He was responsible for a number of well-received episodes, including The Visitor and In the Pale Moonlight. Like Lisa Klink and Bryan Fuller before him, Taylor had been tested on Deep Space Nine. Taylor certainly had a proven track record. Once Upon a Time was Michael Taylor’s first script as a staff writer on Voyager, having been hired at the start of the fifth season as part of a push to recruit young and interesting voices to work on the series. There was a revolution taking place in television during the nineties. Even shows like The X-Files, Space: Above and Beyond and Buffy: The Vampire Slayer indulged in the occasional experimental episodes like The Post-Modern Prometheus, Triangle, Who Monitors the Birds?, Hush and Once More With Feeling. Over the course of the decade, genre shows were willing to push the boundaries of what was possible in television, proving dynamic in a way that would be hugely influential for the more high-brow “prestige” series that followed. Series like Babylon 5 and Star Trek: Deep Space Nine returned serialisation to prime time, after it had fallen out of fashion. Twin Peaks changed television, allowing the medium to embrace surrealism and weirdness in a way never seen before. Genre television had been a hotbed for experimentation in the nineties. In many ways, this conservatism was a reminder of just how far Voyager was being left behind, of how the dominant production strand of the Star Trek franchise was failing to keep pace with the changing media landscape around it.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |