her true colours, sneering at and judging the very people who made her who she is.
One interesting thing that has come out of this whole unfortunate mess that is to the overall good, I feel, is a reevaluation of JK Rowling’s work and the Harry Potter series in particular. While the setting of Harry Potter captured the attention of a worldwide audience, there’s a reason why it’s always still referred to as “Harry Potter” instead of its official title: “the Wizarding World.” The world of Harry Potter doesn’t stand up to scrutiny, and without its titular characters and the admittedly engaging story that they were part of, it doesn’t feel as though there’s anything else of substance there.
Look at franchises like Star Trek or Star Wars – deep world-building created rich, lived-in settings in which characters could get lost, where their skills and talents mattered and could be applied to any number of roles in those universes. Harry Potter, in contrast, is both shallow and inconsistent; a cobbled-together mix of English folklore, tropes of the fantasy setting, and even elements and narrative beats directly plagiarised from other literary works. It invented practically nothing new, and its few original elements are actually its weakest points. As a setting and a fictional world, it doesn’t survive more than a cursory glance.
And that’s totally fine. Not every author can be brilliant, not every fictional setting can be wonderfully rich and deep, and for its intended purpose and target audience, there’s nothing wrong at all with the setting of the Harry Potter books. But it does raise a wry smile when I hear people leaping to its defence, claiming it’s a unique and brilliant fictional setting comparable with the likes of Tolkien’s Middle-earth. It isn’t… and it was never meant to be. JK Rowling simply doesn’t possess the talent to create something anywhere close to that level.
There are some deeply troubling and problematic depictions within the Harry Potter books, too. Goblins who run the Wizarding World’s banks – and who are set to be a major villainous faction in Hogwarts Legacy – clearly and obviously draw on anti-semitic tropes and stereotypes. The Wizarding World practices slavery, enslaving “inferior” house elves to do the bidding of witches and wizards. And when, in the books, a character tries to point this out and campaign against it, she’s ridiculed not only by her friends, but really by the narrative itself. Harry even takes ownership of a house elf at one point, sending him to complete tasks for him; his own personal slave.
JK Rowling also seems to delight in making fun of people with different body types, using “ugliness” and fatness as indicators of maliciousness and evil. And, of course, Harry Potter falls into the trap of racial stereotyping, with its tiny number of minority characters being deeply problematic.
It’s actually been good to see more and more folks taking a critical eye to the Harry Potter series in light of the issues surrounding JK Rowling. Some criticisms of the books at the time of their publication and in the years since had been written off or just ignored – and for folks who always felt uncomfortable with certain aspects of the stories or the ways in which they treated marginalised and minority groups, it must be cathartic to find more support.
I won’t ask anyone to boycott or refuse to purchase Harry Potter merchandise or Hogwarts Legacy, because I don’t think it’s my place to do that. This piece wasn’t intended to change minds or convince people on the fence to adopt a certain point of view. It was more a way for me to get my thoughts in order and share why, as someone who talks a fair amount about the video games industry here on the website, I won’t be covering Hogwarts Legacy this year. Hogwarts Legacy could end up being a bust, at the end of the day – an overhyped, mediocre video game not worth all of this fuss and bother.
As I said at the beginning, we all have the right to decide for ourselves which products, companies, and public figures we want to support – and which ones we don’t or can’t support. For me, Hogwarts Legacy and the entire Harry Potter series now fall firmly into the latter category, and unless there’s a massively compelling reason to discuss the franchise in future, I hope that this will be the last time I have to comment on it.
I would love to see greater acceptance of transgender and gender non-conforming people. I myself am non-binary, and it isn’t always easy in the UK in 2023 to be open about that. People like JK Rowling have caused and are continuing to cause harm to trans women in particular, and unfortunately her very public attacks on trans folks have been seized upon by people and organisations with pre-existing anti-trans views and agendas to halt and reverse trans rights.
Hogwarts Legacy and the Harry Potter series may not be openly transphobic in terms of narrative, but because a cut of the proceeds go to someone who is, and who uses the wealth, fame, and status she has to contribute to these causes, I’m now in a position where I can’t support them. As a consumer in a capitalist marketplace, all I can do is vote with my wallet – so that’s what I’m choosing to do.
This is not an easy subject, and for people who are much greater fans of Harry Potter than I ever was, all I can really say is that I empathise with you. I keep thinking how I might feel if this kind of controversy were engulfing something I deeply care about, like Star Trek, and whether I could realistically cut off the entire Star Trek franchise as a point of principle. I genuinely don’t know what I’d do in that situation – so I sympathise with any Harry Potter fan who feels that way.
I also don’t think that many of the “hot takes” floating around on social media on this subject are doing anyone any favours. Viral videos proclaiming that anyone who purchases Hogwarts Legacy must be transphobic and is automatically a “bad person” don’t help the discourse around this complex and sensitive subject, and such polarising language arguably pushes away just as many people as it converts to this cause. So I feel that, while passions are understandably high, we need to try to approach these conversations, and our interlocutors on the other side of the debate, with as much calmness as possible.
So that’s it. I hope you now have a better understanding of why I can’t support Hogwarts Legacy and the Harry Potter series.
This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Happy New Year! As 2023 gets underway, I think it’s fun to look back at the past year and see how the website performed. Thanks to my web host and Google Analytics, I have quite a lot of data to dive into for measuring such things.
My annual caveat applies: this whole thing is just for fun! Running this website is a hobby for me, not something I endeavour to take too seriously, and even if no one was tuning in I’d still be writing because it’s something that I enjoy doing. I’m not intending to turn this website into a full-time job, nor am I interested in chasing “internet points” or going viral. So everything we’re about to discuss should be considered with that in mind!
Now that that’s out of the way, let’s reflect on the progress Trekking with Dennis made in 2022. This past year has been much less consistent on my side, with long breaks in between posts and a general slowdown in my writing. I wrote far fewer pieces for the website this year than I did in both 2020 and 2021, and the second half of the year in particular was much more sparse in terms of new articles, lists, and other posts.
That isn’t something I plan on addressing, at least not intentionally. As I said back in November when I last talked about this: the point of Trekking with Dennis for me is to talk about the subjects I fancy or that pique my interest at my own pace. In 2020 and 2021 I obviously found more things to talk about than I have this past year… and I’m actually okay with that. That doesn’t mean I don’t have regrets – there are films, television shows, and at least a dozen Star Trek episodes that I wish I’d found or made time to review in 2022. But I’d rather pace myself, take breaks when I need to, and continue enjoying what I do here instead of forcing myself to write to arbitrary, self-imposed deadlines and end up feeling burned out – or worse, no longer enjoying the creative process.
In short: if I find more time and energy to write in 2023 than I did in 2022, that’s great! But if not, that’s okay too.
The website saw some significant milestones in 2022. The final post of the year – my annual “End-of-Year Awards” piece – was the 650th article that I’ve published here since I began the project in November 2019. That’s quite a lot of writing! The total number of visitors that the website received in 2022 was just over 67,000 – which is an absolutely incredible number! That makes 2022 the best year on record for Trekking with Dennis, beating 2021’s visitor numbers by a little over 6,000. That may not sound like much (especially considering the massive year-on-year improvement from 2020 to 2021) but it’s an increase of almost 10%, which is pretty darn good. I’m running at almost the same level as inflation!
Another big landmark came on April Fool’s Day, when the number of total hits ticked past the 100,000 mark for the first time. That means that, since November 2019 when Trekking with Dennis first went live, more than 100,000 people had visited the website. I marked the occasion with a banner at the top of the website for a few days!
Readers once again came from all over the globe – from Tanzania to Finland and from Japan to Peru!
All that being said, I feel that 2022 was rather “front-loaded” in terms of visitors! Thanks to a couple of big posts about Star Trek: Discovery’s fourth season (which we’ll look at in more detail in a moment) the website did impressive numbers in January, February, March, and into April as well, before things started to tail off in the spring. Don’t get me wrong, even the quietest month of 2022 was still nice and busy, but we definitely saw the majority of visitors in those first few months.
In total, I wrote 471,500 words in 2022. That’s as many words as Herman Melville’s Moby-Dick and James Joyce’s Ulysses combined! It is, however, significantly less than my word counts for 2020 and 2021, but again that’s because I wrote fewer pieces for the website this past year. It’s still a lot of words, though!
So let’s count down the top ten most-read articles that I wrote in 2022!
My piece about the truly awful Diablo Immortal takes the number ten spot, partly thanks to being published within a couple of weeks of the mobile game’s release. I detest not only Diablo Immortal itself, but what it represents: the worst excesses of an incredibly greedy video games industry. And I held no punches in my tear-down of the appalling little game, calling out publisher Activision Blizzard for one of the worst, scummiest mobile games of the year.
Significant line:“I was surprised when I began seeing ads for the game all over my social media pages, and even more surprised to learn that Activision Blizzard has only just finished pushing this absolute turd of a game out of its corporate anus.”
I had a ton of fun writing up this tongue-in-cheek clash between Star Trek’s first two captains – a debate that has persisted in the Trekkie community since The Next Generation premiered all the way back in 1987! I also had fun mocking up a poster for the article’s key image, basing it on the famous “Rumble in the Jungle” boxing match poster that I think a lot of folks would be familiar with. I end up sitting firmly on the fence at the end of the article after considering the cases for both Kirk and Picard – because I like them both too much to say that one is definitively “better!”
Significant line:“Most Star Trek captains who have followed embody elements of both Kirk and Picard’s styles of management and leadership while remaining distinct characters, but when it comes to the franchise’s first two captains, there seems to be a major clash of personalities.”
In 2022 I kicked off my “video game spotlight” series, in which I plan to take a look back at some of my favourite games of all time. The first title to get the full write-up treatment was Banished, an indie town-building game that makes regular appearances on other lists here on the website. Since I’m far too late to reasonably call a piece like this a “review,” I settled on “spotlight” as a name, and I had a lot of fun talking about why Banished is such good fun. Hopefully I’ll add to this series in the new year; there are at least a dozen games I plan to shine a spotlight on in future!
Significant line:“The fact that I’m still playing [Banished] almost eight years later should tell you how I feel about it!”
I wrote this piece at the end of February, just days after the war in Ukraine kicked off. I wanted to highlight a few Star Trek episodes from different parts of the franchise that, at least in my opinion, make for great escapism. The episodes I chose are almost all lighter in tone, with themes of humour, family, and coming together front-and-centre. If I were doing the list all over again there are certainly more episodes I could include, but overall I’m happy with my picks. And if the list helped even one single person find something to watch when they were feeling low, then it’s been a rousing success.
Significant line:“A future where humanity has succeeded at conquering not only the problems of today but also many of the baser, more primitive aspects of our own nature holds an appeal that can be difficult to put into words…”
As the title suggests, this list – which was also my most-read piece about gaming in 2022 – shows off ten games that I consider to be decent alternatives to Hogwarts Legacy for anyone who doesn’t want to play or support the game. I wanted to contribute something to the discussion around Hogwarts Legacy that was a little more positive and that didn’t just consist of saying “J.K. Rowling is a horrible bigot who hates the Harry Potter fan community.” She is, and she does… but that isn’t what this piece was primarily about. As above, if it helped even one person find something to play, I consider it a success.
Significant line: “Hogwarts Legacy, just like the rest of the fictional setting that J.K. Rowling created, is not irreplaceable.”
It’s hard to say what this piece is about without spoiling Season 1 of Star Trek: Strange New Worlds. Suffice to say that I came up with several theories about Una Chin-Riley – a.k.a. “Number One” – and where her story may go when Season 2 rolls around. I had fun putting the list together, as well as stepping back to consider her role in The Cage, where she might be during the events of The Original Series, a connection to Star Trek: Enterprise… and much more besides.
Significant line:“I’m looking forward to welcoming back Captain Pike, Una, and the rest of the crew – and getting a satisfying end to this storyline, too!”
This theory – that I only wrote in November – has been racking up a lot of views! Without spoiling anything, a new character named Captain Vadic is being billed as a villain in Star Trek: Picard’s upcoming third season, and I took the opportunity of her appearance in a trailer shown off at Comic-Con to consider a few possibilities for her origin and what her mission might be. If my current track record with theories is anything to go by I’m going to be wide of the mark by miles… but that doesn’t mean it wasn’t a ton of fun to speculate!
Significant line:“As much as I like the idea of Vadic having a major connection to an event in The Next Generation or one of the films, if you forced me to place a bet right now, in November 2022, I’d have to put my money on her being someone brand-new…”
This theory did huge numbers in the first quarter of the year – while Discovery’s fourth season was running. I was ultimately disappointed by the way this storyline ended, but it was still fun to delve pretty deeply into the history of Star Trek to consider some potentially interesting character possibilities. It isn’t possible to say too much more without getting into spoiler territory! I had fun making up a rather jokey key image for this piece, too!
Significant line:“With Discovery taking an unplanned six-week break, we’ve got a little time to settle in and collect our thoughts.”
Shortly before Star Trek: Picard Season 2 premiered, I put together this list of episodes that I felt might have a connection of some kind to the upcoming story. I focused on what we knew about the season from pre-release trailers and marketing material, and selected stories that focused on time travel, the Q Continuum, Guinan, and the Borg Queen. I like to think that basically all of the episodes that I put on the list did something to inform the story of the season, even if I’d probably make a few changes in hindsight!
Significant line:“I think we’ve hit most of the key subjects – at least, those that we’re aware of at this early stage – and got a good mix of stories…”
So we come to the most-read article that I wrote in all of 2022! Blowing all of the others out of the water by several thousand hits, this theory about Q that I wrote in the aftermath of Picard Season 2 is clearly of interest to Trekkies! Partly, I must say, that’s because of how poorly-explained parts of the story of Season 2 ultimately were (the season isn’t one of my favourites, if you didn’t know). But regardless, I found it interesting to take what feels like an incomplete, muddled story as the starting point for another of my Star Trek theories, and even if we’ll never know what really happened, I hope that my guesswork at least makes sense and feels consistent with what we know of Q and the Q Continuum. I can’t say more without seriously spoiling the story of Picard Season 2.
Significant line:“As Trekkies and as fans who’ve followed Q’s journey over the span of more than three decades, it definitely feels like there’s a missing piece of the puzzle.”
So those were the most-read pieces of 2022!
But wait, there’s more! There are posts on the website going all the way back to November 2019, and some of them had a pretty big year too! Before we wrap things up, let’s look at the top five most-read posts from previous years.
Although it seemed not to light up the board when I first published it in August 2020, this piece about the 1987 pop hit Star Trekkin’ has since become one of the most consistent performers here on the website! It was one of the most-read pieces in both 2021 and 2022, and I look forward to seeing if it will make the cut again this year! In the piece I talk about the history of the song and its composition, as well as my own thoughts and personal connection with it. The song is a fun one, and well worth a listen for any Star Trek fan.
Significant line:“The song was – perhaps understandably – rejected by several record labels…”
Another piece that didn’t seem to get a lot of attention at first, my theory about Discovery Season 2 gained a lot of traction in 2022. It’s hard to get into specifics without spoiling things, but suffice to say that one of the main storylines in Discovery’s second season felt like it was setting up an origin story for the Borg – one of the Star Trek franchise’s biggest and most iconic villainous factions. In this piece I consider why it felt that way and whether it’s possible such a story was attempted and then abandoned, leaving behind clues in its wake.
Significant line:“I know for a fact that I’m not alone in having speculated that Discovery Season 2 was setting up an origin story for the Borg…”
This piece kicked off 2022 with a bang – and saw the year end on a high note, too. In 2020, with practically every major New Year event both in person and on television being cancelled, I put together a short list of things to watch instead, as well as time-stamps for getting a specific scene or line on screen at the stroke of midnight. The post did exceptionally well at New Year in both 2020 and 2021, and the same thing happened again in 2022, even with many in-person and televised events returning. This is one of those pieces that gets practically no views all year long, but then sees one massive spike over a relatively short period of time!
Significant line:“I’ve never been particularly impressed by fireworks. A professional display can be fun to see if you’re there in person, but on television much of the impact is lost.”
I’m not surprised to see the most-read article of 2021 continuing to do well. But I stand by what I said last time: I think a lot of folks are clicking on this piece looking for a “how-to” guide or walkthrough to achieve a specific ending to Mass Effect 3 – and that’s not what it’s about! The article takes a look at the different endings of the Mass Effect trilogy from a narrative point of view, and I tried to consider which would be the “best” – subjectively speaking, of course.
Significant line:“Like it or hate it (and my god do some people hate it) Mass Effect: Legendary Edition retains the three-and-a-half possible endings present in the Mass Effect 3 Extended Edition DLC from 2012.”
Earlier I talked about how 2022 was kind of “front-loaded” in terms of hits… well, here’s one of the main culprits! My theories about Unknown Species 10-C – a faction from Discovery’s fourth season that was shrouded in mystery – did absolutely huge numbers while the season was running, as many Trekkies were clearly just as interested as I was to learn more! I put together a whopping list of some twenty-six possibilities from past iterations of Star Trek, and if nothing else it was a lot of fun to speculate about how any of them could potentially connect with the story of the season.
Significant line:“Right now, this is one of the biggest mysteries in Star Trek: Discovery’s fourth season – and one of the most tantalising storylines that the series has ever teased us with.”
So that’s it!
Those were the most-read articles and columns of 2022 – and with that, I think that about wraps up our look back at the year. I tend not to go back and re-read things that I’ve written very often, but once a year it can be fun to take a step back. Taking a look at the pieces folks are most interested in doesn’t necessarily mean I’m going to try to write more of that type, but it’s certainly interesting to see what people are most likely to click on!
As I said, 2022 was a year of ups and downs. The website broke records and passed milestones, but at the same time I definitely felt the need to take a break and to write less frequently. That doesn’t mean I’m not still having fun – but in order to preserve the enjoyment and not feel like I’m under pressure or in danger of getting burned out, I need to recognise my own limitations and take a step back when necessary. Perhaps that’s the lesson of 2022 – at least for what I do here on the website!
Stay tuned, because in the days ahead I’ll be looking forward to some of the entertainment experiences that lie before us in 2023 – some of which, all being well, will get the full review or write-up treatment here on the website when they’re ready! And if you missed it, you can take a look at my annual End-of-Year Awards, in which I dished out a few make-believe trophies and medals to some of my favourite films, games, and television shows of 2022.
I hope this was a bit of fun, or at least a mildly interesting look back!
– Dennis, Tuesday 3rd January 2023
All titles mentioned above are the copyright of their respective studio, owner, corporation, distributor, broadcaster, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
It’s the 30th of November, and that means it’s Trekking with Dennis’s third anniversary! I published my first article at the end of November 2019, kick-starting the project that would eventually become this website, and I think it’s worth taking a moment to both mark the occasion and look back at the past twelve months. No, this isn’t my “end of year” article looking at some of my favourite films, games, and television shows (that’ll come around New Year), but rather this is a more personal reflection on the events of the past twelve months.
Back in April, Trekking with Dennis passed 100,000 hits, which is a pretty huge milestone! And – touch wood – we’re on track to make 2022 the most successful year so far in terms of visitors, which is also fantastic news. Although visitor numbers and traffic aren’t my main focus, and I’d still be writing about these subjects even if no one was tuning in, it’s still a rewarding feeling to know that so many people have been interested in my take on some of these topics.
But the past twelve months have also been a bit of a rollercoaster ride. This time last year I was posting at least one article every other day, and that carried on until the spring. But as we headed into the summer I found it difficult to keep up that schedule – I began to lose motivation and suffer from a case of writer’s block. By the time the September rolled around I was only managing a few posts a month, and I ended up taking an eight-week break from late September through to early November.
That break is the longest I’ve taken since starting the website, and truth be told I probably needed it. I’d begun to feel that I was writing some articles (and especially some Star Trek episode reviews) less for enjoyment and more out of a sense of obligation, and I think that comes across in at least some of the pieces I published this past summer and autumn. I’m not sure that those articles and reviews represent my best work, and they’re nowhere near the bar that I aim to reach.
So if that’s what happened, what should the takeaway be? What lesson should I be learning from that period of burnout and of writing to deadlines out of a sense of obligation? I guess “don’t do that” is a pretty basic one! Perhaps I’d become a little too interested in sticking to my “every other day” writing schedule, and perhaps I’d lost focus on what this website was supposed to be achieving for me.
When I created Trekking with Dennis, what I wanted was a space on the internet where I could discuss the topics that I was interested in at my own pace. I could choose what I wanted to comment on, which films or television programmes I wanted to review, and talk about them in an open-ended way without word limits. Earlier this year, perhaps fuelled in part by a couple of posts that picked up a lot of attention, I started to forget that, and trying to chase the next big “viral” article became a distraction.
Speaking of distractions, regular readers may recall that I recently jumped out of the toxic mess that is Twitter. I have an article that goes into more detail about why I thought it was the right time to bring an end to my two-year experiment with the platform, and I’d encourage you to check it out if you haven’t already. But suffice to say that I don’t feel Twitter was a good fit for me, I wasn’t really getting out of it what I’d hoped in terms of traffic to the website, and the general atmosphere on Twitter is one of division, toxicity, and embarrassingly childish behaviour. Dumping the platform has been good for my mental health – even though I occasionally find myself composing a pithy Twitter post in my head and now have nowhere to put it!
Earlier this year I stepped outside of my comfort zone and built myself a PC for the first time ever! As I said at the time, it’s increasingly rare to find wholly new experiences these days, so it was definitely an interesting project. The PC that I built back in March is working great, and it’s my hope that it will continue to serve as my main device for years to come! Constructing it wasn’t a completely smooth experience, but if nothing else that just gave me even more of a sense of accomplishment; tracking down a particularly troublesome issue and figuring out a solution was the icing on the cake of an interesting and fun experience… even if it didn’t necessarily feel that way at the time!
In housekeeping news, the website’s old URL is finally going offline. By the end of the year, only the current URL (trekkingwithdennis.com) will be functional, so if any of you still haven’t updated your bookmarks, now is the time! One unexpected consequence of last year’s decision to change the website’s name is that many links within posts and articles didn’t update – and I couldn’t figure out a way to change that! As a result, I’ve had to go back into basically 90% of all the pieces I’ve ever published here – more than 600 of them – and manually edit or remove URLs that are about to become outdated. What a hassle!
Naturally, doing that took a long time! But it was actually interesting to step back and re-read some of the articles and columns from the earliest days of the website. I don’t regularly re-read things that I wrote two or three years ago, so it was fun in a way to take a nostalgic trip back in time! Doing so also gave me the opportunity to fix a few issues with some of those older posts. Some of the earliest pieces that I wrote here didn’t have images, or if they did the images were low-quality, misaligned, or cropped poorly. I took the opportunity to update some of them while fixing the URL issue, and I have a short list of a few other pieces that need improved header images or other corrections.
As we take a moment to look back to that day in 2019 and reflect on how far the website has come, it’s genuinely interesting to me to catch a glimpse of that pre-covid world. The pandemic has turned so many things upside down, and looking back to 2019, it feels like there was a brief window of optimism that came in between a decade that had been dominated by austerity and Brexit and the pandemic that was about to bowl us over. That moment coincided with the creation of Trekking with Dennis; it now occupies a strange space as we look ahead to a “winter of discontent” that could see blackouts, food shortages, and even a general strike!
This past year has seen a lot of Star Trek! In fact, there hasn’t been much of a break from Star Trek at all, although my enjoyment of it has been hampered by Paramount’s poor scheduling – putting two episodes on the same day for several weeks running makes no sense. And that’s before we get to the awful decisions Paramount has made that have denied new Star Trek shows to millions of fans around the world.
Star Trek being cut off from much of its international fanbase has damaged the brand immeasurably, and as Paramount Plus continues its painfully constipated rollout, that damage isn’t going away. Looking at the big picture and considering how these decisions have impacted the brand and the fan community are things we’ll have to consider in a future article I think, but on a purely personal level, I felt deeply disappointed in Paramount this year. The Discovery Season 4 catastrophe last November rumbled on for a while, and then came the lack of a broadcast for Strange New Worlds.
Paramount Plus finally arrived here in the UK earlier this year, but having already seen most of Strange New Worlds – and with the series running weeks behind on the UK edition of Paramount Plus – I didn’t bother to sign up. It’s something I will consider in the new year, depending on how things go, but it’s by no means a given. Money is tight and getting tighter – I had to cancel my plans to pre-order Starlink (Elon Musk’s satellite internet service) because it was unaffordable given inflation and other price hikes, and that’s just one example. I don’t have a lot of other expenses that I can see myself cutting back on, so Paramount Plus may not win a new subscriber any time soon.
The sad thing with the Paramount and Star Trek situation is just how good much of Star Trek has been this year. There were issues with Picard Season 2 and some of the sub-plots in Discovery’s fourth season, but by and large it’s been a good year for the franchise. Strange New Worldswas thoroughly excellent – who knew that making an episodic, exploration-oriented Star Trek series might be a good idea?
Star Trek has continued to be the main topic here on the website over the past twelve months, accounting for roughly two-thirds of the pieces that I’ve published. But there have been some other interesting films and television shows that I’ve checked out, some of which I encountered in the process of doing research for the website. As I said last year, Trekking with Dennis continues to broaden my experiences of media! Television shows like 1899 and Five Days At Memorial, films like The Unbearable Weight of Massive Talent and Morbius, and games like Stray and Sniper Elite 5 all came onto my radar as a result of seeking out new and different things. While I haven’t found time to write a full review of all of them, I have included some on lists and as parts of other projects. In a general sense, I find myself thinking more about what kind of films, games, and television shows I want to check out, and sometimes trying out something quite different, all because I have Trekking with Dennis and I’m on the lookout for things to write about and discuss.
I’ve added a few items to my Greatest Hits page, but fewer pieces made the cut over the past twelve months than in previous years. Partly that’s because of the burnout I talked about earlier; writing fewer pieces, and some of them being of noticeably lower quality, has meant that there haven’t been as many that I would consider to be among my best work.
So I suppose that’s it for now. The website’s third year in operation has been one of ups and downs in some respects. I didn’t plan on taking any time out, let alone being gone for almost two months, but that’s the way it goes sometimes! As I’ve said before, this is a project for fun, not something that I view as a serious job, so I try to pace myself and not overdo it. There are definitely things that I haven’t written about that I feel I should have – reviews of the second half of Lower Decks’ third season being first and foremost in my mind at the moment. However, my current attitude is one of “I’ll get around to it when I feel like it,” and it’s in that spirit that the website will operate in the immediate term!
If you’re a regular reader, thank you for sticking around. Some of the pieces I’ve written over the past twelve months have really taken off and done some impressive numbers (by my standards, at least) and I’m grateful to everyone for tuning in, clicking on my posts, and checking out this old Trekkie’s takes on Star Trek, gaming, and the broader world of geeky entertainment. I have no immediate plans to go back on hiatus, nor to change in any major way what I do here. You can expect more Star Trek reviews and theories, re-watches of older episodes, analysis of the video games industry, and discussion of television shows, films, and games. If you’re new around here, I hope you’ll stick around – or at least check back from time to time to see what’s new!
Here’s to another year. Cheers!
– Dennis Wednesday, 30th November 2022
All properties mentioned above are the copyright of their respective broadcaster, studio, developer, distributor, company, etc. Some stock images may be courtesy of Pixabay. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
“Put up or shut up,” “put your money where your mouth is,” and other similar phrases and sayings all have the same meaning: stand by your principles. And that’s what I shall be doing when it comes to the football World Cup, which kicks off in the nation of Qatar in less than 24 hours’ time. I won’t be tuning in to watch a single minute of football at a World Cup for the first time in my life, having cheered on England at every tournament (that they qualified for, at any rate) for literally as long as I can remember. But I can’t support the decision to send the World Cup to Qatar.
In my view, England, Wales, and any other footballing nation with a conscience should have officially boycotted the tournament, and made their intentions plain in that regard months if not years ago. All of this talk of a “political boycott” – in which senior government officials refuse to attend but the football team still goes and plays – is utterly meaningless and hypocritical. Either go to the World Cup and say that “sport and politics should be wholly separate,” or stand by your principles. The FA and UK government want to have their cake and eat it; to criticise Qatar while simultaneously attending the World Cup. But it doesn’t work that way.
Qatar should never have been in serious contention to host a tournament like the World Cup in the first place, and despite an internal “investigation” in which FIFA cleared itself of any wrongdoing, let’s not pretend that the decision to award the World Cup to Qatar back in 2010 was anything other than corrupt. Qatar schemed, cheated, and bribed their way to hosting this tournament, and while they’re certainly not the only nation to have bought and paid for a major event (looking at you, Salt Lake City) the sheer brazenness of the bribery and corruption in this case was enough to turn off fans right from the start.
Qatar is simply not a place well-suited to play football. Setting aside the searing desert temperatures that, even at this time of year, can cause health problems, it’s a tiny place which in 2010 had a single football stadium that everyone agreed was unsuitable for hosting games at this level. Qatar pledged to build eight new stadia in time for the World Cup… and that’s where the problems began.
At least 6,500 people have died building these eight stadia over the past twelve years. Let’s repeat that: six thousand, five hundred people died. Sixty-five hundred people. Have you known of any other comparable building project in the last few decades to have a death toll of more than a few individuals? For comparison, the London Olympic Games in 2012 required the construction of new stadia for the track and field events, swimming, cycling, and more – and recorded a single fatality (a crane operator in 2011 slipped and fell during a storm).
