THE QUANTUM STORM .357 E-MAGAZINE FOR MAY 2024 IS RELEASED!!!

 

QSE.357 ISSUE 32 dtd 5/1/2024

32 Pages

ON THE COVER - Broken Glass
Photo by D. R. Quintana

MAIN ARTICLES

The Star Trek Franchise is not what it used to be - Quantum Storm Pictures adjusted a feature project to distance itself from the creative writing format known to many SciFi fans. 

Faking success in indie films, meet some local experts! - From Houston to San Antonio, to Austin, to Dallas, film teams have tried to fake success by entering questionable film festivals, paid for awards, & claimed top notch films, when they weren't even close.

Are indie film directors really a dime a dozen? - Is hiring a film director is as easy as picking out a pair of new socks? Meet a few narcissistic producers who made some bad decisions.

The mastery of wardrobe, you can up your game? - We interview professional wardrobe specialists who have worked on Western and SciFi projects.

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TAKING A LOOK BACK AT J. J. ABRAMS' "SUPER 8"

🎥🎞️Movie Review🎞️🎥 - SUPER 8 [2011] - Amazon Prime - Directed and written by J. J. Abrams. Stars Joel Courtney, Elle Fanning, Kyle Chandler, and Ron Eldard. Produced by J. J. Abrams, Steven Spielberg, and Bryan Burk.

Strange things are afoot in a small town in Ohio during the summer of 1979.  First, there was a train derailment that was witnessed by a bunch of teens shooting an indie movie; then there were some power outages, large machinery was stolen, and all of the dogs in the local county went missing. Making things seem worse, the derailed train was owned by the U.S. Air Force and suddenly a large fire threatens the lives of everyone in the small town, forcing an immediate evacuation. What could be the cause? Are aliens involved?...watch the movie and fall into the dark spell of intrigue that only Abrams can bring to life with his trademark lens flairs and quick action film formats, that seem to dazzle the new breed of action seeking viewers around the world.

But honestly, SUPER 8 had a lot of potential when it was first released. The train derailment alone was a masterful piece of action and surprise, completely not expected when I first saw the movie in the theaters. The entire theater was aghast with the energy from the crash, that I witnessed everyone look about the theater wondering how such an event was produced on camera. After that, the innocence of the film lost its luster and the magic of film making just tanked into a world of never ending stupidity, which Abrams' has learned to sell to the big wigs in Hollywood, but not the fans that watch his movies. Using an old 80's format, something that he admitted to in interviews, as a large aliens full appearance was kept out of camera until the third act of the film, something that Steven Spielberg did in JAWS [1975] while he was waiting for the practical effects machine to be put together and work properly. Once the new CGI monster was revealed, and it was huge and ugly, the total embodiment of a large beast turned out to have the heart of a smaller ET monster.

THE GOOD - The story arc with the teens was the best part of the film. The character development between the six teens was well scripted and developed for the film; I actually began to give a shit about what was going on around them and the way their parents treated them. The visual effects and sound were pristine and some of the camera angles were filled with epic little wide screen shots.

THE BAD - Oh my God is the film filled with some really bad technical crap and lens flair galore! Abrams, known to prove that he has little knowledge about how the military actually works, goes off the rails in this movie. Nothing is ever explained, and this claim that "the little box with a secret" is a hallmark to his writing ethic, just falls apart at every little attempt to show the "dark side" of the military and how officers and soldier act and carry out their duties without any regard for civilians. There's a chaotic scene in the fourth act of the film where tanks are firing, missiles are flying, and machine guns are shooting off all on their own, with the help of the aliens control over machinery...??? The alien never seemed to have presented this ability before, such as shutting off cars, buses, or anything else; just that this was happening in the fourth act in a "wouldn't this be cool" segment of the film. It was totally silly and the film suffers a lackluster ending because of it. Abrams continual use of his "nothing education" about how things actually work, is so evident in this film. How he was chosen to lead the new Star Trek movies is beyond comprehension, especially in a SciFi universe that demands to present how things work. No wonder why he felt more at home directing and writing the last of the George Lucas Star Wars trilogy, where nothing needs to be explained.

