Entropy Arbitrage Newsletter, February 2 ...

Entropy Arbitrage Newsletter, February 2026

Mar 03, 2026

Today is Tuxday, 04 of Broket 4118. [4118.11.04]

…assuming you follow the Common Calendar, of course, but I assume you probably do not. Or should. Ahem. Newsletter!

Entropy Arbitrage welcomed visitors from Algeria, Argentina, Australia, Austria, Bangladesh, Belgium, Bolivia, Brazil, Canada, Chile, China, Colombia, Cyprus, Denmark, Dominican Republic, El Salvador, Finland, France, Germany, Hong Kong SAR China, India, Ireland, Isle of Man, Italy, Jamaica, Japan, Malaysia, Mexico, Netherlands, New Zealand, Nicaragua, Norway, Poland, Portugal, Serbia, Singapore, Slovakia, South Africa, Spain, Sweden, Switzerland, Thailand, Türkiye, Ukraine, United Kingdom, United States, and Uruguay this month, which never fails to please me. Remember, all content is made available under the CC-BY-SA license, so if anybody needs to provide a translation, you don’t need my permission, provided that you comply with the terms of the license. However, feel free to ask for help or otherwise reach out, too.

February’s Idle Thoughts

Welcome to the sixty-eighth issue of the Entropy Arbitrage newsletter.

New Life, New Civilizations, and New Audiences

When I wrote the post for These Are the Voyages, I made a comment in a footnote about the struggle that most franchises have in maintaining and growing their audiences, framed in terms of Star Trek.

They keep trying to pitch the same show, but set in a different century or location, and maybe pick a captain that looks different, instead of rethinking the colonial/militarist focus.

I wanted to talk a bit about the range of options that could work in such a franchise, taking the same (variety of) universe, but genuinely offering a prospective new audience something more than slightly different cuts of the same spandex. Since I have no access to the Star Trek intellectual property, I think of them more as part of a “generic” science fiction franchise, and may work on some of them one day, but you could imagine any of them with a hypothetical Roddenberry credit, if it helps frame it. And even though I said that I might get to them, the newsletter’s license says that you can feel free to steal any of them with my blessing.

I should note that, when talking about other Star Trek shows, I have half-joked about imagined shows that I would rather have watched, including the Klingon lost on Earth in the sixteenth century who takes William Shakespeare’s identity and the time-traveling team that cleans up the messes made by other crews. I borrowed the (at least in my estimation) most powerful idea from that list, but you can consider these more serious proposals than that batch.

  • Borders of Silence: The Federation finds itself on the verge of war against almost all rival powers, with civil strife also threatening domestic affairs. A disfavored ambassador with a knack for languages, exiled to an unimportant world where the previous ambassador died by an assassin’s blade or other weapon, discovers that the universal translators provide the most aggressive and stereotypical interpretations of what people say. Not knowing who to trust, our ambassador needs to unravel the mystery that might have gotten their predecessor killed, before war breaks out. (Early hints could indicate Starfleet involvement, keeping the civilian protagonists away from official authority.)

  • Fairest Country under the Stars: Evidence from far away begins to pile up suggesting that another United Federation of Planets exists, with a similar history, appearance, and demeanor, but it lies behind “enemy lines.” Historians, meanwhile, believe that they have uncovered evidence of an ancient advanced human culture that left Earth with that rival power, raising the possibility that two Federations grew from similar seeds, or they might need to deal with an impostor. A team—not Starfleet, in case anything goes wrong—needs to cross the border, making social connections in hostile territory, to learn the truth in these rumors.

  • Merlin: In an economically depressed, forgotten corner of the Federation, Conn Maxwell and his team gather investors to fund a search for a nearby mythical supercomputer, claimed to have created a golden age in the region millennia ago. No such computer exists (or does it…?), and the team actually has a benevolent confidence scheme in mind, using their money to fund “Merlin’s” infrastructure projects and attract trade back to the area. (Heavily inspired by H. Beam Piper’s The Cosmic Computer/Graveyard of Dreams.)