Many of the 6,500 people who died to build Qatar’s vanity project were “migrant workers” – many of whom came from the Indian subcontinent and Africa and were paid a pittance for their labour. Many deaths were attributed to heatstroke, but the poor working conditions contributed to many more. And according to recent reports from fans and journalists who have begun arriving in Qatar ahead of the event, major construction projects like the so-called “fan village” aren’t even complete.
The treatment of these migrant workers should come under heavy scrutiny, and should have resulted in Qatar being relieved of its opportunity to host the tournament years ago. Had a decision been taken in, say, 2017 or 2018, lives could have been saved. Even as late as this summer, it would have been possible to strip Qatar of the World Cup and make alternative arrangements in countries that already have the footballing and transportation infrastructure to handle an even of this magnitude. Those decisions should have been taken by FIFA, and there were years in which the Qatari treatment of its forced labourers was obvious even to casual outside observers. But again, corruption at FIFA runs deep, and money talks. Qatar was allowed to continue as host of the World Cup, and FIFA seems to have taken no action whatsoever to prevent further deaths, even as the death toll continued to climb.
As if that wasn’t enough, Qatar also has an appalling record on human rights, with homosexuality being illegal. This issue also came up in regards to Russia four years ago, so it seems that FIFA has a knack for awarding the World Cup to the most homophobic countries imaginable. This has led to some utterly ridiculous statements, including from some government officials here in the UK: “don’t be gay” if you go to Qatar is basically the official advice from the British government.
And it’s this issue of gay rights where the England football team and others feel incredibly hypocritical. If they want to take a stand in favour of gay rights in Qatar, the only way to do so in any meaningful way is not to play. All this talk of rainbow shoelaces, rainbow armbands, or rainbow shirt logos is just nonsense – as long as the teams are there, they’re providing the Qatari government and its homophobic policies with their tacit support. Qatar is using the World Cup as a textbook exercise in sportswashing – and to make a packet of cash, of course – and we’re not only letting them get away with it, but actively participating in it.
I cannot in good conscience support the World Cup in Qatar. I wish that the British government, the English and Welsh football associations, and others from around the world had been bold enough to take a stand, but they haven’t. So it falls to all of us as fans to decide – is sport more important than human rights? Can we support and endorse a tournament in a place like Qatar? Or should we do what our governments and football associations have been too cowardly to do, and boycott the tournament ourselves? I’m choosing the latter.
By refusing to watch any of the matches, engage with any of the posts on social media, or buy products from brands and sponsors who are heavily investing in advertising at the World Cup, we can send a message that we don’t support Qatar, that we don’t support sportswashing, that we don’t support a regime that condemns workers to death and routinely violates the basic human rights of its citizens and residents, and that we don’t support hypocrisy.
It isn’t good enough to say that we oppose Qatar’s position on gay rights, or that we believe that migrant workers have been mistreated, if we then go on to cheer for our favourite teams, make the sponsors feel that their decision to invest in Qatar was worthwhile, and provide cover for the Qatari regime as they attempt to sportswash their image and their reputation. It’s time to take a stand on principle, and do so as loudly as possible.
Qatar should never have been awarded the World Cup, and when the bribery and underhanded schemes that they used came to light, they should have been stripped of the tournament. When the bodies of migrant workers piled up as Qatar built its stadia, again the right to host the tournament should have been taken away. And when it became obvious that Qatar’s appalling attitude to basic human rights wasn’t going to change, that should have been the final nail in the coffin. At every stage, FIFA failed to act. But it isn’t only FIFA’s fault. The British government, the football associations of England and Wales, and governments and sporting bodies from Europe, the United States, and around the world could and should have worked together to take stand. They failed to do so.
That only leaves us. The World Cup is a nakedly commercial event, one which sponsors and advertisers hope will bring their corporations a bucketload of cash. The more of us who loudly and proudly state that we aren’t participating, and the more we call out corporations like Budweiser, Coca-Cola, Adidas, Hyundai, and Visa (to name but a few) the more they will realise that they have made a mistake – and the greater the chance we have of avoiding a repeat of this disaster in the future.
Hit the corporations and the Qataris where it hurts: in the wallet. I hope you’ll join me in boycotting this year’s World Cup.
This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
They say that social media isn’t an airport: you don’t need to announce your departure. But having recently jumped out of the “hellsite” that is Twitter, I wanted to explain why I decided to put an end to an almost two-year experiment with the micro-blogging platform – and my reasons for leaving may not be what you expect.
In 2022, tech entrepreneur (and richest human on Earth) Elon Musk announced that he planned to purchase Twitter. Some of the changes he made when the deal eventually went through haven’t gone down all too well – but my decision to quit is entirely unrelated to the Musk situation, even though I now find myself as one voice among many who have chosen to leave Twitter at the same time. In fact, the situation with Elon Musk’s takeover is partly why I wanted to share my thoughts; it would be easy for folks to assume that I left Twitter because of Musk, when really the timing is little more than coincidence.
First of all, I don’t think I was ever a good fit for Twitter, nor was Twitter the right place for me, because of my writing style. If you’re a regular reader, you may know that I have a somewhat longwinded or exhaustive style (I have reviews of individual Star Trek episodes that break the 10,000-word mark, for instance) and that just doesn’t gel with Twitter’s 280-character limit. I find it nigh-on impossible to condense an article or argument into such a short-form post, and while Twitter does allow for writing threads of posts that are joined together, that sort of defeats the purpose – and I found that many people on Twitter would only read one post out of an entire thread anyway.
As a result of posts being so curtailed, the conversation on Twitter, such as it is, lacks nuance. When we’re talking about the world of entertainment, which is my primary focus here on the website, I found that a Twitter post had barely enough space for me to say that I either liked something or I didn’t; there’s very little room for shades of grey or a more detailed explanation of how some elements of a production worked while others didn’t. And the audience on Twitter seems to largely expect that kind of black-and-white judgement.
In practically all of my reviews here on the website, you’ll find me saying both positive and negative things about a film, television show, or video game – because in almost every case, no production is either absolutely perfect nor irredeemably awful. Even in cases where I’ve been scathing about films I didn’t enjoy – such as The Rise of Skywalker or Zack Snyder’s Justice League – I found positive things to say about some aspects of the projects, and likewise in productions that I loved and had plenty of positive things to say – like Star Trek: Discovery’s fourth season finale, Coming Home, or the video game Forza Horizon 5 – I wasn’t shy about picking on elements that I felt were less successful. Twitter, at least in my experience, didn’t really allow me to do that – and most people I interacted with there didn’t seem to want that nuanced discussion in any case.
Most things in life are not black-and-white, with either wholly positive or entirely negative opinions, and speaking for myself, it can be those nuances that I find the most interesting. Twitter, by its very nature, forces users into one camp or another, and when there’s already so much division in the world – and in fan communities – that kind of discussion goes nowhere positive. Taking Star Trek as an example, I feel that there have been some incredible Star Trek episodes since the franchise returned to the small screen five years ago… but there have also been some pretty serious missteps by Paramount Global, as well as some disappointing storytelling decisions to boot. But on Twitter, fans are pretty firmly divided into two camps: those who support new Star Trek and those who hate it. I found it difficult to fit in with either; I was to pro-“new Trek” for those who hate it, and too critical of it for those who never wanted to see a negative opinion expressed and who were quick to label anyone saying anything remotely critical of Paramount as a “hater.”
On both sides of an increasingly black-or-white argument, I saw people who openly said that they didn’t want fans from “the other side” to even follow them, let alone interact with them, and these divisions seem to go very deep. One fan had in their Twitter bio words to the effect of “I never want to say anything negative about Star Trek ever” – and I just feel that such extremes of positivity or negativity don’t make for a healthy fan community, nor for a supportive one that can discuss in a civil and polite way the franchises they love. And this was by no means exclusive to the Star Trek fan community – similar divisions and arguments seem to plague practically every community on Twitter, and that’s before we even get to the world of politics!
On a similar note, Twitter reminded me a lot of the kind of stupid “he said, she said” arguments that were common on the playground at school. In the roughly two years I spent on Twitter I lost count of the number of times that “drama” erupted in the Star Trek fan community, with everything from financial scams to racist rants to ill-considered compliments triggering huge waves of backlash targeting certain individuals and their friends. Many times I was told that a person I had followed was “toxic,” and that if I wanted to remain part of whatever clique I had inadvertently stumbled upon then I’d better un-follow a whole host of people extra-quick.
If someone made a mistake – not being racist or anything truly nasty, but just saying something ill-advised or even something that was taken the wrong way – they would often find themselves the subject of hate and abuse, leading to exile. Twitter’s community of medieval peasants placed the targets of the day’s ire in the stocks, tarring and feathering them until the humiliation or attacks got too much, forcing them to leave the platform. I saw perfectly decent people who had friends and fans make a single mistake, write one single poorly-worded post, and get run off the site by sanctimonious self-appointed moderators.
I’d heard people call Twitter “toxic” long before I joined, and I’d even seen some folks refer to it as a “hellsite,” but I confess that I was entirely unprepared for the levels of childishness, of toxicity, and of poor behaviour that I encountered. Fortunately, for the duration of my two years on Twitter, none of that hate was ever directed at me personally, but simply being there and seeing these “Twitter dramas” unfold was enough to put me off.
I joined Twitter with the rather shameless intention of promoting some of the articles here on the website, in the hopes that I’d get a few more clicks from Trekkies and people interested in some of the other things I talk about here. But looking at my stats, the posts I shared on Twitter only ever got a few hundred clicks at the very most, meaning that the experiment was a failure and sticking around didn’t feel worthwhile. I was conscious not to come across like a spam-bot, only ever posting links to the website, so I tried to expand what I did to include memes and jokes, often but not always about Star Trek. But even so, I never managed to attract much of a following.
This isn’t intended to sound bitter, and I appreciated that some folks on Twitter did follow my account and share and like some of the posts I made. I’m grateful for that and for their support. But speaking purely practically, being on Twitter didn’t accomplish what I hoped it would, and the few hundred extra hits that the website got wasn’t worth falling down that rabbit hole and getting sucked in to the politics and the drama that swirls around that infernal website.
Twitter became a time-sink for me, and I found myself scrolling through memes, politics, and even some of those damned arguments and toxic conversations that I talked about earlier. I found I could spend hours just endlessly doomscrolling, and honestly it wasn’t good for my mental health – nor for my productivity. While there were some genuinely interesting accounts sharing fun posts, they were drowned out in an ocean of negativity, toxicity, and argument – and perhaps that’s partly why my own account got lost and never managed to find much of an audience, even in the niches I hoped to break into.
The political side of this was, for me, perhaps the worst part – I found myself unable to resist the temptation to fall down these political rabbit holes, and would waste time in a way that wasn’t positive for my mental health. Politics can be fascinating, don’t get me wrong, and Twitter is, in some respects anyway, an interesting platform in which politicians at all levels can interact directly with their constituents. But for many of the same reasons that we’ve just been discussing, those conversations are black-and-white, and Twitter is firmly divided into camps. Toxicity and hate reign supreme, with the most extreme posts getting the most attention and the most feedback. It really is a nightmare.
I’m glad that a platform like Twitter exists, where people from different backgrounds and with different opinions can interact. I think there were good intentions there – at least in the beginning. And despite his personal controversies, I hope that Elon Musk can find a way to make the platform a success going forward; the world needs a place to communicate, and for all the talk of toxicity and people falling into echo chambers, the one positive thing to say about Twitter – and social media in general – is that it can, under the right circumstances, expose people to points of view that they may not have considered, and with proper content moderation it should be able to direct people away from conspiracy theories in the direction of scientific fact. Twitter has failed on that latter point lately – but no more so than any other big social media platform.
But for me, Twitter was never a good fit. I need to have the freedom to write longer posts, to take positions on the subjects I discuss that don’t fall solidly into “love it” or “hate it,” and just in general my communication skills, even online, are lacking. I didn’t know how to use the site to talk to people or make friends, nor how to really take advantage of its algorithms to drive traffic to my own website.
So that’s it. If you used to follow me on Twitter and wondered what happened to my account, now you know. I have no plans to join any other social media platforms at this time, and while I’m happy to have experimented with Twitter and given it as much of a fair shake as I reasonably could, it was definitely time for me to get out.
No statement in the article above should be interpreted as targeting any individual, fan group, social media page, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
There’s a phrase that seems to be appearing more and more often these days – at least in the increasingly left-wing social media circles in which I find myself after hours of doomscrolling. The “cost of living crisis” that we’re all feeling biting us in the backside is being reframed as a “cost of greed crisis,” as massive corporations continue to profiteer off the misery of ordinary people. It’s incredibly galling to see a company pleading poverty in public statements, then turning around to its shareholders and boasting of record-setting profits, but it’s something that we see more and more often these days. Corporations will claim they’re “suffering” through this crisis just like the rest of us – but they still seem to find the money to pay massive shareholder dividends and furnish their executives with eye-watering bonuses.
It’s through this lens that I view Sony’s PlayStation price hike. If you’ve missed the news, Sony is jacking up the price of PlayStation 5 consoles around the world from a recommended retail price of £449 to £470 here in the UK, and from €499 to €549 in the European Union. Similar price hikes are taking place in Australia, Canada, China, Japan, and Latin America – although the USA seems to have escaped, at least for now.
This is unprecedented for a games console. As time goes by, consoles have always seen price reductions, not price increases, and as each generation of home consoles wears on there’s an expectation that manufacturers will lower the price, enabling more and more people to pick up the latest machines. Sony is bucking this trend in the worst way possible and at the worst time possible, throwing into chaos plans many folks will have had to pick up a PlayStation 5 in the run-up to the holidays.
At a time when many of us are suffering as a result of inflation, excessive bills, and other financial pressures, it’s incumbent upon corporations like Sony to try to minimise the damage. Sony doesn’t need to jack up the price of PlayStation 5 consoles now; doing so is pure greed and a desire to make already-excessive profits look positively gluttonous. It’s a reminder, if one were needed, that no corporation is ever a friend. Corporations’ loyalties lie with those who are already wealthy: the 1% who own massive stock portfolios and for whom there will never be a choice between going cold or going hungry. Sony has nailed its colours to the mast with this decision – but it’s hardly the only corporation to be using the current cost of living and inflation crises as a paper-thin excuse for profiteering.
Sony has already demonstrated how anti-consumer it can be with the piss-poor launch of the PlayStation 5, one of the worst console launches ever. By failing to produce enough machines, Sony played right into the hands of touts and scalpers, ensuring that many players – and many children – were left disappointed and unable to acquire a console. Those who did either had to be exceptionally lucky to find a shop that had a console in stock or pay ridiculously-inflated rates to a scalper. Sony took no action whatsoever to prevent this, and for months after the console launched it wasn’t uncommon to see units on auction sites and private social media sales where prices were more than double the RRP.
In addition, most new PlayStation 5 games have seen a huge increase in price since the beginning of this new console generation. Games that used to cost $60/£55 now regularly go for $70/£65 – and that’s often just for the “base” or “core” version. Complete games, including pre-order bonuses, special editions, and the like can easily be in excess of £100. So players are being hit and hit again by Sony – and by other greedy companies in the gaming realm.
At the end of July, shortly before this PlayStation price hike was announced, Sony made another announcement. The corporation told investors and shareholders that it was predicting profits for the 2022-23 financial year of $8.4 billion. Let’s repeat that: Sony expects to make $8.4 billion of pure profit over the next few months – and they have the sheer fucking audacity to turn around a couple of weeks later and tell players that it’s getting too expensive to make PlayStation 5 consoles so the price has to go up. Two words for you, Sony: fuck off.
Earlier in the year, Sony also announced record-setting profits in both its film and music divisions, with Sony Pictures making a profit of $394 million in just the first quarter of the year and the corporation’s music division surpassing that, posting a quarterly profit of $471 million. This reminds us of something important, too: Sony is a massive corporation whose reach extends far beyond gaming.
Even if we accept Sony’s claim at face-value – that manufacturing PlayStation 5 consoles and buying the required components has become more expensive – then Sony, as a massive corporation, can easily offset any increased costs with the record-breaking profits it’s been making in other fields. Music and cinema are just two examples shown above, but Sony also has many other profitable business divisions and subsidiaries, and by taking a tiny fraction of those record profits, Sony could have avoided passing the price increase on to the rest of us at a time when inflation and the cost of living catastrophe is really hurting a lot of people.
This is pure greed, there’s no two ways about it. Sony has demonstrated, in truly callous and uncaring fashion, just how little respect or care it has for practically everyone. And if you’re an American thinking that this isn’t coming your way: I wouldn’t bet on it. Sooner or later Sony – and perhaps other corporations in the gaming space, too – will increase your prices just like they have in the rest of the world.
We could talk at length about where inflation has come from, what’s causing all of these problems (and spoiler alert, it isn’t all Putin’s fault), and maybe one day we should. But for now, I think it’s enough to say that this price hike from Sony is about greed. Sony is a greedy, money-grubbing corporation that has chosen to screw over its own fans and players at a time when it’s already making more money than it’s ever made before. Sony will soon be paying out some of that money – your money – to shareholders in the form of dividends and to executives in the form of massive bonuses, all while the rest of us are barely keeping our heads above water with a huge storm heading our way this winter.
For some folks, a PlayStation 5 was something that, despite shortages, they were still hoping to pick up in the months ahead. For some parents, a PlayStation 5 seemed like a great Christmas gift. Sony is doing everything it can to hurt those people, forcing them to pay more unnecessarily at a time when people simply can’t afford it.
Profiteering is absolutely disgusting and Sony should be ashamed of itself.
PlayStation and PlayStation 5 are the copyright of Sony/Sony Interactive Entertainment. This article contains the thoughts and opinions of one person only and is not intended to cause any offence (except to corporate profiteers).
Here we go again. Paramount continues to double-down on the disdain its corporate leadership has for anyone who doesn’t happen to live in the United States. First came the news that the London edition of Destination Star Trek – one of the biggest conventions outside of the United States – was being cancelled with only a few weeks’ notice, and shortly after that we learned that when Paramount+ finally arrives here in the UK later this month, it won’t bring with it all of the episodes of Strange New Worlds that have been broadcast in the United States.
Let’s break these down and deal with them one at a time.
It’s been over a decade since I was last able to attend an in-person convention. Unfortunately my health pretty much rules out things like that these days! But London’s Destination Star Trek has been an event that a lot of folks have on their calendars. Hosted by a company called Massive Events, under license from Paramount, the convention is one of the few big official events to take place outside of the United States and (pandemic disruption aside) has been running for a number of years.
Not only was the event cancelled on very short notice, but there was a mess for several days surrounding the issue of refunds. At first, Massive Events were unwilling to offer full refunds, instead only offering tickets to a hypothetical future event. Perhaps under advice from their legal team, that line has now changed. If anyone reading this has tickets for Destination Star Trek that they haven’t refunded yet, I believe you only have about ten days to contact the company to sort out your refund, so you better hop to it!
Take this with a grain of salt, but fan-site Trek Central has been reporting a “leak” from an insider at Massive Events that places the blame for the cancellation entirely at the feet of Paramount. According to Trek Central’s “whistleblower,” Paramount simply has no interest in promoting big conventions and events in Europe. Small events may continue to happen, they claim, for “promotional purposes,” but the days of officially licensed conventions in Europe may be over.
I’ll link the full article from Trek Central below so you can see their piece in full, and as always I encourage critical thinking and ensuring you’ve done your homework and placed everything in its proper context! But suffice to say that if Trek Central’s “insider” is right, this just confirms our worst fears about the appalling nature of Paramount’s corporate attitude.
I’ve written about this several times here on the website, but Paramount Global as a whole is in a pretty bad place. Corporate leadership needs a complete clear-out, with old and outdated thinking in dire need of being replaced by new people who have a better understanding of the way entertainment works in this day and age. The damage done to Star Trek by continuing to treat non-American fans like second-class citizens can and has spilled over into Star Trek’s domestic market, and I don’t understand how Paramount doesn’t recognise that.
We live in a globalised, connected world, one in which the internet and social media in particular bind us all together. For all intents and purposes, the entire world is one big marketplace for Paramount’s products, and decisions to hurt potential fans and viewers in one part of that marketplace have a huge knock-on effect.
Let me try to break it down for the “America First” Trumpians on the Paramount board: imagine you’ve launched Paramount+ in three out of fifty states: California, Oregon, and Washington. All of your marketing and all of your events target those states and those states only, and you ignore and cut off potential viewers in New York, Wyoming, and everywhere else. You cancel events due to take place in North Carolina, and when Paramount+ finally lands in Nevada a year after its original launch, it doesn’t have the same content – new episodes of new shows are missing.
That’s the approach Paramount has taken to the rest of the world: to cut us adrift, not share their latest creations, and ignore all questions about it. The resultant harm that has been done to the Star Trek brand is impossible to gauge right now, but it’s significant. Projects like Lower Decks and Prodigy should have been gateways into the Star Trek franchise for untold numbers of new fans… but because of Paramount’s pathetic “America First” approach, we won’t know how much bigger or more successful those shows could have been.
If Paramount hopes to break into the top tier of streaming services and make Paramount+ into a genuine competitor to the likes of Netflix and Disney+, this ridiculous and outdated approach to the rest of the world needs to go. Why should I sign up for Paramount+ here in the UK if doing so won’t give me access to the same episodes and the same content as viewers in the United States? As I’ve said before, Paramount+ does not exist in a vacuum and fans can easily find alternative methods of accessing that content.
There needs to be a root-and-branch overhaul at Paramount, and particularly in its streaming division, if there’s to be any hope of salvaging Paramount+ and the Star Trek franchise. Strange New Worlds has been an impressive series across its first five episodes – but if those episodes are cut off and only available via piracy, Paramount isn’t getting any attention or benefit from that. Casual viewers – who make up the vast majority of any television show’s audience – won’t even be aware of the existence of Strange New Worlds if Paramount+ isn’t available in their part of the world, but more significantly for Paramount, many potential American viewers won’t become aware of it either.
For every social media post that doesn’t reach many people, for every hashtag that doesn’t trend, Paramount’s influence is reduced. And because social media is global, fans across the world need to be able to talk about their shows and films together. When a huge portion of the audience can’t do that, it doesn’t just harm the reputation of Paramount in those areas, it harms it at home, too. That’s the lesson that the Paramount board has continually failed to learn.
These disgusting moves won’t stop people like me from being Trekkies. I’ve been a fan for more than thirty years, when I first watched The Next Generation during its original run here in the UK, and that isn’t going to change. But what Paramount’s approach guarantees is that there will be fewer and fewer new fans from the UK, Europe, and all across the world. Where Star Trek was once as powerful and as influential as Star Wars and other big brands, that reputation will continue to diminish. Fewer fans means less online chatter, and less online chatter makes it harder for any new Star Trek project – or any other project from Paramount – to gain traction, even within the United States.
Although I’m not about to quit the Star Trek fandom, these moves harm fans’ enjoyment of new shows. If we’re constantly made to feel like we aren’t important, it’s hard to get as excited or as engaged for a new show, and while I’ve been happy to watch Strange New Worlds and Prodigy over the past few months, I haven’t been talking about them online, reviewing them, or bigging them up on social media. Paramount has taken away at least some of my excitement and enjoyment – and I’m hardly alone in feeling that way.
If this approach continues, with the United States being prioritised over everyone else, franchises like Star Trek won’t last long. Paramount+ is about to launch at perhaps the worst possible time into an incredibly difficult market, and there are no guarantees that it will be anywhere close to successful here in the UK. If Paramount wants to convince Star Trek fans that it’s worth the investment, they need to demonstrate that. They need to stop cancelling conventions and stop ignoring us on social media, but more importantly they need to make every episode of every show available to everyone.
Why should I pay for Paramount+ if I can’t watch the latest episodes of Star Trek? If the service I’m getting is clearly and demonstrably worse than the same service an American would get, how does Paramount possibly expect to sell it to me? Perhaps someone senior should ponder those questions.
So Paramount screws up and continues to disappoint its non-American fans. What else is new?
I’m trying to get my thoughts in order with June just around the corner. Here in the UK we’re just over three weeks away from the (alleged) launch date of Paramount+, and despite my criticisms of Paramount Global and the jokes I’ve made on social media, I truly want to be able to sign up for the platform and give my financial backing to the renewed Star Trek franchise. But I’m not sure that I can, at least not at the moment.
As a disabled person on a fixed income, the current inflation and cost of living crisis is hitting me particularly hard. Since the start of this year I’ve cancelled my plans for an upgrade to my slow internet connection and also let go of my Netflix subscription. I’d originally signed up for Netflix in order to be able to watch Star Trek: Discovery in 2017, and although there are still Netflix projects that interest me, the removal of the Star Trek franchise from the platform was a big factor in choosing to cancel that subscription.
Right now I have two subscriptions that I pay for: Xbox Game Pass and Disney+. In order to be able to afford Paramount+, realistically I’d have to cancel one or the other. And the problem there is simple: I regularly use and enjoy both. Subscribing to Game Pass has meant that I’ve only had to buy one game since the start of the year (Lego Star Wars: The Skywalker Saga, in case you were wondering). It’s a good service – for now, at least – that offers a decent number of games, and although I don’t spend as much time gaming as I did say a decade ago, Game Pass still has a lot to offer.
Disney+ has a few new shows that I’m interested in, like the current Obi-Wan Kenobi series, but more than that it’s a service that carries a lot of shows that I’ve enjoyed in years past. The likes of Futurama or Scubs make great background viewing; light entertainment that I don’t need to think too deeply about. Kids’ cartoon Phineas and Ferb is one of my comfort shows that I turn to on days when my mental health is poor, and Disney+ even carries shows like Lost and a diverse array of documentaries and films.
I feel like the debate I’m currently having internally about streaming kind of encapsulates a broader issue with the oversaturated streaming market, but more significantly for Paramount Global and the Star Trek franchise, it shows how being too late to the party can be incredibly costly. I’m not trying to decide between Paramount+ and Disney+ in a vacuum with both services on an equal footing; I already have Disney+, so in order to be able to afford Paramount+, Paramount needs to convince me to give up what I already have.
Perhaps the cost of living crisis of 2022 has blown the lid off things – it certainly has for me, at least – but these kinds of conflicts were inevitable, and not every streaming service currently on the market can survive. Perhaps current events will accelerate the decline of some of the lesser ones – such as CNN+, which cost parent company Time Warner over $300 million and lasted barely one month – but with the market having become so crowded and so anti-consumer, there simply isn’t room for everyone.
I’ve argued this point before – in an article that you can find by clicking or tapping here – but I really think it makes a lot of sense for some of the lesser companies to get out of the streaming game and focus instead on making content, not trying to make their own platform. The Star Trek franchise could be a good example of how this could work; Discovery was sold to Netflix, but Picard and Lower Decks were sold to Amazon Prime Video. Other media companies could take a similar approach, selling their shows and films to the highest-bidding streaming platform without making a cast-iron commitment to always work exclusively with a single platform.
That has to be the future, doesn’t it? It isn’t affordable for most households to pay for four, five, or six different streaming subscriptions even at the best of times, so something’s got to give sooner or later. As inflation and the cost of living continue to bite around the world – and with no sign of things improving at least in the short-term – I’d expect similar conversations to be happening in a lot of households. It’s possible that we’ll even start to see the impact of this on the streaming market pretty soon.
I’ve written about piracy here on the website on more than one occasion. Although it can be hard to explain how I feel in just a few words, I’ll give it a shot: when a series, film, or video game is made available, I’m firmly in the camp that says “pay for it.” If everyone turned to piracy there’d be no future for entertainment; it wouldn’t be possible to keep creating new films, games, or shows if no one was paying for and supporting the creation of those projects. So with Paramount+ slowly stumbling its way towards its UK launch, almost by default I felt sure that I’d be signing up.
As a big Trekkie and someone who loves the Star Trek franchise, I want to be in a position of contributing to its success, even when Paramount Global as a corporation has misbehaved when it comes to international fans. The reason for that is pretty simple: I want Star Trek to be financially successful so that it’ll continue to be produced for many years to come. I don’t want to be a pirate, especially not when it comes to Star Trek. The fact that Paramount forced fans like me into piracy with their decisions over Discovery Season 4, Prodigy, and Strange New Worlds remains a source of disappointment.
But now, with the cost of living and inflation biting me in the backside, I’m left wondering whether my best option in the short-term is to rely on my DVDs and Blu-rays for older shows and pirate the final few episodes of Strange New Worlds. By the time Paramount+ lands in the UK there will only be three weeks left in the first season of Strange New Worlds – and even if Prodigy or Lower Decks are going to be hot on its heels, it hardly seems worth signing up for a new subscription to get three episodes of a single series.
Perhaps I’m clutching at straws trying to justify accessing media that I can’t afford. Maybe it’s the curse of those of us on low and fixed incomes that, in a world of dozens of streaming subscriptions, it’s too expensive to be able to afford to watch everything. Do the cost of living crisis and inflation justify piracy? Is piracy, as some like to claim, a form of theft? If I can’t afford Paramount+, shouldn’t I find ways to cut other things out of my budget so that I can – and if I’m unable or unwilling to do that, shouldn’t I then stick to that commitment and stop watching these new Star Trek shows?
These are some of the questions rolling around in my head at the moment! Maybe I should just shut up, review new episodes of Star Trek and whatever else, and let everyone reading assume that I paid for everything completely legitimately. But this website is my only real outlet for talking about some of these issues, and with the cost of living and inflation being big worries at the moment and weighing on my mind, I wanted to talk about it and not just cover it up and pretend like everything is fine.
