Monday, 25 October 2021

ALL Comedy is Rooted in FEAR --

It has often been said that 
ALL Comedy is rooted in FEAR -- 
The Things That Make Us Laugh 
are VERY Closely Related to 
The Things That FRIGHTEN Us.


The Physical Comedian ["Clown"] 
seems fated to be 
The Victim of His Own Comedy - 
and not only does he suffer from Violence.... 
He is also constantly at the mercy --
of MAGIC.

Many of The Tricks that 
The Comedian uses to AMUSE us 
are similar to those 
The Magician uses to ASTONISH us.

For instance, a lot of visual jokes are based on 
people suddenly appearing or disappearing.

The Sudden Appearance or Sudden Disappearance 
are important elements in Slapstick
if someone falls over, it is funnier 
if they DISAPPEAR at the same time.

And The Farce of People 
Running In and Out of Doors is comic, 
because it provides a RAPID SEQUENCE of Appearances and Disappearances - 
The faster a character shoots in and out of vision, the more effective it is likely to be.

Apart from Appearances or Disappearances, the main business of The Magician 
is to achieve TRANSFORMATIONS, turning ONE thing into Something Else - 
A Magical Transformation becomes comic when it is ABSURD, as well as astonishing.

The first person to make 
surreal jokes using FILM Magic 
was Georges Melies
working at the turn of the century. 

His films are full of Sudden Appearances, Disappearances and Transformations
achieved through simple camera tricks - of course, when The Comedy depends on tricks like these, 
it has more to do with The Mind BEHIND The Camera than The Performer in FRONT of it.

He has to resign himself to becoming 
A Victim of The EFFECTS. 
The most commonly-used effect 
is to speed up The Action - 
This makes any movement 
look mechanical, and therefore comic. 
It was a device much used by Melies, and it has NEVER gone out of fashion.

It has often been said that 
ALL Comedy is rooted in FEAR -- 
The Things That Make Us Laugh 
are VERY Closely Related to 
The Things That FRIGHTEN Us."

Sunday, 24 October 2021

Enemy








You’re Doing Too Much.



Underground control room]

SWANN
Welcome back, Salamander. 
Are you all right? 


SALAMANDER
Don't don't come too near, my friend. 
I am not yet decontaminated. 
I am too weary. 
Too utterly weary. 


SWANN
You shouldn't have made this trip, Salamander. 
You're doing too much. 


SALAMANDER
Someone has to bring back the food for you, my friend, huh? 
You know that the radiation is slowly killing me, don't you, Swann? 


SWANN
You're just doing too much. 


SALAMANDER
I worry about you all the time. 
What're you going to do when I am no longer here? 


(Salamander walks into a decontamination booth. The Geiger counter chatters.) 


SALAMANDER
The radiation gets a little more each time, huh? 
One day, that needle will stay at maximum radiation. 


MARY
Don't say that. 


SALAMANDER
Why, Mary, Colin. 
It's my big joke, huh? 
Just to frighten you a little. 
I've got good news for us. 


COLIN
We can return to the surface? 


SALAMANDER
No, no, no, not yet, but I've found another store of food. 


COLIN
Thank goodness! 


SALAMANDER
And it is undamaged. 
Colin, open the last store of wine, huh? 
Go on, you help him too, Mary. 

(Colin and Mary leave.) 


SWANN
You must take it slowly, for goodness sake. 


SALAMANDER
I'm all right my friend, I'm just a little dizzy. 
It's terrible up there, you know. 
Swann, you've no idea. 
Right, I am ready.

[Underground main room]
(The wine is being poured.) 


SALAMANDER
Here we are, my friends. 


(They cheer him.)


SALAMANDER
Oh please, no. It is enough that I am back with you again and I have brought food for you. 
Plenty of food. 


SWANN
Here's to the man who contrived
 —

SALAMANDER
Please, Swann. 
I remembered on my way back down here that we are near our anniversary again. 
In a few short weeks, We Survivors will have been down in this shelter for exactly five years. 


CROWD
Five years. 


SALAMANDER
Colin and Mary were just teenagers then. 
Look at them now. 
We fed ourselves. 
But what's more than that, we are fighting back
We are doing something! 


CROWD
Yes! Yes! 


COLIN
Will we return to the surface, Salamander? 


