Tag Archives: Crisis of Infinite Star Treks

Crisis of Infinite Star Treks: All Good Things…

This is the 32nd and final entry in a surprisingly long series of posts about Star Trek’s future and its fandom called Crisis of Infinite Star Treks. It was… fun.

That’s not the finale shot you were thinking of? Patience…

Way back in November 2015, I started musing about the state of Star Trek… and I kept on blogging about Trek so much that in 2016, that I retconned those early posts into what has become Crisis of Infinite Star Treks. There have been long posts and shorter ones. This is one of the longer ones (not including all the linked articles and videos, it’s easily over 15 minutes).

It’s also the last one.

That’s because of the unstated premise of the whole series, that the Star Trek franchise was in trouble: the feature films were floundering after an underwhelming response to Beyond, there were no new TV series on the horizon, and many fans were behaving like a bunch of Klingons at a bar that just ran out of bloodwine. This was not something that could be fixed in 47 seconds by reversing the polarity.

Long story short: that premise no longer rings true.

I’m not going to be some stand-in for Captain Archer or Admiral Ramirez saying “the state of Star Trek is strong,” but circumstances have changed to the extent that I have a new premise.

That premise? The Star Trek franchise is doing fine. They have both an audience and a generally positive critical response to the latest show — enough so that the corporate owners of Star Trek are confident enough to expand their Trek offerings into concurrent shows (something we haven’t seen in almost 20 years). By any measure, they are boldly going.

Now, some folks don’t like what the corporate keepers of the Star Trek franchise are doing, which I’ll touch upon. However, the umbrage of a few long-time fans will not puncture said corporate keepers’ belief in the 21st Rule of Acquisition: “Never place friendship above profit.” Oh, they love fans and fandoms, but they’ll go for profit every time. And we, the audience, are benefiting (cue more umbrage).

So what makes me think that Star Trek is doing okay, or “operating within normal parameters?” Read on!

CBS Succeeded with Star Trek: Discovery

If you recall in a previous Crisis of Infinite Star Trek entry, I mused that Star Trek: Discovery was in the precarious position of needing to find a new audience, please old fans, and launch a whole new streaming service.

Okay, technically, CBS All Access has existed since 2014, but CBS executives were up front that they were using the launch of Star Trek: Discovery in 2017 as their incentive to get viewers to sign up.

And it worked.

They had record sign-ups in the wake of the Discovery premiere and, as of earlier this year, over 4 million subscribers. In fact, they had a 2020 goal for streaming subscribers that they’ve already met in 2019.

Now, this isn’t all thanks to Star Trek: Discovery. Like any network (or streaming service) in these content-hungry days, CBS All Access has added a whole bunch of original programming. However, just like Netflix had found success in “flagship shows” like first Orange is the New Black and now Stranger Things and HBO has certainly found with Game of Thrones, Star Trek: Discovery is something execs clearly credit with the streaming service’s success.

CBS All Access was never going to be a “Netflix killer.” That will happen (or not) with the launch of Disney+, Peacock, and Apple‘s offerings (The Mandalorian is reportedly the most popular show in the world right now). Tremors have already been felt in Netflix’s subscriber base in 2019 and it’s a safe bet that all the streaming providers will find where they rank in consumers’ personal hierarchies of content in 2020.

But in terms of content, CBS has a playbook and it’s using it. And Star Trek is a huge part of the playbook.

The naysayers who hate Star Trek: Discovery (and boy howdy, some people hate it) aren’t on the field, aren’t making the calls, and are not a critical mass that has prevented CBS All Access from achieving its millions of additional subscribers.

Multiple Trek TV Series are about to leave spacedock

Unless you’ve been down in a dilithium mine, you know that CBS has been working on new Star Trek series in addition to Discovery, including one that is particularly anticipated:

(Hint: It’s not just because they’re clearly leaning into the notion that Vulcans are Space Elves).

In addition to Picard, they also have one with Michelle Yeoh and Section 31, an animated comedy series with ” one of Starfleet’s least important ships” called Lower Decks, and maybe a series for Nickelodeon.

Having read industry news for some time by the likes of Hollywood Reporter and Variety, I’m used to pie-in-the-sky predictions of “multi-platform content leveraging” and other ridiculous business-speak at the announcement of massive development deals. The difference here is that both Picard and Lower Decks are in production. Both should premiere this year, presumably also with the third season of Discovery. Star Trek is used to not only having multiple series on the air, but also having a vast array of tie-in novels, comics, and so on. They’ve already leveraged “multi-platform content” and anything they’ve lost from being literally “on the air” in the era of streaming over broadcast, they’re more than trying to make up with social media and online presences.

In other words, CBS was testing the waters with Discovery, decided it was fine, and decided to rebuild the fleet.

You can learn more of what was revealed at San Diego Comic Con in this recap from StarTrek.com and also check out this panel video:

(note: the video above is about 40 minutes).

CBS and Viacom are back together

As most of you may only be vaguely aware, there was a split between the Star Trek film rights and the Star Trek TV rights due to a split between CBS Corporation and Viacom. I mean, that’s a really simple summary, but, as of August 2019, the companies decided to re-merge.

Along with the fact that all the Star Trek rights are now very much under one corporate roof (ultimately), this does end a host of weird conspiracy theories perpetuated online about how different this Trek could be from that Trek, etc. — none of which I ever heard from actual legal experts.

(I’m not saying that it’s a requirement that all intellectual property lawyers are Star Trek fans, but I will say that an inordinate number of intellectual property lawyers I know are Star Trek fans — and all intellectual property lawyers I’ve met, Star Trek fans or not, appear to love explaining the more non-intuitive aspects of intellectual property law).

So if you’ve avoided wacky conspiracy theories about the “legality of canon” and bizarre percentages thus far, congratulations on avoiding Internet crazy! Now go and enjoy some Trek!

General fandom remains grumpy

Okay, so one thing you might not be able to avoid is the current state of fandom. That’s not just for Star Trek, but for just about every bit of pop culture you can imagine. Fandom has gone mainstream, including some ugly bits. If you’re reading this, you’ve probably encountered this toxicity in one or more realms.

I mean, I had a good chuckle at Steven Porfiri’s 2018 piece in The Hard Times noting the increased unemployment in “pop culture gatekeepers.” Of course, satirical takes are fun and perhaps necessary, but that does not seem to have stemmed the tide of “rage lemmings,” which, admittedly, appears to be a feature, not a bug, for how social media is engineered to operate these days. (I don’t know who first used the term “rage lemmings,” but it’s a perfect term for this kind of umbrage).

And besides the sadly now garden-variety Internet outrage, there’s the perceived ownership and entitlement. To date, over 1.8 million people signed a petition to “remake Game of Thrones season 8 with competent writers.” Statistically, they can’t all have just been “blowing off steam” on the Internet or realizing “redoing” a whole television season is a crazypants idea from the get-go. Some of them must have believed HBO would acquiesce. Some Star Wars fans similarly wanted Last Jedi all but erased from existence Thanos-style. Some of them probably think that’s possible some way some how. But there’s no reality stone that will help them change this timeline where they’re so terribly disappointed in a creative work. The main action a fan can take is the same action they can always take.

Don’t watch it.

If the show or movie is sure to disappoint you, don’t waste your time.

Is that action disappointing in and of itself? Possibly. The difference nowadays is that there is so much more to see. We’re in a golden age of television, and if films or comics or music are one’s fancy, there’s plenty of great stuff to be found there too. It just might not be all the stuff you loved before.

If art is great, you get something different out of it as you age. But whether or not you get something out of a particular piece of art at every age, your relationship with art will change. I view the character of Batman differently than I did when I first read The Dark Knight Returns some 30 years ago. Heck, I view The Dark Knight Returns differently than when I did 30 years ago because of all my life experiences. But here’s the thing: all the comic writers of Batman in the past 30 years have almost certainly read The Dark Knight Returns and absorbed it and translated it into what they want to write about Batman here and now. And their relationship with Batman, by definition, is different.

The end result? You just might not be able to read every Batman comic anymore, to use an example from Susana Polo’s excellent article in Polygon. In it, she comes to terms with how she engaged with Batman comics as they went in directions that were at odds with her expectations. It’s hard because within the fandom is enthusiasm, ardor, and, yes, love.

You love something, but you don’t own it — and sometimes you walk away from what you love (or loved). Sometimes you have to.

This inability to walk away, or even to admit that –no matter how much the fandom informs your identity– you are not owed anything by the creators, is something that has puzzled a lot of the creators… who are also fans.

For example, George R. R. Martin, the creator of the book series that begat Game of Thrones, started as a fan writing fanzines. He finds both the success of Game of Thrones and the toxic backlash against it surreal.

(Incidentally, if you want much more about Martin’s very fannish odyssey, including his continued fandom for films and classic movie palaces, check out the full 90-minute interview at Maltin on Movies).

Polo and Martin and Maltin among others aren’t the only ones to find that there are particularly virulent and vitriolic strains of fandom these days — and how the Internet may aid and abet said strains. Rob Bricken, former editor at io9 and self-described “professional nerd” has an excellent, autobiographical take on it from September 2019. It’s ironic that, as “nerd culture” is arguably triumphant, there is reason to be embarrassed by one’s nerdiness again (the Rick & Morty “Szechuan Sauce” incident has to be chief among examples).

So what about Star Trek?

I know. I’ve spent many a paragraph just now not discussing Star Trek, but as many of you probably gleaned, I wanted to lay out the landscape of modern fandom and its endemic umbrage, because –boy howdy– is that the same landscape where Star Trek sits.

People hate Star Trek: Discovery. They hate it just as passionately as any the aforementioned hate for Game of Thrones or Star Wars or insufficient Szechuan Sauce. As with many of these hatreds, there’s a mix of old Star Trek fans who really haven’t cottoned to anything since the original series or original cast films, the ones who really don’t like it because of it feels to visually akin to the JJ Abrams films (which are too “pew pew” for their tastes), and the ones who don’t like it because of the visual discontinuity of it being a prequel with way more modern looking production design than the 60s.