This is far from the worst financial crisis I’ve personally had to deal with. Ever been so broke that you had “sleep for dinner?” I’ve been there. I’ve been to the supermarket with only a bunch of coins that I managed to scrounge up from pockets and down the back of the sofa, buying food for a couple of days without knowing when or how I’d be able to afford the next shop. And I’ve been in a position of turning off the heat and wearing a coat, gloves, and three pairs of socks in the living room in order to save money. Compared to that – and compared to what many folks are going through right now, too – having to choose between different streaming services because I can’t afford all of them… well it doesn’t exactly matter, does it?
But at the same time, there is a broader point here. Paramount+ is about to launch in an incredibly difficult market, one in which some of the biggest fans of the corporation’s most popular franchises are going to struggle to afford the service. The longer-term prospects of Paramount+, and whether it will ever be able to break into the top tier of streaming platforms alongside Netflix and Disney+, remains very much in question – and with that question comes fears for the longer-term sustainability of Star Trek. As a fan, that concerns me.
Decisions going back a decade or more on the part of big entertainment corporations have led to this point, and while the current jump in inflation and rise in the cost of living may have exposed some of these issues of affordability sooner than expected, it was inevitable that we’d reach this point in such an oversaturated marketplace. As a Star Trek fan I want to support Star Trek and I want the company that owns it and the platform on which it’s available to be financially successful – but I can’t commit to backing Paramount+ with a long-term subscription at the moment. If the cost of living crisis worsens in the months ahead – and with energy bills set to rise significantly in October, just in time for the winter, it very well may – I’ll be needing to cut back even more on the few services I already pay for, and there’ll be absolutely no place for anything new.
It’s a tough market, and Paramount Global’s many mistakes and offensive decisions have not endeared the corporation or its latest venture to the people who should be its biggest supporters. I wish Paramount+ well as a Star Trek fan who wants the franchise to succeed… but I’m unsure whether I’ll be able to make a long-term commitment to it right now.
Paramount+ is available in the United States, Scandinavia, Australia, and parts of Latin America now, with launches in the UK and South Korea in June 2022. Further international launch dates are yet to be announced. Paramount+ and the Star Trek franchise are owned by Paramount Global. Some stock images used above are courtesy of Pixabay. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
I held off writing this for a while, even as the prospect of Strange New Worlds getting an international broadcast slipped further and further away. I didn’t want to jump the gun and come across as being too aggressive or too critical of Paramount Global – the corporation that owns and mismanages Star Trek. But with only a week to go, it’s patently obvious that Paramount has no plans whatsoever to broadcast Strange New Worlds outside of the United States and the handful of other countries where Paramount+ is available.
At the time of the Discovery Season 4 mess last November, I felt hopeful that the backlash from fans might’ve prevented this. But I guess I should’ve known better – this isn’t the first time we’ve been in this situation, after all. Lower Decks Season 1 was the first casualty of the Paramount board’s ineptitude. That show’s lack of an international broadcast in the summer of 2020 hurt it immeasurably.
Then came Prodigy Season 1 in 2021, another series with real prospects to expand the Star Trek franchise far beyond its usual fanbase. That opportunity was squandered by Paramount’s decision to withhold the series from international broadcast. That decision was made so much worse by the fact that Prodigy is branded as a Nickelodeon co-production – and with Nickelodeon channels available in well over 100 countries, fans were rightly asking why they couldn’t watch the show along with their American friends.
Finally, only a few weeks after the Prodigy mess came the Discovery Season 4 calamity. Paramount literally paid Netflix money out of its own pocket to take the show away, preventing fans all across the world from watching it. They announced this “deal” with barely 48 hours’ notice, leading to a massive backlash from fans and even some of the actors and creative team. You’d think they’d have learned a thing or two from that mess, especially when it tanked their share price.
But alas, it’s only April 2022 – less than six months later – and here we are again. Paramount has decided that it doesn’t want its international fans to pay for Strange New Worlds – it would rather we pirated the show instead. Fine by me.
It’s not like there weren’t options if Paramount wanted to make Strange New Worlds available to international viewers. Here in the UK, for example, Paramount Global owns the following: Channel 5 and its associated channels 5Select, 5Action, 5USA, 5Star, and the My5 catch-up service, Nickelodeon and its associated channels Nick Jr. and Nicktoons, Comedy Central, MTV and five MTV spin-offs, the Horror Channel, the Smithsonian Channel, CBS Drama, CBS Justice, and CBS Reality. Several of these are free-to-air, with the others being available on subscription via cable or satellite providers.
In addition, Paramount Global owns PlutoTV, the online television network where Discovery Season 4 was made available. And speaking of Discovery Season 4, Paramount was able to make deals with Amazon Video, Google Play, and even YouTube to allow viewers in some countries to pay to watch. In short, Paramount Global could have made Strange New Worlds available. They had every opportunity and numerous options for doing so.
On top of all that, the Star Trek franchise has been subjected to some truly pathetic scheduling decisions over the past few months, and these schedules now seem even worse in light of the lack of an international broadcast for Strange New Worlds. Compounding the decision to cut off international fans, Prodigy’s first season has been butchered, cleaved into small chunks of episodes that have made it harder than necessary for the show to gain any kind of traction.
But worse is the situation with Discovery, Picard, and Strange New Worlds. Why have these shows overlapped one another? Discovery and Picard ran concurrently for three weeks, and Picard’s season finale will be broadcast the same day as Strange New Worlds’ premiere. Why? If these three shows had been better-scheduled, split up by just a few weeks, then maybe there’d have been more time to get Paramount+ ready for the next phase of its international rollout. The UK and Europe have been promised Paramount+ by the end of Q2 – well that’s only a few weeks away, so if Picard Season 2 had been delayed by 4 weeks, and Strange New Worlds by another 3-4 weeks, maybe more fans would’ve been able to watch. How did this happen? And are the inept schedulers still making decisions? Seems like a firing offence to me.
By choosing not to take advantage of the global media empire that it literally owns, refusing to do deals with other corporations, and screwing up the scheduling of its own shows, Paramount has chosen to push fans toward piracy. Not only that, but the hurt and anger that has been generated by these decisions over the past couple of years will make it so much harder to convince fans to sign up for Paramount+ if the incompetently-managed service is ever ready to be rolled out.
Streaming platforms do not exist in a vacuum. The option fans have is not “pay for Paramount+ or don’t watch anything.” Piracy exists, and the only way that companies like Netflix and Disney have been able to make a success of the streaming model is by offering a good service at a low price. Paramount+ already fails the “good service” test – according to what I’m hearing from subscribers in the United States – so charging fans a higher price than Netflix, Amazon, or Disney for a worse product isn’t exactly going to incentivise folks to sign up.
Despite that, when a film, television series, or video game is made available to watch, I’m firmly in the camp that says “pay for it.” I don’t want to be a pirate. From both a moral perspective and as a point of simple practicality, I believe that everyone from actors, writers, and directors to producers and executives should be paid for the work that they put into creating an entertainment product. But when a corporation takes that option away and piracy becomes the only way to access that content, then I’m all for it. In such cases as these, it is quite literally the only option.
That’s the position Paramount has placed fans in. They had options to broadcast Strange New Worlds on channels and networks that they owned from as far afield as Angola and Mozambique to the UK, Western Europe, and beyond… but they actively and willfully chose not to. They did so knowing that many fans wouldn’t wait for Paramount+… and if they didn’t realise that many of us would turn to piracy, then they’re even more incompetent and out of their depth than I thought.
It’s become increasingly obvious that Paramount as a whole needs a good clear-out. 20th Century thinking is trying and failing to lead the corporation into the mid-21st Century, and executives and leaders clearly know nothing about a global media landscape that has been entirely transformed over the past couple of decades. Their attempt to launch their own streaming platform a decade too late in a massively competitive market was already a blunder all but certain to end in failure; the fact that Paramount+ is being handled so poorly is just hastening its demise. The anger and hurt caused to fans around the world – and not just fans of Star Trek, either, but fans of shows and franchises as diverse as Halo and iCarly – will be a weight around the corporation’s neck going forward. With inflation and other financial issues hitting hard in the short term, it’ll be ever more difficult to find subscribers for such a mediocre platform.
Paramount’s “America First” fetish would even make Donald Trump blush, and the corporation’s decision to gatekeep its own shows, segregating its audience geographically, is a colossal mistake. It’s one that Paramount+ may never recover from. And you know what? If a streaming platform with this level of ineptitude and mismanagement fails, it will deserve to fail. If a corporation with such a blinkered, short-sighted approach and an atrocious corporate attitude fails, it will deserve to fail too. My only concern as a fan of Star Trek is that Paramount+ may very well drag the Star Trek franchise down along with it.
The United States has been Paramount’s exclusive focus thus far, so much so that even when Paramount+ rolled out to countries like Australia, new episodes of shows like Prodigy weren’t broadcast there. Australian Trekkies who’d paid for Paramount+ were told that they’d have to wait for Discovery Season 4, and then Prodigy Season 1… so what exactly was the point of signing up? Did anyone at Paramount consider that question, or were they too fixated on America to care – or even notice?
I have tried my best to support Star Trek over the years. I signed up for Netflix in 2017 entirely because Discovery would be shown there, and I’ve likewise paid for Amazon Prime Video to watch Picard and Lower Decks. Over the span of more than thirty years I’ve bought Star Trek films and episodes on VHS, then the entire collection of every pre-2005 series on DVD, several on Blu-ray, and enough merchandise to sink a small boat. I’ve done my part to contribute financially to this franchise that I love… and even so, even with all the money I’ve already spent and all of the problems that I know Paramount+ has, I was ready to spend more. But Paramount saw fans like me offering up our cash and told us to fuck off.
The actors and the creative team who worked so hard to bring Strange New Worlds to life don’t deserve to find themselves in the middle of a stinking corporate mess, but in a way they’re caught in the crossfire. We should all be able to come together and celebrate the broadcast of a series that was only made possible because of Star Trek fans – many of whom are not American. But instead, we’re arguing about it. Strange New Worlds has become the latest in a line of own goals from Paramount, and there’s no way that the toxicity that they have created won’t spill over into criticisms of the show and everyone involved.
This mess could’ve been avoided. Paramount could have learned the lesson from just a few months ago, and spent the intervening time figuring out the best option for broadcasting Strange New Worlds in all of the different countries and territories around the globe. Instead they pissed away that time doing nothing of the sort, dragging the Star Trek fan community back to the same old arguments we had during the Discovery mess.
Paramount has options to broadcast Strange New Worlds internationally, either on channels and platforms that it already owns or by agreeing licenses with other corporations. It has had more than enough time to figure out what to do, and should’ve been spurred into action by the clusterfuck surrounding Discovery Season 4. And failing all of that, Paramount has had weeks now in which to break the news to Trekkies; to tell us something and respond to the many questions that have been asked about the series. They’ve done none of that – and the explanation is simple. They don’t care about or respect any non-American fans or viewers.
So our recourse is piracy, as it always has been. When a corporation misbehaves like this, and treats its biggest fans and biggest supporters with such blatant disrespect, they haven’t just encouraged piracy, they deserve to have their shows pirated. They deserve the financial hit, the hit to viewing figures, and quite honestly, Strange New Worlds deserves to fail. Under this appalling team of corporate fuckwits, Star Trek as a whole will fail. And when we’re picking up the pieces in a few years’ time, asking where it all went wrong, we’ll be able to look back on these decisions and recognise that it was here that Paramount screwed up.
I constantly hope for better from Paramount – and I’m constantly let down. So I’m going to do what they clearly want me to do: I’m going to pirate Strange New Worlds. And you should too.
Piracy is probably against the rules where you live, so when you do pirate Strange New Worlds, do so carefully. Here’s where I’d usually tell you that the Star Trek franchise is someone’s copyright, but fuck it. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
About a month ago I built myself a brand-new PC. When I was making my plans and getting ready for the build, one of the choices I had was that of the operating system. With the exception of some very early lessons at school using a BBC Micro, and playing a few games on a Commodore 64 owned by a friend, I’ve always used Microsoft products. My first ever PC ran Windows 95, and I’ve used every version of Windows since, either for school, work, or at home. Although I’m not an expert by any means, I consider myself a pretty experienced Windows user!
Microsoft initially promised that Windows 10 would be the “final” version of their landmark operating system, with updates and tweaks but no replacement. This is what Apple has been doing for over twenty years with macOS (formerly known as OS X) so it seemed like something Microsoft could do as well. That promise lasted barely six years – less if we assume that Windows 11 must’ve been in development behind-the-scenes for a while – and before we go any further it’s worth acknowledging that. The broken promises surrounding Windows 10 will have quite understandably soured some people on Windows 11 before they even got started.
I found Windows 10 to be okay, but it had some issues. There were graphical bugs that only afflicted 4K screen resolutions, an unnecessarily complex set of menus and settings, lag on some Bluetooth devices, and more. I reported a few of these issues to Microsoft not long after upgrading to Windows 10… but they ignored all of them. If nothing else, I felt that upgrading to Windows 11 would at least simplify the experience, getting rid of the multiple settings menus and finally allowing me to display extra-large icons.
But alas, Windows 11 has to be the shoddiest “upgrade” I’ve ever come across. Windows 11 isn’t even akin to the upgrade from Windows 8 to Windows 8.1, and practically all of my complaints and criticisms about Windows 10 remain in the operating system. At time of writing, Microsoft charges £120 for the Home version and £220 for the Pro version of Windows 11 – and there is no way in hell that it’s worth the money. You’re better off sticking with Windows 10 in the short-term.
As 4K screen resolutions have become more common, you’d think that Microsoft would allow Windows users to take full advantage of a good-looking display. Heck, Microsoft sells its own Surface products with 4K screens – and yet for some reason, incredibly basic things like extra-large icons don’t work with a 4K screen resolution. This issue was reported to Microsoft as early as 2017 – a full five years ago. Throughout the lifetime of Windows 10 they did nothing to fix it, and I’d given up on ever being able to use extra-large icons on Windows 10. But you’ll forgive me for thinking that such a basic, simple thing could’ve been included when a brand-new operating system was released.
Control Panel and Settings menus are also a major area of complaint. As early as Windows 8, Microsoft saw fit to include not one but two settings menus: the classic Control Panel and a new Settings menu. These two menus often overlap, and it can be exceptionally frustrating to be spending ages looking for something only to realise you can’t do it from the Settings menu and you have to go back to Control Panel – or vice versa. How difficult would it be to roll both menus into one? This is now the fourth operating system in a row to have this problem, and I know I’m not the only one bothered by it.
To me, the examples above show just how little care and effort Microsoft put into the development of Windows 11. There are a handful of new features – like the ability to install certain apps from Android, for instance – but nowhere near enough to justify the cost, nor even enough to justify calling Windows 11 a wholly new OS. It’s Windows 10.1 – a basic shell with a few new shiny features slapped carelessly atop Windows 10.
And that isn’t actually the worst part of it. Some of the “features” that Windows 11 has introduced has made the day-to-day experience of using the operating system significantly worse. One of the most basic features that I’ve used for years in Windows is the ability to see my scheduled calendar events at a single click. Click the bottom-right of the screen to pop open an expanded calendar, then click on a day to see what events are on the agenda. Windows 11 has taken away this phenomenally useful feature, forcing me to open the full calendar app.
This is part of a trend that you’ll notice with Windows 11 from the very beginning: every feature, every useful little app, every widget… they’re all designed to push users to sign up for Outlook and OneDrive accounts. Even if you have a full Microsoft account – and using Windows 11 without one is pretty difficult, as basic things like changing to dark mode aren’t available to you in that case – Outlook and OneDrive are basically required to make the most of many Windows 11 features.
Want to see a slideshow of photos on the Photos widget? Tough luck, you need OneDrive for that. Want to check your schedule on the calendar without having to open the full app? Screw you, sign up for Outlook. This is Microsoft’s approach. To the corporation, it isn’t good enough that you’ve bought the OS; in order to use many of its most basic features they want to fully rope you into every Microsoft account, ecosystem, and most importantly, every possible subscription.
Atop that there are some unnecessary cosmetic changes and menu changes that have again made doing everyday tasks complicated. Right-clicking now brings up a new, smaller menu, one which has replaced basic options like “Copy” and “Paste” with stupid little icons. In order to access really basic options that have been part of Windows for decades – like “Print,” for example – you need to right-click, then click to open a second options menu. Unnecessary menus hidden inside of menus seems to be one of the hallmarks of this underwhelming operating system.
Installing Windows 11 was not a smooth experience, either. Despite not actually being much more complex than Windows 10 in many respects – an OS that can run on most computers made in the last 15 years – Windows 11 has one of the biggest barriers to entry of any Microsoft release to date. By requiring a Trusted Platform Module (or TPM) Windows 11 is effectively off-limits to any PC more than four or five years old. Even pretty expensive PCs with good-quality components don’t comply with this requirement.
One of the strangest bugs I’ve encountered so far is in the Event Viewer. While tracking down a particularly annoying problem that came about when I built my new PC, I noticed that the Event Viewer is completely flooded with the same message over and over and over again. At time of writing, my PC – which is less than two months old – has more than 20,000 instances of the same “DistributedCOM” warning. Microsoft’s official advice? That’s fine – it’s supposed to look like that!
Microsoft currently plans to end support for Windows 10 – a widely-adopted OS in light of the corporation’s promises that it would be the “final” Windows version – in late 2025, which is only three-and-a-half years away at time of writing! This cynical attempt to pressure users to upgrade is just disgraceful; previous versions of Windows lasted far longer after their successor systems were released. Support for Windows 7, for example, only ended two years ago, and Windows 8 and 8.1 are still supported at time of writing.
So that, in my experience so far, is Windows 11. It’s as if a team of some of the best software experts in the world sat down to create an operating system designed from the ground up with the sole objective of pissing me off – and they succeeded beyond their wildest expectations.
Windows 11 will be my operating system from this point forward – but only by default. Just like when I had Windows ME, Windows Vista, and Windows 8 and 8.1, I’ll begrudgingly tolerate it. But as soon as there’s a better OS available, I’ll take it. Windows 11 is, in my view, comparable to those failed experiments from Microsoft; the best thing I can say about it is that it may prove to be an incremental step on the way to something better.
We can but hope, right?
Windows 11 is available to purchase now. Windows 11, Windows, and all other properties mentioned above are the copyright of Microsoft Corporation. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
For a couple of years my PC had been in need of a refresh! I’m disabled and spend most of my time at home, and my PC has been everything for me over the last few years: entertainment centre, games console, workspace, and of course, the place where I write all of these articles and do all of the tasks here on the website! When 2021 rolled around I decided I needed to get my act together and get serious about an upgrade, and over the course of last year I put together a list and began to acquire the components for my new build piece by piece.
Though I perhaps know a little more about computers than your average consumer, I’m by no means an expert – as this article will surely attest. That’s why I’m not calling this a “build guide” or “how to build a PC!” There are plenty of far better-qualified people than me who’ve written step-by-step guides on how to do everything, and there are videos on YouTube too. I’d recommend Linus Tech Tips on YouTube, TechRadar’s step-by-step guide, and the Tom’s Hardware forum if you’re looking for that kind of detail – and I’ll include links to all three at the end of this article. I’m writing this for the website to share my experience as a newbie to PC building – and because I enjoy writing!
First of all, it took longer than I’d hoped to get everything in place. I kicked off this project just over a year ago, in early 2021, and I hoped to have made upgrades to my old PC by the summer. I then changed my plans and decided to build an entirely new machine from scratch, adding extra time to the project, but I still had hoped to be finished well before Christmas. In the end it was mid-March that I finally got it done – and there’s one additional task that I’ll aim to complete perhaps later this year or early next year, depending on how things go.
When I set out to build my PC I thought I knew the basics; which components I’d need and roughly how much I’d need to spend on them. But what hit me later on were all of the hidden costs, extras, and accessories: things like additional cables, an extra fan, a new DisplayPort cable, a new surge protector, screwdrivers, a static wrist strap, thermal compound, thermal pads, and so on. Because I’ve also changed where I sit and the orientation of my PC, I’ve also needed to invest in a new monitor arm and additional storage under the table that my PC rests on. All of these smaller things added up and delayed the project by at least a month!
Because I’ve never had a lot of money, I’ve always chosen to invest in items that I feel are higher-quality and stand a good chance of lasting a long time. The cheapest products aren’t always the best value or longest-lasting, as I’m sure you’ve discovered for yourself! With that in mind, I sought out components with excellent reviews, and even a single negative review about a product or the company’s customer service was enough to send me into a tailspin as I pondered the upsides and potential drawbacks. This also added a lot of time to the project!
This time around I chose to go with an AMD Ryzen CPU, specifically a third-gen Ryzen 7 5800x 8-core processor. After more than a decade of Intel’s dominance in the processor space, AMD’s Ryzen chips began getting rave reviews a few years ago, and it seemed like the best fit. I’m not wildly into overclocking nor do I intend to push the chip far beyond its limits – but I wanted to get something that I thought would be high-quality, fast, and that would really show off what a modern PC is capable of.
About a decade ago I suffered a major internet outage that left me reeling! For more than six weeks I remained disconnected, growing increasingly frustrated – and increasingly bored. When I got back online I ordered an external hard drive, and on that drive I installed a number of games, made backups of my DVDs, and so on so I’d always have something to do if I was ever in that situation again. I got a second external drive somewhere along the line too, and my workspace has been cluttered with drives, wires, and power cables for the past few years.
With my new PC, I wanted to ditch the external drives altogether. I don’t go places, I don’t have other computers I might want to plug into, so their presence was just an annoyance! With that in mind I installed two drives in my new PC: an M.2 drive to serve as my main C: drive, where Windows is installed, where other software and apps can be installed, and where I can install most of the games I’d want to play, and a second large hard disk where I can keep all of my stored DVD and Blu-ray rips.
I chose a Sabrent Rocket M.2 drive for my new PC’s primary drive – again, on the back of reviews and recommendations – and a large Seagate Exos hard disk for my secondary drive. It should be possible to install games on the second drive as well, if space becomes an issue on the M.2 in future, which is also a nice feature to have. Redundancy is the name of the game in that case!
This is my first experience with an M.2 drive. My old PC had a SATA SSD, but it was a very cheap one that never seemed to be especially fast. I think it was a Kingston model, and it was pretty small as well. Basically everything except for Windows – including my collection of MP3s and photos – ended up on an external drive.
This might be the most controversial part of the build, but I went for RAM overkill: 64GB of DDR4 RAM. The RAM can be clocked to 3600MHz, which is apparently recommended for Ryzen chips, though out of the box it ran much slower. 64GB of RAM is complete overkill for practically any modern system, so I’m told, but last year I was thinking about getting into YouTube – I had a short-lived foray into podcasting – so I thought I might need the extra if I got serious about video editing or other RAM-intensive tasks.
I chose a decent motherboard to go with all of these components – a “gaming” model from MSI. I also invested in a power supply from Be Quiet that’s rated 80 Plus Titanium – the highest rating available from the premiere ratings organisation for these kinds of things. I don’t pretend to know the exact details of what makes a “Titanium” better than a “Bronze,” but I think it’s to do with power efficiency, particularly during periods of heavy use. It seemed worthwhile to spend the extra money on something more efficient, though, and I made sure to choose a power supply that could more than handle all of the components I was putting into the machine.
Here’s a problem that I wager most users won’t have to factor in: cats! I have several cats, and they have a tendency to jump on my PC case. With my old machine, I found that the inconveniently-located power button meant that they were frequently turning my PC off with their paws when jumping or walking on the case, so I wanted to choose a new case with a power button either on the front or at least not flat on top. Most cases nowadays seem to have that kind of design; the “old days” of horizontal cases or power buttons on the vertical front of the case seem to be long-gone!
I chose a Be Quiet case in the end; the power button is still near the top, but it’s located on a sloping panel that means my cats could jump up and down without disturbing it or accidentally switching me off halfway through writing an article… or halfway through the latest episode of Star Trek! The Be Quiet Dark Base 900 is a much larger case than my previous machine, but I think that means that there should be good airflow for keeping all of the components cool.
The CPU cooler that I chose was also based on reviews and recommendations: I went with a Noctua NH-D15. I debated using a water cooler – one of the all-in-one systems – but ever since I knew a fellow PC builder who ruined his entire system when his homemade water cooling system sprang a leak… let’s just say I’ve been put off! I know that today’s all-in-one water coolers are probably safe to use – far safer than the janky piece of crap my feckless friend built in his basement 20+ years ago – but even so, I felt that an air cooler was the way to go. The Noctua NH-D15 is one of the best-reviewed setups on the market, and it has recently been updated with a special AMD Ryzen mounting bracket, so that was the version I picked up.
I chose to add one PCIe card – a WiFi and Bluetooth antenna. I don’t care about the WiFi particularly as I’ve always preferred to use ethernet for my stationary PC, but I wanted to add Bluetooth functionality. I use a Bluetooth keyboard and I have a couple of other Bluetooth devices that I thought I might try to connect, and considering that it wasn’t hugely expensive to add it in, it seemed worthwhile.
With prices for graphics cards having been sky-high for years, I knew from the start that I would recycle my current one rather than wait months only to pay over-inflated prices. When my GPU crapped out on me a couple of years ago I replaced it with a modern GTX 1660, so it’s not like it’s a horribly outdated component. It would be lovely to back up all of that new hardware with a ray-tracing graphics card that can really take advantage of modern games… but one thing at a time! That’s an upgrade that I hope to get around to either later this year or next year, depending on prices and how well my PC performs.
So those were the main pieces that I chose. It took a while to back up all my files (and double-back up the most important ones because I’m paranoid like that), but eventually I’d done as much as I could, procrastinated long enough, and was ready to get to building!
I’m absolutely certain that building a PC in 2022 is significantly easier than it would’ve been fifteen or twenty years ago. Most components slot into place, there are step-by-step guides and video tutorials on how to do everything, and even the instructions that came with the components were easy to understand.
I started by taking the motherboard out of its box, strapping on my anti-static wristband and grounding myself, and making sure I had my new screwdriver kit at the ready! Installing the RAM was the task I chose to do first – it’s something I’d done before and I knew exactly what I was doing. From there I installed the M.2 drive and its heatsink, and then the task I was probably most nervous about: the processor itself.
How many horror stories have you seen of bent pins, misaligned chips, and other CPU disasters? I couldn’t tell easily which way the chip was supposed to be oriented; the little triangle that’s supposed to indicate that was incredibly small and blended in. But after checking, double-checking, and psyching myself up for it, I gingerly placed the chip in its awaiting hole… and we had success! Nothing was broken, no pins snapped off, and nothing blew up. Phew!
Next I applied a small amount of thermal compound (I went with Kryonaut’s “Thermal Grizzly” paste instead of the stock one from Noctua). Doing what I’d seen others do on video, I laid out a small drip of the stuff, no larger than a grain of rice, and then secured the cooler in place. It amazes me that such a large cooler is okay; it looks like it’s hanging there, suspended in mid-air!
Having done about as much as I could with the motherboard outside of the case, I next had to grab the case itself and start installing the power supply. The Be Quiet power supply that I chose came with a large number of cables, not all of which I ended up using. Some of the cables look very similar to one another, so it took a while to make sure I’d got each one in the right place!
I installed the motherboard, screwing it into the appropriate standoffs in the case. Then I slowly began plugging in each of the various cables, including a bunch of wires that had been dangling inside of the case when I opened it up! I installed the hard disk in the lower corner of the case, and removed all of the other hard disk trays that I’m not using (I’ll hang onto them in case I ever want to add in another drive or something). I hope this will result in slightly better airflow.
All that was left was to install the GPU and the Bluetooth card in the two PCIe slots. Having done that, which didn’t take very long at all, I checked my watch and was surprised to see it had only been about ninety minutes! Thinking to myself that I’d done a good job, I grabbed a Dr Pepper and went in for a victory sip while the cats sat idly by and watched. To my surprise none of them tried to interfere while I was working… good cats!
But I was far from done, as it turned out. After double-checking every connection and component, I plugged in the PC and hit the power button… and nothing happened. Oh god, panic time! What have I done wrong? How can I even test to see what’s happening if literally nothing is happening?! After a moment of abject panic I tried to think back… what could have gone wrong? Why would absolutely nothing at all happen when I hit the power button?
After checking the very obvious things – was the power supply switched on, was the cable plugged in, was the surge protector turned on, etc. – I honed in on the problem: the power button itself. The power button had to be connected to the motherboard using a two-pin cable, and the connection had to be in a specific orientation (as denoted by a plus and minus symbol). I’d installed it back to front. After reversing the power switch connector I tried again, and to my joy and relief the system sprang to life!
All of the fans seemed to be spinning, and after reaching the BIOS it seemed like everything was showing up: the system detected the existence of its USB ports, its M.2 drive, its hard drive, it had the right amount of RAM… everything seemed to be right where it should be, so I shut it down and prepared to install Windows 11.
Ugh. Windows 11. We’ll have to talk about this in more detail on another occasion, but for now suffice to say that Windows 11 appears to have been designed by a team of software experts at Microsoft who were given the explicit brief of creating an operating system that embodies every aspect of the word “irritating.” They succeeded beyond their wildest ambitions.
I was told at first that “This PC can’t run Windows 11!” thanks to the ridiculous hardware requirements that Microsoft placed on the new OS. I knew that wasn’t right, because the Ryzen 5800X has the required module to be able to run Windows 11. However, this security feature is not enabled in the BIOS by default, so I had to go in and turn it on manually. Having completed this task, Windows 11 happily installed at the second time of asking.
