Amentep

I can't say the trailer did much for me.

Pike with foreknowledge came from Discovery's 2nd season. I think they wanted to establish T'pring was an adult. Chapel was shown to have feelings for Spock in TOS/TAS and I guess they're using these past stories to establish that. I enjoy the series, but just as TNG, DS9, VOY, AND ENT was a departure from TOS/TAS, so too is DIS, SNW, PIC a new departure. Lower Decks, despite being a comedy cartoon, probably feels the most like earlier shows somehow. ...in other realms, Roddenberry archives has produced a CGI/deepfake thingamabob -

I have no clue how these two things are connected, but the imagination boggles.

Yeah its a fun kids film - the narrative weakness probably won't be an issue when seen as a kid (I have vague memories of showing this to my niece and her enjoying it). Production was a big mess and the way they divided narrative to the US producers and director and animation to the Japanese director and animators was probably always going to set it up to struggle narratively. The descriptions of the original Bradbury script seem wrongheaded (admittedly I haven't read all the Nemo strips, but it doesn't sound like a Nemo idea - essentially the antagonist would be Nemo's opposite, Omen) and because the US production had say on the story, Miyazaki's story ideas (some of which were good, some a bit of a headscratcher) were pretty much DOA, which frustrated him immensely. Gary Kurtz agreed to produce it, but production dragged out so long he got tied up with other projects which slowed things down until he left. Eventually they used ideas from Chris Columbus' script for the story even though Bradbury get a story credit.

Watched LITTLE NEMO: ADVENTURES IN SLUMBERLAND. Don't think I've seen it since it first came out. Its a fun collection of vignettes that loosely follow a story about how Nemo has to learn responsibility after allowing the Nightmare King to take over Slumberland due to following his own worst impulses. Animation varies, but is generally high quality - you can tell that producer Yutaka Fujoka was really trying to create a Japanese animated film with animation as fluid as Disney. May not hold up as a great narrative, but I can see why it has developed a cult following. Its also a fascinating behind the scenes story, though. Its failure led to the retirement of Fujioka who'd founded Tokyo Movie Shinsha and invested in the startup of Madhouse. A veritable whose who worked on it (including Hayao Miyazaki, Isao takahata, Frank Thomas, Ollie Johnson, Yoshifumi Kondō, Yasuo Ōtsuka, Brad Bird, Kazuhide Tomonaga, John Lasseter, Jerry Rees, Osamu Dezaki, Moebius, Ray Bradbury, Chris Columbus, John Canemaker, Richard Outten, Gary Kurtz, William Hurtz, Masami Hata, Ken Anderson, Leo Salkin, Brian Froud, the Sherman Brothers); several ideas Miyazaki pitched were used in later Ghibli films and the relationships made during its long production (going back to 1975 when Fujioka began seeking the rights from Winsor McKay's family) led to Japanese animation companies partnering with US companies to make animation for the US market that by the late 80s and 90s had become a regular site on US TV. And you get great anecdotes like Thomas or Johnson (two of Disney's famed 'nine old men' looking at drawings from Miyazaki and saying "what are they expecting us to teach you?" As a side note, as a comic strip buff, I remember seeing Capcom's Little Nemo: The Dream Master platformer in 1990 (which I bought because how many Capcom platformers based on turn of the century comic strips were we going to get) and wondering how that happened (since the movie wouldn't come out in the US for 2 more years).

I can't read medical stuff on the internet. It brings out my inner hypochondriac.

Looks fun.

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