  • No Justice, No Peace: I proposed this when groaning about Picard in August 2023, but the second- and third-generations of the franchise have provided us with extensive evidence that the Federation doesn’t treat people well. They have planned and attempted genocide against the Borg, the Changelings, and Synthetic life, plus a bunch of smaller groups that didn’t return. The 2009 film raises the possibility that they destroyed Romulus deliberately, and now treat former government officials as migrant laborers to exploit. Persecution and imprisonment of Augments goes back centuries, now. Lower Decks makes it clear that people treat the cultures who resemble propaganda against people with intellectually disabilities and Jewish folks as targets to mock. And characters don’t care unless it directly affects somebody in their core friend group, and stop caring when it doesn’t. As such, I still want the show where the underclass has decided that they’ve had enough, standing together to demand better treatment, and force the Federation to live up to its alleged principles.

  • A Thousand Ships: Ambassador Lwaxana Troi travels the galaxy with her silent valet. Apart from her official duties, she gets personally involved with the locals, pushing past accusations of meddling to push everybody to accept the community’s outcasts and take care of each other. (This feels like where the character’s appearances in the 1990s could have gone, and feels like the time for it, even if it’d need to recast the role.)

  • The Tribble with Harry: Long into retirement from his criminal career, with only a Tribble ranch on a distant planetoid to his name, Harry Mudd dies. The people closest to him don’t care much, because they didn’t care much for him, but they keep hiding the body so that the local Starfleet officers don’t find out and start investigating. Each episode starts with somebody moving the body to a new hiding spot and running into a character who tells the story of how they believe they killed Harry in some unique and ideally funny way, told in flashback. In reality, Harry died from a violent allergic reaction to Tribble fur, but nobody knows about that until/unless the series ends. (Borrows heavily from Hitchcock’s The Trouble with Harry, as I would hope that at least someone figured out based on the title…)

  • The Veil: On Earth, right now, in addition to our routine crises, new forces have started making themselves known, not quite cults, not quite social movements. One group dedicates itself to the suppression of emotion. Another demands capitalistic acquisition. Another insists on honor through violence. Transhumanists have started chattering about the futility of resistance. Many others have begun influencing society, though they try to stay in the shadows, despite their rivalries occasionally spilling into public. An informal group of amateurs and discredited officials—our protagonists—want to get to the bottom of this. (No hard evidence of extraterrestrials exists, here, but the references clue the audience into the likely sources. It also has room for new groups as red herrings or some groups that mostly coincidentally reflect our favorite non-humans. And most importantly, the problem comes from conflict, not the alien ideas, with most groups and rivalries having existed for decades. Think of it as the franchise’s version of The X-Files, but its Mulder refers to episodes such as Tomorrow Is Yesterday, Little Green Men, and Carbon Creek, blending them with real conspiracy theories.)

Granted, even most of those ideas probably don’t push far enough away from “a crew looks for resources to exploit and ends up in a lot of fights” template of the other shows, but I came up with those over a couple of hours without any chance of Paramount hiring me. One imagines that a professional taking their time could do better.

Even so, I think that every one of these ideas would expand the audience beyond aging Next Generation fans further than Strange New Worlds or Scouts does. But if not, you could also imagine weekly rescue operations, historians who keep stumbling into controversies, the politics of actually establishing the Federation, and more. If you’ll pardon my jumping between franchises, Star Trek should have had its Andor a long time ago, but Star Wars, the property about black-and-white morality, somehow got to it long before the property built around social satire.

And as I hinted, I think that most of these—probably not A Thousand Ships without previously establishing a new character inspired by Auntie Mame or similar—would work without the existing parent franchise, or appended to a different one, and I may consider some of them when I have the time. For at least one of them, I wrote myself a complete outline for a first season that weaves around public domain science fiction stories. Maybe I’ll add details in future issues of the newsletter. In fact, I may switch gears for the project previews to talk about a mostly abandoned project that would have provided the backbone for this sort of thing.

Only Watching for the Ads

Early in February, most of you probably know better than I do, American football had its Super Bowl. The weekend of the event reminded me of my least-favorite aspects of the whole thing.

No, not the owls. The joke has long outlived its usefulness, but it hasn’t gone on so long that I resent it.