POST MORTEM - The 80% of SUPER 8 that totally got wrecked by Abrams continual bad writing bullshit was actually saved by a short zombie movie that was being produced by the teens in the film. I remember sticking around through the end credits when the film suddenly presented the teens finished film in it's entirety. That small film was a total gem and something that should have been a larger staple in the film. For all of the work the veteran actors put in the film, it suffered horribly and could have been a major part in bringing a more heart worthy appearance in the film early on, proving that maturity is the best medicine for any horrifying event to bring a town together, than just tear it apart. Showing that at the beginning or middle of the film would have been "mint!"

⭐️⭐️⭐️💫 [3.5 out of 5 Stars]

STAR TREK PICARD SEASON 3 HAS IT’S MOMENTS

🎥🎞️Series Review🎞️🎥 - STAR TREK PICARD - Paramount. Showrunner Micheal Chabon, Terry Matalas. Stars Sir Patrick Steward, Jonathan Franks, Gates McFadden, Jeri Ryan, Michael Dorn, and Ed Speleers.

30 years after the Star Trek - The Next Generation [STNG] timeline and the frightening first two seasons of Star Trek Picard, the old crew of STNG slowly reassemble to first identify a new threat to the Federation; second, learn that retired Admiral Jean-Luc Picard [Stewart] and Doctor Beverly Crusher [McFadden] are parents to a now grown son [Speleers]; and that a new deadly weapon was stolen from a highly Top-Secret Federation base.

Being a big Star Trek fan myself, I got caught up in the hoopla about a review on YouTube, that Season 3 of ST Picard had fallen into the right hands of a lead director and writing team, and that the new season was a much needed rewrite with episode writers who were once legitimately part of of the production team of Star Trek Deep Space 9 and other more "fan favorable" Star Trek shows and movies, hired on to answer a lot of the fan based questions which were far too ignored. With a new production budget and visual zeal that brings traveling through the final frontier back to the original form, the show has received good buzz and there's word that this will be the last series with the old crew to ever be produced for fans.

THE GOOD - The visual effects and CGI are pleasing to the eye. Seeing the aged and dusted off Admiral Picard in the Captain's seat was a real treat. The battle scenes between ships is epic and some of the special effects in the series are far above the imaginable.

THE BAD - If you've ever been to a twenty-year reunion of your high school class and realized that all of the people you once knew were still the same, but just heavily sprinkled with parental problems and a burned out married life...well, then this show won't seem any different. The story lines drag on and on per each episode, with a touch of "Oh shit, this is so important!..." and "You once gave a shit about me, but now you don't" to "I can't do this anymore, I'm a senior officer!...", to "Okay, for old times sake, I'll step up and be part of the team again." Many of the cliche's are old, seem to work from time to time, but there is also a TON of dialog with mixed feelings about this and that, that the entire fluidity of the film just seems to drag on...and then BAMB, something hit's the ship and the entire crew looks about the room stunned and then someone cries out, "...they've found us!" Most of what's seen within the first four episodes could have been presented in a one hour special of STNG. The rest is just useless fluff that just wants you to scream out, "...C'mon!...get on with it!" - Yeah, folks. The show can be THAT bad from time to time; more often than not.

POST MORTEM - There's a scene were Admiral William Riker [Franks], Worf [Dorn] and third party member transport down to a Top Secret Facility and just calmly walk around some passageways, looking for chamber door. There are no standard hand scanners to help them on their search; something that was always seen in the older shows. For every good thing that ST-Picard brings to the table [including some badly designed star ships] another big FAIL falls directly following the BIG reveal which isn't as fantastic as the writers hoped it was going to be. It's certainly another jumbled mess of nostalgia, but way better than what was presented in the first two seasons. But this is a good send off for a bunch of actors who couldn't find good work after the biggest and most popular of the Star Trek shows went off the air. The actors are certainly getting a raise in their retirements without having to work to hard for it this time.