That should have been the end of the affair, but there was one final twist in this tale of amateur-hour PC building! A couple of days after putting everything together, slapping myself on the back, and calling it a job well done, the new PC began experiencing random crashes. There would be no warning, no blue screen… just an instant shutdown as if the power had been cut. I was very worried!
These shutdowns produced no error messages worth their salt, just a very basic message in the Windows Event Viewer that said nothing about the cause. After spending a long time on Google and chasing down replies to years-old posts on forums, I tried as many different software fixes as I could find: updated drivers, uninstalled programmes, rolled back Windows updates, re-installed every driver one by one, updated the motherboard BIOS, deleted installed apps… nothing worked. The shutdowns continued, and they seemed to be getting worse. At one point, the system tried and failed to boot five times in a row; it wouldn’t even make it as far as the desktop before losing power.
After a lot of digging around, which the vagueness of the error message (and the fact that Windows 11’s Event Viewer is cluttered with warnings that Microsoft says are totally fine) did not help, I eventually relented and opened up the case again to see if there could be a hardware problem. It didn’t seem like a typical hardware issue – if there was a nonfunctional or broken component, I would have expected to see this problem from the very first moment I put the system together, not starting days later after everything had been going smoothly.
Every component appeared to be securely in place; the CPU cooler wasn’t falling off, all the cables were plugged into the power supply securely, and the power supply itself seemed to be in good working order. Running out of options I did something that really isn’t recommended – poking around inside the case while the system was powered on. I poked and prodded at the various components as safely as I could, and eventually I hit upon the problem – the cable connecting the power supply to the CPU was just slightly loose. The tiniest bump or prod on this connection switched the system off in exactly the same fashion as I’d been experiencing.
Rerouting the cable in question, and tying it as securely as I could to the inside of the case, seems to have solved the problem. I can only assume that it came loose in the first place thanks to a combination of my amateur workmanship leaving it susceptible to the smallest of knocks… and the cats jumping on top of the case! They didn’t jump on the new case for a couple of days as they were wary of this new addition to the room, but I think their jumping must’ve been just enough to loosen this CPU power cable and cause those irritating random shutdowns. At time of writing it’s been just over a week since I rerouted the cable and the problem has not returned.
So that’s my PC building journey. It was an interesting experience, and while I can’t honestly say that I saved a lot of money by buying my own components, what I can say is that I got exactly the PC that I wanted. I got to choose every part, I got to make sure that I got components that met my requirements – or the requirements I thought I had, at least! – and I got a new experience out of it, too. At my age, brand-new experiences are few and far between!
If you’re looking for a recommendation, I’d say that building a PC isn’t for the total beginner. Sure, most components snap together easily enough, and anyone who’s ever built a Meccano set would be able to do that part of it with a few basic tools and the instructions. But knowing where to begin, and where to look in the event of things not going exactly as planned… that required some background knowledge on the basics of how PCs work. If you’ve taken an interest in technology, though, and you know the difference between a CPU and a GPU, or which way around fans should be pointing, then I’d say it’s a fun project – but it is a project, and that requires some degree of effort, preparation, troubleshooting, and an ability to Google your way to solutions!
I’m glad I attempted this project, and hopefully the new PC will tide me over for the next few years with no trouble. I have vague plans, as mentioned, to get a ray-tracing graphics card in the months ahead, but for now I’m satisfied. I’ve copied over all of my files and backups, and I’ve started installing a few games to play – including a couple of titles that my old PC struggled to get running.
Stay tuned for a review of Windows 11 in the days ahead, because I definitely have some thoughts on Microsoft’s latest operating system. Some very critical thoughts!
Below you can find a list of the components that I used to build my new PC.
Power Supply: Be Quiet! Dark Power 12 850 Watt Fully Modular 80+ Titanium
I’m not an expert and this article is not intended as advice or a guide. You are solely responsible for the outcome if you choose to build your own PC, and I accept no responsibility for any damage or destruction that may result. Some stock images used above are courtesy of Pixabay. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There may be minor spoilers present for some of the entries on this list.
I confess that I was excited for Hogwarts Legacy when it was announced a couple of years ago. I wasn’t aware, at that time, of J.K. Rowling’s harmful and hurtful transphobic stance, and when the game was announced I felt that it had potential. Fast-forward a couple of years and a recent gameplay reveal video has got a lot of fans excited. I would probably have been among them a few years ago; while I was never really “in” the Harry Potter fandom, I enjoyed the books and films generally speaking. But I can’t support Hogwarts Legacy – nor anything else in the Harry Potter series any longer.
J.K. Rowling doesn’t have anything besides Harry Potter. She’s had limited success with the other titles she’s tried her hand at, so it’s the Harry Potter series that keeps her relevant – and it continues to be a major revenue stream for someone who’s already a billionaire. Any time the Harry Potter series gets attention, it amplifies J.K. Rowling, increasing her platform, her reach, and ensuring her harmful transphobic views are amplified, spread worldwide, and discussed at length. Moreover, it brings in money for her, some of which she donates to anti-trans activists and groups. I don’t know exactly what cut of the proceeds she’d get for Hogwarts Legacy – but it’ll be significant. If the game sells millions of copies she could easily rake in several million pounds from it.
For some folks, Harry Potter is their biggest fandom and a huge part of their life. If you’re in that category, I hope you won’t consider this a personal attack. I know that J.K. Rowling’s statements have upset a lot of people, many of whom continue to consider themselves fans of the series. If Harry Potter meant a lot to you and you can’t abandon it, that’s your decision and I’m not interested in trying to change your mind.
I’m not going to re-hash all of the arguments surrounding J.K. Rowling and her transphobia here. I don’t have the time nor am I in the right emotional headspace for that. You already know what she’s said, why people like me find it incomprehensible and harmful, and reiterating all of those points would just lead to all of us getting upset all over again. Instead what I want to do today is offer up a few alternative games, titles that are just as interesting and exciting as Hogwarts Legacy but with hopefully less bigotry.
So without further ado, here are a few games you could substitute Hogwarts Legacy with if you’re looking for something fun to play but feel unable to support J.K. Rowling. Let’s jump into the list, shall we?
Game #1: Star Wars: Knights of the Old Republic
A game set in an established fictional world, but taking place hundreds of years prior to the events we know and love? That sounds an awful lot like Knights of the Old Republic! I can never fully put into words how much this game blew me away when it was released in 2003. After feeling disappointed with The Phantom Menace and Attack of the Clones, Knights of the Old Republic went a long way to restoring my faith in Star Wars in general – and one of its story twists is perhaps the greatest that I’ve ever played through in any video game.
Knights of the Old Republic sent me off on my very own Star Wars adventure, and included all of the elements that a story needs to feel truly authentic. Whether it was Jedi Knights, beeping droids, or visiting familiar worlds like Tatooine or Kashyyyk, it was an incredible ride from beginning to end.
It took me a while to get around to trying Red Dead Redemption II, but when I played through it last year I finally understood why everyone considers it to be a masterpiece. It’s a dark, bleak, yet incredibly beautiful experience, one which recreates late 19th Century America in a way that feels incredibly real. Characters feel like actual people with thoughts, desires, and motivations, and the narrative contains some incredibly emotional sequences that left me in tears.
Red Dead Redemption II is also one of the most visually stunning games I’ve ever played. Its open world has been crafted to perfection, and is packed full of minor details that make the experience an incredibly immersive one. I literally had dreams about Red Dead Redemption II while I was in the middle of the story, and there were times last year where I would want to just drop everything I was doing to get back to playing it!
Game #3: Kena: Bridge of Spirits
Kena: Bridge of Spirits is another visually beautiful game, so much so that at one point I had to put down the control pad and just stare at the amazing scenery! It’s also an incredibly fun adventure game that I felt recaptured the feel of older 3D platformers. It wasn’t always an easy experience, as there was relatively little hand-holding, but it was incredibly fun and incredibly rewarding.
Considering that Kena: Bridge of Spirits was the debut game from brand-new developer Ember Lab, I’m even more impressed! I crowned it my “game of the year” for 2021, and with good reason. It was one of the best gaming experiences that I had last year, and even though I have a growing list of unplayed games… I’m sorely tempted to go back and revisit it!
Game #4: Control
If a supernatural adventure is what you’re after, look no further than Control. I found the game to be incredibly atmospheric as protagonist Jesse explores a hauntingly bleak world. I definitely got sucked into the spooky world of Control, and this could make for a really fun game to play around the Halloween season thanks to the supernatural tone and some spectacular level design.
Control is also an incredibly accessible game, with lots of different options to customise and tweak the experience. One of my favourite parts of Control were the full-motion video sequences, presented in-game as recordings and clips to collect as Jesse explores deeper into the heart of the ancient and deeply unsettling building. These little snippets of lore, presented in a fun way, added so much to the experience.
Game #5: Dragon’s Dogma: Dark Arisen
It’s been a few years since I played Dragon’s Dogma, but if I recall correctly the game has a surprisingly deep and rich magic system – something you might be looking for in an alternative to Hogwarts Legacy. Dragon’s Dogma always felt like a second-tier game; the kind of title that didn’t quite break into the uppermost echelons of gaming. But it was a fun time nevertheless, and a fun adventure to play through.
The Dark Arisen version – which is available for PC, Switch, Xbox One, and PlayStation 4 – combined the base game and all of its DLC into a single package, and as a slightly older game (Dragon’s Dogma was originally released in 2012) it can be picked up quite inexpensively either second-hand or during Steam sales.
Game #6: Elden Ring
Elden Ring is categorically not “my thing.” These kinds of difficult-for-the-sake-of-it games are simply unenjoyable for me, and as a result I have skipped Elden Ring. But I’d be remiss not to include one of the biggest releases of the year on a list like this, and many fans of the Souls-like genre have hailed it as an instant classic and the new benchmark for future titles to live up to.
Elden Ring uses an open world, it has magic, fantasy elements, and monsters to fight. It was originally billed as a game with input from A Song of Ice and Fire author George R.R. Martin, though he appears to have made a limited impact on what seems to me to be another Dark Souls-inspired title. If you’re into games with punishing levels of difficulty, Elden Ring could be the one for you.
Game #7: The Elder Scrolls IV: Skyrim
So you want to enrol in a special school to learn how to wield magic while at the same time exploring the world and going on adventures? Then why not join the Mage’s Guild in Skyrim? Or, come to that, why not do the same in Oblivion or join House Telvanni Morrowind as well? The entire Elder Scrolls series is set up perfectly for players who want to create mages, witches, necromancers, and all other kinds of magic-using characters!
Skyrim is certainly showing its age by now, even if you pick up one of the special enhanced deluxe anniversary editions that have been released endlessly over the past decade. But it’s still a beautiful game that’s fun to play, and many of its questlines and stories have a magical side that might just make up for skipping over Hogwarts Legacy.
Game #8: Jade Empire
Jade Empire is a fun BioWare adventure game that I feel doesn’t get the credit it deserves. Released in between Knights of the Old Republic and Mass Effect, it tends to be overlooked. Its Chinese-inspired setting is really interesting, though, and the game is populated with fun characters. There are magical elements to the game, too, although there’s a pretty big focus on martial arts-inspired combat.
Jade Empire tells a fun story, and I found it easy to get lost in its world when I first picked up the game on the original Xbox. If you’ve played other BioWare titles before then the format will be familiar – but the setting and the story are unique. I’ve always hoped that BioWare would revisit the world of Jade Empire… maybe one day!
Game #9: GreedFall
GreedFall is another game that can feel overlooked, perhaps a game that didn’t quite break into the top tier when it was released a couple of years ago. It can feel like a title with some heavy-handed themes as it looks at the issue of colonialism – not always perfectly, I should say – but laying atop some of those deeper themes is a fun adventure in a well-constructed, lived-in world.
There are magic spells in GreedFall, with an entire character class built around the use of magic. The game’s character creator is pretty basic, but if you can look past that limitation the actual customisation options are quite extensive. It’s a fun game, and well worth a play especially considering that it doesn’t ask full price.
Game #10: The Last Of Us Part II
I honestly didn’t expect to be putting The Last Of Us Part II on any list… ever! I didn’t enjoy the game’s story at all, as I felt it tried to be too smug, too clever, and the way in which it hacked away at some of the most basic fundamentals of storytelling – the need to have a clear protagonist and antagonist – meant the whole narrative collapsed. But if you’re really looking for a game to throw up a middle finger to a transphobe, The Last Of Us Part II could be right for you!
Despite my story complaints, the gameplay in The Last Of Us Part II is excellent. Its third-person stealth/action style is an iterative improvement over its predecessor, but it’s well-executed and feels very smooth to play. There’s also a sense of scarcity, with ammunition and supplies being hard to come by. This makes for an experience that requires a lot of thoughtful planning; rushing in guns-blazing usually doesn’t work.
As one of the few games I can recall to feature a transgender character in a major role (voiced by Star Trek: Discovery’s Ian Alexander) I felt it was worth including The Last Of Us Part II on this list.
So that’s it!
Those are ten games that I think could be worth playing if, like me, you plan to skip Hogwarts Legacy when it’s released later this year. I tried to look at titles that are in the third-person action or action/adventure space, as well as titles with magic or supernatural elements. There were plenty of other games that I could’ve included if we broadened those criteria, though, so this is by no means an exhaustive list!
I had a conversation with a friend recently, and they expressed the opinion that they would play Hogwarts Legacy as there aren’t a lot of games that would give them a similar experience. While it’s true that Harry Potter and the Wizarding World are somewhat unique, there are plenty of games – as well as novels, films, television shows, and other entertainment experiences – that draw on many of the same themes and use the same kinds of storytelling elements. Hogwarts Legacy, just like the rest of the fictional setting that J.K. Rowling created, is not irreplaceable.
That being said, I’m not here to try to force anyone to play or not play a particular game. I just wanted to contribute something positive to the overall conversation surrounding Hogwarts Legacy, and perhaps show off a few titles in a similar genre or similar space that players who are weighing up their options could consider as alternatives. If that applies to you, I hope you at least found my suggestions interesting! And if you still plan to go ahead and play Hogwarts Legacy, I genuinely hope you have a good time with the game.
Hogwarts Legacy is the copyright of Portkey Games and Warner Bros. Interactive Entertainment. Harry Potter and the Wizarding World are trademarks of Warner Bros. Entertainment. All titles on the list above are the copyright of their respective studio, developer, and/or publisher. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Here we go again. When Trekkies all over the world should be talking with boundless enthusiasm and unbridled passion about the latest Star Trek announcements, we’re slapped down hard by ViacomCBS – sorry, that should be “Paramount” or “Paramount Global” now – and the corporation’s latest mess. I’m genuinely getting worried for the medium-to-long-term prospects of the Star Trek franchise under the corporation’s current leadership.
Just when I thought ViacomCBS had hit rock bottom with the Discovery Season 4 debacle, paying Netflix to remove the show internationally and preventing fans outside the United States from being able to watch, the corporation has, through sheer ingenuity, managed to sink even lower. Using outdated copyright laws and social media platforms’ heavy-handed DMCA policies to actively attack Trekkies is the latest move; a new low for a corporation that I naïvely assumed could sink no lower.
ViacomCBS (or whatever it wants to rebrand itself as now) is a corporation that has consistently failed to move with the times. It’s a corporation where 20th Century thinking is trying – and failing – to lead it into the 21st Century, and that’s the poisoned well from which all of these ridiculous, outdated, and harmful policies continue to flow. ViacomCBS has an “America First” fetish that would make even Donald Trump blush, brazenly ignoring fans outside of the United States – even going so far as to point-blank refuse to broadcast brand-new episodes on international versions of its own streaming platform, Paramount+. When will this end?
An investor event today – which was live-streamed on social media – showed off a new teaser trailer for Strange New Worlds, the upcoming Star Trek series bringing back Anson Mount as Captain Christopher Pike. Yet ViacomCBS then went on the attack, literally getting some fans’ social media accounts banned for daring to share still frames and screencaps of the trailer. At time of writing, the trailer itself has yet to be published on any of the official Star Trek social media channels, meaning fans know it’s out there but have no lawful way to access it.
There was also “news” – and I use that term in its loosest possible sense – about the painfully constipated rollout of Paramount+ internationally. We knew as early as the middle of last year that the planned launch window for the UK was “early-to-mid 2022,” so today’s so-called “announcement” that the mediocre streaming service will arrive “before the end of Q2” means absolutely nothing. The lack of so much as an attempt at precise timing, or even a narrower window, does not fill me with confidence.
Strange New Worlds – the show whose trailer is now being deliberately hidden and used as a pretext to attack fans on social media – is due to premiere in the United States in early May. The end of the second quarter of the year (or “Q2” in corporate-speak) is at the end of June. Assuming Paramount+ remains on what we could generously call its “schedule,” that seems to suggest that very few Trekkies outside of the United States will be able to watch the show.
And if Paramount+ repeats what it tried to do with Discovery Season 4 and successfully did with Prodigy Season 1, then even being a Paramount+ subscriber might not be enough to guarantee that non-American Trekkies will be able to watch Strange New Worlds anyway. In both of those cases, Paramount+ outside of the United States didn’t broadcast new episodes at the same time as they were broadcast in the United States. Paramount+ is already a second-tier streaming service on a good day, but if it gates off its own original content outside of North America, what exactly is the point in becoming a subscriber? Maybe someone at ViacomCBS should ponder that question.
Every time I think we’re starting to see signs of progress, it feels like ViacomCBS takes one step forward and at least two steps back. The corporation has no clue how to act in a 21st Century media landscape that has shifted under its feet, and despite having its own streaming platform for over seven years (CBS All Access launched in late 2014) there’s been no evidence so far that the corporation knows how to successfully operate it, let alone how to bring it to audiences around the world.
I want to support Star Trek. I want to offer my financial backing (in whatever small way I can) to ensure that the franchise continues to be successful and will continue to be produced. And there are some positive signs – Paramount+ has been adding new subscribers, Discovery has been its best-performing series, and shows like Halo and Yellowstone have attracted attention and been picked up for additional seasons. But like I said, for every step forward, there are two steps back. The reputation of ViacomCBS remains in the sewer with many of Star Trek’s biggest fans, and rebranding under a new name won’t fix that.
Social media is the biggest and most important way for any entertainment corporation to get its message out and to bring in new audiences and new subscribers. Look at shows as diverse as Game of Thrones, Chernobyl, Tiger King, and Squid Game. Social media buzz and hype were a huge factor in their success, and why they blew up far beyond their anticipated audiences to become absolutely massive. When ViacomCBS mistreats its biggest fans so badly on social media, and when its own social media marketing strategy is so painfully inadequate, it actively harms the potential success of Star Trek – and all of its other programmes.
I noted this with disappointment in 2020 when Lower Deckswas denied an international broadcast, and again in 2021 when the same thing happened to Prodigy. The two most different and interesting Star Trek projects in a generation had practically unlimited potential to expand the franchise and bring in boatloads of new fans – but because ViacomCBS chose to carve them up, deciding for itself which viewers were “worthy” of being allowed to watch the new shows, that potential was wasted.
When ViacomCBS cuts off its own shows at the knees, it doesn’t just harm their potential success in the rest of the world. It harms it in the United States as well. Social media is worldwide, and if fans in the rest of the world aren’t able to participate, the potential buzz and online chatter dies down. The hype bubble deflates, hashtags don’t trend, social media algorithms don’t pick up or promote posts, and untold numbers of potential fans and viewers miss out. They never even come to hear that Lower Decks, Prodigy, or Strange New Worlds exist because ViacomCBS made sure that millions of Star Trek fans don’t talk about them online.
Attacking fans is a new low, and rebuilding trust between ViacomCBS and Trekkies should be top priority for the corporation as it moves forward. It won’t be, but it should be. But there are more problems deeply-rooted within ViacomCBS and its corporate attitude, one which puts “America First” with vigour. That kind of thinking was outdated by the turn of the millennium, and fixing it is going to be essential to the future success of Paramount+.
One way that the corporation could win back fans’ support would be to guarantee that Strange New Worlds won’t be broadcast until Paramount+ has been rolled out to more countries. If there’s a delay in the rollout, there should be a delay in the new show as well. I’m sure some American Trekkies would be disappointed, but others wouldn’t mind waiting an extra few weeks or months if it means more Trekkies will be able to join in. It would be good for the fan community, and for the reasons mentioned above it would be good for Strange New Worlds’ prospects, too.
As for me, I remain extremely disappointed with Star Trek’s corporate overlords. If Strange New Worlds doesn’t come to the UK at the same time as it does in the United States, we end up right back in the piracy debate. I feel fans have an absolute moral justification to go right ahead and pirate it – if ViacomCBS chooses not to make it available lawfully, piracy becomes the only way to access the show. I will certainly have no qualms about going down that road.
But if Strange New Worlds doesn’t come to the UK, why should I cover it? In my own small way on my little corner of the internet, I offer the Star Trek franchise what amounts to free publicity, talking about shows and sharing my passion. It would feel wrong to offer my support to a series that ViacomCBS has, for what would be the third time in as many years, tried to deny to millions of fans around the world.
My message to the board and leadership at ViacomCBS (or Paramount as it’s now going to be known) is simple: do better. Treat your fans with basic respect, stop abusing outdated copyright laws, fix your social media marketing, find a way to bring your shows to the millions upon millions of fans who are literally opening our wallets and offering you our cash, and if you can’t do all of that, then get out of the way and make room for other people who can. Your intransigence and outdated thinking have already caused immeasurable harm to Star Trek, so you need to fix those things – before it’s too late.
The Star Trek franchise – including all properties mentioned above – is the copyright of ViacomCBS/Paramount. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
If you’ve been a regular reader since last year, you might remember that I pre-ordered Starlink – Elon Musk’s satellite internet. I did so in large part because I live in a rural part of the UK that has been overlooked by fibre broadband, 4G, and basically every other improvement to the country’s ageing, decrepit communications infrastructure. I have broadband, which some rural dwellers still don’t, so in that sense I’m lucky – but my download speed at the best of times caps out at around 7 megabits/second, and at bad times I can barely get online at all.
Starlink originally promised to be available in “mid to late 2021,” before revising that to “early to mid 2022.” I would say, as an aside, that Starlink was very poor at communicating that change to me, and for much of 2021 I was holding out hope that I’d hear something from the company, especially because I’d paid a fairly hefty deposit. Better communication with customers may be something for Starlink to work on, at least from my limited experience with the company!
But I’m no longer going to be enjoying ultra-fast space-age internet. I recently cancelled my pre-order – and not because of any complaints about the company or the slowness of their rollout. I can understand that things get delayed, that the queue was long, and when you’re dealing with something as complex as literally launching rockets full of satellites into space, there are going to be bumps in the road sometimes! I’m not a “Karen,” feeling a sense of entitlement, and I want to make that clear.
Unfortunately, though, in 2022 I’m no longer in a position to be able to afford Starlink. The service would cost a little over three times the price of my current internet package, and with rising bills across the board, I can no longer guarantee that I could afford to pay that amount. I certainly wouldn’t want to sign myself up to a contract, committing to pay that money for twelve or eighteen months.
Since mid-2020, my electricity bill has already risen by over 25%. That isn’t because I’m using any more electricity – in fact, thanks to things like LED lightbulbs and a better, more efficient heater, I’m probably using less. But the UK’s privatised electricity industry has been jacking up prices left, right, and centre. And that was before the current increase in oil and gas prices internationally sent energy prices skyrocketing.
In addition to the 25% rise that I’ve had to absorb over the last few months, my electricity bill will soon rise by another 50%-60% on top of what I’m currently paying, wiping out a huge chunk of my already meagre disposable income. Inflation is also biting me in the backside, with food prices having risen already in the last few months, and prices for some of my essential toiletries and other goods also shooting up. As a disabled person on a fixed income, there’s very limited room for manoeuvre, and as such I’m having to make decisions like the Starlink one in order to remain financially solvent in the months ahead.
With all of that in mind, I’ve also decided to cancel my Netflix subscription. With Star Trek: Discoverybeing withdrawn from the service, and relatively few other projects that excited me coming up in the short term, it’s a significant chunk of change saved every month. Because I can’t really get out to the shops very often, and can’t lift anything heavy, I rely on Amazon for a lot of deliveries, and the cost of Amazon Prime per month is more than worth it when I stack it up next to the delivery charges I don’t have to pay, so keeping that one makes more sense. Netflix is a great service and I don’t dislike it, but something had to go, and when it came to a choice between Netflix and Amazon, Amazon won that particular fight.
In the late 2000s and early 2010s, I got into a lot of financial trouble. Suffering undiagnosed mental health issues, working through a divorce, and other pressures in my life saw my spending get out-of-control, and with the abundance of cheap credit that was given out far too readily by misbehaving banks, I found myself in quite a financial pickle after a few years of mismanaged finances and a difficult period of my life. It got so bad that I had bailiffs show up several times and was even threatened with prison at one point.
It took a long time to crawl out of the financial hole I’d dug for myself, and even now my credit rating is still so poor that I can’t access anything but the most expensive, high-interest loans and cards. So when I say I can feel my back getting closer and closer to the wall, I really mean it. If the current rate of price rises and cost increases continues, I’m very quickly going to have nowhere left to go!
During the pandemic, the government had provided a small increase to the benefits they pay out to people like me who are disabled, as well as to jobseekers and other low-income folks. This extra money was withdrawn back in the autumn, despite a public outcry, and that’s another reason why I’m left with fewer options at the moment. The current government has proven itself to be far too inflexible, unwilling to make changes to policies even as the situation in the real world has changed (and deteriorated). Even in the autumn, when this policy was still being debated, there were many economists, politicians, and other such folks who had the foresight to see price rises and inflation pressures coming. They warned the government not to go down this road – but their voices were ignored, sadly.
The way the government calculates its figures also allows them to manipulate things so they can get away with paying out less than they should. There will be a very modest rise in my income in April, but the rate of this rise was calculated months ago and thus doesn’t account for the current rate of inflation – meaning it will be more than eaten up by the aforementioned electricity bill rise and other price rises.
It’s sad to be starting 2022 with such a bleak forecast and having to scale things back, but this is the reality of our pandemic-riddled world. I fear that we’ve only seen the very beginnings of some of these problems, and that things like electricity and food prices will rise, rise, and rise again before the end of the year. There’s already talk of another significant rise in energy bills in October.
I’m not yet in a position of having to choose whether to “heat or eat,” as the current anti-slogan suggests. But because I’d already scaled back as many of my costs as possible over the years, I don’t have a lot more room to make cutbacks. I usually only heat the living room, even in the depths of winter. It’s -3°C outside as I write this early on a February morning, but I find that the one heater I have in the living room is usually adequate.
There are two remaining subscriptions that I could potentially cull, depending on how much worse the financial outlook gets. I currently subscribe to both Disney+ and Xbox Game Pass for PC – though the latter is currently paid for for the next few months thanks to a Christmas present from my sister! But in theory I could save another few pounds a month by cutting those. But once those are gone, that’s all the wiggle-room I have! Those are my only remaining non-essential bills, and as a disabled person for whom leaving the house is a challenge at the best of times, I feel that it’s important to have things like this so I can access entertainment and keep the old brain cells from decaying!
I’m not in imminent danger of freezing nor of starving… but the fact that, in the UK in 2022, that statement should need to be made at all is pretty telling. I don’t like to get political here on the website at all – but I’m definitely upset with the current government and its inflexibility when it comes to solving these problems.
That’s not to say that I have all the answers, not by any stretch. But in the next few months, and certainly by the end of 2022, something’s got to change. I know I’m not the only one in this position of having to make cutbacks to be able to continue to afford the essentials, and as a disabled person who relies on certain mobility and toileting products, there’s more than just food that I have to buy every month. It isn’t possible to cut back on those things!
So this was a bit of an update, really. I guess you won’t see many Netflix reviews here on the website for the next few weeks and months – but I’ll continue my usual output of Star Trek content, I’ll definitely take a look at anything new from Star Wars, and I’ll keep up my regular commentary on the ins and outs of the video games industry – even if I may not be in a position to play any of the games that don’t come to Game Pass this year!
I try to avoid piracy – except in specific circumstances. If a film, TV show, or video game is available here in the UK lawfully, I’ll either pay for it or skip it. It’s only when greedy, moronic corporations refuse to broadcast their latest shows or make their films available here in the UK that I’ll sail the high seas! And as I’ve said before, I think that’s a pretty fair way to approach it.
If you’re suffering as a result of inflation or any of the other financial issues we’ve talked about today, there is help available. Here in the UK you can talk to organisations like Citizens Advice, and they definitely helped me during the period when I was struggling with debt. I can’t make any further recommendations other than to check what’s available in your local area. I hope that, if you find yourself in choppy financial waters, things settle down quickly – for all of us!
This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
I didn’t realise it until a few weeks ago, but I’ve officially been a Trekkie for more than thirty years. The earliest episode of The Next Generation that I can solidly remember watching was Season 2’s The Royale, which aired here in the UK in June 1991. Although I’m fairly sure that The Royale isn’t the first ever Star Trek episode that I saw, it’s the earliest one that I can remember and thus I can officially date my entry into the fandom to more than three decades ago.
I quickly became enamoured with The Next Generation, tuning in to watch every new episode as they aired, and even renting copies of some of the episodes on video as and when I could find them. In the rural part of the UK where I grew up, there weren’t many other fans of science fiction and fantasy, so being a Trekkie could be lonely. This was years before I got access to the internet, too, so finding fellow Trekkies wasn’t easy.
