Realistically there are insects that nest at the base of the brain of a host and enslave it, this could be the larval form of the race.i'm glad the borg were not a insectoid race because its hard to see how assimilation would work then.
They were going to use theNeural Parasitesfrom the Conspiracy episode to handle the assimilation.Realistically there are insects that nest at the base of the brain of a host and enslave it, this could be the larval form of the race.
The fantasy version would be a race that cocoons it's victims and injects them with a toxin that takes over their minds, or rewires their brain to communicate through pheromones this would be better cinematically because it gives a segway to dramatic escapes or rescue attempts. I dislike insectoid races myself they just never gelled with me and I like that the Borg are humanoid and represented a possible averted future for human kind. There was a race called the Binars that made everyone think how neat it would be to have linked minds, and the show was always flirting with telepathy but the Borg represent the bad side of linking minds.
At the end of the episode:The writers originally intended the parasites to be agents of the Borg. Due to the Writers' Strike of 1988 as well as budget cuts, the connection between the Borg and the parasites was never established.
As they help to settle matters with Starfleet headquarters, they find that before Remmick was killed, he had sent a signal to a distant quadrant of the galaxy, possibly as a homing beacon to guide an unknown entity to Earth.
yup i read that before. "Conspiracy" was supposed to tie into the borgIf they had gone with the idea of assimilation with the insectoid version of the Borg, they would have likely ended up using the insects that infiltrated Starfleet in the Conspiracy episode. While I can't find any connection with them and the original design of the Borg, the end of the episode really leads me to believe that it was foreshadowing of them coming.
Write a letter, dammit. That would be awesome!We need need HBO to buy Star Trek and make a show or two out of it.
Isn't that what TNG was?British Star Trek what? WHAT WHAT WHAT?
"Tea, Earl Grey, hot.", the captain commands his indian manservant.
Ok -- that would be pretty fucking funny. Like a 1800's British Navy fantasy in space -- which is a good third of what TNG was to begin with. Oh god... they could put Wesley Crusher over the barrel! "This is behaviour unbecoming of a young gentleman, Wesley. Report to Lt Wourf for discipline."
It is a bit off-track, but if we want to compare opening theme songs, Babylon 5 always rocked it for me, above and beyond anything the ST TV series had for music.redneck country music motherfuckers, my ears bleed just embedding this
compare that shit to this
The Babylon 5 opening does not have the musical zest of a a grand symphonic Star Trek or even the simplistic wonder that was the Firefly theme. I do however very much appreciate that the opening monologue changed as the story progressed. The first opening is ominousIt is a bit off-track, but if we want to compare opening theme songs, Babylon 5 always rocked it for me, above and beyond anything the ST TV series had for music.
The original 1963 recording of the Doctor Who theme music is widely regarded as a significant and innovative piece of electronic music, recorded well before the availability of commercial synthesisers. Delia Derbyshire of the BBC Radiophonic Workshop used musique concr?te techniques to realise a score written by composer Ron Grainer. Each note was individually created by cutting, splicing, speeding up and slowing down segments of analogue tape containing recordings of a single plucked string, white noise, and the simple harmonic waveforms of test-tone oscillators which were used for calibrating equipment and rooms, not creating music. The swooping melody and pulsating bass rhythm were created by manually adjusting the pitch of oscillator banks to a carefully timed pattern. The rhythmic hissing sounds, "bubbles" and "clouds", were created by cutting tape recordings of filtered white noise.
Once each sound had been created, it was modified. Some sounds were created at all the required pitches direct from the oscillators, others had to be repitched later by adjusting the tape playback speed and re-recording the sound onto another tape player. This process continued until every sound was available at all the required pitches. To create dynamics, the notes were re-recorded at slightly different levels.
Each individual note was then trimmed to length by cutting the tape, and stuck together in the right order. This was done for each "line" in the music ? the main plucked bass, the bass slides (an organ-like tone emphasising the grace notes), the hisses, the swoops, the melody, a second melody line (a high organ-like tone used for emphasis), and the bubbles and clouds. Most of these individual bits of tape making up lines of music, complete with edits every inch, still survive.
This done, the music had to be "mixed". There were no multitrack tape machines, so rudimentary multitrack techniques were invented: each length of tape was placed on a separate tape machine and all the machines were started simultaneously and the outputs mixed together. If the machines didn't stay in sync, they started again, maybe cutting tapes slightly here and there to help. In fact, a number of "submixes" were made to ease the process ? a combined bass track, combined melody track, bubble track, and hisses.
Grainer was amazed at the resulting piece of music and when he heard it, famously asked, "Did I write that?". Derbyshire modestly replied "Most of it". However, BBC, who wanted to keep members of the Workshop anonymous, prevented Grainer from getting Derbyshire a co-composer credit and a share of the royalties.