The Aegis, a legendary shield from mythology, symbolizing strength and support, having the power of Zeus himself on your side. Operation Aegis aptly named, acting as the sword and shield for the defenseless and captured transport group. With an almost scripted level of irony however, many seemed to have comfortably settled on using the bots as a shield instead.
>Joel Goldsmith was born on November 19, 1957, in Los Angeles, California, the third of four children of Sharon (née Hennagin), a singer, and a renowned composer Jerry Goldsmith. His mother's brother was composer and professor Michael Hennagin.
>He was the main composer for the TV series STARGATE SG-1, although the main titles were written by David Arnold (who composed the score to the 1994 feature film STARGATE, the movie that began the franchise). On the STARGATE spin-off series ATLANTIS and UNIVERSE he composed the main titles and the incidental score.
>During his career, he usually collaborated with two composers, his father Jerry Goldsmith, and Neal Acree. He made his first move into video games music in 2006, scoring CALL OF DUTY 3. His motion picture credits include DIAMONDS, SHILOH, MAN'S BEST FRIEND, THE MAN WITH TWO BRAINS, KULL THE CONQUERER, STARGATE: ARK OF TRUTH and STARGATE CONTINUUM. His television credits include HAWKEYE, THE UNTOUCHABLES, WITCHBLADE, SANCTUARY, THE NEW OUTER LIMITS and the mini-series HELEN OF TROY. During his final years, Joel relocated to Hidden Hills, California, where he built a home studio in his backlot.
>Goldsmith died of cancer on April 29, 2012, aged 54, at his home in Hidden Hills, California.
>When Joel passed I asked myself how I was going to be able to continue making television without him. A score can make or break a television show or movie. For nearly twenty years, time and time again, Joel's music elevated my work.
>Joel would sometimes play me a cue over the telephone he was excited about. Sometimes that was the middle of the night. It was always worth it. The very last cue he wrote for me was shortly before his death. It was the final cue for Stargate Universe and by the time he was finished playing it over the phone I had tears running down my face. Years later, I still listen to his music as I write.
>'Children of the Gods' was the first time I witnessed an actual orchestra playing the score for something I had written. It was a joy to watch Joel in his element, tweaking, embellishing, even making wholesale changes on the fly. I was so impressed by his talent, his commitment and his joy.
>At MGM's insistence, the original 'Children of the Gods' version combined Joel's score with the music from the original Stargate feature. Joel was deeply disappointed. I too thought it was heavy handed, but lost that battle with the studio. Nearly a decade later, I asked MGM if they would allow me to re-cut 'Children of the Gods' in the way I wished we'd done the first time around, and incorporate Joel's original score. They agreed. It turned out to be a ton of work for Joel - because I had recut the picture so much - but in the end it was a labor of love for the both of us.
>This score for 'Children of the Gods' is the one we originally intended, finally realized years later. It is elegant, powerful, and pure Joel.
>I miss him.
>Brad Wright
Co-Creator and Executive Producer of the Stargate Television series.
>In memory of Joel Goldsmith, Rick Chadock and Don S. Davis
I have always really liked this episode so I could never get behind any of the hate against it. Given I watched it on what felt like an almost weekly basis with how much it got replayed on cable, so that certainly played a factor, but the episode is still good and doesn't deserve the hate it gets.
There's something beautiful and elegant in the simplicity of the episode, which to me, is part of that essence of Stargate I fell in love with. With just a limited cast, a small set, and a pretty basic story, this episode still hits where it needs to.
To start, we're just 3 episodes in, and Carter has an immediate story surrounding her. One which paints her as an absolute bad ass, and has her engaging in battle with nothing but a combat knife, seconds prior to which was willing to throw hands rather than even use weapons.
All of the actors are good in the episode as well, especially considering there isn't a lot to the episode. It's a fantastic soft into to the team and how they go on to treat situations. It also sets in stone that we are not with the team at all times, that thing's are happening off screen, and only being privy to certain missions they go on. It gives any time we do get to see the team, even in what people may view as a dull situation, that much more importance.
In my opinion, the episode and what it signifies is overshadowed by people commenting on the early production values, or discussions of it being dated etc. Here we have the team taking a chance to engage with an alien culture. Something goes wrong due to their interference. Even being free of the situation there is a push to right a greater wrong, but also discussion about not completely upsetting a culture. Even more so, ultimately finding a cultural solution to the problem lowering overall impact, producing a more natural and solidified change than just marching in guns a-blazing.
Everything about it is straight forward. No fancy effects. No crazy and complex plotlines.
Simple location. Simple story. Simple ending.
Save the day, queue walkaway, fade out, roll credits.
Regarding the Season 8 episode 'Covenant,' Alec Colson tries to prove the existence of aliens, and the SGC discredits him with CGI and media spin. Realistically, does the SGC even need to do that, or would the general public have just watched his 'Asgard' press conference, argued about the CGI on social media for two days, and then moved on to the next celebrity scandal? Was Carter correct asserting that the SGC was actually stopping a global disaster, or was this thinking also naïve? Is the secret really preserved by the military, or is it preserved by the publics lack of attention?
Since the weird audio subject has came up a few times now I decided to cut together the audio segments that were mentioned to see what was going on, and I must say, I'm still stumped.
The first version used I just pulled from Prime Video and is the MGM+ version, so I am not sure if that is making a difference here. Regardless, it's the short TV version, and I can't hear anything noteworthy in the audio.
Second cut is directly from the DVD version, which is the extended episode. I know I had checked this previously, and still on re listening don't note anything on this track either. Issue being, they use the same track to my ears, I certainly can't notice any difference like a change in actors or something along those lines.
Question for those who have heard the sus audio, precisely what version was it, through Crave for example, is it not the MGM+ version and so on, but more importantly does the track sound different? As in, different actors, a different mix, that sorta thing, or is it the same track, with the weird audio mixed in?
I genuinely do not understand the methodology behind this "tactic" if you can call it that. Starting out rather than trying to dodge torps, people seem to want to yank a hard right and open up their broadside so they collect as many of them as possible, then if not already dead, choose to sail directly along the coast, usually stopping around G8. In some level of fairness, I guess this is better than those who try and do the 1st stage of the op from G5/6, even more long range.
To me, this seems like something one would do if they were just more concerned about their kills and not dying, not really caring if the match is a loss or not. But this also seems to be the "preferred" method of playing, so I guess the question is, is this what people believe 'playing the objective', is? Or are these people just playing safe and not concerned with the objective?