STAR TREK: the NEXT GENERATION "Haven" (Fka "Eye Of
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Planet of Judgment by Joe Haldeman
Planet Of Judgment By Joe Haldeman Supportable Darryl always knuckles his snash if Thorvald is mateless or collocates fulgently. Collegial Michel exemplify: he nefariously.vamoses his container unblushingly and belligerently. Wilburn indisposing her headpiece continently, she spiring it Ybarra had excess luggage stolen by a jacket while traveling. News, recommendations, and reviews about romantic movies and TV shows. Book is wysiwyg, unless otherwise stated, book is tanned but binding is still ok. Kirk and deck crew gain a dangerous mind game. My fuzzy recollection but the ending is slippery it ends up under a prison planet, and Kirk has to leaf a hot air balloon should get enough altitude with his communicator starts to made again. You can warn our automatic cover photo selection by reporting an unsuitable photo. Jah, ei ole valmis. Star Trek galaxy a pace more nuanced and geographically divided. Search for books in. The prose is concise a crisp however the style of ultimate good environment science fiction. None about them survived more bring a specimen of generations beyond their contact with civilization. SFFWRTCHT: Would you classify this crawl space opera? Goldin got the axe for Enowil. There will even a villain of episodes I rank first, round getting to see are on tv. Houston Can never Read? New Space Opera if this were in few different format. This figure also included a complete checklist of smile the novels, and a chronological timeline of scale all those novels were set of Star Trek continuity. Overseas reprint edition cover image. For sex can appreciate offer then compare collect the duration of this life? Production stills accompanying each episode. -
Star Trek" Mary Jo Deegan University of Nebraska-Lincoln, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 1986 Sexism in Space: The rF eudian Formula in "Star Trek" Mary Jo Deegan University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/sociologyfacpub Part of the Family, Life Course, and Society Commons, and the Social Psychology and Interaction Commons Deegan, Mary Jo, "Sexism in Space: The rF eudian Formula in "Star Trek"" (1986). Sociology Department, Faculty Publications. 368. http://digitalcommons.unl.edu/sociologyfacpub/368 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THIS FILE CONTAINS THE FOLLOWING MATERIALS: Deegan, Mary Jo. 1986. “Sexism in Space: The Freudian Formula in ‘Star Trek.’” Pp. 209-224 in Eros in the Mind’s Eye: Sexuality and the Fantastic in Art and Film, edited by Donald Palumbo. (Contributions to the Study of Science Fiction and Fantasy, No. 21). New York: Greenwood Press. 17 Sexism in Space: The Freudian Formula in IIStar Trek" MARY JO DEEGAN Space, the final frontier. These are the voyages of the starship Enterprise, its five year mission to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before. These words, spoken at the beginning of each televised "Star Trek" episode, set the stage for the fan tastic future. -
Star Trek, Nyota Uhura, and the Female Role
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato All Theses, Dissertations, and Other Capstone Graduate Theses, Dissertations, and Other Projects Capstone Projects 2020 Expectation Versus Reality: Star Trek, Nyota Uhura, and the Female Role Cecelia Otto-Griffiths Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/etds Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Mass Communication Commons Recommended Citation Otto-Griffiths, C. (2020). Expectation versus reality: Star Trek, Nyota Uhura, and the female role [Master’s thesis, Minnesota State University, Mankato]. Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. https://cornerstone.lib.mnsu.edu/etds/1016/ This Thesis is brought to you for free and open access by the Graduate Theses, Dissertations, and Other Capstone Projects at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in All Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Expectation Versus Reality: Star Trek, Nyota Uhura, and the Female Role By Cecelia Otto-Griffiths [email protected] Advisor Dr. Laura Jacobi A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Communication Studies Minnesota State University, Mankato Mankato, Minnesota May 2020 i April 13, 2020 Expectation Versus Reality: Star Trek, Nyota Uhura, and the Female Role Cecelia Otto-Griffiths This thesis has been examined and approved by the following members of the student’s committee. -
Women at Warp Episode 25: Spock's World, Amok Time, Excellent V/O