Aaaand then there are those who don’t like it for the same old, same old ugly reasons involving a character’s race or gender or both — which you really don’t want to believe exists until you spend a few minutes looking at some comment threads and experience some of the embarrassment that Rob Bricken talked about above.

Perhaps most vexing to those who dislike recent Trek for creative reasons is that those who dislike recent Trek for bigoted reasons frequently cite the same reason creatively displeased fans cite: that the current Trek is not “true Star Trek.”

I sympathize for the earnestly displeased Trek fans (not the bigots), but arguing “true Star Trek” really isn’t the line to draw expecting no one will cross it.

First, unless one owns the intellectual property rights, there’s very little one can do to assert what is or isn’t “true Star Trek” in any way that matters.

(For anyone who doubts this, I am happy to introduce you to some of the aforementioned cheerful intellectual property attorneys who are Star Trek fans, which includes some who aren’t enamored of recent Trek.)

Second, true Star Trek includes Charles Napier as an exuberant singing space hippie.

One might say he’s one of the good old boys…

And actually, he’s not the only one engaged in cringe-worthy singing.

(According to some, this is the greatest moment in DS9.)

In other words, I think we can all take the fervor around “true Star Trek” down a notch.

I understand a lot of the critiques people have raised about more recent Trek even if I don’t agree with all the critiques. Not the bigotry, though. To quote Captain Kirk: “leave any bigotry in your in your quarters. There’s no room for it on the bridge.”

Fans of Star Trek are presumably ready to watch Star Trek because they want to see some of the same things they loved in the previous Trek incarnations. And if they’re not seeing anything to love, nothing that they loved in a previous version of Trek, it’s not illogical to ask, “Is this Trek?”

It’s also not illogical to conclude, “This is not my kind of Star Trek.”

Take, for example, the Michael Bay Transformers films. As near as I can tell, the pop culture cognoscenti and film critics in general have deemed them trash. Having seen the first film, I tend to agree, despite my general appreciation for John Turturro, Glenn Morshower, and seeing an AC-130 gunship in action.

It absolutely is Transformers and I don’t care for it. I could rage about the injustice of massive entertainment conglomerates ignoring me and my one data point of negativity — or I could get on with my life, perhaps revisiting the Transformers films when my expectations are appropriately managed. For example, I heard Bumblebee was pretty good and one of my kids was interested as well, so we might check that out some time.

Note that, in the case of Transformers, film critics and pop culture mavens have my back. They don’t like Transformers either. In fact, I haven’t heard any Transformers fans laud the films. But even with hundreds, nay probable millions of negative data points about the Transformers movies, they have continued to be commercially successful. Somebody likes them otherwise they wouldn’t make money. In fact, several somebodies must have watched every single one of Michael Bay’s Transformers films and liked them. That would make them, wait for it, Transformers fans.

Readers who have hung with me up until now will recall that one criterion I mentioned above was the millions of subscribers Star Trek: Discovery has arguably attracted to CBS All Access. The people who decide whether it’s responsible for such a feat, the CBS executives, have decided it has. That’s led to season two of Discovery, soon season three (shooting began in July 2019), and, of course, Picard, Lower Decks, and the other nascent series.

Now, people may rightly point out that the size of an audience does not necessarily correlate to how good a TV show might be. Star Trek fans may also point out how an honest-to-goodness letter-writing campaign helped keep the original series on the air… and expanded love of Star Trek in syndication and in the conventions in the 70s help give rise to the motion picture and, basically, all that followed.

In other words: fandom matters. Fan support matters. Studios, CBS executives in this immediate case, should listen to fans. All true. And in fact the executives and showrunners do listen to the fans in this case (as evidenced by various touches in Discovery, season two — and arguably the very existence of Picard).

But they don’t listen to fans to the exclusion of everything else… and they never did. Fan fervor didn’t see the first Star Trek series complete its original five-year mission. Robert Wise and the creative team behind the first motion picture were able craft a story beloved by many an old school Star Trek fan as “true Trek” despite an insane theatrical deadline. That didn’t prevent executives from radically changing course for the sequel. Many a fan would have none but the original cast when word of a new Star Trek series popped up in the mid-80s, but we still got The Next Generation.

Time and again, Star Trek fans have made their voices heard and time and again, the powers-that-be went ahead with something some fans were certain was going to be awful. It’s not like they’ve always been firing on all cylinders.

Sometimes they go to warp 10…

However, some of those fans’ furrowed eyebrows have been aimed at what turns out to be Star Trek II: The Wrath of Khan, The Next Generation, and Deep Space Nine. In fact, I know Star Trek fans that don’t like any of those Trek iterations.

Each new version of Trek is trying something different — and it’s rare that I find anyone who likes all the iterations. In fact, it’s highly likely that I and millions of other Trek fans will not like all of the new iterations. At the same time, it’s highly likely someone is going to experience Star Trek for the first time through one of those series and that will be “their Trek.”

Does it bother me knowing that someone is going to love the comedic hijinks of Star Trek: Lower Decks yet have absolutely no time for the rest of Trek? Would it irk me if they stopped watching the original series’ “The Doomsday Machine,” TNG’s “Chain of Command,” or DS9’s “In the Pale Moonlight” because they “were too serious?” Of course it would. But that’s my problem. They get to like what they like.

I did a ridiculously fannish “research project” of sorts in the past few years, rewatching –and in some cases watching for the first time– every single episode of every series of Star Trek. And I asked people about their favorites.

Guess what? Every single series, including some that aren’t invoked as often, like Voyager, Enterprise, and even the animated series, had its champions. Every iteration of Star Trek has someone standing proudly and saying, “that’s my Trek.”

People get to like what they like and they still get to be fans. Is it really any surprise that Discovery has fans?

Yet if you go strolling through social media amid fan groups or click on a fan news YouTube video, you’ll find fans who hate every inch of it and are eager to latch onto anything that can validate their antipathy. Changes in personnel? Must mean cancellation is soon! Emmy nomination for the title sequence? That’s because the rest of it sucks! I’m actually not going to link to these items because they’re easy enough to find if you want. However, it’s best to bear in mind that these are the people I talked about long ago as inhabitants of the Briar Patch, to make an oblique Star Trek reference. They like the inside baseball/Parrises squares nature of their conversations and either don’t want or can’t get out of their carefully built echo chambers.

How to best describe this? Well, the more benign inhabitants of these “Briar Patch” realms of thought get upset when they ask a question about Star Trek that has an obvious real-world answer, but no readily available in-universe one. So, for example, why did the uniforms change so radically from The Motion Picture to the Wrath of Khan? The actual answer is, naturally, that Nicholas Meyer, the director of Khan didn’t like the old costumes (and he wasn’t alone) and wanted new ones. He’s said so on at least one director’s DVD commentary.

I understand that it’d be fun, even cool, to have an elegant or clever reason that the fictional Starfleet changed the uniforms. It would help with the worldbuilding which is part of the fun of getting into any speculative fiction universe, science-fiction, fantasy, et cetera. But sometimes such in-universe explanations aren’t forthcoming because they simply aren’t a priority for the people making the show. Some reason on the uniform change may have been given in a Star Trek novel or other work which I’m unaware of, but we can enjoy Wrath of Khan without ever knowing that reason.

But for some fans, they can’t. It’s a missing worldbuilding piece whose absence tasks them. It tasks them and they will have it. They won’t give it up. In fact, if I had a slip of latinum for every social media thread where a Briar Patch denizen could not abide by real-world practicality and priorities, I could buy that moon off of Quark’s cousin. They must know. They are entitled to know. By pulling away the curtain that Star Trek is fictional is, in and of itself, rather offensive.

Now, add to this fan ire the notion that their experience, their viewpoint of Star Trek is the ‘correct’ one. It’s correct because of their level of knowledge, their time being a fan, and their outright devotion. Thank goodness not all Star Trek fans (or even Briar Patch denizens) operate this way. But for the commenters who produce volumes on how horrible Discovery or the J.J. Abrams films or whatnot are, that premise of knowing what the “true Trek” is –of even being empowered to be the judge of what “true Trek” is– comes through again and again. They hold that truth to be self-evident.

To point out that Star Trek is an economic entity as well as an object of fandom is to provide a wholly unwelcome real-world answer to their in-universe questions and longings. That they have no intellectual property rights to their object of fandom is an affront to how they want to interact with it. That decisions will be made in making Star Trek based on economic reasons is sinful. That people can love the current outputs of Star Trek that they do not love is basically heretical.

Into this contentious environment of Star Trek fandom comes Picard. Thomas Bacon has a wonderful article touching on Picard over at Screenrant.com. In it, he explores the divisions in Star Trek fandom and what avenue Picard may offer to fans disinterested to downright disgusted with the more recent offerings.

I find it ironic that, as sure as some people will keep hating Discovery, its success has helped usher in shows like Picard which promises to be a favorite of many a Star Trek fan. Myself? I’m ecstatic we’ll be exploring the prime universe past Nemesis and am hoping for notes of some of the best of Picard’s Next Generation episodes, with more than a few hints of Shakespeare.

And what about Axanar?

For readers who don’t know, Prelude to Axanar was a quite enjoyable 20-some minute Star Trek fan film that was released back in 2014. It featured professional actors, including Star Trek alumni, as well as some nice visual effects.

Over a million dollars was raised for a feature film version. For a variety of reasons, CBS/Paramount filed a lawsuit with the makers in 2015 and they settled in early 2017. The settlement allowed the makers of said fan film to make up to two 15-minute installments albeit without some significant members of the cast and crew who were involved with Prelude — who have since moved on.

I happily share the link to the original short above and would be open to check out any shorts the remaining team might make — though over two years since the settlement, they’re still busy raising money. The over a million dollars has evidently been spent (if allegations made in court documents are to be believed, many of those dollars went to personal expenses).