⭐️⭐️⭐️💫[3.5 of 5 Stars]

WHY HOLLYWOOD ALLOWED J. J. ABRAMS TO SINGLE-HANDEDLY DESTROY FILMMAKING

In his early years, J. J. Abrams was a brash and creative project director who  brought solid teams together to bring hit shows to TV like Alias, Felicity, and Lost. From 1998 to 2006, world wide audiences were caught up on his shows, which built up a variety of dramatic, spell bounding, plot twisting, story-lines that kept the fans coming back to new seasons of his hit shows. I guess early on it was just something fresh to see, seeing some interesting character build ups, an entertaining variant of casting changes that bulked up the idea that these new shows were going to reveal something BIG in their final season.

Before Abrams began directing, he spent a few years working on movie sets with screenplay and assisting script writers to polish up each new script dropped on his desk. He had a quick wit with just adding those little things to make scripts read better, driving the screenplay to seem more natural to keep each passing scene flow by flawlessly, giving the each new film a realistic feel for the audiences. When he began to produce films and make creations for TV, he seemed ready to deliver the best ideas that could bring a whole new audience to the networks. And for a while, they did. Each new series he brought to the world, brought him a step closer to the ultimate goal of any series producer; the chance to work on big budget films.

When Abrams sold the idea of the film CLOVERFIELD to Paramount in 2008, claiming the film could be produced in twelve weeks, he was more than excited to get the ball rolling on the film and get a chance to go up against some of the other big films being released later that year. He found Matt Reeves to direct the film and commanded him to begin filming sequences to CLOVERFIELD even before the final script was even completed. Even though Reeves admitted that he had never worked in such a "top speed" environment, he did as he was told; producing scenes out of sequence that weren't even put to script, and then adding them to the film and adjusting the scripts afterwards to officially add them successfully to the entire plotline. And don't forget the flashy lighting in the film and the addition of lens flares that follow in all of the films created and produced by Abrams; I'm sure that you're way over tired of seeing them in his films by now.

But there was one BIG problem with the script and production to CLOVERFIELD, something that also plagued those network show's that brought him up to the spotlight of success in the film industry...the movie lacked a solid ending. As a matter of fact, ALL of Abrams film and network creations all had bad endings, many that pissed off fans who watched his network show's for years; trust me, I was one of them! I watched LOST endlessly and in the final season it was revealed that the entire show was just a dream and that all of the passengers and characters had all died in an opening plane crash from season one. The failure of bad endings would [and still do] plague many of the Abrams new movies. But did he try to fix this one bad issue with all of this past films, of course not. He explained to the big wigs in Hollywood that "fans will watch whatever is tossed at them."

So, when Hollywood decided to give Abrams the keys to the Star Trek franchise and launch it with a reboot. The new STAR TREK movie of 2009 also brought with it a slew of creative problems that would also be noted in every new and old movies led by the startling new producer and director. Fans began to learn quickly that Abrams had absolutely no grasp of technical know-how on how things actually work; i.e. he knows that a key turns the ignition to a car, he knows the gas pedal makes the car move, but has no concept of how a car engine works or how combustion leads to the production of carbon, except that when the car is low on gas it needs a fill up. If you're making a movie about car manufactures and designing a new engine for a car, the concept for knowing how a car motor actually works and how to repair it, are vital.

First of all, in the STAR TREK movie alone, the concept of military ranking, officer etiquette, and advancement eluded the storytelling. Even the ship's concept and designs, required for building realistic sets were tossed out of the window. Bit by bit, the STAR TREK movie was filled utterly with "bullshit" technology that fans began to see through the hype and eventually the movie itself proved that Abrams was way out of his league when it came to writing and creating SciFi movies. His reboot of STAR TREK II, entitled "Into Darkness," was also a complete BUST with Star Trek fans. What's a bigger shame is that newer, more popular actors were brought in to try and save the new film, but that idea fell under harsh reviews and a Rotten Tomatoes Rating that even today wouldn't save anyone's career in Hollywood.