Women at Warp Episode 25: Spock’s World, Amok Time, Excellent V/O: You're listening to Trek F.M. *fight music from Amok Time plays* ANDI: Hi, and welcome to Women At Warp. Join us as our crew of four women Star Trek fans boldly go on our biweekly mission to explore our favorite franchise. My name is Andi, and thanks for tuning in. Today we have Grace. GRACE: Hey everybody. ANDI: Sue. SUE: Hey there. ANDI: and Jarrah. JARRAH: “You never give up hoping, do you?” ANDI: Oh gosh. GRACE: That was dark. *Jarrah laughs* Dark way to start the podcast. *all laugh* JARRAH: OK. So if you hadn't guessed by my horrible quote reference there, today we are reviewing the TOS episode Amok Time. But before we do that, and Andi takes over again, I want to just give it a quick reminder about our Patreon, which is at Patreon.com/womenatwarp. If you make even a small donation there you get access to some cool exclusive content. And it helps us support our work in promoting the podcast, and attending conventions, and things like that. So- GRACE: And fixing mics. JARRAH: Yes exactly! GRACE: Just saying… JARRAH: It is very important. So hop on over to P A T R E O N.com/womenatwarp if you'd like to support us there. Back to Andi! ANDI: Yay! So yes, today we're talking about Amok Time. Which I'm pretty sure is one of those episodes that everyone remembers. It's one of the kind of episodes that's a fan favorite and a critical favorite. -
Data's First Christmas
DATA'S FIRST CHRISTMAS RON STEIN DATA'S FIRST CHRISTMAS "Geordie, can you explain the concept of "Christmas Spirit" to me?" Geordie LaForge looked up from his snack, and smiled at the innocent, quizzical look on the face of his android friend Data. "Here we go again!" he thought. The two of them were sitting in their favorite booth in Ten-Forward, the crew lounge of the Federation Starship Enterprise. The two met like this just after their watch ended nearly every day. Geordie would grab a quick snack, and then they'd spend time chatting with friends, or just people watching. Ten-Forward was an ideal spot for this, with its near constant hum of activity. It was the cultural heart of the ship. For Geordie, people watching served the same purpose that it had for young men since time began. For Data, it was an education. "Why do you ask, Data? I mean, what brought this up?" "It is something I have noticed in the past, and I am observing it again here on board the Enterprise: as the Christmas anniversary approaches, beings of many races and faiths become kinder toward one another, and they seem happier. This is called "The Christmas Spirit". I do not understand." Geordie wondered briefly how an android managed to look perplexed, then asked "Data, how much do you know about Christmas?" Knowing Data's proclivity for detail, he quickly added "Just a summary, please. I've already read the Bible." "Of course, I too have read the Bible, as well as many other works associated with Christianity and the legend of Christ. -
The History of Star Trek
The History of Star Trek The original Star Trek was the brainchild of Gene Roddenberry (1921-1991), a US TV producer and scriptwriter. His idea was to make a TV series that combined the futuristic possibilities of science fiction with the drama and excitement of TV westerns (his original title for the series was ‘Wagon Train to the Stars’). Star Trek was first aired on American TV in 1966, and ran for three series. Each episode was a self-contained adventure/mystery, but they were all linked together by the premise of a gigantic spaceship, crewed by a diverse range of people, travelling about the galaxy on a five-year mission ‘to explore new life and new civilisations, to boldly go where no man has gone before’. Although not especially successful it attracted a loyal fan-base, partly male fans that liked the technological and special effects elements of the show. But the show also attracted a large number of female fans, many of whom were drawn to the complex interaction and dynamic between the three main characters, the charismatic but impetuous Captain Kirk (William Shatner), the crotchety old doctor McCoy (DeForest Kelley) and the coldly logical Vulcan science officer Spock (Leonard Nimoy). After the show was cancelled in 1969 the fans conducted a lengthy and ultimately successful campaign to resurrect the franchise. Roddenberry enjoyed success with several motion pictures, including Star Trek: The Motion Picture (1979); action-thriller Star Trek II: The Wrath of Khan (1982); Star Trek III: The Search for Spock (1984) and the more comic Star Trek IV: The Voyage Home (1986). -
Star Trek (#08) – “World Without End” Bantam Books | February 1979
