What can I say, all that pink and purple just seems to be meant to be together.
Credit again to Trek Core for their excellent TAS BlueRay screencap library.
Editing to add: love Barbie, pleased to see the movie out earning most of the comic heroes, always glad that TAS and Prodigy make themselves appealing across genders.
My spouse still grumbles that DC Fontana shouldn’t have let Niven get away with adapting his story ‘The Soft Weapon’ to become the TAS episode ‘The Slaver Weapon.’ (They think Niven should have come up with something new for TAS.)
I think it’s all a great deal of fun, and take delight in Lower Decks giving us Kzinti in Starfleet.
Whatever fans of either the Man-Kzin Wars books or Trek may feel about it, Niven himself chose to bring the Kzinti into Star Trek canon.
He continued to own that by writing a piece for the StarTrek.com official site outlining that the Caitian feliniods (M’Ress in TAS, Dr T’Ana in Lower Decks and a background character in Prodigy) are related to the Kzinti. According to Niven, the Caitians split off from the Kzinti and settled on the planet Cait, becoming more scientific in orientation, much like the Romulans and Vulcans separated and diverged.
LOL, Niven is a classic silver-age scifi writer, and freely admits “If something is worth selling, it’s worth selling multiple times.” I got into his Known Space stories and Star Trek at almost the same time, so I’m fine with it, but I’m not really an objective judge.
I absolutely agree that it’s fun that Niven sort of mixed “his world” with Star Trek. Why would writers have to keep their realities separate? Combining them is like expanding both with each other
Well, in bringing the Kzinti into Star Trek, Niven has enabled other writers ‘to play with his toys.’
Many novel writers aren’t really comfortable doing this, even if they get downstream royalties/residuals when their creations are used again. Niven by contrast seems to be fine.
I’m almost certain I read somewhere that Fontana and Roddenberry specifically asked him to adapt that story.
DC Fontana was asking science fiction writers with no prior animated series credits to write an episode of TAS to take advantage of an exceptional provision in the writers contract.
There was a writers strike at the time, and at that time the animated writers were in the same union as live-action. The provision existed to enable writers to move media, and Fontana took full advantage as many TOS writers and science fiction writers had never written for animation.
I haven’t seen specifically that Fontana asked Niven to adapt that specific story, but she and Roddenberry clearly were comfortable with his doing so.