So, how could Abrams escape the fracas of ruining a top notch SciFi franchise? Well, Hollywood decided to give him the reigns to the STAR WARS franchise, where the details on knowing "how things work" were never explained in the first six episodes of the franchise and how presenting military etiquette truly never meant a hill of beans. But the writing to the new scripts for this reboot presenting a complete misunderstanding of the force, how light sabers work, ship's designs, and slew of other odds and ends that Star Wars fans first ignored, but then eventually had to acknowledge that Abrams was again far out of his game. His miserable talent for creating series began to rub off on other Hollywood executives, keeping in mind that "fans will watch whatever is tossed at them" on the big screen. I feel that Abram's true failure with the Star Wars Franchise was his decision to release a trailer to the film that had absolutely nothing to do with the true scenes of the film.

And the philosophy built up and openly shared by Abrams has held him in the limelight now for over fifteen years. He is not the authority in SciFi productions, but his long list of films, his staple amplified on IMDB and his name sharing by the plethora of Hollywood elite will not let this jackass fade away. We are surely in for a long ride and in my lifetime we will see a plethora of Abrams wanna-be's who know that its not about how the ending to their films are delivered, but about the money that fans will bring in just to watch another reboot to another old idea that didn't need to be rebooted. Don't spend your money too soon just to see a reboot that [in the end] you won't like.

QSE .357 WIKI POSTS SHOW GREAT SUCCESS WITH FOLLOWERS!

Read the numbers and weep! - The Quantum Storm History WIKI pages are proving to be a hit with studio followers. Many comments of your comments have been received and the studio is doing it's best to answer your questions to give you the best up-to-date information, and in some instances, provide behind the scenes requests. The Wiki posts are an attempt to build "source material" for the Wikipedia website to start building a historical database for studio films.

There is no doubt that the largest hits we received over time was the latest issue of the QSE .357 E-Magazine which has a ton of Star Trek fans requesting an extensive peek into the Iscandar series that is currently in production. News was leaked in the last issue that the series production team was in Dallas, Texas working on a new episode and there were photos presenting a possible time travel episode concerning events on November 2, 1963; the day John F. Kennedy was assassinated. 

The studio CEO says that the episode in production for Iscandar concerns a dark story that is in line with the Original Star Trek series [STOS] "City on the Edge of Forever" and one that  strong cast was hired to assist with the episode. A Wiki for the Iscandar series will not be released until the first season of the series is released online. The studio has not mentioned a suggested release date for the series, but promises that a trailer for the series is currently being manufactured with all of the footage that is currently on file. What is known about the series is that there are several variances in the cast lineup which will be presented at one time. More information for the Iscandar series to follow.

Studio Wiki's will also be produced for local and statewide Independent films which were advertised or hyped for production, but never released or were failed to be produced as promised. With notes taken from studio news investigations over the course of more than ten years, the studio plans to release the Wiki's in the next few coming months. As mentioned earlier, people involved in these failed Independent film projects will be given an open opportunity to add or request certain information to be released from the new Wiki posts, but all requested changes or deletions will be posted on the Wiki's to give other individuals the chance to counter a change or deletion.

QUANTUM STORM WIKI ON “STAR TREK BEYOND”

Star Trek Beyond [STB] is a SciFi, dramatic/action web series written and directed by David Quintana-Lujan. It was the first web series idea ever produced by Quintana-Lujan, this series was produced under the studio name, StoneWater Productions from 2006 to 2008. This series takes place 87 years after Start Trek Voyager, after fallout from a massive war has brought the Federation and Romulan Empires to forge an Alliance that has now expanded into the Kilos Quadrant of deep space; this part of the cosmos is vast and relatively uncharted. One species [The Jade Kussar] is helping the new Alliance map the farthest reaches of the quadrant in a vain [but cryptic] attempt to expand trade and commerce. When an advanced offshoot of the Borg are found in the sector, the crew of the ASV [Alliance Space Vessel] Precipice must investigate the reasoning for the Borg presence and help the Alliance defend what’s left of their homeworlds.  Star Trek Beyond features Bernice Tremblay, Marah Anderton, A. J. Lightsey, William Foster, Jeremy Chubb, Rachael Duerrler, Tom McAvin, Seanna Six, Heather Hyland, Jessica McAvin, Randall Behan, Melissa Damon, Aaron Hayes, Mike Valletta, Kristi Lynn, Matt Vaughn, and Kat Hansen.