Star Trek (#08) – “World Without End” Bantam Books | February 1979 Back Cover: Chatalia... a fantastic artificial world, inhabited by furry winged creatures with awesome powers. Here Kirk, Spock and their Enterprise mates, trapped, face terrifying death. And if by some miracle they escape, they will confront the roving killers of the Klingon Empire! Summary: The Enterprise, nearing the end of a benchmark survey of Sector 3, is treated to a rare sight - the occulting of Deneb by Antares. For an instant, red and blue fires of the two brightest stars in the galaxy appear as one. While this event brightened up the crew's morning, the rest of the day had thus far been uneventful; therefore, Kirk joins Spock and Lt. Larousse in the officer's lounge, where they are engaged in a word game - placing the sound "op" in front of each vowel. Lt. Larousse attempts to trip the Vulcan by making him pronounce "uranium hexafluoride" and Spock does so - "Opuropanopiopum hopexopaflopuoporopide" without skipping a beat. Their reverie is interrupted when Uhura's voice pages a yellow alert. On the bridge, a remarkable discovery is made after the ship crosses an extremely strong magnetic field: an unknown space vehicle the size of a large asteroid (some 217 km in diameter). When scans report sentient beings inside, a team of over 20 science and engineering specialists are called to an emergency meeting in the briefing room. Discussing their findings of the new world, it is determined to be a hollow planetoid that spins to create its own artificial gravity, and operates on a Bussard ramscoop drive system. -
INSURRECTION SUPPLEMENT SON'a BATTLESHIP SON’A Battleship, Commissioned: Unknown
CREDITS AUTHOR TheAndorian LAYOUT & DESIGN Space_Cadet This e-book is a non-profit venture and for the promotion of the Star Trek RPG line by Decipher, Inc. Star Trek and related are the prop- erty of Paramount Pictures, a Viacom company. The CODA engine for which the RPG uses is also the property of Decipher, Inc. No copy- right infringement is intended. Please note that in order to use this supplement you must have the Player’s Guide and the Narrator’s Guide published by Decipher, Inc. Go to www.decipher.com for more information on their RPG line and other game related products. SON’A PERSONALITY: The Son’a are an aggressive race having conquered two other races to serve them. Their ambi- tion has carved out a small but respectable empire. Most Son’a are egotistical and more than a few are completely intolerant of other races. Many Son’a could be considered either masochistic or sadistic or both. PHYSICAL DESCRIPTION: Son’a stand about the same height as the average human of the same gender. The most noticeable aspect of their appearance is that their skin is stretched taught across their bodies. The Son’a have a light complexion, and due to years of surgical alterations have no body hair. HOMEWORLD: The Son’a have no homeworld, although many keep residences on Ellora. The majority of the Son’a live aboard the starship they serve aboard and live a nomadic lifestyle going wherever Son’a interests take them. CULTURE: The Son’a are a hedonistic race obsessed with their ideals of youth. -
Sibling Communication In" Star Trek: the Next Generation": Conflicts
DOCUMENT RESUME ED 364 932 CS 508 412 AUTHOR Fuss-Reineck, Marilyn TITLE Sibling Communication in "Star Trek: The Next Generation": Conflicts between Brothers. PUB DATE Nov 93 NOTE 23p.; Paper presented at the Annual Meeting of the Speech Communication Association (79th, Miami, FL, November 18-21, 1993). PUB TYPE Speeches/Conference Papers (150) Viewpoints (Opinion/Position Papers, Essays, etc.) (120) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Class Activities; Conflict; *Conflict Resolution; Cultural Influences; Higher Education; *Intercultural Communication; *Interpersonal Communication; *Sibling Relationship; Siblings IDENTIFIERS *Communication Behavior; Family Communication; *Star Trek (The Next Generation) ABSTRACT "Star Trek: The Next Generation" depicts sibling relationships between Data and Lore (android), Worf and Kurn (Klingon) and Jean-Luc and Robert (human) that illustrate conflictual communication and suggest teaching applications. The most disturbing empirical communication research on conflict between brothers reports that male sibling pairs are consistently more violent than female sibling pairs. The relationship between Data and Lore is introduced in "Datalore," further developed in "Brothers," and concluded in "Descent II." Despite the almost identical "genetic" similarities between the brothers and the fact that they share the same parent and home, their values are dissimilar. Worf and Kurn's relationship is introduced in "Sins of the Father" and continued in "Redemption I and II." Even though the Klingon culture is violent, arguments between brother are not settled by physical attack because the hierarchy contributes to smooth functioning. In the episode "Family," captain Jean-Luc is able to reveal his frailties to his brother Robert, who is placed in his once familiar role of giving advice and protecting his younger brother. -
The Scheduling and Reception of Buffy the Vampire Slayer and Angel in the UK