For anyone wanting to know more, I caution you that this does mean stepping squarely into the Briar Patch. You can read about my first delve into the controversies around Axanar back in 2016. As a good number of my entries here in the Crisis series were dedicated to Axanar, I felt I should close out thoughts on this topic as well, though my most linked and visited article, “The Naked Greed Time” pretty much sums up my disgust at it all. Suffice it to say, my disgust has not abated. In fact, there’s additional financial skullduggery that may have occurred.

I appreciate the folks over at Axamonitor (both its own site and a presence on Facebook) for continuing to monitor and call shenanigans on both the Axafaithful and some of the aforementioned rage-based fans. I need less umbrage in my life, and fan rage is something of an abyss for me, so much like those Transformers movies, I’m going to try and limit my contact. I suspect many of you will want to do the same.

The sky is no longer the limit

The wonderful note to end on? For me –and I hope for many of you– we don’t need to wallow in umbrage. This new year should bring us a host of new Star Trek to enjoy. We can simply be Star Trek fans.

Here’s another aspect of Star Trek fans that bears remembering: Star Trek has been made by Star Trek fans since the original series. Lucille Ball was a fan of the idea enough to override her board of directors to make Star Trek a reality. Michael Chabon, behind the first season of Picard, is more or less a lifelong fan. Fans often do justice to the objects of their fandom. However, just like the writers of Batman discussed above, their takeaways from Star Trek might be different from yours or mine. Their execution of said takeaways may not be perfect. In fact, I’d be surprised if they were. But, for me, they are always welcome.

I think of what J.J. Abrams (cue fan umbrage!) said in a recent interview about Star Wars, “

I don’t know anyone who has a spouse or a partner or any family member or any friend, who loves and agrees with every single thing that that person is and does. We have to return, I think, to nuance and acceptance. And so I feel like, as a Star Wars fan, do I love every single thing about each of the movies? No. But do I love Star Wars? Hell yes, I do.

J.J. Abrams, Esquire, November 2019

I know there are people who are so intent on hating this particular messenger, that they’ll ignore the message. Don’t be one of them. Fandom is mainstream and there’s a lot of stuff out there to love. For this new year, let people like what they like… and perhaps, find a few new things to like yourself. For myself, I’m guessing that will include Star Trek.

There it is…

Somewhere between the Nexus and Planet Hell

This is the 31st entry in a surprisingly long series of posts about Star Trek’s future and its fandom called Crisis of Infinite Star Treks. In some ways, I hope this is the penultimate entry.

And so, in a few more hours here in the United States, we’re about to see the launch of Star Trek: Discovery, the seventh (!) Star Trek TV series (yes, I’m counting the animated series, too).

I had planned on having a longer Star Trek retrospective finished by now. I’ve been working on it for a good chunk of the summer as readers may recall, but I’m still wrapping that up. In the meantime, you may be interested in my July post about what to look forward to with Star Trek: Discovery.

The stakes for Discovery are uncomfortably high. Perhaps not since The Next Generation (TNG) first aired 30 years ago has a Star Trek series got the same scrutiny about its potential success or failure — and I doubt fans will be as forgiving as they were back in the 80s, when many TV shows could try and “find their audience” for the first season or two. This was easier when you had less channels. Even TNG, which was syndicated, didn’t have the multi-faceted media competition Discovery will have now.

I’m happy to hear the beginning buzz is positive. Nevertheless, the expectations are very high both by longtime Star Trek fans and modern audiences. Many doubtless want to experience sci-fi bliss akin to being in the Nexus, that other dimension of delights favored by El-Aurians and Enterprise captains.

It’s almost certain that Discovery won’t be perfect. None of the series are. Nevertheless, it feels like knives are already being sharpened on social media, either to defend or attack the series (it’s probably because I visit a “briar patch” of Star Trek sites and Facebook pages). The dissection, dismissal, and defense of Seth MacFarlane’s recent Trek-inspired series, The Orville, almost feels like it’s a Spanish Civil War for fans looking forward to Discovery and those just waiting for it to let them down. I doubt it’ll be “Planet Hell,” but it sounds like anything less than 90% Nexus won’t do.

Adam Rogers has a great piece in Wired which charts out the very tricky bit of navigating Star Trek: Discovery needs to do as it attempts to win over longtime fans, fill corporate coffers, and become the poster child for how to be a flagship show for a streaming service. Check it out before you check Discovery out. I’m sure I’ll compare notes with some of you on the aforementioned social media.

I’ll be back for at least one more Crisis entry.

Prepare for Warp Speed. No, Really.

This is the 30th entry in a surprisingly long series of posts about Star Trek’s future and its fandom called Crisis of Infinite Star Treks.

A lot has happened in the months since my last Crisis post, so let’s focus on Discovery.

You mean we should check the orbit?

Fine, Star Trek: Discovery. We now have:

Aja Romano has a nice summary on Vox of what we know, and perhaps should know, about the upcoming series. The article is cautiously optimistic, as am I (and I’m very excited about both Michelle Yeoh and Jason Isaacs as Starfleet captains — they’re usually good in any role in which they’re cast).

Bill Allen on TrekFanProductions.com sums up many of my feelings about encountering new Star Trek TV series. His specific misgivings are different from mine, but they echo my journey through each new iteration of Trek, a journey that has always ended well (maybe not good final episodes, but good endings).

In the end: we have a brand new, official Star Trek series. And as Mr. Allen points out: that’s cause for celebration in Trekdom.

Given my previous installments, I should mention that, yes, Axanar continues (Not like Star Trek Continues, but still…). In case you hadn’t picked up from my last Crisis installment, I don’t have any hopes for us seeing further Axanar: certainly not the feature-length version and probably not the “two 15 minute segments” version. Posturing and acrimony remain should you care to throw yourself into that particular Briar Patch. I keep an eye on things, but at this point, my flying leg kicks on the matter are known.

In the meantime, if you’re itching for Star Trek fan films to tide you over until September 24th, there’s plenty to choose from. (This is assuming you have already re-watched all the canon TV series on Netflix). You can check out some of the latest episodes of the aforementioned Star Trek Continues. In fact, if you go to that same website with the Bill Allen post, you’ll see a whole page of fan film productions you might want to check out.

Fall will be here before you know it. It’s no longer a training cruise, people.

Prepare for warp speed.

P.S. Oh yeah, this Fall, there’s a Star Trek homage/parody from Seth MacFarlane which looks like it could potentially pick up the torch of Galaxy Quest. I’m hoping both shows are good.

Crisis of Infinite Star Treks: The Naked Greed Time

This is the 29th entry in a surprisingly long series of posts about Star Trek’s future and its fandom called Crisis of Infinite Star Treks.

Frankly, I though we’d all be done with all things Axanar by now, but since certain Star Trek “fans” continue to try and fleece other fans, I needed to weigh in again.

I’ll cut the chase: Axanar Productions (Alec Peters, et al), the folks who crowdfunded about $1.4 million to make a feature film and spent it all while not making said film are back trying to raise more money via Indiegogo.

Again: they raised a ton of cash promising to do something. They spent the cash, not doing at all what they promised — and are back to ask for more money. In this case, they’re saying it’s not for Axanar per se, but for a non-profit studio, even as they are losing their studio space (more on that below).

Before you –or anyone you know– sends them any money, know that there are two outcomes of any of their crowdfunding efforts based on their previous words and deeds:

  1. They are grossly incompetent, will waste any crowdfunds, and will not deliver on what they promised.
  2. They are insidiously greedy, will not deliver, and will spend crowdfunds on something other than what they promised.

I’m thinking they’re going with the slime-covered door # 2 in this scenario.

It’s not that starting a studio with a focus to help aspiring filmmakers tell their stories isn’t a bad idea. It’s quite cool, in fact. But it’s a tremendous undertaking that takes a particular passion. And I haven’t seen that particular passion of helping other people make films come from the Axanar crew.

What I have seen from Alec Peters and the Axanar crew has been not delivering on their own project — and the reasons why they haven’t delivered require one to maintain a level of cognitive dissonance that exceeds warp 10. And we all know how bad that gets.

Arguably transformative, but don’t go there.

I’ve mentioned this in both the 27th and 28th entries,  but it bears repeating: if you are to take Alec Peters at his word, working on Axanar has been:

1) A full-time job which is just a hobby, for which he
2) required a completely reasonable salary which is not a salary because he paid it back
3) to produce a professional feature film that is simultaneously a fan film
4) to be shot in a studio which is a commercial studio except when it’s not and is just a warehouse
5) and they were all ready to begin shooting in the beginning of 2016 yet the studio/warehouse still isn’t ready for shooting (and which they’re vacating by the end of April 2017).
6) and they have been working meticulously to get every detail adhere exactly to Star Trek canon because they’re doing this for the true Star Trek fans,
7) but this is in no way a Star Trek film
8) which the Axanar team knew could not be made the moment the lawsuit was filed in December 2015
9) which is one of the reasons the Axanar team continually argued they wouldn’t settle the lawsuit unless they could make that film the Star Trek fans really wanted
10) and so Alec Peters and Axanar spent the $1.4 million as promised
11) to make the Star Trek fan film that’s a professional film that’s not a Star Trek film
12) except they didn’t make the film.

So let’s say for the sake of argument that, upon much reflections, the Axanar team has decided they will channel their energies into creating a non-profit studio. Well, they’ve just said that, at the end of this month, they don’t have a studio!

Screenshot from the announcement. Clear as mud, no?

Have they updated their Indiegogo campaign meant to raise funds for this studio? From their own announcement, it’s quite vague about who owns what, except that Axanar Productions is now no longer intertwined with Industry Studios… though it sounds like Axanar Productions might still get the crowdfunding for this Industry Studios campaign, which would be odd. For example, who fulfills the studio rental perks?

What does Danny think of this?