That being said, there was a sci-fi magazine that I subscribed to for a time, and I think it must’ve been in one of the issues that I found out about a Star Trek fan group that was organising a meet-up. This would’ve been in late 1994 or early 1995, around the time Generations was in cinemas. Because my mother thought I was too young to travel more than two hours by train on my own, she accompanied me – much to my horror – but promised me she’d find other things to do in the city where the meet-up was taking place.
I was nervous as I got ready to attend the meet-up. I’d seen as much of The Next Generation as had been broadcast on terrestrial TV in the UK, and a few other episodes on video, but I’d only seen a handful of episodes of The Original Series and just one of the films (The Search for Spock, weirdly, was my first Star Trek film) so I wasn’t really sure how older fans would react. I felt like a bit of an imposter at first; a newbie barging into an established group.
But all of the Trekkies I met were incredibly welcoming. At the meet-up I was the youngest person there by a considerable margin, but everyone was very nice to me and made me feel part of the group. Nobody tried to tell me that I wasn’t a “true fan” of Star Trek because of my limited knowledge of The Original Series, and I had a great time talking to other fans for the first time, seeing different collections of merchandise – some imported from America – and hearing a few people share their experiences of meeting William Shatner or other members of the cast. I left the event having had a great time and feeling excited to continue and expand my fandom. Someone had recommended that I watch The Wrath of Khan, so shortly after I was able to rent the film and see it for myself.
I went back to several meet-ups with this group in the mid/late-1990s, but as I got ready to go to university and started getting online, I sort of drifted away. It was never an official fan club or anything as far as I recall, just a group of Trekkies who’d get together to trade merch and chat once in a while.
Those early fan meet-ups meant a lot to me as I began my journey as a Star Trek fan. The people I talked to were all very welcoming, and they seemed pleased that a younger person was interested enough in Star Trek to associate with their group. I think they recognised, even back then, that a franchise like Star Trek needs new fans – because new fans are the lifeblood of any fan community. Making sure that community is a welcoming place, however people come by it, is incredibly important.
I was quite sensitive as a kid, and if I’d been met with a wall of negativity at that first meet-up, I don’t think I’d have ever gone back. It would almost certainly have put me off Star Trek entirely, as I’d have associated the franchise with unkind, unwelcoming people. I might have never gone back to watch The Original Series, and perhaps I’d have switched off and skipped Deep Space Nine and Voyager when they came along, too. The words people use matter, and how we treat new fans or people on the cusp of joining the fan community is incredibly important.
Meet-ups like the ones I remember still happen within the fan community, but nowadays most people’s first contact with other Trekkies is via the internet and social media. In a way, I’m jealous of that! As a kid I would have loved nothing more than to have found a ready-made Trekkie community that I could share my love of the franchise with any time I wanted to, but I first became a Trekkie years before I got online! I grew up in a rural area, and there just weren’t any other Trekkies in my immediate circle of friends or neighbours – at least none that I knew of at the time.
But social media and the internet have brought with them trolls and unkind people who seem to delight in crapping all over anything that someone else likes. That’s unfortunately true within the Star Trek fan community as well, and there are enough people who are unkind and unpleasant to others online that I fear for anyone just getting started with Star Trek. The community that they encounter on social media is, unfortunately, plagued by a vocal minority of people like that.
I’m not the most active person on social media. But even I’ve seen the way that some people behave, and how the relative anonymity of the internet and social media seems to amplify some people’s absolute worst qualities and tendencies. Even conversations that start off politely, or questions asked in good faith and with no bad intentions at all, can become toxic incredibly quickly.
I believe that it’s up to all of us to be considerate and thoughtful in our interactions within the fan community. New shows like Discovery and Prodigy are hopefully going to continue to bring on board hordes of brand-new Trekkies, and all of us have a responsibility to ensure that the fan community these folks discover is a kind, welcoming place. Trying to act like gatekeepers by telling new Trekkies that their opinions are invalid because they haven’t seen a particular film or episode, or that the show they like isn’t “real Star Trek,” is going to upset people and make the Star Trek fan community look like an unkind, selfish, closed-off place.
New fans are, as I said earlier, the lifeblood of any fandom. If Star Trek were to remain the sole preserve of fans from the ’60s or the ’90s it wouldn’t last very long at all – and it wouldn’t deserve to. The fan community needs new Trekkies joining in and sharing their excitement for the franchise in order to grow and remain relevant. If we try to shut those people out or tell them they’re only “allowed” to join in once they’ve met a particular threshold then the fan community will stagnate, online fan groups will become unpleasant places, and the resultant decline in online chatter will harm Star Trek and could easily lead to a decline in viewership in general.
There are many fans for whom Star Trek has always been a complete product. There were a lot of arguments in the ’80s and ’90s about how The Next Generation was taking over from The Original Series, whether Deep Space Nine was too dark in tone, and whether the Star Trek franchise needed a prequel – to name just three examples. Star Trek has always been developing and evolving, episode by episode and season by season. But for fans who missed those conversations and didn’t see the slow progress that the franchise made over the span of decades, Star Trek has always existed as a complete product: a DVD box set or a full series on a streaming platform. It seems to me that it’s those folks who are more likely to act as gatekeepers and try to keep new fans who don’t share their opinions out of the fan community.
Star Trek has always meant different things to different people. And consequently, fans have always had preferences within the Star Trek franchise about which episodes, films, series, and even characters that they prefer. If someone doesn’t like one part of Star Trek, that’s okay. It doesn’t make them “less” of a Trekkie. And if someone’s new to the franchise and isn’t up to speed on every film or episode, that doesn’t make them “less” of a fan either.
The people who are trying to play gatekeeper need to stop. It doesn’t do anyone any good to try to exclude people – especially new fans – from the Star Trek fan community. Although I’m a fan of Star Trek in its older and newer incarnations, I understand that there are people who don’t like some or all of what Star Trek is currently doing. I was even in a similar position myself once upon a time, as I wasn’t particularly keen on Enterprise when it was announced and only tuned in sporadically during its original broadcast run. But in the early 2000s I would have never dreamed of telling anyone that they weren’t a “real fan” of Star Trek because they liked Enterprise, or because Enterprise was the first Star Trek show they’d ever seen.
The message I have is a simple one, at the end of the day: we all have a responsibility to keep the Star Trek fan community a kind, friendly, and welcoming place.
Fans can be passionate, and the desire to talk about the things we like – and dislike – is a powerful one. Making sure that the Star Trek fan community feels welcoming to newcomers doesn’t mean whitewashing Star Trek and never sharing a critical opinion, but it does mean that criticism needs to be carefully considered and offered in as constructive a manner as possible. ViacomCBS has definitely made mistakes with the Star Trek franchise in recent years, for example, but my criticisms of the corporation or my negative reviews of individual episodes here on the website have never strayed into attacking fellow fans. If you like an episode that I don’t, that’s okay! And I think that’s the attitude that we all need to try to adopt going forward.
A series like Prodigy has the potential to open up the Star Trek fan community, and I wouldn’t be surprised to see an influx of new, younger fans in the months and years ahead. Those of us who’ve been Trekkies for a long time should try, for their sake, to keep conversations and debates civil in tone and to ensure that the fan community is a kind, friendly, and welcoming place. Shutting down or tuning out as much of the toxicity as possible is a big part of that.
I’ve lost count of the number of negative, toxic, and even bigoted and hateful messages and posts that I’ve seen in recent years. Practically all of them appeared not because they were sent directly to me, nor because I sought out those groups or follow individuals who hold those views, but because they were amplified on social media by other folks – often with good intentions – who chose to interact or engage. There’s an expression from the early days of the internet that I think is relevant in a lot of cases: “don’t feed the trolls.”
A lot of the anti-Trek content spewed onto social media by people like that is done for attention, and by engaging with it in a big way it gets amplified, giving the attention-seeking trolls exactly what they want. There are some instances where calling someone out or shutting down someone espousing hurtful, bigoted views is going to be important – but in many cases there’s no need to engage with people who are throwing out hate and toxicity just for the sake of it. Because of the way social media works, with algorithms promoting content that gets the most engagements, doing so often ends up drawing more and more attention to something that really should just be ignored. Most social media platforms offer users the ability to block individuals, groups, or even whole words and phrases – so we should use those tools when necessary.
So I think that’s about all I have to say. I was prompted to write this piece after seeing a lot of chatter on social media about the state of the Star Trek fan community, and with Prodigy now airing and potentially bringing younger fans on board in large numbers, I wanted to give my two cents on why it’s important to make sure the fan community is as welcoming and friendly as possible.
Ever since I attended that first meet-up in 1994 or 1995, I’ve remembered the kindness that I was shown and how I was made to feel welcome as a new fan. I try to keep that spirit going in all of my engagements with the Star Trek fan community, and though there are episodes I dislike and things on the corporate side that I will continue to criticise, in my very limited way I try to make sure that I’m contributing positively to the overall discourse surrounding Star Trek. There’s room for constructive criticism and there’s room for differences of opinion – but there’s no room for toxicity, hate, and bigotry. It’s the responsibility of all of us to do what we can to keep the Star Trek fan community a welcoming place.
The Star Trek franchise – including all series and films mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
In the course of researching Star Trek: Prodigy for my review of the first part of Season 1, I learned something very odd. The first half of the season was itself cleaved in two, with a few episodes being broadcast, followed by a month-long break, before a second batch were broadcast leading up to the mid-season finale. This appalling scheduling – and on a streaming platform, no less – already made no sense and arguably damaged Prodigy, making it harder for the series to gain traction and retain viewers, and that’s something I addressed in my review. But one thing that’s even worse is that for Paramount+ subscribers outside of the United States – such as in Australia – the second batch of episodes weren’t broadcast at all.
When ViacomCBS announced its intention to take Discovery Season 4 away from fans, the same thing happened. Although Paramount+ existed in Latin America, Australia, and Scandinavia, those regions weren’t going to get Discovery Season 4 at the same time as the American version of Paramount+, effectively meaning that Trekkies in those regions had paid for nothing.
We’ve talked on several occasions about ViacomCBS prioritising American Trekkies and viewers over those of us in the rest of the world, but I had hoped that the rollout of Paramount+ internationally would finally bring an end to this disgusting, outdated attitude. Although the pace of the streaming service’s rollout would make a snail covered in molasses riding a sloth up a glacier look fast by comparison, I’m still halfway hopeful that it’ll arrive here in the UK before the end of 2022 – and if I dare to dream, I’d hope that Paramount+ will be available worldwide… one day.
But even if ViacomCBS magically finds competent leadership in the months ahead, meaning Paramount+ will indeed be available here in the UK in time for, say, the debut of Strange New Worlds, it now seems as though the corporation can’t offer fans a guarantee that subscribing to Paramount+ will actually mean we’ll be able to watch any new Star Trek. So… what’s the point of Paramount+, then, and why should I bother subscribing at all?
A couple of weeks ago, I wrote that there are some big questions that ViacomCBS and the team behind Paramount+ need to answer as soon as possible regarding the availability of upcoming Star Trek productions. But we can add into the mix the very real and very serious question of whether any non-American Paramount+ subscribers will be able to watch any new or upcoming Star Trek shows at the same time as viewers in the United States. And then we’ll have to decide for ourselves whether we can trust the answer given the corporation’s poor track record going back several years at least.
Last year, when Paramount+ debuted in the United States and began its painfully slow international rollout, I was optimistic and even dare I say looking forward to the streaming platform’s arrival here in the UK. Being able to subscribe to Star Trek’s home, its native platform, felt like a good opportunity, and as I’ve said on several occasions: I want to offer ViacomCBS and the Star Trek franchise my support and financial backing in whatever way I can.
But now, having seen just how poorly ViacomCBS has been treating Paramount+ subscribers outside of the United States, the idea of signing up for Paramount+ when it eventually arrives in the UK is getting harder and harder to justify. That’s before we get into the technical issues that plague the platform: in just the last couple of weeks there was an episode of Prodigy that wasn’t available, error messages about servers being “too busy” that seem to be trying to force subscribers to pay for even more expensive packages, and myriad other glitches and screw-ups that leave Paramount+ in the United States feeling like a poor quality product.
Given that viewers in the United States are ViacomCBS’ priority – which they clearly and demonstrably have been thus far – that hardly leaves me feeling optimistic about the kind of service I can expect if and when Paramount+ makes its way across the Atlantic. If Paramount+ were to repeat the Prodigy mistake or their initial Discovery Season 4 plans with Strange New Worlds, for example, then why should I – or any other Trekkie, come to that – bother to sign up? It brings us right back to the arguments about piracy: if ViacomCBS offers fans no lawful way to access their new shows, then piracy becomes the default option.
Paramount+ does not exist in a vacuum. The choice fans are presented with is not “pay for Paramount+ or don’t watch anything.” Piracy exists, and with a minimal amount of effort it’s possible for anyone with a phone, tablet, or computer to watch or download every new episode of Star Trek. To compete against that successfully, Paramount+ has to do what Netflix, Disney+, and others have done: the platform has to be a compelling, inexpensive alternative.
That means it needs to work, first and foremost. If fans log in and try to watch the latest episode but find that it won’t play or, as happened with Prodigy Season 1, Episode 9, it just isn’t there at all, then the entire argument behind paying to subscribe falls down. And if fans in the rest of the world can’t access something that fans in America can, how on earth does ViacomCBS expect to convince anyone that a Paramount+ subscription is a worthwhile investment?
We’re facing inflation and a significant rise in the cost of living. Speaking for myself, as someone on a fixed income, I’m already considering that it may not be possible to keep all of my current subscriptions, let alone add a new one into the mix. In order to overcome that, or to make sure folks are willing to consider Paramount+ a must-have subscription that they can’t live without, ViacomCBS has to demonstrate that the service is a solid investment. That means basic competence to begin with – fixing technical issues, ensuring that the service works properly, and that it has an intuitive, easy-to-use interface. But from the point of view of someone outside of the United States, it means ViacomCBS and Paramount+ need a major attitude adjustment. The corporation and its streaming platform need to demonstrate to Trekkies – and to viewers of all of their other programmes – that they aren’t just fixated on America; that those of us in the rest of the world matter to them too. If they can’t, I see no reason whatsoever why we should offer them our money.
This is an own goal; a self-inflicted wound from Paramount+ that the streaming service absolutely does not need to make. Take a look at the competition: Disney+ doesn’t gate off shows like The Mandalorian or films like Encanto – once they’re on Disney+ they’re on Disney+ for everyone, and while Disney+ has had its own international rollout issues, the service is streets ahead of Paramount+. Paramount+ has existed in its current form for almost a year – and going back to CBS All Access, for almost five years. There has been time for ViacomCBS to learn how to act and how to get this right – but they have consistently failed to do so.
There’s no question in my mind that ViacomCBS is mismanaging Paramount+ in a serious, potentially fatal way. For a second-tier platform like this to survive the “streaming wars” it has to make an offer that viewers simply can’t refuse. It has to compete not only against the likes of Netflix and Amazon Prime, but also against the option of piracy, and it has to convince folks like me that I’ll actually get a decent service if I part with my money. So far, I don’t see Paramount+ as a compelling investment as someone living outside of the United States. And even if I were in America, given the other issues and faults with Paramount+ the best I can say is that it might be a service I pay for one month out of twelve to binge-watch a few shows before cancelling.
In short, bringing Paramount+ to the UK – and to countries and territories around the world – will only matter if the service brings with it all of the new and upcoming shows that American viewers can look forward to. If it doesn’t, or if those shows are going to be delayed by many months, then fans are pretty quickly going to see Paramount+ as a bad offer. If the corporation allows that mindset to take hold, it will be very difficult to change the narrative later on, so they need to get this right from day one. Paramount+ needs to bolt out of the gate with a strong, good value offer that can compete with Netflix, Amazon Prime, and Disney+. That means the current “America First” attitude of the ViacomCBS board has got to go.
Paramount+ is owned and operated by ViacomCBS and is available in the United States, Scandinavia, Latin America, and Australia. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
This article deals with the subjects of the Holocaust and racism and may be uncomfortable for some readers.
It goes without saying that the Holocaust is an incredibly sensitive and delicate subject. Even titling this article Whoopi’s “whoopsie” might be enough to seem flippant or even offensive to some folks – but I just couldn’t resist the pun. If you haven’t heard about this controversy, I’ll briefly recap what happened before we get into some analysis and a consideration of what – if anything – it could mean for Star Trek: Picard Season 2.
Whoopi Goldberg, who plays the role of Guinan in the Star Trek franchise, is the co-host of The View, an American daytime television talk show. She’s known in that context for being bold and outspoken, particularly on issues of race in the United States. On a recent episode of The View, Goldberg made controversial remarks about the Holocaust, claiming that the event “isn’t about race” because it concerned “two white groups of people.” I encourage you to view the full exchange in context (you can find it on YouTube) but suffice to say that controversy soon ensued – and the condemnation of Goldberg’s comments even reached mainstream news outlets on this side of the Atlantic.
Goldberg has offered her apology for the remarks she made, and it’s worth pointing that out before we go any further. She apologised for “the hurt [she] caused” and reiterated her support for Jewish people and Jewish communities around the world. It’s not for me to decide whether her apology is up to code, and again I encourage you to read it in full. I felt it important to point out that she has issued an apology before proceeding any further.
The Holocaust is such a unique event in the history of our world that it almost beggars belief that a 66-year-old woman, who otherwise seems to be well-informed and whose job it is to discuss current events, could be so profoundly ignorant or misinformed about what it is. Holocaust education, at least here in the UK, has been a big part of the history curriculum in schools for at least fifty years – if not longer – and there are many institutions around the world dedicated to preserving the memory of Holocaust victims and promoting education about the Holocaust. Less than a week ago, on the 27th of January, we marked Holocaust Memorial Day, a worldwide event held on the anniversary of the liberation of the Auschwitz concentration camp.
On a school trip to Germany almost thirty years ago I visited Sachsenhausen concentration camp and saw firsthand the kind of facilities that the Nazis used to keep political prisoners, Romani, Jews, and everyone else that they deemed “sub-human” or “undesirable.” Seeing the camp is something that has stuck with me for decades, and the sombre lessons that my class had about the Holocaust and the extermination of Jews are likewise seared in my memory.
British-made documentary series The World At War has one of the best educational pieces about the Holocaust that I’ve ever seen in its episode Genocide, and if you can find a copy I can’t recommend it highly enough. It’s a harrowing watch, but for anyone who wants to learn more about this defining moment in history, and the events that led to it, The World At War presents the history of the Holocaust about as well as possible, and includes interviews with survivors.
Outside of conversations and discussions about Nazi Germany and the Holocaust itself, it’s almost never a good idea to bring up the Holocaust. Politicians, commentators, directors, and even journalists have all found themselves in trouble for saying something stupid or ill-informed, or for using the Holocaust as an unfair comparison to something else happening in the world. And when making unprepared, unscripted remarks – as Whoopi Goldberg appears to have been – misspeaking is all the easier.
I can’t defend what Whoopi Goldberg said. It was so ignorant and stupid that she deserves all of the backlash she receives. It’s also indicative, at least to me as a non-American, of America’s continuing obsession with black-and-white race issues that completely ignore every other marginalised group. Almost sixty years after Martin Luther King dreamed of a country where everyone would be judged by the “content of their character,” America seems more race-obsessed than ever – and that obsession with black-versus-white racism comes at the cost of marginalising or completely ignoring practically every other group.
Part of Whoopi Goldberg’s defence of her original remarks, made during an appearance on The Late Show With Stephen Colbert, drew on her own understanding of race and racism as an African-American, and appear to me to reinforce the idea that too many Americans have a strange, warped misunderstanding of what race even is – as well as who can and can’t be racist and how racism itself works. To me, that’s indicative of a fundamental failure of the American education system and of the way racial issues in America are discussed and debated.
So that’s my read on what happened. Given the outrage that Whoopi Goldberg’s comments understandably generated, I wanted to step back and consider what impact, if any, the controversy now engulfing her may have on Star Trek: Picard Season 2, which is scheduled to premiere in just over four weeks from today. Goldberg is set to reprise her role of Guinan, bringing the character back to our screens for the first time since 1994’s Star Trek: Generations, and she was recently featured in a big way in the latest trailer.
At time of writing, no one involved with Star Trek: Picard Season 2 has made a public statement on the Whoopi Goldberg controversy, but I don’t see how that can be sustainable, especially when the cast and crew get on the publicity circuit and start giving interviews in the run-up to the season premiere. Whoopi Goldberg, having just made her first big appearance in the new season’s marketing, may have been slated to make appearances or give interviews about the show – but I’m not sure whether that will happen at all now, or whether her role may be scaled back.
Sometimes they say that “there’s no such thing as bad publicity,” but take it from someone who used to work in marketing: this is about as bad as it gets in terms of publicity! The last thing anyone involved in Star Trek: Picard needs is for Whoopi Goldberg’s comments to overshadow the show’s return, so in my opinion the producers and actors need to get together and put out a statement relatively quickly, and certainly before they get out on the publicity circuit. That way they’ll be able to refer to their statement when the inevitable questions are asked.
I’ve heard from several people who say that they’re either not going to watch Picard Season 2, or that they’re far less enthusiastic about supporting the upcoming season in light of Whoopi Goldberg’s comments. There’s a danger for ViacomCBS that this will snowball if they don’t handle it well, perhaps leading to an unofficial boycott or significantly fewer viewers tuning in, so the corporation and its marketing team really need to get out in front of this as quickly as possible.
There’s a theory from the world of literary criticism that I think is worth discussing: “death of the author.” Originally proposed in 1967 by French critic Roland Barthes, death of the author basically argues that we should consider a work of literature on its own merits, separating the writing from the writer. Death of the author has since been applied to other forms of media, including television and film, and in this context we’re looking at whether it might be possible to separate the performance from the actor – to enjoy Guinan without celebrating Whoopi Goldberg.
The two sides to this never-ending discussion are as follows: either it’s possible and desirable to separate the art from the artist, considering the merits of a piece without any consideration for who the author or artist was, or it isn’t possible or desirable to do so, and that the context of who the creator was matters in a fundamental way to the work in question. With actors this is, perhaps, more readily apparent because we can see and hear them; it’s far more difficult to put an actor out of our mind while watching and listening to them in real-time.
My take on death of the author varies somewhat. If an artist, author, or performer is long-dead, it’s much easier in my view to analyse their work, and even enjoy their work, without paying too much attention to who they were. The performance has outlived the performer, so to speak. But when dealing with living people, I find this far more difficult to do. I understand Barthes’ arguments about objectivity and judging a work on its own merits, but when people hold outspoken or particularly harmful points of view, I find it much more difficult to set that aside for the sake of art or entertainment.
J.K. Rowling is perhaps the best example of this, in my opinion. Her blatantly transphobic statements and support for “gender critical” groups and causes has made it significantly harder for me to enjoy the Harry Potter series for which she’s best-known. I find it difficult to separate Harry Potter, either in book or film form, from J.K. Rowling in light of her offensive statements and the positions that she’s known to hold.
So when I hear Trekkies say that they can no longer support Star Trek: Picard in light of Whoopi Goldberg’s comments, I fully understand. I can empathise with that position because it’s very similar to how I see the Harry Potter series, and I wouldn’t want to tell anyone that they should feel differently. It can be difficult to set aside the artist and just focus on the art, especially when dealing with an actor who we have to see and listen to.
I would say, though, that Whoopi Goldberg is nowhere near as important to Star Trek: Picard as someone like J.K. Rowling is to Harry Potter. She may only appear in one or two episodes, and as recently as last month it wasn’t even certain that she’d be appearing at all; her appearance in the trailer confirmed it. Had remarks like these been made by someone like Sir Patrick Stewart or one of the show’s senior producers, Star Trek: Picard would be in a lot more trouble. In my view, it’s probable that the show will be able to weather this storm, even if it loses some viewers in the process.
Whoopi Goldberg has offered an apology, and in the coming days I would expect to hear something from the Picard Season 2 cast and crew, disavowing her comments and perhaps dropping her from the publicity circuit or reducing her importance to the show’s marketing campaign. That will most likely allow Picard Season 2 to get through the next few weeks in the run-up to the show’s broadcast.
In a way, this couldn’t have come at a worse time. With the new season premiering in just over four weeks from now, this is the moment for the marketing campaign to truly gear up and start promoting the show’s return. It’s been two years since Picard Season 1 went off the air, so for casual viewers and for fans who aren’t keeping up-to-date with the ins and outs of Star Trek, simply getting the message out about Picard’s return has to be top priority. There’s no doubt in my mind that this controversy will be a distraction, one that the show absolutely does not need.
But I don’t believe it will be a fatal distraction, at least not as things stand. Whoopi Goldberg isn’t likely to be cut or edited out of Picard Season 2, and even seems likely to retain her job on The View, despite her remarks. There’s enough time over the next month for the marketing team to move past this controversy, which, like so many others, will have a relatively short shelf-life on social media before fading away.
I’m disappointed with Whoopi Goldberg. Her character of Guinan is so calm, ethereal, and wise that it can be jarring, as a Trekkie, to see Whoopi Goldberg talking up a storm on The View at the best of times, and this controversy is an even more extreme example. However, I note that she has at least made an attempt to apologise – and seems to be sincere. And on the positive side, her initial ignorance of the Holocaust may have shone a light on a far broader lack of understanding and proper education about the event in the United States, potentially exposing more people to the reality of what happened, thereby preventing this kind of blinkered, ignorant point of view from being espoused in future. Better education and a better understanding of the Holocaust are badly needed, it seems, and Whoopi Goldberg may have inadvertently aided that cause.
Star Trek: Picard Season 2 will premiere on the 3rd of March 2022 on Paramount+ in the United States, and on the 4th of March on Amazon Prime Video in the United Kingdom and around the world. The Star Trek franchise – including Picard and all other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Picard Season 1.
After a short pandemic-enforced break, Star Trek: Picard Season 3 resumed filming a few days ago. Production on the show’s third season has been underway for a while, and was officially announced back in September during the franchise’s Star Trek Day digital event. The interesting thing about Picard Season 3 being so far along in its production is, of course, that Season 2 has yet to be broadcast. This got me thinking about some of the benefits and potential pitfalls of filming back-to-back in this fashion, and that’s what we’re going to talk about today.
There are some great examples of productions that were filmed back-to-back. The Lord of the Rings trilogy of films has to be one of the best examples of this: all three films were shot together in New Zealand, though post-production work and editing continued after the first and second films had premiered. The Lord of the Rings is held in very high esteem even twenty years after it premiered, and is rightly credited with bringing the high fantasy genre to mainstream audiences, paving the way for titles like Game of Thrones.
Being shot back-to-back worked well for The Lord of the Rings then, clearly! The Return of the King – the third and final part of the trilogy – swept the board at the Academy Awards in 2004, picking up a record-equalling eleven Oscars.
In the case of The Lord of the Rings, the practicalities of production meant that shooting all three films together made sense. New Line Cinema had greenlit the entire trilogy and was expecting it to be a success, and the difficulties of setting up production in New Zealand – as well as having the actors travel there – all came together to make filming the entire project at once a practical and sensible approach to production. From the earliest days of pre-production, New Line Cinema intended to do things this way.
Whether in cinema or on television, there are advantages to filming back-to-back. There’s far less of a chance that characters will look noticeably different from one part of the story to the next, for example, as everything from costuming to makeup and even haircuts or simply ageing will not be factors that impact production. Keeping the same behind-the-camera crew will also allow for a consistent production that keeps the same cinematographic style. It makes it easier to go back and re-work parts of the story, if necessary – for example, if a writer or director felt the need to add a scene foreshadowing the ending, or even to change the entire end of the story to better fit what had come before.
But there can be drawbacks to this approach, pitfalls that can be very difficult to avoid even with good preparation and the best of intentions. And there’s one reason in particular why Star Trek: Picard kicked off this discussion for me.
Star Trek: Picard started with an episode that’s probably the best series premiere in the history of the franchise, surpassing even Deep Space Nine’s Emissary – the previous high-water mark. Over the course of the next few episodes, its story unfolded slowly and seemed to be building up to an exciting climax. Unfortunately, though, the season stumbled as it approached the finish line, with the first half of its two-part finale in particular being a real disappointment. The way the season eventually ended left several storylines unresolved and at least one gaping plot hole. To be blunt, the finale was weak – and it’s important that the writers and producers receive that feedback and take it on board.
I’m not the only person to have criticised the way that Star Trek: Picard Season 1 ended; the two parts of the season finale are the worst-rated episodes of the show according to review aggregator Rotten Tomatoes.
So what’s the point of bringing this up? Well, it’s simple: filming back-to-back, as is now happening with Seasons 2 and 3 of Picard, means that the show’s writers and producers will have far less of a margin for error; they’re much more constrained and less able to make changes based on critiques and audience reactions.
Set aside any thoughts you might have about “artistic integrity” or the “vision” of a production’s writers, producers, and directors. In the real world, with very few exceptions films and television shows are adapted – and in some cases changed entirely – based on the way audiences respond to them. This is why practically every film and television series is shown to test audiences before they premiere. Doing so can give production companies the chance to make last-minute adjustments, make cuts, or even rework entire sequences.