SALAMANDER
Yes, of course we will. 
This is what I'm striving for. 
But up there, it's terrible still. 
The War goes on and on, and you never know when the air is clean or when it's poison. 


COLIN
When can we return? 


SALAMANDER
We have to fight for a while longer, hmm? 
Creating natural disasters, monsoons, 
earthquakes, volcanic eruptions, 
always in the places where The Enemies of Truth and Freedom gather together. 


COLIN
You tell us this all the time, Salamander. 
When are we going to escape from this nightmare prison, 
that's all I'm asking you? 


MARY
Colin, please. 


COLIN
I want an answer! 


SALAMANDER
You shall have an answer, my friend. You will return to the surface when you have a good chance of survival. 


(Salamander staggers.) 


COLIN
You are ill.


SALAMANDER
No, no, it's all right. 
But you must believe me. 
Colin, all of you. 
You cannot return to the surface until is safe to do so. 
Please my friend, we must, we must


(Swann and Salamander return to the control room.) 


MARY
You shouldn't have asked him, Colin. 
He's doing his best. 


COLIN: I can't help it, Mary. Next time, I'm going to make him take me with him. 


MARY: No. You know the others didn't come back. 


COLIN
I've got to. 


MARY
Then take me with you. I'd rather die with you up on the surface than live down here without you. 


(At the control room door.) 



SALAMANDER
No, Swann. We must check the power levels, huh? 

(Salamander closes the door. Swann returns.)

SWANN
All right, everyone to their places, please. Salamander wants to check the power levels. Come along there, come on. Full blast, that's right. Check the meter levels. Full power on line one, Salamander.

[Underground control room]
(Salamander has his feet up and is smoking a cigar.)


SALAMANDER
Oh, good, good. 


SWANN [OC]: 
No faults indicated. 


SALAMANDER
Excellent. 

Evil of….






The Cosmic Hobo
Why have you brought us here? 
Who are these enemies of yours, 
these ones you say control you? 


MAXTIBLE
Brilliant minds, Doctor. 


WATERFIELD
They are monsters. 


MAXTIBLE
Oh, I admit, Waterfield, 
They have behaved callously. 


WATERFIELD
Inhuman monsters! 


The Cosmic Hobo
Inhuman? 


WATERFIELD
Creations of The Devil! 

MAXTIBLE
Let me explain. 


The Cosmic Hobo
Please do. 


MAXTIBLE
I have always been fascinated by the 
concept of travelling through Time

Waterfield here is an expert in certain technical matters 
and I have the money to indulge my whims. 

Everything you see about you here was constructed by us two. 

The Cosmic Hobo
To try to find a way of exploring Time? 


MAXTIBLE
Yes. Now this is my theory. 
A Mirror reflects An Image, does it not?

The Cosmic Hobo
Yes. 


MAXTIBLE
So, you may be standing there, and yet appear to be standing fifty feet away
Well, following the new investigations twelve years ago 
by J Clark Maxwell into electromagnetism 
and the experiments by Faraday 
into static electricity. 


The Cosmic Hobo
Static? 


MAXTIBLE
Correct. Waterfield and I first attempted to refine The Image in The Mirror
and then to project it. 

In here, Doctor, are 
one hundred and forty four separate mirrors. 


(They are behind a pair of gothic pointed doors.) 


WATERFIELD
And each is of polished metal. 
Each is subjected to electric charges, 
all positive. 

MAXTIBLE
Like repels like in electricity, Doctor, 
and so next, Waterfield and I 
attempted to repel The Image in the mirrors, 
wherever we directed.

The Cosmic Hobo
You mentioned static electricity. 


WATERFIELD
That was our last experiment. Negative and positive electricity had failed, so we tried static
If only we could have known the powers we were going to unleash. 


The Cosmic Hobo
Powers? 


WATERFIELD
In the middle of our final test with static, creatures burst out of the cabinet, invaded the house, took away my daughter. 


MAXTIBLE
Oh, my dear fellow. 
My dear, dear fellow. 
But we shall win through now that The Doctor is here. 


The Cosmic Hobo
These creatures…

WATERFIELD
We had opened The Way for Them with our experiments. 
They forced me into the horror of time travel, Doctor. 
They ordered me to steal a box belonging to you and thus lure you into a trap 
and transport you here, together with your colleague Mister McCrimmon. 


The Cosmic Hobo
They knew about me, these creatures. 


