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Janeway was a blind Mrs. Columbo squirrel who found a nut once in a while. Let's not forget what a horrible person she really was. She took Voyager into a suspicious nebula so they could get power from it ("There's coffee in that nebula", LOL). When Ensign Kim was killed by being blown out into space, so let the alternate reality Kim take over and man -- I don't recall a tear or a funeral. More than once she let enemies take positions of power on the ship, which lead to disastrously consequences. She made a deal with the Devil -- the Borg -- so she could get the crew home faster, resulting in the billions of lives lost on other world's taken as a result of her actions, by the Borg. Screw you, innocent business-minding space aliens! She spent more time experimenting with new hairdos than minding her crew.
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The Voyager theme began to really resonate with me during the first months of the pandemic. That was a weird, lonely time. Not so many people out and about, and many of those that were out disappeared behind masks. At times, the freeway was empty, in the middle of the day. Compounding that, here in Minneapolis, the protests that began after George Floyd was killed had a number of stores boarding over their display windows, reinforcing that same strange, lonely feeling. The Voyager reruns were on TV at 10:00 here (they still are); I would often fall asleep with Voyager on, but usually was still awake when the closing credits ran. The Goldsmith theme has just the right touch of melancholy to it, but also has that optimistic, "we can get through this" flavor. It felt like a little bit of a lifeline back in those days. It's become my favorite of the Trek themes.
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Posted: |
Oct 30, 2024 - 4:07 PM
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By: |
Ado
(Member)
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The Voyager theme began to really resonate with me during the first months of the pandemic. That was a weird, lonely time. Not so many people out and about, and many of those that were out disappeared behind masks. At times, the freeway was empty, in the middle of the day. Compounding that, here in Minneapolis, the protests that began after George Floyd was killed had a number of stores boarding over their display windows, reinforcing that same strange, lonely feeling. The Voyager reruns were on TV at 10:00 here (they still are); I would often fall asleep with Voyager on, but usually was still awake when the closing credits ran. The Goldsmith theme has just the right touch of melancholy to it, but also has that optimistic, "we can get through this" flavor. It felt like a little bit of a lifeline back in those days. It's become my favorite of the Trek themes. I have always found our classic Treks comforting, and I think that is pretty common for us in that group. Probably the most consistent optimistic force in my life since I was a kid is classic Trek. That is a very good and open story you tell there. Those were hard times.
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The Voyager theme is extremely good in itself, soaring and stately, but the TV show could have benefited from something that highlighted action, suspense, urgency. The ultimate "urgent action" series theme for me is Seven Days by Scott Gilman. The main title to First Contact, before the mechanistic Borg cube music kicks in, might be my single favorite Goldsmith piece.
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ACTUALLY, Rosenmann's Star Trek IV theme do sound like a TV-series opening
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Agreed. I found the optimism to be missing even from the Giacchino music in 2009, which was kind of more about the action and adrenaline of JJ's take on the universe... not about the stately nobility of the mission, which is what all the other scores seemed to be scoring. That's one of the big reasons the MG scores (and the themes for the Paramount+ shows) haven't really worked for me. I hadn't thought about that. I thought the Voyager theme wasn't exciting enough, but maybe an intense action theme would need a mid-section, a bridge, that would let you have both. The main part could be an urgent action theme, and then the bridge is emotional and uplifting, and then you hit the action motif again to wrap it up. An example of this main title style would be Space: 1999 Year 1. The action music diverts into an emotional bridge (Barry Morse on screen), and then back to action for the finish.
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