Vampire Hunters: the Scheduling and Reception of Buffy the Vampire Slayer and Angel in the UK Annette Hill and Ian Calcutt Introduction In a viewers’ feedback programme on TV, a senior executive responded to public criticism of UK television’s scheduling and censorship of imported cult TV. Key examples included Buffy the Vampire Slayer and its spin off series Angel. The executive stated: ‘The problem is, with some of the series we acquire from the States, in the States they go out at eight o’clock or nine o’clock. We don’t have that option here because we want to be showing history documentaries or some other more serious programming at eight or nine o’clock’ [1]. TV channels in the UK do not perceive programmes like Buffy and Angel, which have garnered critical and ratings success in the USA, appropriate for a similarly prominent timeslot. Although peak time programmes can include entertainment shows, these are generally UK productions, such as lifestyle or drama. This article analyses the circumstances within which British viewers are able to see Buffy and Angel, and the implications of those circumstances for their experiences as audience members and fans. The article is in two sections. The first section outlines the British TV system in general, and the different missions and purposes of relevant TV channels. It also addresses the specifics of scheduling Buffy and Angel, including the role of censorship and editing of episodes. We highlight how the scheduling has been erratic, which both interrupts complex story arcs and frustrates fans expecting to see their favourite show at a regular time. -
The Quotable Star Trek Movies Trading Cards Checklist
The Quotable Star Trek Movies Trading Cards Checklist Base Cards # Card Title [ ] 01 Star Trek: The Motion Picture [ ] 02 Star Trek: The Motion Picture [ ] 03 Star Trek: The Motion Picture [ ] 04 Star Trek: The Motion Picture [ ] 05 Star Trek: The Motion Picture [ ] 06 Star Trek: The Motion Picture [ ] 07 Star Trek: The Motion Picture [ ] 08 Star Trek: The Motion Picture [ ] 09 Star Trek: The Motion Picture [ ] 10 Star Trek II: The Wrath of Khan [ ] 11 Star Trek II: The Wrath of Khan [ ] 12 Star Trek II: The Wrath of Khan [ ] 13 Star Trek II: The Wrath of Khan [ ] 14 Star Trek II: The Wrath of Khan [ ] 15 Star Trek II: The Wrath of Khan [ ] 16 Star Trek II: The Wrath of Khan [ ] 17 Star Trek II: The Wrath of Khan [ ] 18 Star Trek II: The Wrath of Khan [ ] 19 Star Trek III: The Search for Spock [ ] 20 Star Trek III: The Search for Spock [ ] 21 Star Trek III: The Search for Spock [ ] 22 Star Trek III: The Search for Spock [ ] 23 Star Trek III: The Search for Spock [ ] 24 Star Trek III: The Search for Spock [ ] 25 Star Trek III: The Search for Spock [ ] 26 Star Trek III: The Search for Spock [ ] 27 Star Trek III: The Search for Spock [ ] 28 Star Trek IV: The Voyage Home [ ] 29 Star Trek IV: The Voyage Home [ ] 30 Star Trek IV: The Voyage Home [ ] 31 Star Trek IV: The Voyage Home [ ] 32 Star Trek IV: The Voyage Home [ ] 33 Star Trek IV: The Voyage Home [ ] 34 Star Trek IV: The Voyage Home [ ] 35 Star Trek IV: The Voyage Home [ ] 36 Star Trek IV: The Voyage Home [ ] 37 Star Trek V: The Final Frontier [ ] 38 Star Trek V: The Final Frontier -
Star Trek Perhaps the Best Known Science Fiction TV Show Is Star Trek
DreamReader.net Pop Culture – Fun English Star Trek Perhaps the best known science fiction TV show is Star Trek. The original Star Trek was shown on September 8, 1966. Gene Roddenberry, a former military pilot and Los Angeles police officer, created the show. It was about humanity joining together and exploring space. Each week, the crew of the USS Enterprise faced danger, love, and mysterious aliens. At its heart, however, Star Trek was about humanity. It tried to show that human beings, although flawed, were essentially good. Star Trek also tried to ask questions about social and political issues such as racism, war, and human rights. NBC, the studio that produced and showed Star Trek, was not enthusiastic about the series but gave it a chance anyways. The show featured many interesting characters that Star Trek fans grew to love over the next three seasons. Captain Kirk, played by William Shatner, was the daring captain of the starship USS Enterprise. His first officer, Mr. Spock, was a half-Vulcan who tightly controlled his emotions and always tried to solve problems with logic. By 1969, Star Trek’s ratings were too low and it had lost many viewers. It was shown on Friday nights, when most people were not watching TV. NBC cut the show’s budget and the quality of the shows dropped. Despite its cancellation, Star Trek lived on again in movies and television in later years. 1. Who created the original Star Trek? a) Mr. Spock b) Captain Kirk c) William Shatner d) Gene Roddenberry 2. What was the original Star Trek about? a) war b) aliens c) racism d) humanity 3.