ViacomCBS will not have ignored the reviews and discussion surrounding Picard Season 1 and its finale. Those criticisms will have been absorbed by the corporation, and I wouldn’t be surprised if they mandated changes to the story of Season 2 as a result, even if such changes may be relatively minor. Just to pick on one example, the story of main character Narek, which was dropped without a resolution part-way through the finale, might be something that the team in charge of the show insist that Season 2 clarifies.
But if there are issues with Season 2 – whether they’re to do with story, art style, visual effects, etc. – it will be much harder, and much more expensive, to make any changes to Season 3. In all likelihood, Season 3 will wrap up its main phase of production before Season 2 even premieres, and while post-production work and pick-up shoots offer some opportunities to make changes, those opportunities are limited. If a film or series has been ready to go for a year or more, going back to film extra scenes can be tricky; it can be very easy to tell which scenes and shots were filmed and added in later, even in productions with high budgets.
In short, because Picard Season 1 had some very particular and noteworthy issues with its finale, I’m at least a little concerned about the direction of the series heading into Seasons 2 and 3, and the fact that the seasons are being shot back-to-back heightens that. Had Season 1 ended with a stronger finale, perhaps I’d be less concerned. But unfortunately it didn’t – and that leaves the show in a strange place for me. I’m genuinely excited to spend more time with Admiral Picard and the crew of La Sirena, but I’m at least a little anxious about the way the show’s production is being handled.
In a way, this is something we may have to get used to as the pandemic rumbles on. Had it not been for covid and its associated lockdowns in California, it would’ve been possible for production on Picard Season 2 to get underway far sooner, potentially meaning that there’d have been no need to film the second and third seasons back-to-back. But the pandemic continues to be a disruptive force across the world, so productions may have to get used to working when they can and taking breaks when they must – at least in the short-to-medium term.
In some cases it won’t matter. In others, filming back-to-back can provide significant advantages. But there are potential drawbacks to this way of approaching a major production, not least the difficulty in going back and making changes based on audience and critical feedback. It’s the latter point that concerns me when it comes to Star Trek: Picard, and that’s due to the weak ending to an otherwise excellent first season. Perhaps in the days ahead we should go back to the two parts of Et in Arcadia Ego and re-examine what went wrong – as well as looking at what the season finale got right. If I forget, remind me! For now, you can check out the reviews of both episodes on my dedicated Star Trek: Picard page.
The Lord of the Rings trilogy is the copyright of New Line Cinema and/or Warner Bros. The Star Trek franchise – including Star Trek: Picard – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
For the first time in a long time – possibly for the first time ever – the UK has a government willing to consider something that had previously been unthinkable: abolishing the hated and outdated television license. Their reasons for bringing up the issue at this precise moment may be questionable, but the policy itself is not. Since the turn of the millennium at least, support for abolishing this hated, regressive tax has only grown, and it’s now one of the most consistently popular policy positions in the entire country.
I’m not a political ideologue. I’m not wedded to one political party nor to a specific ideology, and I’ve voted for practically all of the UK’s major political parties at one time or another over the years. Though I seldom find myself on the same side of the argument as the likes of Nadine Dorries (the current Secretary of State for Digital, Culture, Media and Sport, within whose brief the BBC and the license fee fall) I’m happy to see that, finally, a British government is bold enough to swing the proverbial axe and finally bring an end to this utterly outdated method of funding a television broadcaster.
But the government is going about this in quite literally the worst way possible, putting forward their least convincing and most polarising argument. This is a cause for concern, because if the ineptitude of people like Nadine Dorries creates an increase in support for the BBC and the television license, the best chance we’ve ever had to abolish the damn thing will be lost. The government, through nothing short of abject stupidity, will have blown the country’s best chance to bring an end to an expensive anachronism, one which isn’t fit for purpose any more. And that would be a travesty.
Before we go any further, a quick reminder on what the television license actually is and how it works. Anyone who watches television in the UK – including some live broadcasts streamed online – is required by law to purchase a television license. The money collected by this tax – and it is a tax, no matter what some may claim – funds the British Broadcasting Corporation, more commonly known as the BBC. The BBC uses this money to pay its way, producing television programmes like Strictly Come Dancing, Doctor Who, Match of the Day, and many more. Failure to pay the television license, even on legitimate grounds, leads to harassment from the BBC’s scarily-named “enforcement division,” who try to act like bailiffs and will even show up at your house to harass you in person. Even if someone never watches any BBC programmes – which, in the days of 500+ satellite and cable television channels is increasingly likely – they’re still forced to pay the tax.
The television license is, unlike income tax, a regressive tax. Because the fee is the same for everyone, regardless of income or ability to pay, it impacts poor people and those on low or fixed incomes hardest, and while it isn’t the only tax in the UK that behaves this way, it’s by far the most egregious. At the current rate of £159 per year – $217 USD at time of writing – it’s borderline unaffordable for low-income households, especially with a growing cost of living crisis sending food prices, energy bills, and the cost of practically everything else skyrocketing.
This isn’t the first time I’ve brought up the television license here on the website. Almost two years ago I first laid out my argument against this regressive tax, and before we press ahead I think we should recap why I feel the TV tax needs to be scrapped. Firstly, and most importantly, the television license is simply out-of-date. There may have been a justification for this method of funding in the 1960s, but no such justification exists in the 2020s. The world of entertainment has simply moved on, with not only a veritable smorgasbord of television channels to choose from – over 100 of which are free-to-air for anyone with a television set – but also a growing number of subscription services like Netflix and Disney+, with others such as Paramount+ coming soon as well. Not to mention the internet itself and platforms like YouTube. The idea of insisting that every household pay a tax to fund one single television broadcaster is just plain outdated, especially considering that fewer and fewer people watch or engage with the BBC at all. Those days have come and gone.
Next, we have the nature of the tax itself. As mentioned, this is a regressive tax, one which hits poor and low-income folks hardest. As someone on a fixed income myself, I can attest to this. £159 may not sound like much to some people, but for many folks, that could be several months’ worth of disposable income. As inflation rises and prices for everything creep up, the license fee becomes increasingly unaffordable, especially as it’s pegged to rise in line with the government’s official measure of inflation.
Finally, let’s consider what the tax actually pays for: entertainment. The BBC runs a news operation too, and pays a lot of money to bureaucrats and managers in an inefficient fashion, but the bulk of the money raised goes on programmes like Strictly Come Dancing, Line of Duty, EastEnders, Doctor Who, Top Gear, Match of the Day… and the list goes on. What do all of these programmes have in common? They’re commercially viable – meaning that they could be produced by any other commercial broadcaster.
Take The Great British Bake Off as a case in point. The BBC used to pay for the show, but when they were outbid by Channel 4, the series retained its popularity and its audience on a different channel. It is simply not acceptable in 2022 that tax money, raised from millions of people who can’t afford to pay the inflated rates, is being used to fund mediocre entertainment programmes that can easily be made by other commercial channels and broadcasters.
This is the winning argument. When it’s explained to people in this way – that the television tax is inflated, unfair, and regressive – abolishing it is not just popular, it’s the only argument that makes any sense, and there really can’t be any counter-argument that isn’t just obfuscation or that tries to shift the goalposts. By sticking to arguments about the inherent unfairness of the tax and the fact that it’s utterly outdated in a modern media landscape, the government – and campaigners like me – will win.
But this isn’t the way that the current government is trying to go. By talking about “bias” within the BBC they come across as whining – and worse, they come across as trying to punish the organisation for not giving them kinder, more fawning coverage. It’s Trumpian in the extreme, with echoes of Trump’s famous “fake news” attack, which he levied at any journalist or broadcaster who dared question him or call him out.
By using the “bias” argument, the government is going to snatch defeat from the jaws of victory, further polarise the political discourse in the UK, and fail in its stated goal of reforming the way in which the BBC is funded. The current government is sufficiently unpopular right now that any organisation that they criticise is going to receive a boost in support and popularity. “The enemy of my enemy is my friend” – so goes the old adage, and so it will prove to be for many people in this country who would, all else being equal, remain opposed to the television license. But when they see the BBC under attack by an aggressive government, particularly as they seem to be launching this attack at this time to distract from other scandals, they’re far more inclined to support the BBC, and by extension the television license.
Abolishing the television license does not mean abolishing the BBC. The BBC has enough time between now and the end of its current charter in 2027 to find and implement a new funding method. Many folks have suggested a subscription model, with the BBC adopting an approach similar to the likes of Sky or Virgin Media. Others have suggested that the BBC could simply do what every other television channel does and run advertisements. It could even go online, offering a platform comparable to the likes of Netflix. In short, there are options for the BBC to continue to exist and continue to produce its content.
Popular brands and shows could also be auctioned off, and as programmes like The Great British Bake Off have already demonstrated, there are many broadcasters who’d happily snap up the most popular ones. They’d remain viable on other networks – and many would probably do even better on commercial channels or online.
But again, the government’s ham-fisted, idiotic approach to this issue is going to wreck it. If they genuinely want to abolish the television license, they’re already messing it up by putting their worst argument front-and-centre. Claims of “bias” may resonate with some right-wingers, but that’s offputting to practically everyone else in the country. Instead of making this a unifying issue, one which could actually score the government some much-needed kudos, they’re instead managing to drive up support for the BBC and its outdated method of funding, and turning what should be an easy win into a disappointing defeat.
I firmly believe that the abolition of the TV license is only a matter of time. But it would be such a shame if the current government squanders this opportunity through sheer force of incompetence, allowing the vestigial tax to remain in place for years or even a decade longer than necessary. By deliberately turning the TV license into a political issue, Nadine Dorries and her ilk have polarised the debate, lost potential friends and allies, and weakened their own hand. Abolishing the TV license should be a progressive issue – it’s a regressive tax that disproportionately impacts low-income households. But by making it such a polarising political issue in a political climate that is already so deeply divided, the current government is actively pushing away people who should be natural allies in this fight.
My message to them is simple: focus on a winning, unifying argument, and stop whining about “bias.”
In the UK, it is required by law (at time of writing) to purchase a television license in order to watch live TV. This article should not be interpreted as encouraging anyone to fail to purchase a license if a license is required. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
Spoiler Warning: There are spoilers ahead for Star Trek: Discovery Seasons 3-4, Mass Effect: Legendary Edition, and Star Trek: Voyager.
Now that 2021 has come and gone, I thought it would be interesting to look back on the progress the website made over the course of the year. Thanks to my web host and other analytics I have a fair amount of data to measure the website’s performance.
A big caveat: this is just for fun! Running Trekking with Dennis is my hobby, not a serious job, and I don’t write here because I’m desperately chasing huge numbers of readers or “internet points!” I enjoy having a space of my own where I can share my thoughts and review some of the films and TV shows that I’m interested in – and I’d still be here even if no one showed up to read any of it!
If 2020 had been a year of slow and steady growth, 2021 was a wild rollercoaster! A couple of articles went “viral” – or at least as close to going viral as I’m ever likely to get – and those two posts accounted for significant spikes in views in June and again in December. Other articles generally did well, and I saw decent views for most of my Star Trek episode reviews, which was great, but those two pieces in particular seemed to get a lot of attention.
Overall, more than 61,000 people visited the website in 2021 – up from 14,000 in 2020. That’s a year-on-year increase of more than 300% – meaning the website more than quadrupled the number of hits this year. That’s astonishing, and the fact that so many people showed up to read articles that I’d written is actually quite a humbling feeling.
Visitors came from all corners of the globe, too. Trekking with Dennis picked up readers from the heart of Africa, every nation in South America, India, Russia, and even China! I guess I’m allowed through the Great Firewall (at least for now)! Every country in Europe was represented in the stats, including smaller countries like the Faroe Islands. Hi, Faroese readers!
Of course, the majority of views came from the Anglosphere, with the United States being the number one country. The UK, Australia, Canada, New Zealand, and South Africa were all well-represented, too. Considering the website is in English and deals with a lot of American-made films, games, and television programmes, I’d expect to see most of the views coming from those regions.
In early November, the website’s name changed – and so did the URL. This change was disruptive, but far less so than I had initially thought. Though the number of hits definitely dropped following the change in URL, things actually got back to normal pretty quickly, and in December I saw the second of those “viral” posts I mentioned – something I definitely wasn’t expecting!
Across 2021 I wrote 263 articles – slightly more than in 2020. And those articles contained a combined 649,000 words! To give you an idea of how much that is: it’s the equivalent of approximately eight “average-length” novels, 100,000 more words than Victor Hugo’s Les Miserables, or roughly the same number of words as Ayn Rand’s Atlas Shrugged. That’s a lot of words!
So let’s take a look at the top ten most-read articles in 2021. These are the ten pieces that I wrote in 2021 that scored the most hits.
This was the third part in an unofficial series that I ran in the early part of the year, looking ahead to several upcoming seasons of Star Trek. In this article I looked ahead to Strange New Worlds and made a few predictions – guesses, really – about elements the show might include. As luck would have it, later that same day came the announcements of five new members of the main cast! That was some strange timing, especially considering that this was the first piece I’d written about Strange New Worlds in more than six months at that point.
One of my predictions has already borne out: I said in this piece that I was sure there’d be a redesign of the uniforms, and the teases we saw at Star Trek Day proved me right! With the show still a few months away, though, we’ll have to wait to see if I was right about anything else!
Significant line: “I’m really looking forward to Strange New Worlds. It seems to be offering more of a “classic” take on Star Trek when compared to recent projects, and I’m 100% there for that!”
I don’t talk about Marvel a lot here on the website. Comic books and their cinematic adaptations aren’t usually my first choice, and while I’ve enjoyed some Marvel films as popcorn entertainment, I just don’t have the nostalgia or connection to the world of comics that many folks have. Regardless, on this occasion in June I talked about the Marvel Cinematic Universe and its growing complexity – and asked whether a potential reboot or reset might be coming any time soon.
Keeping up with all of the goings-on in the MCU can feel like a full-time job sometimes! And because of Marvel’s love of crossovers, the shared fictional universe that its films and TV shows inhabit can feel intimidating or even offputting to the newbie or casual viewer. As the MCU has moved away from being “the real world plus superheroes” into a connected, shared setting with its own lore and almost fifteen years’ worth of history, it’s become dense and complex. Not every MCU title is inaccessible as a result – but some are getting to that point. Just like the worlds of comic books have been reset (such as in DC’s famous Crisis on Infinite Earths series), I feel it’s inevitable that Disney and Marvel will eventually do the same, rebooting the MCU for a new generation of audiences.
Significant line:“The legacy of characters like Iron Man, Captain America, and the Hulk could pass to new iterations of those characters with new actors taking on lead roles in stories inspired by earlier films, but remaining distinct from them. New backstories could be created, perhaps based on different versions of the superheroes from other editions of their comic books.”
Back in February I took some time off from sci-fi and fantasy to highlight one of my favourite YouTube channels from the past few years. Cruising the Cut is part-travelogue, part-documentary, part-lifestyle vlog, and follows the journey of a man who lives aboard a canal narrowboat here in the UK. When I first started watching, Cruising the Cut only had a few thousand followers, but the channel has recently passed the 200,000 mark – a milestone that is thoroughly deserved.
I’ve always had a fascination with the canal network – a series of artificial waterways made in the early years of the industrial revolution. Cruising the Cut often has fun and interesting canal facts, but it’s also the kind of slow, gentle viewing that I think we all need sometimes. High-octane action and tense drama is great – but sometimes taking a break from that and slowing down is just what the doctor ordered!
Significant line:“Canal narrowboats only have a maximum cruising speed of around four miles-per-hour, so don’t expect Cruising the Cut to be zipping all across the country in each video.”
“Death by a thousand cuts” was the somewhat dramatic title that I gave to my review of Mass Effect: Legendary Edition in June. I felt it encapsulated my feelings about the so-called “remaster”: that there wasn’t one single overwhelming fault, but a plethora of little ones that built up and contributed to a sense that it was far less than it could have been.
I adore the Mass Effect games, and I went into Legendary Edition hoping to get a good version of the original trilogy. But unfortunately, BioWare and EA took the path of least resistance, putting together a pretty crap “remaster” that I felt was not worth the asking price. There were bugs that had been present in the original versions of all three games that hadn’t been fixed – and I couldn’t excuse such extreme laziness and such a lack of care. I recently crowned Legendary Edition my worst game of 2021.
Significant line: “Legendary Edition represents a phenomenal missed opportunity to take these games and do more with them.”
I have to admit I was surprised by the response to this one! In the late ’90s, some fans argued very strongly that the USS Voyager had used “too many” torpedoes and shuttlecraft over the course of its journey through the Delta Quadrant, and the argument did the rounds in some parts of the Trekkie community for a while. Though I hadn’t really seen many people discussing it in recent years, the argument always bugged me – so I finally wrote out my response.
In short, I argued that a combination of resource gathering, trading, and building replacements was more than acceptable as a counter-argument, and in particular the fact that the crew were resourceful enough to build not one but two Delta Flyers was proof of this. Obviously “it’s just a story,” and the number of torpedoes fired or shuttlecraft used was at the whim of the writers. But from an in-universe point of view, I don’t see why it has to be considered a big deal. It seems at least some people are still interested in this argument after all!
Significant line:“It stands to reason that, contained within Voyager’s databanks, are the designs and schematics for both torpedoes and shuttles.”
All the way back in January, shortly after Discovery’s third season finale, I wrote this relatively short piece looking at Tilly. This focused on the short epilogue at the end of That Hope Is You, Part 2, specifically the scene in which Captain Burnham arrived on the bridge to assume command for the first time. Amongst the assembled officers and crew was Tilly, but for some reason her uniform colour had been digitally changed – and pretty badly, too!
Tilly was originally supposed to be wearing the red colour of the command division, but seemingly at the last moment her command red had been changed to science blue via some pretty awful digital effects. She was only on screen for a few seconds, but this was pretty noticeable on a re-watch. Now that we know Tilly’s destination in Season 4, I wonder if the original plan at the end of Season 3 had seen her character go in a different direction? Maybe the original intention was for Tilly to remain on the command track, or perhaps even to serve as Burnham’s XO? We may never know!
Significant line:“It’s possible that this literally was a last-second change; the low quality of the texture used for the blue stripe may mean it was something thrown together in a matter of days…”
I wrote this list-article shortly after Star Trek’s “First Contact Day” digital event. Sonequa Martin-Green had introduced the first trailer for Discovery’s fourth season, and it was in this trailer that we first got wind of the “gravitational anomaly” – unnamed at the time. I put together a handful of theories based on what we’d seen and heard in the trailer, and even as we’ve hit the halfway point of the season, at least a couple of those remain plausible!
This was the first opportunity I’d had to talk about Discovery Season 4 outside of pure speculation, and the trailer had dropped some hints as to the anomaly that we now know as the DMA. I had fun putting the list together, and going back to past iterations of Star Trek for inspiration – and it seems a lot of people found it interesting, too. This article did well throughout the year, but really saw an uptick in hits around the time Season 4 premiered, and has continued to perform well as the season has progressed.
Significant line:“Star Trek’s past didn’t provide the key to understanding the Burn last season. Will something we’ve seen before come into play in Season 4?”
Replaying the aforementioned Mass Effect trilogy got me thinking about a theory I’d kicked around when the games were new. In short, my theory was that humanity was particularly unlucky to emerge as a spacefaring race only around forty years before the Reapers attacked. Had the Reapers’ invasion come earlier, or had humanity’s progress toward faster-than-light travel been slower, it might’ve been possible to avoid the Reapers altogether and to emerge into a galaxy with no other sentient spacefaring races.
Had the extinct Citadel Council left behind plans and warnings, humanity could have had a 50,000-year head-start on preparing for the next Reaper War! This was just a fun one, an idea I’d had when the Mass Effect trilogy was new. Giving it the full write-up treatment was fun, but in all honesty I didn’t expect it to gain much traction. Being timely helped this article a lot, though, coming only a few days after the launch of Legendary Edition. I guess there’s a lesson there about getting my articles written on time!
Significant line:“If humanity hadn’t encountered the Mars archive when they did, or if the Ilos scientists hadn’t prevented Sovereign from contacting the Reapers in dark space when it originally intended to, it seems plausible to think that humanity might have been overlooked by the Reapers – at least in this cycle!”
This is the first of the two “viral” articles that I mentioned. Published in mid-December, shortly after the episode The Examples confirmed that the DMA is artificial in nature, this piece really took off! I put quite a bit of work into this long list-article, considering twenty-six different possibilities from past iterations of Star Trek – from The Original Series to Picard – as possible culprits for creating the DMA.
In the aftermath of The Examples, my head was swimming with half-formed theories about Unknown Species 10-C. It took a while to write it all up, but what resulted was definitely one of the more fun and engaging writing projects of the past few months. Discovery’s fourth season – like the third before it – seems determined to go in an unpredictable direction, but even if that’s the case I can still say I had fun considering all of these different possible connections to past iterations of the franchise. And apparently, at least some Trekkies were just as interested in Unknown Species 10-C as me!
Significant line:“I keep thinking back to Season 3 and the Burn storyline, and how the ending to that story was something completely unpredictable and brand-new to the franchise. It wouldn’t surprise me to see Discovery go down that road again.”
So we come to the most-read piece of the year! Published in late May, a couple of weeks after the launch of Legendary Edition, in this article I considered what the “best” ending of the Mass Effect trilogy might be from an in-universe point of view. I tried to consider the pros and cons of the synthesis, destroy, and control endings to Mass Effect 3, giving my thoughts on each.
I suspect that the reason this article got so many hits is that players were looking for a guide to achieving a specific ending to the game – something the article doesn’t provide! So unfortunately, despite this being the best-performing article of the year, I suspect many readers came away disappointed having not found what they were looking for! However, I hope those that stuck around found an enjoyable and thoughtful piece, one in which I did my best to consider how the various endings to the trilogy might impact the Mass Effect galaxy, and the friends Commander Shepard made along their journey.
Significant line:“I have a hard time making this choice – it’s by far the most difficult in the entire trio of games, even though the short epilogue that follows is anticlimactic at best.”
But wait, there’s more!
Those were the top ten most-read articles that I wrote in 2021. But the year also saw several articles from 2020 pick up a number of views, and I thought it could be fun to briefly look at a few of those. We’ll just do the top five, since this article is already running long!
This article, from back in June 2020, didn’t pick up much attention at the time it was written. By the standards of the website at the time it did okay, but even then I didn’t feel it was breaking the bank in terms of its view count. But for some reason it did much better in 2021, picking up dozens and then hundreds of views in a slow trickle throughout the year.
In this list-article I picked out fifteen episodes and films that I felt could make for a great “first contact” for a new viewer; someone unfamiliar with the Star Trek franchise. I tried to avoid the obvious ones, like The Wrath of Khan, and suggested a few different stories that showcase the varied nature of Star Trek, and how the franchise can dip its toes in some very different genres. I’m glad that it found an audience in the end – and if it helped even one person introduce a friend or loved one to Star Trek, then it’s more than done its job!
Significant line:“I tried to pick a few examples of stories that hopefully show off not only the franchise at its best, but that it can be different to the preconceived notions many people have.”
This is an article that I had a ton of fun researching and writing in August 2020! If you’re a big Trekkie you’ve probably at least heard of The Firm’s 1987 song Star Trekkin’, which, as the title of my piece suggests, topped the charts here in the UK. The song is ridiculously silly, and the music video that accompanies it is even more so, but it’s a weird and wonderful piece of Star Trek’s history that I wanted to acknowledge. It’s also a curiously British thing, in some ways.
I had this song on cassette many years ago, and I can remember listening to it through headphones on the school bus with the volume turned down – just in case anyone could overhear! I also bought the mp3 of the song again when I transitioned to digital music, and I confess that I still put the song on occasionally for both a bit of fun and a blast of nostalgia. Star Trekkin’ is a weird song, but it was fun to write about – and I’m glad that Trekkies are checking out what I had to say about it!
Significant line:“It’s well worth a listen for any Trekkie who hasn’t heard it, and while I don’t promise you’ll enjoy it as a piece of music, you might just crack a smile.”
From the silly to the serious! I wrote this piece after getting sick to death of hearing so-called critics using the expression “objectively bad” to refer to things that they personally didn’t like. I’m not trying to nitpick or get mad about a technicality, but when I hear the word “objectively” used in the context of basically anything in media, and narrative choices in particular, I feel there’s a conscious attempt to try to shut down any counter-arguments. Media criticism is practically always subjective, not objective – no matter what anyone may claim.
There is no such thing as a film, video game, or TV programme that is “objectively” bad – nor “objectively” anything else. There are certainly works of entertainment that don’t follow established rules or precedent, but in every case opinions will vary from person to person. There are myriad examples of works of fiction that I personally hate that I know other people adore. Neither opinion is “objective” – and that’s that.
Significant line:“It’s got to a point where it’s been proclaimed so often that any time I see or hear the phrase “objectively bad,” I stop reading or listening. Any critic making such a statement has lost my respect and lost the argument.”
This one is pretty straightforward! In 2020 – and sadly, again in 2021 – many New Year events that are usually televised were cancelled due to the pandemic. For several years in the second half of the 2010s I’d spent my New Years Eves with the London fireworks display on TV basically by default, but with the event cancelled due to covid in 2020 I got thinking about what I might watch instead – and this list was born!
Beginning on the 30th of December 2020 and running through to the early hours of New Year’s Day, this post saw a huge spike in views, and the same thing happened this past New Year. Due to the huge number of hits it had got in the wee hours of the 1st of January it was already quite high on the list, but the extra attention it got in December 2021 propelled it to becoming one of the best-performing pieces of the year!
Significant line:“Hopefully by the time we’re thinking about the next New Year’s Eve, things will be much closer to normal.”
This article was the most-read of 2020, so I’m not shocked to see that it continued to perform well in 2021! In this article I called on ViacomCBS to remaster Deep Space Nine and Voyager, both of which remain in standard definition at time of writing. I argued that the move to streaming should be the reason why the shows get remastered, because the process will be less expensive this time around due to improvements in technology and far less of a need to produce and ship optical discs.
It doesn’t seem like ViacomCBS cares about Deep Space Nine and Voyager right now, sadly, and even though Paramount+ is playing host to both shows (in regions where it’s available), there’s still no sign of a remaster. I think it could be a good investment, because a lot of Trekkies who remember the shows fondly would be interested to see a remastered version; it would certainly drive some sign-ups to Paramount+. There are some decent fan-made remasters that you can find online, though… so that’s something!
Significant line: “A lot of folks seem to have given up on the idea of ever seeing those series in HD given the move toward online streaming and The Next Generation’s lacklustre performance on Blu-ray, but CBS All Access should be Deep Space Nine and Voyager’s ticket to a full-HD remaster.”
So that’s it!
Trekking with Dennis exceeded all of my hopes and expectations in 2021, with more than 61,000 people showing up to read the pieces that I wrote. I’m thrilled with how well the website has been performing, and I hope 2022 will be another good year.
To those of you who joined me in 2021, thank you. I hope I was entertaining, informative, or just a fun way to kill some time! You can look forward to more of the same in 2022, as I have no immediate plans to shake things up or make changes to the kind of things I do here.
2021 was a wild ride in so many ways, and it wasn’t a great year for many of us. Entertainment experiences – like films, video games, and TV shows – are some of the things that keep me going, and writing my thoughts or reviews of some of them is an extension of that. A chance to spend more time thinking and writing about Star Trek and some of my other favourites continues to be an enjoyable hobby, and a great escape, at times, from some of the less pleasant things going on out here in the real world.
Thank you for your support over the past twelve months – and here’s to 2022!
– Dennis Wednesday, 5th January 2022
All titles mentioned above are the copyright of their respective studio, owner, corporation, distributor, broadcaster, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
In 2001 I was bitterly disappointed by the failure of the Dreamcast – a console I’d only owned for about a year and had hoped would carry me through to the next generation of home consoles. For a variety of reasons that essentially boil down to mismanagement, worse-than-expected sales, and some pretty tough competition, Sega found itself on the verge of bankruptcy. The company responded not only by ending development on the Dreamcast, but by closing its hardware division altogether.
At the time, Sega seemed to be at the pinnacle of the games industry. For much of the 1990s, the company had been a dominant force in home video game consoles alongside Nintendo, and as the new millennium approached there were few outward signs of that changing. It was a massive shock to see Sega collapse in such spectacular fashion in 2001, not only to me but to millions of players and games industry watchers around the world.
Thinking about what happened from a business perspective, a demise like this was inevitable in the early 2000s. Both Sony and Microsoft were arriving in the home console market with powerful machines offering features like the ability to play DVDs – something that the Dreamcast couldn’t do – but at a fundamental level the market was simply overcrowded. There just wasn’t room for four competing home consoles. At least one was destined for the chopping block – and unfortunately for Sega, it was their machine that wouldn’t survive.
But the rapid demise of the Dreamcast wasn’t the end of Sega – not by a long shot. The company switched its focus from making hardware to simply making games, and over the next few years re-established itself with a new identity as a developer and publisher. In the twenty years since the Dreamcast failed, Sega has published a number of successful titles, snapped up several successful development studios – such as Creative Assembly, Relic Entertainment, and Amplitude Studios – and has even teamed up with old rival Nintendo on a number of occasions!
I can’t properly express how profoundly odd it was to first see Super Mario and Sega’s mascot Sonic the Hedgehog together in the same game! The old rivalry from the ’90s would’ve made something like that impossible – yet it became possible because Sega recognised its limitations and changed its way of doing business. The board abandoned a longstanding business model because it was leading the company to ruin, and even though it does feel strange to see fan-favourite Sega characters crop up on the Nintendo Switch or even in PlayStation games, Sega’s willingness to change quite literally saved the company.