MAXTIBLE
They gave us likenesses. 


WATERFIELD
What could I do? 
They said my daughter would die. 


The Cosmic Hobo
What are they called, these creatures? 





JAMIE
Not a sign of him. 
The only chance we had. 

The Cosmic Hobo
There is this. 
(the matchbook) 
The Tricolour. 
It's a coffee bar, apparently. 
And that's not all. 

JAMIE
Well, what else? 

The Cosmic Hobo
Well, normally people pull out their matches 
from right to left. 
These have been torn out from left to right. 

JAMIE
What does that mean? 

The Cosmic Hobo
It means we've got to find 
a coffee bar called The Tricolour
and look for a man called 
Ken or Kenneth someone, 
who's left-handed. 

JAMIE
Now we've got something to go on. 

The Cosmic Hobo 
But it's so little, Jamie. It's too little. 
He might only have been there once. 
There's no guarantee he'll ever go there again

JAMIE
Now, don't give up Doctor —
Remember Bruce

The Cosmic Hobo
Bruce? 

JAMIE
Robert Bruce.




Power of….








[TARDIS]
(The Doctor has regenerated after his ordeal with the Cybermen and energy-draining Mondas. Ben and Polly watched him change into a younger person.) 


POLLY: 
His face, his hair, look at it. 


BEN: 
He's breathing, 
and the TARDIS seems to be normal. 


POLLY: 
Ben, what are we going to do? 
We can't just leave the Doctor there. 


BEN: 
What, him? The Doctor? 


POLLY: 
Well, that's who came through the doors. 
There was no one else outside. 
Ben, do you remember what he said in the tracking room? 
Something about 
'This old body of mine 
is wearing a bit thin.' 


BEN
So he gets himself a new one? 


POLLY: 
Well, yes. 


BEN: 
Oh, do me a favour. 


POLLY: 
Then whatever happened, 
happened in here. 


BEN: 
But it's impossible. 


POLLY: 
Not so long ago we'd have been 
saying that about a lot of things. 


(The man on the floor moans and opens his eyes. As he struggles to sit up, a searing pain nearly cripples him. Clutching his head, he stares wildly at Ben and Polly, his vision blurred. We hear the thumping of his headache, or is it heartbeat?) 



The Cosmic Hobo
Stop. Stop. 

Concentrate on one thing
One thing




(The man turns his attention to the Tardis console, focusing on the controls. The thumping becomes slower and softer. At last his vision clears. The man removes his hands from his face and looks around him, his features brightening in relief.) 


The Cosmic Hobo
It's over. (chuckles) 
It's over. 


(The man scrambles to his feet, wobbling unsteadily. Ben and Polly watch but make no attempt to help as he circles the Tardis console as if reacquainting himself with the controls. His clothes hang off his slight frame, much too big, and he struggles to unfasten the heavy cloak that threatens to trip him up. 


As he does so, an ornate ring drops to the floor.) 


BEN
Doctor? 


(As The TARDIS engine springs to life and dematerialises, the man raises his hands to his face once more, feeling his features as if they belonged to a stranger. Polly moves to pick up the fallen ring, eyeing the newcomer with open curiosity and a little unease. The little man makes his way over to a storage chest, his stiff-legged gait reminding Polly of a small child learning to walk. He trips, but recovers quickly.) 


The Cosmic Hobo
The muscles are still a bit tight. 


BEN: 
What are we going to do? 


POLLY: 
It is The Doctor. I know it is. 
I think. 


BEN: 
It's not only his face that's changed. 
He doesn't even act like him. 


(The stranger is rummaging through the contents of the chest.) 


BEN: 
Come on, it's time we sorted this out. 
Now look here! 


The Cosmic Hobo
Hold that. 

(He hands Ben a mirror.) 


The Cosmic Hobo
Tilt it. 


(The man gazes intently at his reflection. The face in the mirror has a mop of black hair and dark green eyes. Momentarily the image blurs and changes to that of an older, white-haired man before changing back again.)

(Apparently satisfied, the man turns his attention back to the storage chest.) 


BEN
Have you done with this? 


The Cosmic Hobo
Put it down. Put it down. 


BEN
Now what's the game? 


(The man turns, cheerfully brandishing an ornamental dagger.) 


The Cosmic Hobo
Ah! The Crusades, from Saladin
The Doctor was a great collector, wasn't he? 