And then the Axanar sets will need to be moved… somewhere. In fact, anywhere in the United States seems to be an option per the announcement. Are funds from this current campaign going to moving and storing the sets? Is using crowdfunding for Axanar activities even kosher under the settlement with CBS/Paramount?

Yeah, some clarification on the campaign page might be in order.

And if the Axanar sets move outside of California, is it even logical to try and have Axanar Productions located in California? As mentioned in a previous entry, they’ve been saying for over a year that they’re pursuing non-profit status and while the process is detailed, it really doesn’t take that long and California spells out the steps. If they really are at “step # 7” as the announcement indicates, we should know about their board of directors, their bylaws, and they could also mention the most important step: getting tax-exempt status from the Feds. (Hint: if you want to know what that could look like, look at what the Star Trek Continues crew did and posted on their website for all to see).


Those of you who have read my previous posts in this series know I have long since exhausted my patience with Axanar.

But you don’t need to be exhausted nor be a “hater” to choose Door # 1 in this scenario: they’re incompetent.

Axanar Productions crowdfunded $1.4 million and failed to deliver what they promised. They’ve just announced they won’t have a studio — the central tenet of this campaign. And frankly, I have to believe other studio spaces in the Los Angeles area have sprung up in the past few decades to meet indie filmmakers’ needs (and some may even be soundproofed!). Axanar doesn’t have a track record and they now don’t have the facility. They don’t deserve your money.

However, I’m going to still go with Door # 2: greed. They advertised this latest campaign as the natural progression of  their work, as if the 8,500 supporters of their Kickstarter campaign or 7,600 supporters of their previous Indiegogo campaign were wanting a studio instead of the Star Trek film advertised.

In space, no one can smell what they’re shoveling

And now the studio itself is out of their hands.

We already know the $1.4 million did not result in completed sets or a properly soundproofed studio. We also know from court documents that Alec Peters used crowdfunds on personal expenses. He also seems to like having a web of shell corporations, which really does not inspire trust.

Whether you think it’s incompetence or greed, Star Trek fans don’t let fellow fans donate to Axanar (and yes, that means Industry Studios, Quark Enterprises, or whatever other names they come up with). Spread the word.

And hey, feel free to let Indiegogo know about this dubious campaign as well.

UPDATE, April 8th, 10:30 ET
Evidently, realizing that their Indiegogo campaign being for a studio space they no longer control looks a tad sketchy (presumably even into Indiegogo), Axanar is trying to update the campaign.

If I wanted things this sketchy, I’d watch Monty Python.

UPDATE #2: April 9th, 2:30pm ET
Besides the various conversations happening on Reddit and the various Facebook groups (e.g. the original CPvA group, CPvA Alumni Pie Club, Axamonitor) Carlos Pedraza has written an update on the Axanar/Industry studio shenanigans on Axamonitor proper. Between that article and many of the screenshots on the Facebook group, you get the impression that the vitriol directed at people questioning Alec and Axanar’s motives is not at all uncommon — and just as ridiculous and silly. Of course, I’m probably only saying that because I’m clearly doubleplusungood.

Oh, and I’m thinking of introducing myself as “Bjorn Munson, Anonymous Blogger” in the future.

The Worst of Both Worlds: Axanar Edition

This is the 28th entry in a surprisingly long series of posts about Star Trek’s future and its fandom called Crisis of Infinite Star Treks.

Very far-reaching world events you may have heard of –and good ol’ work duties– have been dominating my attention for the past two weeks. However, for a small subset of Star Trek fans like myself, there has also been big Star Trek news of late:

First, Star Trek: Discovery is apparently delayed further.

Second, the CBS/Paramount vs. Axanar lawsuit has been settled — and the settlement apparently means Axanar can make a film.

I’ll get to the fact that the settlement means we can potentially see [a version of] Axanar in a moment.

Before that, I wanted to touch on Star Trek: Discovery being delayed. It’s a bummer, but production delays do not mean automatic doom (I’m looking at you, TV incarnation of Westworld). In fact, considering how little I knew about Westworld going in, I’m thinking a little self-enforced media blackout might be a good thing. It certainly helped my enjoyment of Force Awakens and Rogue One.

What you might not know about the Discovery delay is one side of the pro-Axanar narrative that I haven’t previously delved into before — in part because it will trigger your starship’s “crazypants deflector.”

(This is a little-known, but very necessary feature mandatory on all Federation starships — almost as important as structural integrity fields).

You see, as the narrative goes, in addition to CBS/Paramount going after Axanar “because it was just too good,” CBS/Paramount also wanted to use the specific time period where Axanar is set, and they couldn’t do that with pesky Alec Peters and Axanar in the way with their story of the Four Years War.

Why, Alec and co. might sue CBS/Paramount for taking their idea!

Yes, you read that right. In the mind of some Axanar defenders, CBS/Paramount, the people who own the the intellectual property (IP) of Star Trek might be stealing, um, ideas for Star Trek stories.

Evidently, the Axanar faithful have managed to avoid running this line of thought past any intellectual property attorney –or indeed any law student who’s been paying attention– so they don’t understand how “stealing ideas” doesn’t come into play when it’s not infringing a copyright, trademark, or patent. You know, like Axanar did with Star Trek IP.

There’s also repeated invocations of Gene Roddenberry, as if adhering to his vision –or at least what they believe to be his vision– conveys any legal standing. Roddenberry can and should get kudos for creating Star Trek. But for us to be able to see Star Trek in the first place, he sold the rights… like countless creatives have done before and since. During the lawsuit, the Axanar legal team went through the Quixotic legal motions for CBS/Paramount to prove chain of title. Unsurprisingly, there were no legal hull breaches. In fact, Judge Klausner struck down Axanar’s main legal strategy in claiming Fair Use.

But besides the silliness of fans being able to sue IP rights holders for “using their ideas” about the IP, there’s the notion that creative professionals are creatively bankrupt in the first place. The producers of Star Trek: Discovery include Star Trek veterans Bryan Fuller and Nicholas Meyer as well as a host of other experienced writer-producers that may not be as well known, such as Gretchen Berg, Aaron Harberts, and Heather Kadin.

I guarantee you that each one of these people wants to make the best dang Star Trek show possible — and they all have a track record of actually producing dozens of hours of professional television and films.

That’s no small feat… and it’s not a feat the Axanar crew has managed.

And that’s important. Because as I mentioned last year in parsing the new Fan Film Guidelines: what’s better than Star Trek fan productions? Actual Star Trek!

Which brings us back to the settlement. I know many on the CBS/Paramount vs. Axanar discussion board wanted blood, which is understandable given Axanar’s role in forever changing the landscape of Axanar fan films. Writer and designer Daniel Quinn noted a little over a week ago, as the case was marching to its court date, that Axanar was going to ruin things for everyone. I contend it already has. In fact, based on my last post, you can reasonably assume I wouldn’t say no to Axanar receiving a Kirk flying leg kick.

Still, there’s the amazing resolution that we could actually see Axanar, albeit an Axanar that must adhere to the new Star Trek fan film guidelines — with exceptions to said guidelines allowing some of the professional actors to still be involved. Part of me would love to see what they could come up with in two 15-minute segments.

But I can’t ignore their complete financial mismanagement that allowed them to blow through $1.4 million in crowd-raised funds… and pretend like that was normal or expected. Remember Axanar’s statement:

And also remember, that, per Axanar’s own admission via legal depositions, tens of thousands of crowd-raised dollars were spent on personal expenses:

Did you get that? Not just an occasional dip into the funds, which wouldn’t be cool anyway, but two years’ worth of personal expenses paid for by Star Trek fans.

All for the privilege of not getting the promised film.

Where No Fan Film has Gone Before
There’s a number of questions the settlement raises, some of which are covered in a recent Axamonitor article.

What I find truly disturbing is Alec Peters’ casual admission that they knew over a year ago that they wouldn’t be making the film:


There’s several things to unpack in that conversation. First and foremost is the admission that “…it was clear [Axanar] could never make the movie, win or lose.”

So if they knew they couldn’t make the movie that Star Trek fans wanted to see –a consistent talking point throughout this past year– why didn’t they settle earlier? And how is that spending the $1.4 million “as promised?”

As you might expect, many an Axanar backer is not cool with this. Many of them point out that they backed an Axanar feature film, and that two 15-minute webisodes does not amount to the same thing. Others are upset that Axanar settled at all, feeling their cause was just (and apparently missing the part where the Fair Use defense was rejected).

Even so, there are still those Axanar true believers. That’s another item to unpack in the online conversation above. Ambitious crowdfunded projects failing to achieve their goal is not unheard of. Backing a team that failed to achieve their goal so spectacularly means giving more weight to one’s faith than the facts at hand. At this point, do you really want to keep on backing Axanar, despite strong evidence that they will not be good custodians of your dollars?

But apparently some people gotta lotta faith.

It’s transformative!

Besides the $1.4 million in funds being gone, many of the team that made Prelude to Axanar are no longer there, including Christian Gossett, the director and co-writer and Tommy Kraft who was instrumental in much of the digital compositing portion of the visual effects.

And in addition to the lack of funds and possible lack of integral personnel, there’s also a significant leap of logic one needs to make. When I last pointed it out, it had seven steps, but since the settlement, it’s grown.

In short, if you are to take Alec Peters at his word, working on Axanar has been:

1) A full-time job which is just a hobby, for which he
2) required a completely reasonable salary which is not a salary because he paid it back
3) to produce a professional feature film that is simultaneously a fan film
4) to be shot in a studio which is a commercial studio except when it’s not and is just a warehouse
5) and they were all ready to begin shooting in the beginning of 2016 yet the studio/warehouse still isn’t ready for shooting in 2017
6) and they have been working meticulously to get every detail adhere exactly to Star Trek canon because they’re doing this for the true Star Trek fans,
7) but this is in no way a Star Trek film
8) which the Axanar team knew could not be made the moment the lawsuit was filed in December 2015
9) which is one of the reasons the Axanar team continually argued they wouldn’t settle the lawsuit unless they could make that film the Star Trek fans really wanted
10) and so Alec Peters and Axanar spent the $1.4 million as promised
11) to make the Star Trek fan film that’s a professional film that’s not a Star Trek film
12) except they didn’t make the film.