Directed by D. R. Quintana-Lujan

Screenplay by D. R. Quintana-Lujan

Story by D. R. Quintana-Lujan
            Bernice Tremblay
            Heather Hyland

Based on Characters by D. R. Quintana-Lujan

Produced by D. R. Quintana-Lujan
                 Bernice Tremblay
                 Jeremy Chubb

Starring Bernice Tremblay, Racheal Duerrler

Cinematography by D. R. Quintana-Lujan

Edited by D. R. Quintana-Lujan

Music by Within Temptation

Production Company StoneWater Productions

Running Time 20 minutes per episode

Countries  United States

Language English

26 Episodes

 

Star Trek Beyond [STB] is an ultra-low independent web series directed and produced by David Quintana-Lujan during the Spring 2006. Living in New England during his military years, the director-producer spent two years working as an editor on low budget independent schlock vampire films in Boston, MA. One day after getting fed up with the local drama there, he went back to his home and thought about starting his own independent films in Connecticut. After talking with a friend [Professor William Foster] at a comic book convention, they narrowed the field of potential projects down to two formats; either produce a western or produce a SciFi project. Since the logistics at his current disposal couldn’t support horses or building a town for a western, he decided on producing a SciFi feature film. Foster jokingly told the aspiring filmmaker that if he made a Star Trek show, he wanted to be in it.

Quintana-Lujan began talking with long time Navy buddy, Del Mar Rosa, about working on a potential SciFi movie. One idea was called Andromeda7, which would later be produced as Angelika5, and the other was a deep space feature partially based on a Mad Max type world where a star ship crash lands and the survivors have to mingle in to survive. But Quintana-Lujan and Rosa had never used camera equipment before, so they both decided on working on a project they both new best, a Star Trek show. Quintana-Lujan began working on a script and his friend, Marah Anderton, helped out creating one of the new aliens to present in the show called, The Jade Kussar. This new race was a bunch of half-assed but very mysterious pirates; who may have been the culprits who visited the earth long ago and brought the pirate mentality to Earth.

CREATING THE ASV PRECIPICE

Quintana-Lujan wanted to design and present an all new class of ship. It was to be a hybrid of technologies between the old Federation and Romulan fleets. But since the technology was not readily available to the studio to project the new ships design, the director settled on using the Akira Class Cruiser from STNG canon, but with various alterations in propulsion, a cloaking device, and advanced weaponry on board. Rosa worked feverishly to design sets for the show, most on paper and with cardboard cutouts. When a design was found doable, Quintana-Lujan funded $250 to help build the set, which was nothing like what Rosa had designed. The team loved the color setting, most were earth colors with maroon shades and thin black stripes, which matched the uniform colors of the ships personnel.

The two filmmakers, with the help of Jeremy Chubb, spent a weekend hammering, spray painting and gluing the set together in Quintana-Lujan’s carport and eventually moved it into his car garage where the entire first season would be filmed. The set was very flat, no curvature like they wanted, but it could be manipulated into different designs and various compartments for use in front of the camera; it would eventually be used as a bridge, a turbo lift, medical bay, crews cafeteria, and more. Terminals were later designed and put together with wood and cardboard. Some of the LCAR panels were painstakingly put together by Rosa by using sliced up sticky pads and colored labels. Within a month, the bridge set was complete and the team was so excited to get things started.