POLLY
But you're the Doctor. 


The Cosmic Hobo
Oh, I don't look like him. 


BEN
Who are we? 


The Cosmic Hobo
Don't you know? 


(The man rummages further and pulls out a piece of dull silver metal. His look of mischief fades as the object triggers a very clear memory.) 



The Cosmic Hobo
Extermination.

Wide Shut





“Turning to the contents of the Book of Enoch, the  announce the condemnation of transgressors and the blessings of the righteous, through the triumphal advent of the Messiah, forecast in the famous prediction quoted by the author of the Epistle attributed to Jude. 


Chapters . to . record the descent of two hundred angels on the earth, their selection of wives, the birth of their gigantic offspring, and the instruction of mankind in the manufacture of offensive and defensive weapons, the fabrication of mirrors, the workmanship of jewellery, and the use of cosmetics and dyes, combined with lessons in sorcery, astrology, divination, and astronomy -- all which Tertullian accepts as Divine revelation, when he denounces woman as the "Devil's Gateway,"  and assures her, on the authority of the inspired Enoch, that Tyrian dyes, Phrygian embroidery, Babylonian cloth, golden bracelets, gleaming pearls, flashing onyx-stones, and brilliant emeralds, with all the other adjuncts of an elegant toilette, are the special gifts of fallen angels to female frailty. The advent of the angels multiplies transgressions on earth, they are condemned to "the lowest depths of the fire in torments," and Enoch, as the messenger of God, announces to them the eternity of their punishment. Chapters . to . give a graphic description of the miraculous journeys of Enoch in the company of an angel, from whom he learns the secrets of creation and the mysteries of Infinity. From the top of a lofty mountain "which reached to heaven," he beheld the receptacles of light, thunder, and lightning, "the great darkness or mountains of gloom which constitute winter, the mouths of rivers and of the deep, the stone which supports the corners of the earth, and the four winds which bear up the earth, and constitute the pillars of heaven."  

Is not this obviously the inspired cosmology, through which the author of the Book of Enoch unconsciously condemned mediaeval physicists to the stake for impiously proclaiming the mobility of the earth? If an inspired prophet saw the stone which supports the corners of the earth, how inexpiable the guilt of men, who fostered scepticism through the heliocentric theory of a world coursing swiftly round the sun! But had not the Book of Enoch disappeared for centuries out of Europe, before the persecution of Galileo and the martyrdom of Bruno? We answer that its teaching had survived, as numerous other superstitions have passed from generation to generation long after all knowledge of their origin has been lost to the theologians who accept them as Divine.


In the "Evolution of Christianity" we cite the following passage from Irenaeus: "It is impossible that the Gospels can be more or less than they are. For as there are four zones in the world which we inhabit, and four principal winds, while the Church is spread abroad throughout the earth, and the pillar and basis of the Church is the gospel and the spirit of life, it is right that she should have four pillars exhaling immortality on every side, and bestowing renewed vitality on men. 

From which fact it follows that the Word has given us four versions of the Gospel, united by one spirit." We now recognize that this fanciful theory of a limited number of Evangelists is based on the cosmology of Enoch; and if in the second century, Irenaeus accepted the visions of an antediluvian patriarch as facts, the traditional survival of the earth's "corner stone" doubtless controlled the orthodox astronomy of mediaeval theologians. 

Proceeding on his journey with the angel Uriel, Enoch furthermore beheld the prison of the fallen angels, in which struggling columns of fire ascended from an appalling abyss. He saw the regions in which the spirits of the dead await the day of judgment; he looked upon the trees of knowledge and of life, exhaling fragrant odours from leaves which never withered, and from fruit which ever bloomed; and he beheld the "great and glorious wonder" of the celestial stars, coming forth through the "gates of heaven." 