If someone can keep that straight in their head, they’re far better than me or our poor ensign above.

I can’t help but think they’re worse off in the long run though.

Where Umbrage Has Lease
So here’s the thing: if people want to support the continued adventures of Axanar, go for it. The fan film guidelines allow for rich uncles and private donations.

But what Axanar can’t do, by their own description of the settlement, is solicit more donations publicly.

Guess what they’re doing as of today?

Taken from axanarproductions.com on 2017-01-30

And this is what really overheats my warp core: they’re still pretending that they’re a non-profit because they’re going to apply to become a non-profit. For realz.

Click to enlarge. Taken from http://www.axanarproductions.com/mythbusters-debunking-three-misconceptions-about-axanar-productions/ on 2017-01-30. Note the post itself is from March 2016.

Ladies and gentlebeings, I’ve worked for non-profits. I’ve benefited from non-profits. I’ve even helped start a non-profit.

Neither Axanar Productions nor any of its shell companies is a non-profit.

Some people have opined that California is pretty strict about non-profits. Perhaps. But I’ve checked out out the steps for forming a non-profit in California and they don’t look any more difficult than Virginia, Maryland, or the District of Columbia (where the non-profits I’m more familiar with reside).

Look at that link I provided above. It’s chock full of useful information and, as with so much in government, it may be boring, but it isn’t rocket science. Anyone can form a business (hey, Axanar Productions has arguably formed several) and the nice thing about non-profits is you often can find a lawyer who’s willing to help you out pro-bono.

What? Did you think all those small non-profit theaters I worked for in the DC area were raking in the cash?

So you combine ample resources to walk you through forming a non-profit and the prospect of pro-bono legal help, why don’t we see any sign of that on the Axanar website?

You see, getting that non-profit status isn’t an endless black hole. Another quick Google search and you’ll find another resource that tells you to expect 2-12 months to get your IRS status as a 501(c)(3). In my experience, it seems to always take at least 6 months, but that’s doable.

And why am I harping on this? Because in my experience, any bona fide non-profit can’t keep quiet about seeking its valid status and announcing they’re open for tax-deductible donations. And, in fact, the IRS likes to get a bunch of information every year on such organization in their Form 990 — a form those organizations love to share on their websites and something you can look up.

That’s right citizen: these organizations dedicated to public good make the nitty-gritty details of their budget open for anyone to see. Heck, they often share their bylaws openly too.

Don’t believe me? Check out the non-profit running Star Trek Continues and their application for non-profit status, something you’ll also find mentioned on their website. Plus, you want their Form 990? Bam, here ya go!

What about that non-profit I has a small part in starting, the DC Film Alliance? Here’s their form 990.

What about two local media non-profits I’m a member of? What if I want to know more about their inner financial workings? Well, I guess a simple Google search will net me copious info about WIFV and TIVA-DC.

Oh, you want a California non-profit? Okay, have the Sierra Club. Bam.

I could do this all day.

All of these theaters I’ve worked for or supported, any of these media organizations that try and support me and my fellow creatives: they all would love to have $1.4 million in donations to spend. Heck, if that’s too frivolous for you, think about what Habitat for Humanity could do with that money.

And they’d all want to make sure you’d know the money is well spent — hence the just-the-facts Form 990s you see.

That’s not the case with Axanar Productions… but they’re happy to say they’re going to get around to being a non-profit. Some day…

And that’s what sets off the umbrage alarms in the warp core. I absolutely hate to think that more Star Trek fans will donate money to this non-non-profit which is not delivering any Star Trek or films or the public good.

So if you, like me, want to look out for your fellow fans, there is actually something you can do.

If you go over to the CBS/Paramount vs. Axanar forum, you’ll see a post that explains exactly how you can complain to the California Attorney General about some Ferengi masquerading as hoo-mans taking donations for a non-non-profit. The direct link to the form is here, but if you want to double-check some of the information to fill in, consult the thread above. And hey, if you don’t fax it, feel free to mail it with a Star Trek stamp.

I know the fate of one Star Trek fan film doesn’t amount to a hill of beans in this crazy world. And we know it’s a crazy world because the fan film is also not a fan film nor a Star Trek film. Except it is. Except is hasn’t and probably won’t get made.

Okay, I digress. But whatever the future holds, let’s make sure we all have more gold-pressed latinum in it to causes we care about, perhaps actual films. Axanar has gotten over one million. That’s enough.


For the Love of Spock: Let This be Their Last Battlefield

This is the 27th entry in a surprisingly long series of posts about Star Trek’s future and its fandom called Crisis of Infinite Star Treks.

Let’s start with the pleasant updates, shall we? I finally had a chance to see Star Trek Beyond and enjoyed it immensely. Okay, maybe I didn’t quite like it as much as these folks did, but I see where they’re coming from. It was delightful Star Trek, balancing plenty of action with some Trek-style thematic underpinnings and full of references to the overall franchise (including surprising –yet not unwelcome– love for Enterprise, the last series).

It finished 15th overall in the 2016 domestic box office and made $343 million worldwide, but in today’s rarefied standards, that is evidently a flop. I kind of understand. Given that most modern blockbusters spend the same amount of prints and advertising (P&A) as they do on the production budget –reportedly $185 million in this case– Star Trek Beyond therefore cost $370 million to get from idea to local cinema. But just like Waterworld and many other films that fall short of the mark in theaters, the question is how soon the film is profitable, not if. Still, Paramount executives are probably bummed they can’t start their own space program based off the profits of this film alone — like Disney is currently able to do with Rogue One. In fact, Disney has made so much money on its collective movies alone for the past few years, I wouldn’t be surprised if they suddenly announced they had built a heretofore secret moon base and were currently colonizing the outer solar system. But I digress…

As with so many modern feature films, I feel there were perhaps 20 minutes of enriching backstory in Star Trek Beyond that was cut from the film that would have helped it immeasurably. If this had been a modern TV series, with naught but 10-13 episodes in its exquisitely produced season, I think we would have been all agog. Every character’s storyline could have expanded to satisfying arcs and Krall’s origin could have been a fantastic reveal in the penultimate episode.

Spaceflights of fancy such as these are what makes me all the more excited for the new Star Trek TV series due in May of this year. While it’s apparently experienced some turmoil as original showrunner Byran Fuller is stepping aside and executives discovered that (gasp) sci-fi/fantasy can cost some serious ducats, there’s plenty of tidbits that indicate this could be the kind of serialized, ensemble show both modern audiences –and Deep Space Nine fans– will love. And who doesn’t love the idea of Michelle Yeoh as a Starfleet captain? Make it so.

Ah, but we can’t stay in this pleasant nexus of Star Trek thoughts, can we?

Firmly in the column of unpleasant news, is the Axanar lawsuit, which has moved from the “tediously-long-story-told-by-coworker” stage to the full-blown “insane-drunken-uncle-at-holiday-gathering” stage. Axamonitor has recently released a synopsis of the legal battle in comic book form in case you want to get caught up.

The short version of it all is that the drunken uncle still refuses to admit he’s not entitled to use other people’s property — even when they tell him not to use their property in the form of a lawsuit in Federal court.

Even shorter: the case isn’t settled.

It isn’t settled, despite some embarrassing facts coming to light this past Fall. Remember the pre-trial discovery phase? Well, various people have now been deposed including the original Prelude to Axanar director, Christian Gossett, and Axanar producer Alec Peters. There were already questions about Axanar’s finances and what it was being spent on, but now from the depositions, it appears Mr. Peters spent money raised through crowdfunding on all sorts of personal expenses for himself and friends including:

  • Restaurant bills
  • Phone bills
  • Gas, insurance, and maintenance of his car

Oh, and that whole question of using the funds to lease and renovate a building for use as a commercial studio space? That was confirmed in the depositions as well. And lest one forget what a deposition is: this is evidence. Legal evidence. Testimony given under oath. Testimony given under oath, in part, by Alec Peters.

Axanar’s reaction? We shouldn’t have seen the unpleasant things in the depositions, therefore, there’s no problem. But, should you want to comb through these pesky legal documents, the pie-loving CBS/Paramount vs. Axanar Facebook page have ’em. If there’s a particular tidbit you’re looking for, just ask on the forum.

In addition to all the official documents of the case, we have all the social media and PR pronouncements from the Axanar team, most memorably from Alec Peters (and frankly, many of those are now evidence in the case). These pronouncements have… changed somewhat over the past year of the lawsuit. And of course there’s never an official retraction to these statements. All of Alec Peters and Axanar’s assertions are apparently still valid.

So, if you are to take Alec Peters at his word, working on Axanar has been:

1) A full-time job which is just a hobby, for which he
2) required a completely reasonable salary which is not a salary because he paid it back
3) to produce a professional feature film that is simultaneously a fan film
4) to be shot in a studio which is a commercial studio except when it’s not and is just a warehouse
5) and they were all ready to begin shooting in the beginning of 2016 yet the studio/warehouse still isn’t ready for shooting in 2017
6) and they have been working meticulously to get every detail adhere exactly to Star Trek canon because they’re doing this for the true Star Trek fans,
7) but this is in no way a Star Trek film

Got it?

For Whom Gods Destroy, indeed.

Oh, and just like the asylum denizens in that episode, Axanar still has its supporters. More on them and their cognitive dissonance below.

First, let’s talk about what should be top on the mind of anyone who liked Prelude to Axanar and supported any of the crowdfunding campaigns: the Axanar feature film.

The Axanar crew was given 1.4 million dollars to make this fan film. I’ve done multiple crowdfunding campaigns for films and supported colleagues’ crowdfunding campaigns for films and web series and so on — all of them for less than one tenth of the money Axanar received. Not a single one escaped setbacks or unexpected cost overruns, but they were made.