From a creative point of view, Sega’s move away from hardware opened up the company to many new possibilities. The company has been able to broaden its horizons, publishing different games on different systems, no longer bound to a single piece of hardware. Strategy games have been published for PC, party games on the Nintendo Wii and Switch, and a whole range of other titles on Xbox, PlayStation, handheld consoles, and even mobile. The company has been involved in the creation of a far broader range of titles than it ever had been before.
So how does all of this relate to streaming?
We’re very much in the grip of the “streaming wars” right now. Big platforms like Netflix, Amazon Prime Video, and Disney+ are battling for subscribers’ cash, but there’s a whole second tier of streaming platforms fighting amongst themselves for a chance to break into the upper echelons of the market. The likes of HBO Max, Paramount+, Apple TV+, Peacock, BritBox, and even YouTube Premium are all engaged in this scrap.
But the streaming market in 2021 is very much like the video game console market was in 2001: overcrowded. Not all of these second-tier platforms will survive – indeed, it’s possible that none of them will. Many of the companies who own and manage these lower-level streaming platforms are unwilling to share too many details about them, but we can make some reasonable estimates based on what data is available, and it isn’t good news. Some of these streaming platforms have simply never been profitable, and their owners are being propped up by other sources of income, pumping money into a loss-making streaming platform in the hopes that it’ll become profitable at some nebulous future date.
To continue the analogy, the likes of Paramount+ are modern-day Dreamcasts in a market where Netflix, Amazon, and Disney+ are already the Nintendo, Xbox, and PlayStation. Breaking into the top tier of the streaming market realistically means one of the big three needs to be dethroned, and while that isn’t impossible, it doesn’t seem likely in the short-to-medium term at least.
Why did streaming appeal to viewers in the first place? That question is fundamental to understanding why launching a new platform is so incredibly difficult, and it’s one that too many corporate executives seem not to have considered. They make the incredibly basic mistake of assuming that streaming is a question of convenience; that folks wanted to watch shows on their own schedule rather than at a set time on a set channel. That isn’t what attracted most people to streaming.
Convenience has been available to viewers since the late 1970s. Betamax and VHS allowed folks to record television programmes and watch them later more than forty years ago, as well as to purchase films and even whole seasons of television shows to watch “on demand.” DVD box sets kicked this into a higher gear in the early-mid 2000s. Speaking for myself, I owned a number of episodes of Star Trek: The Next Generation on VHS in the 1990s, and later bought the entire series on DVD. I had more than enough DVDs by the mid-2000s that I’d never need to sign up for any streaming platform ever – I could watch a DVD every day of the year and never run out of different things to watch!
To get back on topic, what attracted people to streaming was the low cost. A cable or satellite subscription is easily four or five times the price of Netflix, so cutting the cord and going digital was a new way for many people to save money in the early 2010s. As more broadcasters and film studios began licensing their content to Netflix, the value of the deal got better and better, and the value of cable or satellite seemed ever worse in comparison.
But in 2021, in order to watch even just a handful of the most popular television shows, people are once again being forced to spend cable or satellite-scale money. Just sticking to sci-fi and fantasy, three of the biggest shows in recent years have been The Mandalorian, The Expanse, and The Witcher. To watch all three shows, folks would need to sign up for three different streaming platforms – which would cost a total of £25.97 per month in the UK; approximately $36 in the United States.
The overabundance of streaming platforms is actually eroding the streaming platform model, making it unaffordable for far too many people. We have a great recent example of this: the mess last week which embroiled Star Trek: Discovery. When ViacomCBS cancelled their contract with Netflix, Discovery’s fourth season was to be unavailable outside of North America. Star Trek fans revolted, promising to boycott Paramount+ if and when the streaming platform arrived in their region. The damage done by the Discovery Season 4 debacle pushed many viewers back into the waiting arms of the only real competitor and the biggest danger to all streaming platforms: piracy.
The streaming market does not exist in a vacuum, with platforms jostling for position solely against one another. It exists in a much bigger digital environment, one which includes piracy. It’s incredibly easy to either stream or download any television episode or any film, even with incredibly limited technological know-how, and that has always represented a major threat to the viability of streaming platforms. Though there are ethical concerns, such as the need for artists and creators to get paid for their creations, that isn’t the issue. You can shout at me until you’re blue in the face that people shouldn’t pirate a film or television show – and in the vast majority of cases I’ll agree wholeheartedly. The issue isn’t that people should or shouldn’t engage in piracy – the issue is that people are engaged in piracy, and there really isn’t a practical or viable method of stopping them – at least, no such method has been invented thus far.
As more and more streaming platforms try to make a go of it in an already-overcrowded market, more and more viewers are drifting back to piracy. 2020 was a bit of an outlier in some respects due to lockdowns, but it was also the biggest year on record for film and television piracy. 2021 may well eclipse 2020’s stats and prove to have been bigger still.
Part of the driving force is that people are simply unwilling to sign up to a streaming platform to watch one or two shows. One of the original appeals of a service like Netflix was that there was a huge range of content all in one place – whether you wanted a documentary, an Oscar-winning film, or an obscure television show from the 1980s, Netflix had you covered. Now, more and more companies are pulling their content and trying to build their own platforms around that content – and many viewers either can’t or won’t pay for it.
Some companies are trying to push streaming platforms that aren’t commercially viable and will never be commercially viable. Those companies need to take a look at Sega and the Dreamcast, and instead of trying to chase the Netflix model ten years too late and with far too little original content, follow the Sega model instead. Drop the hardware and focus on the software – or in this case, drop the platform and focus on making shows.
The Star Trek franchise offers an interesting example of how this can work. Star Trek: Discovery was originally available on Netflix outside of the United States. But Star Trek: Picard and Star Trek: Lower Decks went to Amazon Prime Video instead – showing how this model of creating a television show and selling it either to the highest bidder or to whichever platform seems like the best fit for the genre can and does work.
Moves like this feel inevitable for several of these second-tier streaming platforms. There’s a hard ceiling on the amount of money folks are willing to spend, so unless streaming platforms can find a way to cut costs and become more competitively priced, the only possible outcome by the end of the “streaming wars” will be the permanent closure of several of these platforms. Companies running these platforms should consider other options, because blindly chasing the streaming model will lead to financial ruin. Sega had the foresight in 2001 to jump out of an overcrowded market and abandon a failing business model. In the two decades since the company has refocused its efforts and found renewed success. This represents a great model for streaming platforms to follow.
All films, television series, and video games mentioned above are the copyright of their respective owner, studio, developer, broadcaster, publisher, distributor, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
This isn’t my end of year article summing up some of the highs and lows of 2021. It irks me no end to see people writing those pieces long before Christmas! If you’ve been a regular reader for a while, you might recall that the 30th of November is the website’s anniversary – it has been two years to the day since I published my first article at the end of November 2019. How time flies, eh?
Last year I commemorated the occasion by writing about the website’s first year in operation, and this time I wanted to do something similar. I’ve had two full years of talking about Star Trek and other entertainment subjects now, and it’s always helpful to step back and take a moment to reflect.
It’s been an interesting twelve months!
The biggest change for the website itself came just a few weeks ago. At the beginning of November I changed the name to Trekking with Dennis, ditching the old name and establishing a new identity for the website. This is something I’d been thinking about a lot for several months, and finally being able to pull the trigger and get it done has been incredibly cathartic.
There have been some immediate repercussions for the name change, though. Traffic to the website took a nose-dive in November, significantly down on where it had been for much of the rest of the year. I’m putting two and two together and assuming that the change in name, branding, and most importantly the website’s URL is responsible for the drop in readership. I’m optimistic that in the longer term, however, that decline will be reversed. Even if not, I don’t write here because it’s my job or because I’m chasing “internet points” and high numbers of clicks! This is my hobby, I do it for fun, and I’d still do it even if readership dropped to absolute zero!
Conversely, twice in the past year I’ve had articles go “viral” – or at least as close to viral as I’m ever likely to get!
The first article was one I’d written in early December, listing Five things to watch at New Year (instead of fireworks). The list is fairly self-explanatory; I put together a handful of New Year-themed films and shows that could’ve made for entertaining New Year’s Eve viewing in lieu of the usual fireworks shows and parties – many of which are usually televised but which were cancelled in 2020. This list was responsible for a massive spike in views which began on the 30th of December, then ran all the way through the 31st and into the early hours of the 1st of January.
The second article began getting huge numbers of clicks in late May, then in June absolutely rocketed up to become the most-read post I’ve ever written. More people read that one article than read everything I wrote in all of 2020 combined. And I think it’s possible that many of them came away disappointed!
The article in question was titled Mass Effect: Legendary Edition – What’s the best ending? and it was an examination of the three-and-a-half endings to Mass Effect 3, looking at the pros and cons of each. However, I think that the title may have been unintentionally misleading, judging by the search engine traffic! I think folks may have come upon the article while looking for a guide to achieving the “best” outcome to Mass Effect: Legendary Edition – namely the version of the “destroy” ending in which Shepard is implied to have survived. I talk about this in the article, but it isn’t what the focus of the piece was.
I didn’t expect that article to get so many hits when I wrote it. My Mass Effect commentary in general did quite well, though, and I think that’s because I managed to get out several pieces about the series around the time of Legendary Edition’s launch – which is when there was significant interest in the games. Being timely brings rewards, it seems!
This year I’ve made significant improvements to the images used across the website. Some of the images used even as recently as March or April now feel incredibly amateurish and low-quality in comparison. I’ve been doing more with paint.net – a freeware image editor that has become my go-to for any and all image work – and I’ve learned how to do things like add a shadow or outline to text. That has allowed me to make huge improvements to the header images/banners at the top of articles, giving them a more modern, professional look.
The website’s main banner – a core part of the site’s identity – has also been massively improved. Firstly, now that I have significantly more web storage I’ve felt more comfortable using higher-resolution images. Beginning earlier in the year the expanded storage allowed me to use larger, more detailed images for article and page headers, something I feel makes the website as a whole look a lot more modern and professional than it did even at the beginning of the year. The new banner was added earlier this month as part of the aforementioned change of name, but earlier in the year I tried out a variety of different banners with different sci-fi and fantasy-themed backgrounds.
I’ve also added quite a few different “spoiler warning” images – most of which are based on the Star Trek franchise! Again, the quality of these has improved a lot as I’ve become more comfortable with my image editing software, and I think some of the recent spoiler warnings look pretty great! I like to err on the side of caution when it comes to spoilers, so I use spoiler warnings a lot at the beginning of articles and reviews.
Filling time over the past twelve months has led me to research and learn about shows, films, and games I’d never have heard of otherwise. I reviewed titles like Space Jam: A New Legacy, Zack Snyder’s Justice League, and even The Falcon and the Winter Soldier after learning about them in the course of researching topics for the website. Trekking with Dennis has, to a certain extent anyway, broadened my experiences of media this year.
I’ve also finally got around to playing a couple of games that had been on my ever-growing list: Control and Red Dead Redemption II. I’ve written up my first impressions of Red Dead Redemption II already, and in the days ahead I’ll hopefully be writing up my final thoughts as I’m close to finishing my playthrough of the game.
Speaking of playthroughs, I didn’t get around to doing another complete “Let’s Play” series of articles. Though I’ve had a number of ideas for games I could choose, I just haven’t committed to one nor kicked off a playthrough in the way I did with Jedi: Fallen Order last year. It’s still an idea that I’d like to revisit in future, so… watch this space, I guess.
During the website’s first year in operation, I’d post articles and columns somewhat haphazardly. Sometimes I’d post daily for a couple of weeks, and at other points I’d take almost an entire week off while writing nothing. Over the last twelve months, however, that has changed. Going back to November 2020 I’ve been posting at least every other day – so there hasn’t been a long gap in between posts in more than a year. Occasionally that schedule has felt challenging, but I’ve been proud of the fact that I haven’t had any significant posting gaps for an entire twelve-month period.
April saw my most intensive posting schedule to date, as I wrote a post every single day for an entire calendar month for the first time. It wasn’t exactly planned, but once I got about halfway into April and I noticed I hadn’t skipped a day, I made it my mission to complete the month! I can keep up that kind of schedule for a while, but not indefinitely. I need occasional breaks, and being able to write articles in advance and schedule them has meant I have actually been able to take breaks across the year without interrupting my posting streak.
In December 2020 I joined Twitter. I did so at first because I was having a hard time keeping track of the various franchises and their social media pages, and as I’ve never had a personal Twitter account I couldn’t follow them that way. In February I made a very tentative first post, and across the year I’d sent out a handful of Tweets to promote newly-published reviews and other articles. But as I said last year, social media isn’t really my major focus.
This should absolutely be the subject of a longer essay sometime, but Twitter in particular is a very difficult platform for me to navigate. I’m sure you’ve noticed, but I have a particularly long-winded writing style! Condensing an argument, article, or even just a fan theory into 280 characters or fewer is difficult for me. I also find that, partly as a consequence of the abbreviated posts, the conversation on Twitter can lack nuance. It’s very hard to articulate a complex thought or position on the platform because such short posts don’t easily allow for shades of grey – you can either be on one side of a debate or the other. For someone who occasionally likes to straddle the fence and acknowledge the merits and demerits of both sides of a discussion, or just to explore different interpretations and points of view, Twitter isn’t the best place for me sometimes!
That being said, I’ve recently stepped up my Twitter use. It’s been an interesting world to step into for the first time, and I’ve found it quite fun and occasionally exciting to be able to engage directly with brands and companies – or at least their social media teams. Toward the end of my time working with a large video games company, social media was just beginning to take off as a marketing tool. I had some involvement with social media campaigns in the late 2000s and early 2010s at companies I worked for or was freelancing for, so it’s been interesting in a way to be on the other side of the screen for the first time!
If you don’t follow me on Twitter I don’t just post links to articles and columns that I write here on the website. I do post other occasional Tweets, mostly about Star Trek and the other subjects I cover. I don’t get political, so don’t expect any of that, but if you want to follow me on Twitter you’re more than welcome to do so.
But Twitter wasn’t the only social media platform that I found myself involved with over the past twelve months. Beginning in July I planned to record audio versions of some of the articles here on the website, using YouTube and Spotify to host these audio files. I later expanded my audio offerings to include what might generously be called a “podcast.” However, I wasn’t very happy with the quality of both the audio recordings themselves, as I lack the technical know-how to make decent-sounding audio, and also, to be blunt, my own vocal performance. Upon re-listening to several audio versions of articles I sounded very wooden and stilted; the kind of performances I’d give 1/10 to if I were to rate them.
So after a sum total of four podcast episodes and about ten audio articles I scrapped the project – at least for the time being. It’s a fun idea, and a concept I’d certainly like to revisit one day, but between the audio quality, my own poor performance, and the rebranding of the website making all of the audio clips and YouTube videos out of date, I think it’s for the best that I shelve the project for now.
That being said, I did enjoy the podcasting format. Having the opportunity to talk about smaller news stories and topics that wouldn’t necessarily make for a good standalone article was fun, and it certainly broadened the range of things I discuss here on the website. Revisiting the podcast concept is something I might consider in 2022.
It was in June this year – Pride Month – that I first discussed my sexuality and gender identity. Those twin posts were among the most difficult I’ve written over the past twelve months, not because they were technically challenging but because of how personal they were. When I created the website two years ago I intended to remain wholly anonymous, with details of my personal life kept to a bare minimum. By this time last year I’d changed my mind and I’d decided I wanted to openly discuss my asexuality and my struggles with my gender identity – but it took months before I’d be able to finish writing those pieces and feel brave enough to publish them.
I now proudly display the asexual and non-binary pride flags in the upper-right corner of the website. These symbols are present no matter what page or post someone clicks on, even if the piece has nothing at all to do with asexuality or being non-binary.
Writing these pieces, though incredibly difficult at times, was deeply satisfying and cathartic. Only a few people in my offline life knew these things about me, so having a space where I could openly discuss things that I’d struggled with for decades was a truly incredible experience. It gave me the confidence to be more open in my offline life too. I don’t have a lot of friends or surviving close relatives, but I’ve been able to direct a couple of people to the website where they were able to read my words to gain more of an insight into my personal life. I’ve said before that I’m better at writing than I am at speaking – having these pieces to direct folks to is so much easier than having to explain out loud what it means to be asexual or non-binary.
I haven’t added as many articles to the Greatest Hits page this year as I did in the previous twelve months. I think that’s partly because I had some article/essay ideas in mind when I started the website and I slowly worked my way through them over the course of that first year. While I’ve had plenty to write about this year, I guess I’ve just written fewer of those long-form essays.
So I think that’s enough self-congratulation for this year! As I look ahead to the next twelve months, I can’t really say that I have any major plans or changes in mind for the website or the kind of pieces I write here. I’d like to do another playthrough series at some point, and I’m certainly open to more creative projects in addition to my reviews, theories, discussion topics, list articles, and the rest. But watch this space, I suppose!
The website is very different now compared to twelve months ago. I like to think that, for the most part, these changes have been improvements – and certainly from a purely visual point of view I think the website has never looked better! As we move into the holiday season and 2022 I’m looking forward to keeping up with my regular posting schedule and writing about the subjects I’m most interested in: Star Trek, gaming, and the wide world of geeky entertainment.
Thank you for your support over the past twelve months.
-Dennis Tuesday, 30th November 2021
All properties mentioned above are the copyright of their respective broadcaster, studio, developer, distributor, company, etc. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
After a difficult week for the entire Star Trek fan community, we finally got some good news. Star Trek: Discovery Season 4 is going to be available outside of North America after all.
This isn’t “total victory,” as there are still too many countries and territories where the season won’t be available – particularly in Asia and Africa. The series is not returning to Netflix. But in regions where Paramount+ exists – Australia, Scandinavia, and Latin America – the decision to withhold the new season from fans has been reversed. This was the easy bit – that particular decision was so stupidly arbitrary that it didn’t make sense to begin with.
Here in the UK, as well as elsewhere in Western Europe, the new season will go to Pluto TV – described as a “free streaming television service.” I’ll have to look up Pluto TV and how it works as I’m not familiar with it at all. In the UK, Germany, France, Russia, South Korea and “additional select countries” (whatever that might mean) Season 4 episodes will be available to purchase digitally on “participating platforms.” Could that mean Amazon Video, among others? Watch this space, I guess.
Reversing the Netflix decision was never going to happen, not after contracts had been torn up and significant sums of money had changed hands. But this is a victory for Star Trek fans – and for fans of any franchise, series, film, or video game across the entertainment industry. It demonstrates the power of fans coming together, and how these kinds of pressure campaigns and reactions can and do have an impact even on the biggest corporations.
At the end of the day, ViacomCBS saw the backlash as a problem and a threat to their current and future profits. That’s the power that we – all of us – have as consumers and as fans. Because we all pulled together and expressed our collective anger, outrage, and frustration, the corporation had no choice but to sit up and take notice. Especially when the value of their shares began to fall.
A couple of days ago on Twitter, some anonymous nobody told me to stop “crying” about the Discovery decision because it “wouldn’t change anything.” That person was wrong. On an individual level, none of us have the power to stand up to big corporations; that’s true. But en masse, when fans pull together we can do anything. Star Trek’s history is testament to that.
In 1967-68, a letter-writing campaign orchestrated by Star Trek superfan Bjo Trimble literally saved The Original Series from cancellation at the end of Season 2. The fact that the show got a third season at all was all down to Trekkies. And later, in the 1970s, pressure from fans to bring Star Trek back led to The Animated Series and later The Motion Picture – the film which kicked off Star Trek’s renaissance going into the 1980s.
Following the cancellation of Enterprise in 2005, the fact that the franchise remained popular was a key factor in 2009’s reboot film getting the green light – something which ultimately led to Discovery, Picard, and the rest of modern Star Trek. At every stage of the franchise’s history, fan-led campaigns and the response from fans has been absolutely critical to keeping Star Trek going and reinvigorating the franchise. So it has proved again with Discovery Season 4.
This victory is imperfect. There are still too many Trekkies across the world who can’t access the series – and the rollout of Paramount+ is still plagued with the same problems it was yesterday. For fans in regions where Season 4 still won’t be arriving, this victory may not mean much at all. But it does give us hope for the future.
ViacomCBS appeared to have forgotten about Star Trek’s international fans. But we reminded them that we’re still here, and that we still want to support the franchise and, albeit reluctantly in some cases, the corporation that owns and manages it. North American Trekkies were allies in that fight – as were many of the cast and crew of Discovery itself, applying pressure in public through their statements.
We can’t look at this as the end of the affair. Trekkies in Africa, Asia, Eastern Europe, and other parts of the world still won’t be able to watch Discovery Season 4, and there are too many regions without a planned rollout of Paramount+. We mustn’t forget that, and we have to keep pressure on ViacomCBS to ensure that they deliver for every Trekkie, not just those in the wealthy west.
I feel optimistic today. Not only because Discovery Season 4 is coming here in 48 hours’ time, but because ViacomCBS recognised how badly they screwed up. Rather than doubling-down and continuing to ignore the response from fans, the corporation did something to mitigate the problem, no doubt at a significant financial cost. It won’t have been free to disrupt Pluto TV’s schedule with mere hours to spare, after all! I’d been worried about Picard Season 2 and Strange New Worlds in light of the Discovery Season 4 debacle, but perhaps ViacomCBS has now learned how bad of a decision it was to try to cleave the fanbase in two. Maybe that means those shows are safe – that we will be able to watch Picard Season 2 together in February, no matter where we live.
So it’s time to investigate the mysterious Pluto TV and see how that works! Apparently Discovery Season 4 is being broadcast there at a scheduled time – 9pm local time – so I guess it works like a television channel rather than a streaming service. I don’t mind that, and if it’s possible to purchase the season or individual episodes for on-demand streaming I don’t mind doing that too. Whatever hoops we have to jump through it’ll be worth it to watch Discovery together.
Star Trek: Discovery Season 4, Episodes 1-2 will be available to watch on Pluto TV in the UK, Austria, France, Germany, Italy, Spain, and Switzerland on Friday the 26th of November 2021. The episodes will also stream on Paramount+ in countries and territories where the service is available, and will be available to purchase digitally in the UK and “additional select countries.” The Star Trek franchise is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
The fallout from the atrocious and unfair Star Trek: Discovery decision rumbles on. The ViacomCBS share price continues to tumble in the wake of their truly awful decision to piss off most of the fans of their biggest franchise, the rollout of Paramount+ continues at a snail’s pace with no specific launch dates even entering the conversation, and unfortunately we’re now seeing some divisions in the fandom itself, with North American Trekkies pitted against those of us in the rest of the world as arguments break out over the series. What a stinking mess.
At time of writing, both Star Trek: Prodigy and Star Trek: Discovery are “Paramount+ exclusives” all across the world – meaning the shows are locked behind a paywall that fans can’t actually pay for because the incompetently-managed streaming service hasn’t launched in the vast majority of countries and territories. I feel even worse for Trekkies in Australia, Latin America, and Scandinavia in some ways, though, because although Paramount+ has already arrived there, Discovery Season 4 still hasn’t been made available. If you needed any more evidence that ViacomCBS is one of the worst-run corporations in the entire entertainment industry, look no further than that arbitrary nonsense.
But Prodigy and Discovery aren’t the only Star Trek shows in production at the moment. In 2022 Trekkies have been promised Star Trek: Picard Season 2, Strange New Worlds Season 1, and Lower Decks Season 3 at a minimum. In the wake of the truly selfish and awful Discovery decision, however, I can’t help but feel very nervous about each of those shows. Will Trekkies around the world be able to enjoy any new Star Trek in the months ahead? Or will we see repeat after repeat of the Discovery mess?
Strange New Worlds seems all but certain to be denied any kind of international streaming deal. If you’re hoping to see the series hit Netflix or Amazon Prime Video, you might as well forget it – it’ll be a Paramount+ exclusive for sure. What that means in effect is that anywhere in the world without Paramount+ will miss out on Strange New Worlds. That feels like such a sure thing right now that I’d put money on it.
Currently, Picard Season 2 is scheduled for a February premiere. If the season runs for ten episodes, as Season 1 did in 2020, it’ll conclude sometime in late April or early May, meaning that Strange New Worlds could debut anytime around then – and certainly well before the middle of the year. At present, the UK and parts of Europe are promised Paramount+ in “early 2022” – which could be before the Strange New Worlds premiere, but it could also be long after the show has kicked off in the United States. And unfortunately, many countries and territories in Asia, Africa, and the rest of the world have no planned launch for Paramount+ at all, which means it could be 2023 or later before the service launches there. If it survives that long.
I simply don’t believe the promises ViacomCBS has made of an “early 2022” launch. Paramount+ has been so poorly managed and so incompetently handled by the corporation that a delay to these plans feels inevitable, so I’m not betting on the service launching here before the end of 2022. But even if, by some miracle, ViacomCBS actually manages to launch Paramount+ on time in Europe, that could still mean Strange New Worlds and Picard Season 2 won’t be broadcast simultaneously with North America.
As mentioned, Paramount+ has already arrived in Australia, Latin America, and Scandinavia – and it isn’t exactly brand-new, they’ve had it since March. But despite that, Discovery Season 4 isn’t being shown there at the same time as it’s being shown in North America… so even being very generous to ViacomCBS and assuming that the incompetent morons manage to get Paramount+ to the UK and Europe in “early 2022,” that still doesn’t necessarily mean we’ll be able to watch any of the new shows on the damn thing.
As I discussed the other day, ViacomCBS paid Netflix a large sum of money to ensure that Discovery Season 4 wouldn’t be available around the world. If they had done nothing, the show would’ve come to Netflix under existing contracts and licenses – but the corporation chose to intervene, hoping to boost sign-ups to Paramount+ (though the backlash may have actually cost the platform subscribers thanks to a fan-led boycott campaign). What’s to stop ViacomCBS from doing the same thing with Amazon Prime Video, the current home of Lower Decks and Picard?
One of the stupidest and most offensive things about the Discovery decision is that Paramount+ is unavailable across most of the world. If ViacomCBS had pulled Discovery from Netflix because Paramount+ had already launched and they wanted to keep their own shows on their own platform, it would still be frustrating, and the timing would still be awful, but at least there’d be a vague logic to it. But because Paramount+ isn’t even available, the decision has locked the show behind a paywall that no one is able to pay for. Which, as I’ve argued on more than one occasion, means you have the absolute moral justification to pirate the series.
But this kind of decision could well be repeated. I doubt very much that Paramount+ will be available here in the UK by February, in time for Season 2 of Picard. And on current form, there’s nothing to stop ViacomCBS from doing to Amazon Prime Video what they’ve just done to Netflix – pulling the series from broadcast with days to spare. I don’t think it’s safe to assume we’ll be watching Picard Season 2 on Amazon Prime Video… let alone Lower Decks Season 3, which likely won’t be broadcast until later in the year.
Rather than the Discovery mess being a one-time thing, I think as international fans we need to get used to the idea that, at least for the next year or so, watching Star Trek along with our North American friends may not be possible – or at least may not be possible via conventional methods. Picard Season 2 and Strange New Worlds Season 1 feel the most vulnerable, but realistically we’ll soon see the entire franchise disappear behind Paramount+’s paywall – regardless of whether Paramount+ is actually available.
I’d like to be proven wrong, of course, but I fear that this is the direction of travel for Star Trek as we move into 2022. This will not be a move free of long-term consequences for ViacomCBS. The corporation’s share price continues its fall, many Trekkies have pledged never to subscribe to Paramount+, and one of the biggest single pushes toward piracy since the advent of streaming will lead many fans and viewers to realise just how easy it is to pirate the latest episodes – making it even harder for Paramount+ to tempt them back in future.
As self-defeating as these plans may be, don’t expect to see ViacomCBS move away from them. And if you’re especially unlucky, living in a region of the world that ViacomCBS has apparently forgotten even exists, it may be the case that Paramount+ never arrives – or if it does it won’t be till 2023, 2024, or beyond. Star Trek has always told stories of people coming together – of a United Earth free from borders and division. But the ViacomCBS board haven’t even watched their own shows, or if they did the message went far over their shrivelled little profiteering heads.
I don’t want to be the bearer of bad news, but as I see it, the Discovery decision is just the first of many. Strange New Worlds, which has never had an international broadcaster announced, will certainly be a Paramount+ exclusive. Picard Season 2 and Lower Decks Season 3 could very easily follow the Discovery model and be pulled from Amazon Prime Video. And the rest of the Star Trek franchise? Currently the older shows are on Netflix, but the films aren’t. However, I wouldn’t bet on being able to watch any Star Trek series next year unless you have the DVD or are prepared to sign up for Paramount+.
The Star Trek franchise is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
The Star Trek: Discovery Season 4 catastrophe isn’t going away anytime soon for ViacomCBS. In the days since they dropped a clumsily-worded statement that simultaneously broke the bad news to Trekkies around the world and tried to push sign-ups to Paramount+, the anger in the fandom has not abated. At time of writing, ViacomCBS shares are worth more than $2 less than they were before the announcement – a drop of more than 6%.
That brings us to the #BoycottParamountPlus discussion that has been doing the rounds in some quarters of the Star Trek fan community. In light of the decision by ViacomCBS to pull the show from Netflix internationally, some Trekkies have responded by saying they’re either boycotting Paramount+, cancelling their subscription to the service, or that they will refuse to sign up for it whenever ViacomCBS can be bothered to make it available in their part of the world. Today I wanted to consider the discussion around boycotting Paramount+, boycotts in general, and how fans can and should register their anger, upset, and frustration with a corporation like ViacomCBS.