Chapters . to . record the second vision of wisdom, divided into three parables. The first depicts the future happiness and glory of the elect, whom Enoch beheld reclining on couches in the habitations of angels, or standing in thousands of thousands and myriads of myriads before the throne of God, blessing and glorifying Him with celestial song, as the Holy, Holy Lord of spirits, before whom righteousness eternally dwells. As Enoch uttered his prophecies respecting the elect, before the existence of Christianity, it is important to learn in what sense he understood the doctrine of election. The language of the first parable happily leaves no room for doubt--"The righteous will be elected for their . good works duly weighed by the Lord of Spirits."  Election, therefore, traced to its original source, means nothing more than Divine "selection of the fittest"--a theory more consistent with the justice of God, than the capricious choice of the metamorphical potter, whose arbitrary fashioning of plastic clay symbolized, in Pauline theology, the doctrine of predestination. The second parable (.-.) demands the absorbed attention of modern Jews and Gentiles; for it is either the inspired forecast of a great Hebrew Prophet, predicting with miraculous accuracy the future teaching of Jesus of Nazareth, or the Semitic romance from which the latter borrowed His conceptions of the triumphant return of the Son of Man, to occupy a judicial throne in the midst of rejoicing saints and trembling sinners, expectant of everlasting happiness or eternal fire : and whether these celestial visions be accepted as Human or Divine, they have exercised so vast an influence on the destinies of mankind for nearly two thousand years, that candid and impartial seekers after religious truth can no longer delay inquiry into the relationship of the Book of Enoch with the revelation, or the evolution, of Christianity. 

The third parable (.-.) recurs, with glowing eloquence, to the inexhaustible theme of Messianic glory, and again depicts the happy future of the righteous in contrast with the appalling misery of the wicked. It also records the supernatural control. of the elements, through the action of individual angels presiding over the winds, the sea, hail, frost, dew, the lightning's flash, and reverberating thunder. 

The names of the principal fallen angels are also given, among whom we recognize some of the invisible powers named in the incantations inscribed on the terra cotta cups of Hebrew-Chaldee conjuration. Chapters . to . contain the "book of the revolutions of the luminaries of heaven," the sun, the moon, and the stars, controlled in their movements by the administration of angels. 

In commenting on this section of the Book of Enoch, Archbishop Laurence says, "This system of astronomy is precisely that of an untutored, but accurate observer of the heavens. 

He describes the eastern and western parts of heaven, where the sun and moon rise and set, as divided each into six different gates, through which those orbs of light pass at their respective periods. 

In the denomination of these gates he begins with that through which the sun passes at the winter solstice; and this he terms the first gate. It of course answers to the sign of Capricornus; and is the southernmost point to which the sun reaches, both at rising and setting. 

The next gate, at which the sun arrives in its progress towards the east at rising, and towards the west at setting, and which answers to the sign of Aquarius, he terms the second gate. 

The next, in continuation of the same course of the sun, which answers to the sign of Pisces, he terms the third gate. 

The fourth gate in his description is that which is situated due east at sun-rising, and due west at sun-setting, and which, answering to the sign of Aries, the sun enters at the vernal equinox. 

With this fourth gate he commences his account of the sun's annual circuit, and of the consequent change in the length of day and night at the various seasons of the year. 

His fifth gate is now to be found in the sun's progress northwards, and answers to the sign of Taurus

And his sixth gate is situated still further north; which, answering to the sign of Gemini, concludes at the most northern point of heaven to which the sun arrives, and from which it turns at the summer solstice, again to measure back its course southwards. 

“Hence it happens, that the same gates which answers to the six signs alluded to in the sun's passage from the winter to the summer solstice, necessarily also answer to the remaining six of the twelve signs of the Zodiac in its passage back again. 

"The turning of the sun both at the winter and summer solstices, the first at the most southern, the last at the most northern point of its progress, must have always struck the eye of those who contemplated the variety as well as the splendour of its daily appearance. The astronomy of the apocryphal Enoch was perhaps formed in this respect upon the same principles as the astronomy of Homer, who places the situation of the island Syrie under the turning of the sun, othi tropai eelioio (Odyss. lib. xv. 404)." 