CASTING SEASON ONE

Quintana-Lujan and Marah Anderton held a casting call for the lead role in the series. Since they were both in the Navy, they were both looking for someone that “had the look” of a ship’s Captain but with a younger outlook on life. They went through five actors until one night they met up with a veteran theater actor, Bernice Tremblay of Sterling, CT, who Quintana-Lujan stumbled on while going through an online actor’s database; Tremblay later recalled that she “drove a considerable distance just to meet the two at a Chili’s restaurant.” The chance meeting went very well and Quintana-Lujan knew they had found what they were looking for to fill the role of Captain Jadrian Quest. A few weeks later, after the team gave Bernice time to look over the scripts – keep in mind that Tremblay had never seen one episode of Star Trek before in her life and had to proficiently learn Trek’s techno jargon – they began to film tons of scenes, traveling to several locations in Connecticut and filming some more. The first four episodes of the first season were filmed in only three weeks.

In the beginning, Anderton demanded she play the Jade Kussar Princess and First Officer, Ravine; since she helped develop the new alien species she felt she was the only person qualified to play the role, but with one little addition, she wanted her character to wear an eye patch; something that would differentiate her with a handicap from the other characters. A. J. Lightsey would be the quirky Trill Science Officer and, due to his busy schedule teaching at the University of Connecticut, William “Bill” Foster wanted to play the ship’s doctor, Stitch Brown; who was known to have a sense of humor and use old remedies to cure his patients. Since the first season would only be introducing the character development of a triad of actors for the first season, the team didn’t feel the need to cast an Engineer or Security Officer for the first bunch of episodes. The first episode of the show started with the ship’s Captain and First Officer standing on a holodeck program and talking about World War II Submarine Memorial in Groton, CT.

FILM FORMAT

Quintana-Lujan did a lot of work studying the film format of both the original Star Trek and Star Trek: The Next Generation [STNG]. Going with the old “learn as you go” method of filming was proving to hurt the production of the first three episodes, than help. The young director knew that he was over lighting the bridge scenes, but just couldn’t figure out what he needed to do to set the right mood for the show. It wasn’t until the director watched STNG Episode 15 of Season 3 that he found the film format he was searching for. The episode was about one “possible” future and the lighting was very dark. Seeing that STB was a fan series about a possible future, it seemed logical to change the format in the show towards a darker setting. By the end of the first season and going into the second, the camera angles, lighting, and story boarding seemed perfect for going into a more aggressive direction in the show.

THE SEASON TWO DILEMMA

After a short break from STB Season 1, the fan following boomed to an all time high which kind of caught the cast and crew off guard. So, Quintana-Lujan began working scripts for a more edgy season to deliver to their fans, The Borg War. There was a slight uniform change to make the series a little darker and warmer for the winter months, then the scripts went out to the cast. Moreover, the studio moved the entire set into an apartment where an entire living room area would be used for the bridge, medical bay and crews quarters. The rear dining area of the apartment would be used for the Engineering spaces. Quintana-Lujan and Chubb lived in the apartment and they slept in the upper floor area, only using the downstairs kitchen to cook.

Just as filming was getting ready to start for Season 2, Anderton was forced to move out of state and A. J. Lightsey was also gone, which left the team trying to figure out how to save the role of the resident Kilos Quadrant alien and bring aboard a science officer. Quintana-Lujan stumbled on Seanna Six working in an office adjacent to his and asked her if she was interested working on the series with him, when after realizing it wasn’t a porn thing, she said yes. When Six found out she was going to play a space-pirate, she was so excited and brought  most of the costume accessories she had bought for herself. She was cast as the Jade Kussar sister to Ravine, Sin’Jin. Tom McAvin also worked in the same area as the director on the base and was asked about stepping on as the ship’s Engineer. Mike Valletta was brought on to the show via Tremblay, who she met on a set of another project, to play Commander Wallace, the new First Officer. The theater guru, Matt Vaughn was brought on board to play General Teris Rodar, the leader of the new Alliance.

Tremblay also brought in Kat Hansen to play the Borg Queen and Kristi Lynn to play a “Q” to round up the required actors for Season 2. The series went into production without any further hiccups and the entire 8 episode season was shot in under eight days over the course of a month, shooting episodes every Wednesday and Saturday. Tremblay worked a lot on this season of the series, with her hard work playing the character of Captain Quest, then helping with script writing on character development and also stepping in to do all the makeup for the Borg Queen. Hansen worked two nights on the series episodes as the Borg Queen and then stepped away before the third season began. The season ended with the entire cast and the ship being destroyed by the Borg. The episodes concerning “The Marble” drew the largest viewership from the shows fans and a spike in episode views reached over 1,600 on the first night of being released; at that time, it was a huge thing as no other fan production was receiving that high of traffic on their shows.