And this is such the important point. Even with the ridiculous game-playing by the Axanar team, I know many, many people would forgive all the ridiculousness and all the delays if there was a Star Trek: Axanar feature to show for it.

Instead, Alec Peters says that the money was spent “as promised.”

Thanks to Dayton Ward for this one

Even expensive rock creatures won’t save things at this point: we’re not seeing Axanar.

But wait, there’s more!
Just this past week, U.S. District Court Judge R. Gary Klausner ruled that Axanar has “objective substantial similarity to the Star Trek Copyrighted Works.” (you can read the full decision here). I suppose one might find solace that Judge Klausner did not grant CBS/Paramount its desired summary judgement, but the ruling does eliminate using Fair Use as part of the defense.

A jury trial still awaits (barring settlement) not because there’s a question of whether CBS/Paramount has been wronged, but because a jury gets to weigh in on the degree to which CBS/Paramount is wronged as well as the type and amount of damages.

(Okay, that’ my layperson take on it, you can check out Eriq Gardner’s article and the ruling to learn more about intrinsic and extrinsic tests and other details).

So at this point, the Axanar has decided to… claim victory of sorts?!?

Yes, CBS/Paramount has fallen right into Axanar’s legal trap: in a jury trial the case may simply be dismissed with no damages awarded. Evidently, some of this hope is borne out of the fact that, since this is a matter of multiple copyrights versus one, clear-cut trademark, technically Judge Klausner didn’t say CBS/Paramount was wronged in his ruling. That determination is entirely up to the jury. So the jury needs to have sufficient cognitive dissonance to ignore all the similarities CBS/Paramount has already pointed out and will certainly point out in a trial.

There’s also the matter that we wouldn’t be talking about this if Axanar was some space adventure that talked about “warp drive” which somehow got CBS/Paramount worked up over petty word usage. It’s a film project that specifically invoked Star Trek and the Star Trek universe in order to raise funds. Even a reverse tachyon pulse beamed directly at the jury won’t stop them from concluding there was willful infringement.

No matter. Axanar will win on appeal! Pay no attention to the implausibility of this scenario. As one person quipped on the Facebook forum, if the appeal fails, it’s constitutional amendment time!

Half a year ago, I mused that “[Axanar will] settle. It’s just a question of when.

Boy, did I misjudge how crazypants this case would be.

The original narrative most all of us were presented with was a familiar one: wherein a big, bad corporation was picking on a little guy for the sake of flexing their control-freak muscles to squelch a little fun fan film.

That turns out not to be true. $1.4 million is not a little fun fan film — and not producing the film at all certainly isn’t. (remember: early last year, the judge stated the lawsuit did not prevent Axanar from making their film: no injunction was in place).

I suppose someone could ignore the dizzying story-changing from the Axanar camp I mentioned above (the fan film which is a professional Star Trek film that isn’t a Star Trek film, etc.). I’ve backed scores of crowdfunded projects before and a couple have crashed and burned — but I’ve never been treated to an ever-morphing story like Axanar. In fact, the creators usually go out of their way to make sure they do right by their backers — and they certainly don’t insult their backers nor the professional actors that helped them bring their vision to life (btw, that’s evidently a response to this – who insults Candyman?!?).

Someone might also ignore the very unusual web of anonymous shell corporations involved on the Axanar side, which appear to be set up to shroud how Axanar and Alec Peters personally may have profited. This latter part is part of court documents and so hopefully the truth of the matter will eventually come out.

But seriously, you can honor the principle of “innocent until proven guilty” and still guard your wallet. And for any of us who actually backed the Axanar, you have to be suspicious — someone might have swiped some quatloos from said wallet!

But let’s say someone, for some reason, buys all the reasons that the production is delayed and there is no movie (despite $1.4 million being spent). And let’s say they don’t fear they are the victim of a lying, cheating grifter because that has not been unequivocally confirmed.

That leaves the legal arguments: specifically the arguments to be presented at the jury trial, which may begin as soon as January 31st.

Well, one can’t argue Fair Use. That defense has been neatly and completely dismissed by Judge Klausner in his ruling, Axanar may want to bring it back on appeal, but they don’t get to argue it to the jury (unless I’ve missed a central reason for the ruling).

So what’s left? It really appears to be two points:

  1. That all the elements that seem like Star Trek are really not Star Trek intellectual property.
  2. That Axanar is entitled to use Star Trek intellectual property.

Now here’s where we get to the heart of the cognitive dissonance on the part of Alec Peters, the Axanar crew, and the others who are strangely still supporting Axanar.

The defense team, the actual lawyers, are trying desperately to argue point #1. Somehow, this is not a Star Trek fan film or Star Trek. Good luck with that one.

However, if you go on the Axanar discussion boards or have followed their blogs for the past few years, Axanar and its supporters are fully behind point # 2.

A year ago, six months ago, and even this week, I read comment after comment about how Alec Peters and company are entitled to make this film because it’s what Star Trek fans really want. In fact, he is the one person who can help lead a path out of the current morass of feature films that make hundreds of millions of dollars at the box office. Pshaw. Those films are Denebian slime devil pus and CBS/Paramount are fools. They should feel lucky to settle in the face of Axanar’s righteousness.

If there is any acknowledgement of defense point #1, it’s with a wink and a nod, as if “we know it’s Star Trek, but if it helps us get Star Trek Axanar made to say otherwise, then it’s not Star Trek. Oh, and did we mention we’re huge Star Trek fans? The best fans, really.”

For the love of Spock, this cognitive dissonance is so overwhelming I’m surprised there haven’t been any head explosions.

Author and audio dramatist Jay Smith sums up many of my feelings quite well in a post from this past November about the legal battle of Axanar. We all love Star Trek and we’ve loved Star Trek fan films, but no amount of fan love will ever equal ownership. No matter how fervent the fan, they do not get some bizarre “eminent domain” of someone else’s intellectual property.

The law doesn’t work like that. The law has never worked like that, and it never will. The legal case for Axanar is ultimately untenable because copyright and intellectual property matters.

There has been much discussion about why the dwindling number of Axanar supporters do support Axanar with such grim prospects of winning and such disturbing revelations of financial tomfoolery. There’s the obvious “sunk cost fallacy” that they have gone this far and this long supporting Axanar, they feel compelled to maintain this support.

But why do they support Axanar? Based on the comments in the aforementioned social media and after articles, many people have gone beyond simply wanting to see the Axanar feature to seeing “true” Star Trek. They went beyond simply disliking the new Star Trek movies to finding them a betrayal against this “true” Trek. And in Alec Peters and company, they have found someone who validates these feelings: there is such a thing as true Star Trek. You have been wronged by the blind corporate overlords. Your fandom does entitle you in a say to what the corporation does.

Now, I would be the last one to say things can’t have a Star Trek feel. I mentioned that as a big part of my enjoyment of fan films. But if the people who own Star Trek decide to make something else entirely and slap the name “Star Trek” on it, well, I may be disgusted, but the only thing I can legally or morally do is not give them my attention, financial or otherwise. That’s certainly been the case with Transformers, something I enjoyed growing up. I just don’t watch the Michael Bay movies.

I know it’s hard, especially as corporations have clued into the immense potential of energizing fans, making fandom seem more commercial and transactional, but them’s the breaks. Joss Whedon fans appear to be among the most rabid fans out there (yeah, I’m talking about you browncoats), but they’re not about to try and profit off of that ‘verse at the expense of its creator. Heck, a lot more people love what Joss Whedon did for the Marvel Universe — and I suppose if some bizarro version of Joss Whedon declared he was going to make his own version of an Avengers movie because Marvel lost its way and even if millions of his fans supported this endeavor, Marvel’s parent company Disney would be laughing all the way from here to their aforementioned moon base.

It’s not legally tenable and it’s not morally right.

And here’s the kicker on the moral front. Star Trek is not the huge fictional universe we love because of Gene Roddenberry. It is that vast universe because of the team that Roddenberry assembled. Hundreds of actors, writers, designers, and other crew during and after Gene Roddenberry’s tenure have helped bring the strange, new worlds of Star Trek to life. Just like the Federation, this isn’t the work of one person alone. To my mind, this doesn’t diminish Gene Roddenberry, it exemplifies his vision of a positive future.

If you’ve watched and loved episodes and movies of Star Trek, you’ve sensed that love was put into facets here and there. If you’ve read the interviews from so many of these people, you know this wasn’t simply a paycheck. Star Trek was something to have pride in and to love.

Quite simply, we have had official Star Trek made by Star Trek fans for decades now.

Alec Peters is not one of them.

If he were, he might understand that CBS and Paramount –and any owner of intellectual property– doesn’t give jobs based on fan fervor, but on how someone can deliver a story. And Alec Peters has failed to deliver on the story so many of us wanted him to deliver. In fact, many of the key people who helped deliver Prelude to Axanar have abandoned him and Axanar because of the attitudes referenced above.

Perhaps I and others who have become disillusioned by this lawsuit will be proven wrong in our suspicions. Perhaps this isn’t some bizarre quixotic attempt to use someone else’s IP to fund a certain lifestyle and Hollywood dreams. But I’m not holding my breath.

I’m also not holding out hope that Axanar and their defense team will settle. Either because they sincerely believe some faulty legal logic that they can use Star Trek IP, or they’re hoping some long con bears fruit, they see no profit in calling it quits. Their hubris has helped decimate an entire ecosystem of fan productions — and I can guarantee you those people will not forget or forgive Axanar. The only solace is the larger federation of Star Trek fans is by and large unaware of its existence and while Axanar claims thousands of supporters for its “real” Trek, millions of fans will likely watch the new Star Trek series and other offerings and feel free to enjoy it regardless of what these self-appointed gatekeepers think.