Chapters . to . contain a vision of Enoch giving an allegorical forecast of the history of the world up to the kingdom of the Messiah. Chapter . records a series of prophecies extending from Enoch's own time to about one thousand years beyond the present generation. In the system of chronology adopted, a day stands for hundred, and a week for seven hundred years. Reference is made to the deluge, the call of Abraham, the Mosaic dispensation, the building and the destruction of the Temple of Solomon--events which preceded the date at which the Book of Enoch was probably written: but when the author, in his character of a divinely inspired seer, extends his vision beyond the horizon of his own age, he discloses the vanity of his predictive pretensions, through prophecies which remain unfulfilled. If, however, the Book of Enoch had reached us through the Western, as well as the Ethiopic Canon, apologetic theologians would doubtless affirm that centuries are but trifles in prophetic time; and that the predictions of the great antediluvian prophet shall, sooner or later, attain miraculous fulfilment. Chapters . to . contain the eloquent exhortations of Enoch, addressed to his children, in which he follows Buddha in commending the "Paths of Righteousness," and anticipates Jesus in pronouncing the doom of sinners and the joys of saints, and gives utterance to the most emphatic assurance of immortality which has ever flowed from human lips: "Fear not, ye souls of the righteous, but wait with patient hope for the day of your death in righteousness. Grieve not because your souls descend in trouble and sorrow to the receptacle of the dead; for great joy shall be yours, like that of the angels in heaven. And when you die, sinners say concerning you, 'As we die the righteous die. What profit have they in their works? Behold, like us, they expire in sorrow and in darkness. What advantage have they over us? Henceforward are we equal; for behold they are dead, and never will they again perceive the light.' But now I swear to you, ye righteous . . . that I comprehend this mystery; that I have read the tablet of heaven, have seen the writing of the holy ones, and have discovered what is written and impressed on it concerning you. I have seen that all goodness, joy, and glory have been prepared for you. . . . The spirits of you who die in righteousness shall exist and rejoice; and their remembrance shall be before the face of the Mighty One from generation to generation.  How profound the impression necessarily produced on the Semitic imagination by this impassioned language, uttered in an age of faith in inspired dreams and celestial visions by a supposed visitant of the unseen world, who had conversed with angels in the presence of the Lord of spirits! 

The final chapter of the Book of Enoch records the birth of Noah, and the further prophecies of Enoch, addressed to Methuselah on the subject of the birth of Noah and the future deluge.

Your So-Called Life


Q
The Borg is The Ultimate User.

 They're unlike any threat your Federation has ever faced. 

They're not interested in Political Conquest, Wealth or Power as you know it. 

They're simply interested in Your Ship
its Technology

They've identified it as something they can consume.

RIKER
You brought us here
you exposed us to Them
and you cost us the lives 
of our shipmates 

Q
Oh, please. 

PICARD
Number One —
Eighteen of Our People have died
Please, Tell Us this is 
one of Your Illusions.

Q:
Oh, no. This is as real 
as your so-called 
“Life” gets.

(And he vanishes



In the revised final draft of the script, in the scene in the observation lounge where Riker confronts Q about how he exposed the Enterprise to the Borg, which led to the deaths of eighteen crewmembers, his temper flares and he moves to assault Q, who warns Riker to stop or he would kill him. 

In the final aired version, Q merely dismisses Riker's comments with an "Oh, please.

This is the only Q episode that Maurice Hurley wrote. Melinda M. Snodgrass commented, "Maurice Hurley always thought Q was here to teach us a lesson, to guide and instruct us."

….because You are Trying to Have Heaven without God




“Now, Post-Modern Theology is quite a proposition — because you’re saying you want to have Theology without God.






Shatner :
Did you realize that The Next Generation, 
it was possible to characterize it as 
Gene Roddenberry's 
Dream of Heaven? 

Branon Braga :
I would never have thought that at the time
but now that we're talking,  
with his conception of The Future 
and Human Beings in The Future, 
and Q — Q is God

I mean, just look at the character, 
look at everything about 
the character. 

Shatner :
Gene was a well-known Atheist, 
but he invents Q

Q. :
Typical, so Typical. 
Savage Life Forms 
never follow even 
Their OWN Rules.

Ronald D. Moore :
As I sit here it's pretty startling — 
God's a character, a LITERALISED character, 
on Star Trek : The Next Generation. 

Shatner :
By An Atheist. 

Ronald D. Moore :
By An Atheist. 
Very interesting.



Hurley
Gene's IDEAS about 
The Future and about Man  — 
are wacky doodle

He sees Us now in Our Infancy 
where we just gather and accumulate 
like a three-year-old in a crib,

That's Mine, that's mine, 
give me this, you can't have that 
I need this, I need that.

He believed that Mankind in the twenty-fourth century had •resolvedALL Conflict between themselves.


Dorothy Fountuna
That developed between the first Star Trek 
and the second Star Trek. 

David Gerrold
Back in the 60's, Gene wanted 
to be The Womaniser and always 
gets the beautiful woman and always 
punches out The Bad Guy 
and always wins. 