There are many reasons why folks – even big Trekkies like yours truly – might be wary of signing up for a service like Paramount+. The platform has not been particularly well-received in markets where it has been available, with complaints ranging from technical issues and video quality to a lack of content. At one point, all of the Star Trek films disappeared from Paramount+ with only a few days’ notice due to licensing conflicts with a different streaming platform – despite the fact that ViacomCBS owns the rights to the Star Trek films.
There’s also the cost involved. The “basic” plan, which currently costs $4.99 per month in the USA, comes with advertising. The “premium” plan ditches the commercials, but clocks in at double the price – $9.99 per month in the USA. That makes Paramount+ actually more expensive than Netflix for a comparable service, as Netflix’s cheapest plan in the USA doesn’t run any adverts and costs $8.99 per month.
Paramount+ is not competitively priced, then. It’s more expensive than the big three streaming services (Netflix, Amazon, and Disney+) and though it does offer some content that the others don’t – such as live sports – its content as a whole is lagging behind. So even being as generous as we can, Paramount+ feels like poor value for what is clearly a second-tier platform.
But all of this talk of costs is rather beside the point. People who can’t afford Paramount+ won’t pick it up, and folks who can perhaps afford one or two streaming subscriptions may have to choose whether to pick up Paramount+ or an alternative. It’s all moot right now here in the UK anyway, because Paramount+ is unavailable, but I wanted to at least acknowledge that the streaming service isn’t particularly competitive with its pricing.
On an individual level, I can fully understand the response fans have had to ViacomCBS and to Paramount+. The anger and frustration I’ve seen expressed on social media resonates because it’s exactly how I feel, too. The decision the corporation made was horrible, and to cap it off it was announced in the most offensive and callous way possible. No apology has been forthcoming, and ViacomCBS’ marketing and social media teams are apparently burying their heads in the sand, trying to ignore the pushback.
The lack of communication from the corporation is something that I find deeply offensive. Their original message was not contrite or apologetic, and seemed designed to present what they knew would be an upsetting, anger-inducing move as some kind of net positive for international Trekkies. Combined with the marketing doublespeak and the pushing of Captain Burnham’s “Let’s Fly” catchphrase to sign off, the way they chose to communicate this decision was awful.
And as we covered the other day, the timing of this move almost seems to have been designed to inflict maximum hurt on Trekkies, coming 48 hours before Discovery Season 4 was due to premiere. They did this, it seems, for two reasons: so that a major Star Trek convention in London earlier in November wouldn’t be overshadowed by this news (particularly with several Discovery cast members in attendance), and also, if I put on my cynical hat for a moment, ViacomCBS knew that dropping this news with mere hours to go before the season premiered would prevent fans from having time to organise any kind of pushback.
The #BoycottParamountPlus hashtag and movement emerged from the Discovery debacle, but it’s in no way an organised thing right now. And with Season 4 already underway in the United States, practically all of the big Star Trek fansites and social media channels have begun their coverage of the show. Even if fans were able to organise a protest of some kind in the next few days, from the corporation’s perspective things have gone about as well as possible. They succeeded at pulling the show from Netflix, they’re forcing people to pay for Paramount+ with no alternative options, and the fan reaction has been significant, but disorganised.
I used to work in marketing, and unfortunately, the way corporations see these kinds of social media campaigns is very dismissive and negative. ViacomCBS will have expected a degree of pushback, but they also knew that by making the announcement at the last possible moment, any pushback would be disorganised during the crucial first few days after the season debuted. They’re also counting on fans having short memories, so that by the time Paramount+ rolls out in 2022 (or later, because let’s be honest they aren’t exactly competent so we can’t rely on their planned schedule) the controversy will have died down and even the most ardent critics will still sign up.
And if history is much of a guide, they’re probably right about the latter point. Look at past examples of fans pushing back against corporate decisions. Over in the Star Wars franchise, for example, The Last Jedi was so utterly detested by some fans that they swore they’d never watch anything from the franchise ever again. A heck of a lot of those folks are currently loving The Mandalorian and are excited for other upcoming projects. Even when dealing with topics more important than entertainment, like political issues, it’s increasingly true that all someone has to do is survive and keep their head down for a few days and wait for the source of controversy and its resultant outrage to blow over. Here in the UK we can point to politicians who were caught breaking coronavirus lockdowns who are still gainfully employed, and that’s just one example.
One of the main counter-arguments people have been putting forward in response to suggestions of an organised boycott of Paramount+ is that they want to support the series and the hard work the creative team put into making it. I can understand that point of view too, especially coming from those fans who have a creative background themselves. Many of these folks are also ardently opposed to any form of piracy.
But I do want to ask a question: how else are fans supposed to express themselves? If a corporation misbehaves, as ViacomCBS has to put it mildly, how are fans supposed to respond to show their disgust? We can write all the tweets and articles we like, of course, but that has a very minor impact on the corporation overall. Hitting them in their finances is where we can actually hurt them, and if fans make it clear that the reason Paramount+ is losing subscribers or not signing up new ones is because of the Discovery fiasco, then perhaps they’ll sit up and take notice.
However, there is, as the saying goes, more than one way to skin a cat. I mentioned ViacomCBS’ share price at the beginning of the piece because it’s relevant to this conversation. The short-term impact of the Discovery controversy has knocked the value of shares down by a significant amount, and that could continue in the days and weeks ahead. Whether we boycott Paramount+ or not, the corporation is already being kicked in the wallet for this decision. I hope that brings a smile to your face – it certainly did for me.
What I would have liked to see, had there been more time in the wake of the announcement to organise such a thing, would have been a blackout from all of the big fansites and social media channels: a promise not to cover Discovery Season 4 at all until it became available worldwide. Even shutting down discussion of the show for a single week would have a huge impact and would be symbolic of the fandom coming together.
In my own small way here on my minor slice of the internet, that’s exactly what I’m doing. I could write reviews of the Season 4 episodes – I’ve already seen the premiere. And I could continue to write up my theories because I’ve got dozens swimming around in my head. If I threaten to boycott Paramount+, ViacomCBS knows I’m just one person and they’ve only lost one potential customer. But by refusing to talk about the show at all, the hype bubble around Discovery is ever so slightly deflated. Fewer people talking about the show has an impact – and if we could expand that and get a proper blackout going, then I think ViacomCBS would realise how badly they’ve screwed this up.
It will never happen though, unfortunately. Many of the big Trekkie websites and social media channels work hand-in-glove with ViacomCBS, getting advance screenings, press kits, and even freebies from the corporation. Very few outlets would be willing to lose their access and their privileges, which is why we’ve seen some messages from these folks sound rather tokenistic, I’m sorry to say. I don’t want to cast doubt on anyone’s sincerity, but it kind of smarts when they’ll express their upset in one tweet and then promote their latest review or show off their exclusive pass to the virtual premiere in the next.
To get back on topic, I can’t tell you what to do. If you want to boycott Paramount+, cancel your subscription, or tell ViacomCBS you’re never paying for Star Trek again, go for it my friend. It’s as good a way as any of getting “revenge” for the offensive way we as international Trekkies have been treated. But if the thought of boycotting upsets you or you want to support the cast and crew, know that the outrage that has been expressed over the past few days has already had a noticeable financial impact on ViacomCBS.
Speaking for myself, if Paramount+ were available to pre-order here in the UK, I wouldn’t. Not right now. And in my own way I’m registering my protest. Refusing to discuss the series, even if only on my own small slice of the internet, is my way of telling ViacomCBS how I feel about the decision they made and the callous way they went about announcing it. But I don’t think we need to get at each other’s throats about this boycott idea. Some fans are up for boycotting, others aren’t. Both points of view have merits and demerits, but the one thing we need to try to do as a fandom right now is come together. Fighting amongst ourselves over what to do about the situation won’t resolve anything – it’s already happened and it won’t be undone. We have to try to move forward together.
For my part, I won’t be posting any spoilers about Discovery Season 4 here on the website – beyond what I’ve already discussed prior to the season premiere, which was only based on teasers and trailers. So you can consider this website a safe space between now and February. I wish I had better news or a better idea of how to fix things, but the reality is that Discovery is ViacomCBS’ product and as consumers, we’re stuck. All we can do is register our protests in whatever way we can. It’s up to you how you protest this decision.
This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
It’s been 24 hours since ViacomCBS clumsily dropped the news that Star Trek: Discovery Season 4 will be kept away from international audiences. The resultant PR disaster has caused significant harm to the corporation’s reputation, as well as that of its streaming service, Paramount+. Once my anger at the situation had simmered down, I became mired in thought. I had a whole series of articles planned here on the website about Discovery: episode reviews and theory posts twice a week, as well as keeping space open for other occasional discussion pieces about the series over the next three months. Should I put all of that on hold for now, even though Star Trek and writing are two of my biggest loves? Or should I power through despite knowing that, even in my small way on my minor slice of the internet, I’m promoting and drawing attention to a series and a company that I just don’t want to support right now?
I’m not one of the big Star Trek fan sites… obviously. I don’t have a huge audience who’d feel let down if my reviews weren’t around, or conversely who would feel the need to mute me or unsubscribe if I carried on posting about a series they aren’t able to watch. So the decision is mine alone, and I confess I’m struggling with it.
I feel absolutely morally justified in pirating Discovery. ViacomCBS has willingly chosen to remove the series from distribution here in the UK and around the world. They actively spent money to buy out Netflix’s share in the series so that Netflix wouldn’t be able to broadcast Discovery internationally. Just to reiterate that last point, because I think it’s an important one that’s gotten lost in the heated discussion: if ViacomCBS had done nothing, Discovery would have been broadcast internationally. This isn’t a case of failing to agree licenses in time or broadcast rights expiring, they actively and willingly chose to remove the series from broadcast, and they paid money out of their own pocket in order to ensure it wouldn’t be available to international fans.
Not only that, but in some countries where Paramount+ is available – such as Australia, for example – Discovery Season 4 is still not going to be available to stream. You read that right: Australian Trekkies who’ve already subscribed to Paramount+ and paid for it still won’t be able to watch Discovery Season 4, as will any other Trekkies outside of North America whether they have Paramount+ in their country or not. Why? Because ViacomCBS loves arbitrary bullshit, it seems.
So I feel all of us outside of North America have the moral high ground and the absolute right to pirate Discovery – and the rest of Star Trek too. When a corporation voluntarily chooses not to share their creation, piracy becomes the only way to access that content. When a film, game, or television series is available to purchase, stream, or rent, I think the vast majority of folks would agree that the moral thing to do is pay to enjoy it. But when that option is taken away, there is only one remaining option – and from a moral, ethical, and philosophical point of view I see no reason at all why international Trekkies shouldn’t pirate Discovery Season 4.
This is not the choice that I would have made. I’m a Netflix subscriber and an Amazon Prime subscriber. I first signed up for Netflix in 2017 specifically because Discovery was about to be available there; Netflix earned my subscription because of Star Trek. Over the past four-plus years I’ve paid my dues on both platforms where Star Trek is available, and if CBS All Access and/or Paramount+ had been made available here in the UK I’d have signed up for them in a heartbeat.
I’m a Star Trek fan. I want Paramount+ to succeed because I want Star Trek to succeed. I want as many people as possible, from casual viewers and total newbies to hardcore fans like myself to be able to watch Star Trek – and to pay to watch it. That’s the only way Star Trek will succeed in the medium-to-long term, and that’s the only way that the franchise’s future will be secure.
But this transactional approach is not a one-way street. It isn’t good enough for ViacomCBS to insist that fans pay to sign up to their mediocre second-tier streaming platform – and then make sure the vast majority of fans can’t because it isn’t available. It isn’t good enough to roll out Paramount+ to countries like Australia and then tell fans they still can’t watch a show that others can.
In 2021, this kind of gatekeeping is simply not acceptable. Segregating the Star Trek fanbase by geography, deeming some “worthy” of being able to watch the latest shows and others not, is not only unacceptable, it’s the complete antithesis of everything Star Trek as a franchise has always stood for. What happened to infinite diversity in infinite combinations? What happened to the dream of a better, more egalitarian world? What happened to United Earth – a place where national borders have no meaning? The answer is that it was all nonsense in the eyes of Star Trek’s corporate overlords, mere words that they don’t believe in yet were happy to sell to anyone stupid enough to pay. Star Trek is a corporate product – that’s the only way ViacomCBS sees it, bankrupt of any real-world meaning or creativity.
All that the corporation cares about is profit – yet they’re so blind, thinking purely about the short-term, that they can’t see how this pathetic, awful approach is going to cost them a hell of a lot more money than it will ever bring in.
Let’s be blunt. Paramount+ will never be Netflix. It will never be Disney+ or Amazon Prime Video either. The platform arrived on the scene ten years too late, plagued by technical issues, running some of its biggest shows in DVD quality, lacking new original content, seriously mismanaged, and with an international rollout that would make a snail riding a sloth look like Usain Bolt. Paramount+ might survive the streaming wars, but even if it does it will forever be a second-tier platform, the kind that people subscribe to for a few months out of the year to watch a show or two and then cancel.
From the moment CBS All Access was conceived in the mind of some ageing corporate moron it was fighting an uphill battle. Netflix was already dominant in the streaming realm, and it seems to me that some halfwit with little to no understanding of streaming or the internet looked at the money that Netflix was making, then looked at CBS’ modest library of television shows and said “make me my own Netflix.” The fact that CBS All Access had to be rebranded less than three years after it launched was already a bad sign.
Now called Paramount+ and supposedly bolstered a little by the re-merging of Viacom and CBS, the service continues to flop around like a dying fish. Paramount+ must be run by the most incompetent team of morons any corporation has ever assembled when you consider its track record. Lower Decks Season 1 didn’t get an international broadcast. Prodigy Season 1 didn’t either. All of the Star Trek films disappeared for several months because of licensing conflicts with another streaming platform. Prodigy’s broadcast schedule makes no sense. And now Discovery Season 4 is being pulled from Netflix – and ViacomCBS is willingly spending money in order to pull it from Netflix – months or perhaps even years before Paramount+ will be available internationally.
It’s so disappointing to see ViacomCBS mishandle and mangle their biggest franchise. How can Star Trek have a shot at success with this team of corporate fuckwits running it into the ground at every opportunity? If Paramount+ fails in the years ahead, and drags Star Trek down with it, it won’t be the fault of the writers, producers, and actors across the various shows. It’ll be entirely the fault of a corporate board who haven’t got a clue what they’re doing and who don’t understand the most basic realities of running an entertainment company in 2021.
We live in a connected, globalised world. ViacomCBS (and their corporate predecessors) pushed hard to create this world because it means more profit. More Star Trek fans equals more revenue equals more profit. But the global, interconnected fandom that ViacomCBS has created means that the internet – our primary communication tool – is going to be awash with spoilers. Even the most ardent Trek-avoider would be hard-pushed to steer clear of everything Star Trek-related online, especially if they have friends within the fandom.
YouTube channels, websites, and social media will be drowning in spoilers, making the dilemma that much more tricky for the Trekkie with a moral compass. If they decide to be patient and wait it out, despite ViacomCBS not actually providing anything close to a specific timeframe – “2022” could mean January or it could mean December, and I don’t believe for a moment that the hapless fuckwits will be able to deliver the rollout on time anyway – chances are sooner or later they’ll stumble upon a spoiler, or be served up spoilers on a plate by an algorithm. Some websites and social media outlets have pledged to tag any spoiler material, but even then it’s still highly likely that things will slip through the cracks.
Over the past 24 hours I’ve been continuously trying to think of ways to try to mitigate the situation, given that the Netflix decision is clearly final. One compromise could have been to simply delay Discovery Season 4 for everyone – including North American viewers. Waiting until next year would mean we could all watch the series together. But that won’t work.
The painfully slow rollout of Paramount+ is going country by country and region by region, with many parts of the world having received no information about if or when the platform will be available. In the UK at least we know that there’s a target: 2022. Many countries, such as Japan, don’t even have that. So this idea – while well-intentioned – would either delay the series indefinitely, and certainly well beyond the end of next year, or still end up shutting out a huge number of fans and viewers.
So that brings us to the Trekkie’s dilemma. The way I see it, if you’re outside of North America (which 95% of the planet’s population are, lest we forget), you have three options: wait patiently for ViacomCBS to decide that you’re allowed to watch Discovery, use a VPN to trick Paramount+ into thinking you’re in North America, or pirate the series.
The first option is what the corporate morons assume everyone will do. That isn’t true, of course, and the PR clusterfuck of the last 24 hours will seem like nothing when Discovery rockets to the top of the most-pirated shows list next week. I think we can expect to see some significant share price falls for ViacomCBS over the coming days and weeks – I certainly wouldn’t be investing in ViacomCBS stock if I were you.
The second option is the worst of the bunch. Not only are you having to jump through hoops to watch Discovery, but you’re paying ViacomCBS for the privilege. They’ve slapped you in the face, and in response you’ve pulled your wallet out and slipped them some cash while saying “do it harder next time, daddy.”
The third option is the one I daresay many Trekkies will avail themselves of. With a tiny amount of effort it’s possible to find any film or television show online, either to stream or to download, and in 2021 if ViacomCBS doesn’t know that then they’re even more out of their depth than I thought.
ViacomCBS is pushing people to take the third option: piracy.
I’m going to watch Discovery Season 4. Interpret that however you’d like. But I’m not going to cover the series extensively here on the website. Rather than individual episode reviews, what I’ll probably do is write up a full season review at the end as a single article. And Fridays, when my Discovery Season 4 reviews would’ve been published, can instead be dedicated to write-ups of older episodes of Star Trek – something I’ve been meaning to do more of here on the website for a while. I’ll pick thirteen Star Trek episodes from the franchise’s extensive back catalogue and write about those instead.
I don’t want to give ViacomCBS or Star Trek: Discovery any more attention at the moment. The corporation has chosen, for utterly inexplicable reasons, not to share the series with its most ardent supporters, so I refuse to do anything to support the show right now. I feel sorry for the actors, directors, and the rest of the creative team, because their incredible hard work under difficult circumstances during the pandemic is now soiled by this truly disgusting corporate mess. But I can’t in good conscience publish weekly reviews, theories, and other discussion pieces drawing attention to the series when I so fundamentally disagree with the way ViacomCBS has conducted itself.
I opened my wallet and offered ViacomCBS my hard-earned cash. I’ve paid for two streaming platforms in order to watch Star Trek. I’ve bought the merchandise. I provide the Star Trek franchise and Paramount+ free publicity here on the website simply by discussing the various shows. My website has an American audience, so I know for a fact many of the folks who read my reviews and theories are engaged with Paramount+. But this relationship has turned toxic, and even though I was offering ViacomCBS my cash, my time, my effort, my passion, and my attention, they chose to throw it back in my face. They told me to go fuck myself, so I’m returning the favour.
What should you do? I can’t answer that. Your conscience has to be your guide. Are you confident in your ability to avoid spoilers for the next few months? If you live in a region without a Paramount+ release window, are you okay with the idea of waiting perhaps two years or more to watch the show? I can’t officially condone or encourage piracy – it’s almost certainly breaking the rules wherever in the world you happen to be. But from a philosophical point of view, if you’re a Trekkie outside of North America I think you’re absolutely morally justified in pirating the heck out of Discovery – as well as every other Star Trek show and ViacomCBS production.
I would usually put a disclaimer here saying that the Star Trek franchise is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
The message above was posted on social media earlier this evening. What follows is my immediate response – a somewhat unstructured, angry response. For a more structured argument about ViacomCBS’ mishandling of the Star Trek brand internationally, check out this article.
I cannot believe what I just read. Star Trek: Discovery’s fourth season is not going to be made available on Netflix outside of the United States, and will only be available for international viewers sometime next year when Paramount+ arrives. I’m still digesting this truly awful news.
Over the last couple of weeks I’ve had a go at ViacomCBS – the corporation which owns and mismanages the Star Trek brand – for refusing to make Star Trek: Prodigy available internationally, despite that show being a co-production between CBS Studios and Nickelodeon… a ViacomCBS-owned channel that’s available in more than 70 countries around the world.
This Discovery news comes after Prodigy has been denied to international fans. Lower Decks Season 1 was also denied a simultaneous broadcast internationally, arriving almost six months later. So I can’t be alone in asking what the fuck ViacomCBS thinks it’s playing at. Are they trying to encourage piracy? Do they just not care about Star Trek? Perhaps they want to do as much harm as possible to their own brand, and that of their mediocre second-tier streaming platform at the heart of these problems: Paramount+.
To make this announcement less than 48 hours before Discovery’s fourth season was due to premiere is beyond insulting. It’s the latest and most egregious “fuck you” in a long line going back a couple of years at least from a corporation that doesn’t give a damn about Star Trek’s sizeable international fanbase.
Not only is Season 4 not going to be available on Netflix, but Seasons 1-3 have been pulled – or will shortly be pulled – from the streaming service as well, gated off behind a paywall that doesn’t exist because Paramount+ isn’t available here in the UK (and elsewhere) yet. It is at least possible to get the first three seasons of the show on blu-ray, so fans who want to watch or re-watch earlier seasons will be able to do so that way. But Season 4 isn’t available… or at least it isn’t available via conventional methods.
When corporations choose to become gatekeepers and refuse to share the content that they’ve produced with fans who are literally holding their wallets open screaming “take my money!” then piracy, by default, becomes the only option to access that content. Discovery actually will be available internationally, because this is the 21st Century and most folks have internet access. With a tiny amount of effort it’s going to be possible to pirate every episode of the show, allowing fans to enjoy Discovery while ensuring that ViacomCBS doesn’t see a single measly cent by way of profit. That isn’t the decision fans made, it’s the choice ViacomCBS made.
Star Trek became an international franchise at the behest of ViacomCBS and its corporate predecessors. They advocated this kind of corporate globalism because – like the greedy little Ferengi they are – they saw profit beyond America’s borders. There are Trekkies from Tierra del Fuego to St. Petersburg because globalism proved so attractive for ViacomCBS, but the corporation has once again proved beyond any doubt that it doesn’t give even the tiniest of fucks about anyone outside of North America.
So as I said a couple of weeks ago about Prodigy: it’s totally morally justifiable to pirate it. Go right ahead and pirate Prodigy, and pirate Discovery too. ViacomCBS has told us to keep our money and fuck off, so let’s make sure they don’t ever see another penny of it. What’s the point in continuing to support a corporation that leaves its international fans out in the cold because it can’t manage the incredibly basic task of broadcasting a television show?
Broadcasting and streaming is ViacomCBS’ entire business model – yet time and time again they fuck it up. Paramount+ is a mediocre platform at best that will never be the Netflix and Disney+ competitor that its corporate masters wish it to be. It arrived on the scene a decade too late, with too little original content, and its rollout even within the United States has been horribly mismanaged by a corporation that appears to be run by absolute morons. Paramount+ recently lost the rights to all of the Star Trek films for several months – despite ViacomCBS owning the rights to those films. And as we’re learning the hard way once again today, its international rollout has been pathetically slow.
It’s such a shame for all of the actors, directors, and behind-the-camera crew who clearly have put a lot of work into Discovery Season 4 that their work is going to be tainted by a truly selfish and shitty business decision. It isn’t their fault, yet their hard work is now soured in the minds of many of the show’s biggest fans because of incomprehensible corporate bullshit.
I’ve been disappointed with ViacomCBS for a while for their pathetic mishandling of the Star Trek brand, but this latest attack has come as a body blow. I’m angry – actually legitimately angry – with a cowardly corporation that doesn’t have the faintest idea how to operate in a 21st Century television and streaming market. Their mismanagement will continue to harm Star Trek – perhaps fatally so.
I can’t speak for every Trekkie, but a lot of Star Trek’s international fans are losing patience with this corporation. It’s long past time for ViacomCBS to get a grip and start managing the franchise properly – before too much harm is done. Star Trek is an amazing franchise that everyone should be able to watch together and share with one another no matter where they’re from – but disgusting and insulting corporate decisions continue to get in the way and actively harm Star Trek.
Lower Decks is so much less than it could and should be entirely because ViacomCBS fucked up its international broadcast. The same will be true of Prodigy – a decision compounded in that case by the utterly ridiculous broadcast schedule. Four episodes, then a two-month break? What fuckwit came up with that idea? And now Discovery.
Here’s a newsflash for the ViacomCBS board: fans aren’t going to wait for the mediocre Paramount+ to arrive. A lot of Trekkies will pirate the show, and a lot of viewers who had been looking forward to seeing it on Netflix just won’t bother; they’ll have forgotten all about it by next year. So let’s all sarcastically applaud ViacomCBS for hammering a nail into the coffin of Star Trek. I hope someone out there with a modicum of business acumen will be able to step in and save the day – but I’m not holding my breath.
The Star Trek franchise – including Discovery and all other properties mentioned above – is the copyright of ViacomCBS. This article contains the thoughts and opinions of one person only and is not intended to cause any offence.
A few months ago I wrote an article about how space exploration has become boring. The title was deliberately provocative, and of course it goes without saying that I’m approaching the subject from the point of view of a layman. But the point I made stands – it’s been a very long time since any mission to space, and even longer since any crewed mission to space, was of anything more than minor interest.
Many space missions in recent years saw unmanned probes launched, satellites placed into orbit, and the only missions with crews aboard visited the International Space Station. The ISS is without doubt an amazing feat of technology and engineering – but after more than two decades of permanent inhabitation, it’s long since lost much of its interest from the point of view of the layman. Scientifically and technologically space continues to be very important, but for me – and many other folks as well – it’s no longer the inspirational, aspirational place it once was.
Partly that’s a consequence of the scaled-back nature of crewed missions, the budget cuts space agencies have faced since the end of the Cold War and its associated space race, and perhaps the difficulty, expense, and length of time required to undertake missions to places we’ve never been before. But regardless of the cause, missions to space in the real world have lost much of their lustre over the decades, and no longer feel as special or as interesting as they once did.
But William Shatner’s recent trek to space was different. Even an old cynic like me felt genuine awe and wonder at the idea that Shatner – Captain Kirk himself – was actually going into space. For decades, journeys to space were the exclusive purview of a tiny number of well-trained air force pilots and scientists. Just getting into the astronaut or cosmonaut programmes required either a career as a high-flying ace fighter pilot or a doctorate in a relevant scientific field. There have been attempts to put spaceflight within reach of more people – Christa McAuliffe, who died in the Space Shuttle Challenger disaster, was set to be the first teacher to travel into space. But generally speaking, becoming an astronaut and travelling to space was out of reach for practically all of us.
People like Elon Musk and Jeff Bezos have talked in vaguely-defined terms about future missions to space or to Mars that would bring along more civilians and regular folks, but those missions seemed like a long way off. Then came missions in the last couple of years taking paying passengers – but at such a high cost that space felt like a playground for the billionaires’ club and was still beyond the reach of most ordinary people.
William Shatner’s space flight has gone a long way to challenging all of those perceptions. There’s something truly inspirational about the idea of Captain Kirk actually going into space; just writing those words feels incredibly surreal. This character was at the head of a television show and a franchise that, for more than half a century, has done more than any other to inspire people to look to the stars and to look to a future where space travel will be something anyone can participate in. And here he was, actually making that dream a reality in the real world.
It’s impossible to overstate the importance of Star Trek as an inspirational franchise. Generations of people have watched the series and been inspired by its message, its morals, its optimism, and its technology. The franchise has a track record of bringing its technologies to life – everything from tablet computers, wireless communicators, video calling, and more were “predicted” by Star Trek before becoming a reality. And perhaps that’s what makes William Shatner’s space flight so inspiring – he made the dream of going to space come true as well. There’s hope that, if Captain Kirk can actually travel into space, as Star Trek depicted all those years ago, perhaps the rest of us can too.
Not to be impolite, but at the age of 90, William Shatner isn’t in the prime of his life in terms of his physical condition. He looks great for 90, don’t get me wrong, but there’s a bit of a belly, a few too many wrinkles, and the ever-present toupée! But I’m not here to criticise any of that – because it’s those things that make his journey to space even more astonishing and aspirational. Not only is Captain Kirk himself in space, but here’s someone who’s older than any previous space traveller, who isn’t in the best shape of his life, and yet still it was possible to undertake that incredible journey. By simply being who he is, Shatner has once again inspired millions of folks who might’ve felt space travel was beyond them. Perhaps they felt they were too old, or they have a health condition, or something else. But seeing William Shatner at age 90 boarding that rocket and floating around up in space demonstrates to all of us that such a journey might be possible after all.
To me, that’s the success of this latest mission to space. For the first time in a very long time, a crewed space mission managed to get me genuinely excited and emotional; I felt I was sharing that moment with William Shatner and the others aboard the rocket. His sense of awe and wonder was so genuine, and the way he spoke and conveyed how it felt was passionate and beautiful.
There are still issues with space travel. The fact that it costs such an insane amount of money is going to be a barrier for a lot of people. But that was true of many inventions from the motor car to the aeroplane, and now those methods of travel are available to many more people than they were when they were first invented.
It feels like we’re on the cusp of a new age of space exploration. No longer will space be the exclusive realm of government-funded agencies, gated off to all but a select few people who were privileged enough to be able to head down the perfect career path. Commercial spaceflight has the potential to open up space to untold millions of people – and not just for short fun jaunts either. Orbital hotels, moon colonies, the exploration of Mars, and so many more things all feel one step closer today than they did just a few short weeks a