Nevertheless, Axanar is pursuing a legally untenable and morally indefensible course — and it doesn’t benefit Star Trek fandom one bit. I look at my posts from last year and the hope and optimism that there could be a solution that would be a win for all. Who would have thought the big corporation would be the relative good guys?I am so sorry to say this, but I am heartily sick of Axanar’s presumption to speak for all fans and hubris in not listening to anyone else (including many who helped them make Prelude to Axanar). Whatever the coming trial can do to end their folly, I wish it.

Crisis of Infinite Star Treks: Once and Future Fans

This is the 26th entry in a surprisingly long series of posts about Star Trek’s future and its fandom called Crisis of Infinite Star Treks.

Short version: It’s been a while since my last entry in this series. An article by Molly McArdle in GQ about Star Trek fandom spurred me to reflect further about the current state of Trek and Trek fandom.

Here in the Northern Hemisphere, Fall is in the air. And here in the United States, it’s election season: a never-ending, supremely dispiriting election season. I can’t imagine that even the partisans for either major party are anything other than ready for this season to be over.

Sadly, that exhaustion mirrors my feelings towards the Axanar lawsuit, which, amazingly, remains unsettled. Fans and skeptics continue to do postings as we trudge towards the end of the “discovery” period (and you’ll find Axanar discussed in McArdle’s article). As I mentioned back in looking at the defense, I don’t see any way they can triumph over the intellectual property (IP) owners — though the defense did have CBS/Paramount go through the exercise of demonstrating chain of title. For those who want to delve into the Briar Patch, the Axanar Facebook group, the CBS/Paramount vs. Axanar Facebook group, the ever intrepid Axamonitor, and the Fan Film Factor all continue to post (among others, I’m sure). Expect vitriol if you do much digging.

Meanwhile, the latest theatrical voyage, Star Trek Beyond, though received well-enough critically, did not bust blocks at the box office. I’ve seen some people on social media, purporting to be Star Trek fans, cheering this outcome, as if commercial failure will help more actual Trek get made. But that discussion of what I suppose I would call love/hate fandom is for another time.

When you go through McArdle’s article, you see how Star Trek is interwoven with modern fan culture in general — and the fact that more people than ever feel free to let their geek or nerd flag fly. Hey, we just got to hear POTUS talk about his fandom for Star Trek.

So here’s to the undiscovered country that is the future of Star Trek.

Crisis of Infinite Star Treks: The Guidelines After the Gobsmack

This is the 25th entry in a surprisingly long series of posts about Star Trek’s future and its fandom called Crisis of Infinite Star Treks.

So, after June 23rd’s astounding reveal by CBS/Paramount about their fan film guidelines, I took in a lot of the reactions (reactions you can see back on that post, btw).

But even though it’s now decades later in Internet time, I wanted to comment on the guidelines, in part because, in one of my earlier posts, I mentioned that I, as an indie filmmaker who specifically likes working on sci-fi and fantasy projects, have shied away from doing fan films in part because of a lack of guidelines. I like the framework established by the SAG-AFTRA low budget agreements, for example, that allow me to legally work with professional union actors at low or deferred rates (if they’re willing). I would love for those SAG-AFTRA agreements to be even more flexible, but I’ll take what they have for now. Being able to work with willing union actors without risk –so long as I follow the union’s rules– is better than having all the blood, sweat, and tears inherent in any film production being at the whim of unofficial “understandings.”

So based on that experience, I absolutely wanted guidelines. Alec Peters of Axanar Productions has publicly stated he really wanted guidelines for Star Trek fan productions too. Anecdotally, he had asked CBS/Paramount for guidelines before the lawsuit hit and CBS/Paramount demurred.

Between my agreement with Peters on this point –someone many consider persona non trekka– and the fact that, as Axamonitor has noted, the current Star Trek fan film landscape has been rendered a desert of non-production, you might ask, “Are you happy now?” In fact, some of you might be thinking something along the lines of this:


Fair enough.

I’m not pleased nor happy, as it happens. However, after picking myself off the virtual floor upon my first reading of the guidelines, I went through them again. And I realized something.

They might be fair enough.

So I’ll list all of the guidelines verbatim and comment on them all to let you know how I came to that conclusion. (Note: if you want to skip my musings, you’re welcome to jump to the end to thoughts and reactions from other people including recovering lawyers).

The Guidelines

1) The fan production must be less than 15 minutes for a single self-contained story, or no more than 2 segments, episodes or parts, not to exceed 30 minutes total, with no additional seasons, episodes, parts, sequels or remakes.

It’s little wonder that so many Star Trek fans, specifically fans of Star Trek fan films were shocked on June 23rd. This first guideline fundamentally changes the landscape of current fan productions. In fact, one wonders how ongoing series can possibly boldly go now.

Coming as the very first guideline, it’s little wonder a lot of us metaphorically tripped and tumbled down the rest of the guideline stairs. How will Star Trek Continues continue? What new voyages can New Voyages have?

But stop and ask yourself some questions. Can you do a story about Kirk, Spock, and the rest of the original series characters? Yes. Can you do some alternate Trek history where Riker commands the Enterprise after Picard’s death on the Borg cube? Yes. Can you do a follow-up to any existing canon work or simply make up your own tale in any era of Trek or your own heretofore unknown era of Trek? Yes, yes, and yes.

We’re shocked because this disrupts what some have already called the “Golden Age of Star Trek fan films.” In fact, it might bring much of those ongoing missions to an end.

But you know what’s better than fan productions? Actual Star Trek productions! And we have a big screen version coming out tomorrow that reportedly doesn’t suck along with a TV series coming in January with many a Star Trek vet on the production team.

I suspect this is where Axanar and I differ. They think the new guidelines are draconian, whereas when someone says “Draconian,” I think this:


Yes, I know a lot of you, when you hear “Draconian,” probably think this:


The galaxy is big enough for both of us… assuming The Doctor and Buck foil their respective Draconians’ plans.

Okay, we’re getting a bit off topic. Back to the guidelines.

This is the one that makes me distinctly displeased and glum. But if there’s enough quality official Trek, I think I’ll be okay. And I have a feeling I’ll be in good company when people count ticket sales of Star Trek Beyond as well as views on CBS All Access.

2) The title of the fan production or any parts cannot include the name “Star Trek.” However, the title must contain a subtitle with the phrase: “A STAR TREK FAN PRODUCTION” in plain typeface. The fan production cannot use the term “official” in either its title or subtitle or in any marketing, promotions or social media for the fan production.

Okay, this is a change from current fan productions, but quite understandable. CBS/Paramount wants these non-licensed productions to both clearly identify themselves as such and clearly delineate themselves from any official Trek.

I have no problem with this. Starship Reallycoolship: A Star Trek Fan Production works for me and I can’t imagine any of the existing fan productions kvetching about this. The only reason you would kvetch? You didn’t want to be considered a fan production, but both I and licensing departments for any IP the world over don’t know what to tell ya then.

3) The content in the fan production must be original, not reproductions, recreations or clips from any Star Trek production. If non-Star Trek third party content is used, all necessary permissions for any third party content should be obtained in writing.

So, they’re not looking for people to re-mix and package their IP and they don’t want people to, say, think they’re entitled to playing music in their Star Trek fan productions like Jerry Goldsmith’s epic Star Trek tracks that are not, in fact, owned by CBS/Paramount. Sensible.

Mind you, if you’re doing truly transformative work of parodies or commentary, Fair Use has your back. Comment on pop culture all you want, citizens.

4) If the fan production uses commercially-available Star Trek uniforms, accessories, toys and props, these items must be official merchandise and not bootleg items or imitations of such commercially available products.

Unless I’m mistaken, the main thrust of this is to make sure they’re doing right by the companies officially licensing Trek.

The operative phrase appears to be “If the fan production uses commercially-available Star Trek [stuff].” What if no really good commercially available tricorder exists for close-up shots? Can I not construct one myself?

Another example: The Star Trek movie uniforms from Wrath of Khan through Undiscovered Country are awesome, but the commercial versions are pretty pricey on places like Anovos (e.g. over $1,000 per costume). I seem to recall commercially available patterns for those costumes were available. What if an enterprising fan costumer found the right fabric and made a lot of the costumes? Does that violate this point?

From the Engage podcast, it sounds like the answer to this question is “no, it does not violate the guideline.” Enterprising fan prop creators or costumers may do their cool work… but they don’t want said enterprising prop or costume people to start a cottage industry renting said props and costumes to other productions.

I think there might be a further way to deal with any created fan costumes and props as I’ll delve into further down under Guideline # 6.

5) The fan production must be a real “fan” production, i.e., creators, actors and all other participants must be amateurs, cannot be compensated for their services, and cannot be currently or previously employed on any Star Trek series, films, production of DVDs or with any of CBS or Paramount Pictures’ licensees.

This guideline is another one that I know creates tremendous heartburn among the Star Trek fan film community (both creators and audiences). Combined with Guideline #1, this is the one that makes me most vexed (in an Austen way) or want to Kirk out (in a Star Trek way). Part of the fun of so many of the fan series has been the creative people behind and in front of the camera who’ve previously worked on Trek and other similarly fannish places.

Again, the appearance of original, new Trek may soothe this vexation. I reserve the right to do a flying leg kick at a later date, though.

6) The fan production must be non-commercial:

Absolutely no problem with that — and that was the premise of the unofficial guidelines, wasn’t it?

But wait, this one has a bunch of sub-guidelines, let’s look at those.

CBS and Paramount Pictures do not object to limited fundraising for the creation of a fan production, whether 1 or 2 segments and consistent with these guidelines, so long as the total amount does not exceed $50,000, including all platform fees, and when the $50,000 goal is reached, all fundraising must cease.

Oookay. Not so good at all for any of the continuing fan series, but they’ve theoretically been hamstrung or eliminated by Guideline # 1. The Engage podcast also clarified that private donations (e.g. rich uncles, etc.) are permissible.

The fan production must only be exhibited or distributed on a no-charge basis and/or shared via streaming services without generating revenue.

No problem with this whatsoever.

The fan production cannot be distributed in a physical format such as DVD or Blu-ray.