And in 1986, Gene is not going to be 
down there on the front lines punching, 
but he WILL be The All-Seeing ADVISOR
The WISE Man.

Shatner
The real Trouble in Year One
is the dictumshow to 
get a good script OUT. 

If you tell A Writer that the characters can't have conflict between them, you're just cutting his legs off. 

Some writers really chaffed against 
Gene's Vision of A Better Future 
where there was No Conflict —
The ESSENCE of Drama is Conflict.


“There was No Evil.”

“There's No Money anymore. 
There was No Jealousy
There's No Fighting anymore. 

No separate Individual 
GOALS or IDEAS — 
We just negotiate

No Tension, what?”


Branon Braga :
I liked the Dramatic Constraints 
it put on ME as A Writer.”

Shatner
Really

Branon Braga :
Well, I had to find new ways 
to tell stories.”


“When you look at The Original Series 
there's a LOT of Conflict between 
those characters, they argue a lot, 
and crewmen on The Enterprise 
are YELLING at each other — 

If Our People are Perfect and have No Conflicts 
or Problems between them, 
there is no STORY here. 

We would walk around in each others' offices going, 
"I don't know how to write about that, 
I don't know how to write about Perfect People.

Hurley :
That was Gene's vision of 
Star Trek: The Next Generation, take it or leave it 
and work within it or DON’T.

I don't think you can sustain a show 
where the characters are not 
accessible to the audience. 

Where you don't see somebody 
over coming A Flaw, 
if there's no Conflict and no tension 
between people, then there's no relationship 
between people and that show will wither

And that's what was happening. 

I tried to make it sustainable, 
I wanted to create this new adversary, The Borg
I want the Federation to form allies against this OVERWHELMING, awesome adversary. 

At the end of the first season 
there's an episode called ‘The Neutral Zone’, 
which was the arc for the second season, 
and the arc for the second season was going to be 
Here come The Borg.

At the end of the second season 
they DEFEAT The Borg.”

Shatner : 
Then what happened? 

Hurley :
Writers Strike

End of the first season, 
Writers Strike begins. 
Couldn't talk to The Writers, 
couldn't talk to Roddenberry. 

And the hiatus dragged on and on and on, 
it was five and a half months


“Patrick kept saying the trouble with the show is 
there's not enough f-ing and f-ing. 

Fighting and Fornicating.

Patrick Stewart : 
And I said I have a feeling Our Audience 
might like to see Our Captain just getting 
blown away by meeting Somebody New.

Ira Stephen Behr :
The Writers were real excited. 
Well Rick says,You've got to 
go in to see Gene.’ 

So I go in and he's very nice but he says, 
‘I like the idea of The Pleasure Planet 
and I want it to be a place where 
you see women FONDLING and 
KISSING other women, 
and men HUGGING and 
holding hands and KISSING 
and we can imply that 
they're having SEX 
in the background.’ 

Huh? Really

I'm going, "Oh, man, I'm in 
The freakin' Twilight Zone." 

I go back to Rick, he goes, 
‘Pft, pay no attention to that, 
just get The Captain laid."

God King












Arthur :
Save him, Merlin.

Merlin :
He has no will to live. 

Arthur :
Bring him back, whatever the cost. 
Whatever the cost! Do it

Merlin :
So be it. 

Arthur :
Will he live?

Merlin :
Oh, yes.

Arthur :
Will Guenevere...? 

Merlin :
Yes.

Arthur :
Merlin, will I ever have a son? 

Merlin :
Yes. 

Arthur :
No riddles
nothing but a simple ‘Yes.’? 
That frightens me. 

Merlin :
But A King should 
be afraid, Arthur, always...
of The Enemy waiting everywhere...
in the corridors of his castle... 
on the deer paths of his forest... 
or in a more tangled forest...
in here

Arthur :
Welcome, welcome back.
 Take your place again, Lancelot.
My lord. Look! Sir Lancelot! 
He's back! 

No more going.

This is My Design.














I shoot Mr. Marlow twice, 
severing jugulars and carotids 
with near-surgical precision.

He will die 
watching me take
What is His 
away from him.

This is My Design.

I shoot Mrs. Marlow expertly 
through the neck.

This is not a fatal wound.
The bullet misses every artery.

She is paralyzed 
before it leaves her body.

Which doesn't mean 
she can't feel pain.

It just means 
she can't do anything 
about it.

This is My Design.