SEASON THREE

After an extremely hard winter, the studio and the series team returned to start pre-production efforts on Season 3. Seanna Six had to step down from her role due to being pregnant and was replaced by Heather Hyland, after Quintana-Lujan had met with Hyland over lunch. Hyland would eventually re-write the history of the Jade Kussar before the end of Season 3 and was introduced as the empire’s second eldest daughter and family accountant, Fra’Oc. Melissa Damon was brought on board as the Borg Queen, covering Hansen’s duties. Mike Valletta’s character was planned to move off the series, so Racheal Duerrler was cast as Commander Maku, who was filling the role of a stern First Officer. Jessica McAvin also entered the series production and was placed as the ships Science Officer. The cast and crew slipped into the third season with elegant ease. Everyone knew their characters, knew the Trek lingo and followed their scripts brilliantly. One surprise was the return of LT Palmer, now performed by Aaron Hayes, who had worked with Tremblay on a previous independent project.

The series was firing on all thrusters and was a smooth operation going from one plotline to another with professional execution. By the end of Season 3, Tremblay had made mention that “the series had run its course” and it was time for her to work on other projects. To the sadness of the series director-producer, the character of Captain Jadrian Quest was promoted to Rear Admiral by a stern Federation Fleet Admiral (played by Randall Behan) and was written off the series. Commander Maku [Duerrler] was promoted to Captain and took over the ASV Precipice and her crew.

SEASON FOUR

Going into the early spring of 2008, the cast returned to perform a theatrical performance that was well out of center from the series production format of the previous seasons. Hyland worked closely with the director-producer in creating a whole new back story and look at the Jade Kussar. A story that was written in the Jade Kussar’s ancient lore, a history that claimed the pirate race were the fore-bearers of “The Duat”- a mystical technology of three items, that when put together, would give its wielder the ability to control, bend and open doorways into time and space. This new season would allow fans to see that Fra-Oc was once a passionate part of her empire until tragic events forced her to become the looney-type accountant that she was playing. Theater performances were recorded on the set and in four different locations in Connecticut. At first, the storyline received low reviews, but over time fan followers claimed that the plot and storyline were perfect and produced well ahead of its time.

A separate production and storyline to Season four brought in actors and a crew from the upper Hartford area, the team was identified as Meezemeyer studios, who have worked on independent films for many years in Connecticut. This team covered a plotline that crossed STB with the STNG timeline. This crossover brought in a high number of views that were missing since season two.

THE FINALE

Kristi Lynn reprised her role as the “Q” for the final episode of the series. A new line of cast members lined the bridge and the series ended with the possible hint of an extension to the series. The final episode received the highest amount of views from fan production fans. Many SciFi fans have shared their thoughts through comments and emails that the series ended on good terms. Many online fans missed Tremblay’s performance of Captain Quest and wished to see the entire cast from the previous seasons on the final episode; something that was impractical at the time. The series ended on a holodeck program with the ship’s Captain and First Officer exactly where the series began. The series has since been immortalized by having a page on Facebook. DVD sales to raise money for a new extension of the series proved to be more than fruitful for the new studio. The Facebook page also gives updates to new releases and some interesting series history and actor interviews.

THE QUANTUM STORM .357 E-MAGAZINE ISSUE 12 IS RELEASED!

 

THE LONG WAIT IS ALMOST OVER! THIS ISSUE WILL TAKE YOU ON A JOURNEY THAT HAS TAKEN EIGHT YEARS TO COMPLETE. WITH SEVERAL RECASTS, OVER NINE LOCATIONS THROUGHOUT TEXAS AND AT LEAST FOUR DIFFERENT PLOT LINES IN ONE SEASON, "ISCANDAR" IS JUST ABOUT READY TO LAUNCH.

 

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