I’m used to dealing with SAG-AFTRA low budget agreements that make similar restrictions. No problem.

I understand how this is a blow to those who used the DVD/Blu-ray perk in their crowdfunding campaigns, but frankly, Guideline #1 has already meant you’re not in this for an ongoing series.

The fan production cannot be used to derive advertising revenue including, but not limited to, through for example, the use of pre or post-roll advertising, click-through advertising banners, that is associated with the fan production.

No problem with that.

No unlicensed Star Trek-related or fan production-related merchandise or services can be offered for sale or given away as premiums, perks or rewards or in connection with the fan production fundraising.

Again, a big blow for crowd-funders, but since Guideline # 1 means these aren’t ongoing series, that seems to have taken care of.

The fan production cannot derive revenue by selling or licensing fan-created production sets, props or costumes.

See Guideline #4 above. Again, this seems to be to protect actual companies that license Star Trek, but it could be a sticky wicket for even conscientious fan film creators.

I’m especially concerned with places such as Starbase Studios that are not looking to profit from set rentals, but are looking for donations from productions to cover the cost of their existence. And I think outfits like Starbase Studios could be cool as a resources where one can produce one’s one-off Star Trek fan adventures.

In the Engage podcast, CBS clarifies they’re fine with enterprising costumers and prop-makers building costumes and sets for their productions, but if productions are looking to buy costumes or props, they should be licensed goods.

Perhaps entities such as Starbase Studios could continue to operate as a non-profit, something official and ongoing that CBS/Paramount could grant a limited, non-commercial license that can provide resources for fan productions.  This group or groups could also be a place to donate sets, props, and costumes to after your fan production is done. I could see several fan productions paying it forward in this manner. That would reward the crafty fans and the thrifty fan producers.

7) The fan production must be family friendly and suitable for public presentation. Videos must not include profanity, nudity, obscenity, pornography, depictions of drugs, alcohol, tobacco, or any harmful or illegal activity, or any material that is offensive, fraudulent, defamatory, libelous, disparaging, sexually explicit, threatening, hateful, or any other inappropriate content. The content of the fan production cannot violate any individual’s right of privacy.

Okay, this is another guideline that is completely understandable, but then potentially problematic for some fan productions. And fans may well point out that more adult behavior and illegal activity occurs in official Star Trek. So they’re basically saying it’s official Trek’s call to include this or not and fans shouldn’t try this at home.

This is a bit problematic as there seem to be more shades of gray (maybe not as bad as a second-season clipshow, but you know…). Sure you could still show Scotty’s love of scotch, right? Right? What about the most recent Star Trek Continues that touches on the subject of child abuse? Star Trek is often about philosophical and moral issues — and the famous interracial kiss from the original series was probably not deemed “family friendly” in some households at the time.

I would imagine the appropriately transformative work is still protected by fair use, but don’t be surprised if CBS/Paramount’s lawyers hail you on all frequencies.

8) The fan production must display the following disclaimer in the on-screen credits of the fan productions and on any marketing material including the fan production website or page hosting the fan production:

“Star Trek and all related marks, logos and characters are solely owned by CBS Studios Inc. This fan production is not endorsed by, sponsored by, nor affiliated with CBS, Paramount Pictures, or any other Star Trek franchise, and is a non-commercial fan-made film intended for recreational use.  No commercial exhibition or distribution is permitted. No alleged independent rights will be asserted against CBS or Paramount Pictures.”

No problem here.

9) Creators of fan productions must not seek to register their works, nor any elements of the works, under copyright or trademark law.

Oh, how some people on forums fumed about this one, but come on. CBS/Paramount is basically saying how you can make non-fair use derivative works in a way that they probably won’t come after you. You’re playing in their sandbox in their yard. Yes, you might come up with a cool new alien. Something that’s clever and represents your creativity, so naturally you want to protect that intellectual property.

You know what the solution to that is? Make your own damn science fiction show and put the brand new alien in that.

Also, do you know how many alien races there are in Star Trek? For crying out loud, use some of them. I, for one, would love to see more tales about the Vaadwaur for one.

10) Fan productions cannot create or imply any association or endorsement by CBS or Paramount Pictures.

See also Guideline # 7 above. CBS/Paramount wants to protect its IP brand. No surprise there. Yes, you could wish for CBS/Paramount to give you permission more akin to a license, but they’re not. You might as well wish for them to give you a pony with warp nacelles while you’re at it.

CBS and Paramount Pictures reserve the right to revise, revoke and/or withdraw these guidelines at any time in their own discretion. These guidelines are not a license and do not constitute approval or authorization of any fan productions or a waiver of any rights that CBS or Paramount Pictures may have with respect to fan fiction created outside of these guidelines.

Look closely at just about any terms and conditions on any website and you’ll see that they too want the terms entirely at their discretion. You could complain, or again, you could make your own dang science fiction show. No crime in being influenced by Star Trek.

Okay, so there are my thoughts. If we break out the Guideline 6 and include that little “Oh, we can change things at any time, nyah” bit, there’s 17 different points CBS/Paramount wants you to adhere to. I have reservations about two of them (1 and 5) and partial reservations about one (7) because of how it could be overzealously enforced.

That’s not bad. The bad part is how it shakes up the fan production status quo, so I don’t blame anyone working on an ongoing series still feeling gobsmacked.

The Wednesday after the guidelines were released, in episode 5 of a new official Star Trek podcast, John Van Citters, an executive with CBS answers a lot of questions about the guidelines (I’ve cited it above, but you might want to give it a listen now).

So, what about other takes on the guidelines? As you might imagine, recovering lawyer Janet Gershen-Siegel takes a look at them at the G&T show. I especially like how she hypothesizes about what specifically might be allowed or not. Teresa Jusino also reacts to the guidelines over at the Mary Sue with feelings and thoughts that make sense to me overall — as well as some ire and snark for Axanar Productions. I’m afraid that the pro and anti Axanar forces will be in a Movellan/Dalek standoff for some time — neither are willing to turn off their battle computers (and the Movellans are still unwilling to admit they’re a completely lame alien race — please make no Doctor Who fan films with the Movellans).

But back to Star Trek. I do feel for the ongoing fan producers. The vast majority appear to have issued statements thanking CBS/Paramount for the ability to play in the Star Trek sandbox for so long without guidelines until now. I hope if they’re not continuing, they find a satisfactory way to wrap up.

And I hope they get to enjoy being a Star Trek fan with the rest of us.

Note: I’ve enjoyed writing this mini-series, but frankly, I’m sick of the “crisis” and more looking forward to just enjoying Trek. I’m not saying this my last entry in the series, but I’m hoping any subsequent entries amount to more of a denouement.

Crisis of Infinite Star Treks: The Guidelines Hit The Fan

This is the 24th entry in a surprisingly long series of posts about Star Trek’s future and its fandom called Crisis of Infinite Star Treks.

Well, I was going to make sure I updated my last post about CBS/Paramount’s response to Axanar’s counterclaim in everyone’s favorite intellectual property (IP) lawsuit, but then CBS/Paramount had another surprise today.

They released the fan film guidelines. The announcement is here and the guidelines are here.

In terms of timeline, I didn’t think they’d do this until after Star Trek Beyond was released.

In terms of content: wow, just wow. Holy flurking schnit, is that a hammer or what?

If I’m not mistaken, this effectively kills all the longstanding ongoing fan series and productions which off the top of my head includes:

  • Star Trek: New Voyages (aka Star Trek: Phase II)
  • Star Trek Continues
  • Star Trek: Renegades
  • Star Trek: Intrepid
  • Starship Farragut/Farragut Forward
  • Potentially anything produced at Starbase Studios

And, of course, Axanar.

As you might imagine, the fannish community is a-flutter. Debates abound about who is more worthy of damnation: CBS/Paramount or Alec Peters/Axanar. Many a comment thread will be filled on Facebook pages and elsewhere, I’m sure.

Once again, I completely understand corporate lawyers behaving like corporate lawyers and protecting their company’s IP vigorously. Make no mistake: they own Star Trek. However, I lament the lost opportunity to especially use these longstanding fan productions as a way to engage with fans in a way other IPs simply won’t be able to.

Earlier this month, I noted that we were all awaiting orders from Starfleet Command (CBS/Paramount). I hoped that the order given would be some form of “warp speed.” Instead, they’ve come in with something close to full phasers. I don’t think it’ll start a war with fandom –I’m sure some bellicose fans are convinced it has– but it sure doesn’t seem like the best way to keep the peace.

I’ll have to think more about this… and more importantly, pause for some pie.

UPDATE: as comes as no surprise, there’s many reactions:

There are, of course, many, many more reactions, but these should keep you all busy for now.

Axanar on the Road to Discovery

This is the 23rd entry in a surprisingly long series of posts about Star Trek’s future and its fandom called Crisis of Infinite Star Treks.

So, remember an event now way back in May where the Axanar lawsuit was “going away” in a few weeks and some people thought that meant it was being “dropped?”

Well, as I indicated when covering Axanar’s response to CBS/Paramount’s complaint and Axanar’s counterclaim, the court of law will tend to move forward whatever the court of public opinion may think.

So it should come as no surprise that in today’s Hollywood Reporter, they report that CBS/Paramount has responded to Axanar’s counterclaim.

Many of us who are now following this case more closely have been waiting for that response since Monday, and you can read both the response and the original counterclaim at Axamonitor’s page on the subject.

By not moving to dismiss the counterclaim, but addressing it, I understand CBS/Paramount is trying to move things along. Indeed, the reading of the response seems to be “admit public knowledge, don’t know enough to comment, deny Axanar’s allegation, deny Axanar’s allegation, deny Axanar’s allegation, also, let’s move on with things.”

“Things” in this case would be discovery and other fun matters — except we might not have public visibility into this until much later in the year.

As in previous times, I’m going to look for the G & T Show’s Janet Gershen-Siegel for a breakdown of the response — and I’ll update this post.