No, I mean the “I hate football, so I only watch the commercials.” Yeah, that’ll show them. Watch the only part of the three hours that everybody uses to decide whether to keep airing the thing. Resent crass commercialism at Christmas, but celebrate it a few weeks later.

Plus, do you know how many insipid things that I’ve gone to in order to socialize with the other people? I didn’t need some smug excuse to both insult everybody else and insist that I found a clever “hack” to the whole thing.

If you like football, then admit that you like football. If you don’t, then admit that you don’t. And if you want company, then stop pretending that you have better things to do with your time…

I don’t think that I have anything else. I almost expanded on this as a full blog post, but I had another post that I wanted to go out that weekend, so you got it instead.

People-Search Antics, February 2026

No updates this time around. I may reduce the frequency of these, at least until I have a significant change in status that might trigger new documents floating around.

Project Previews

The renewed job search (alas) soaks up a lot of time that might have previously gone to side-projects, but I can still occasionally dig into weird ideas that might become something down the road…

As mentioned earlier, while I decide what to do with The Light’s Edge, rather than a “real” preview, I want to provide some retrospectives on projects that never really came together. This one ties to the idea of expanding a media franchise such as Star Trek for new audiences instead of the same aging audiences.

Celestial Patrol

This came fairly close to a real release.

Technology

Somewhere around 2016, I developed a not-so-devious plan. I wanted to try out some television-style ideas and, no doubt because of my background, wanted a prototyping system that could give the sense of watching an episode of television without needing to hire a cast and production team. That work became Gen Audio, a set of scripts to go from a lightly annotated screenplay written using a slightly extended Fountain to a recorded audio track per act, with images representing each character.

You could—and I certainly did—imagine a next version where, rather than showing a static face, you could have early Filmation-style animation where a character’s “walk cycle” moves across a large background image while procedurally cropping each “frame” simulates a camera keeping the important characters in view, and using the close-ups more sparingly, all completely reproducible.

The scripts come really close to working, only failing because the piece to generate opening and closing credits somehow doesn’t result in a video file compatible with the videos per act, leading to timing problems when assembling the entire thing. I never could figure that out, and should still try to find somebody who understands ffmpeg well enough to recognize the problem.

Premise

A couple of years prior to this, I started thinking more heavily about the public domain, especially as it relates to what we might call “distressed” intellectual property, media franchises that Big Media own that they haven’t treated well. I had worked on similar ideas before, such as taking the public domain incarnations of characters used by DC or Marvel Comics, then used primarily as cannon fodder.

For example, DC probably should have made the Blue Beetles one of their core legacies, retroactively cramming one into the primary teams. And yet, until the last few years, only after Jaime Reyes proved popular on a Batman cartoon, they mostly kept every version of the character in the background, and still do except for Reyes. After some research, I realized that, if you took the characters that DC had acquired some rights to, but had fallen at least partly into the public domain, plus similar characters from public domain works, you could have an interesting world built around a skeleton of core legacies—the Marvel Family, Blue Beetle, Phantom Lady, Plastic Man, the Shield, and the Blackhawks—mixing them with surrogates for major DC characters to show how to better integrate them.

Anyway, on my list of such possible projects, I had…Star Trek. At the time, we didn’t know about Discovery and the reboot films had fallen apart. And depending on how you interpret the idea of “publishing” a television episode, about half the original series shouldn’t have copyrights, because they don’t have a copyright statement on them. If I wanted to test the studios’ “we rent copies to broadcasters, rather than offering them to the public” arguments, I would build a fictional universe around only those episodes.

I had the idea for a show that would stitch together the original show’s mysteries—under different names to avoid trademarks—into an episodic show that would quickly evolve into a serialized thriller as those mysteries became imminent dangers. Star Trek’s “big three” would serve as minor officers aboard a ship led by characters from public domain space opera tasked with investigating these issues. At some point, the lead characters would die on a pivotal mission, passing on the responsibility to the (lightly disguised) characters who we know.

Taking Things Seriously

I decided that this idea could work well as the test case for Gen Audio, especially since the more I worked on the idea, as I fit together public domain inspirations, the Star Trek characters, cultures, and institutions started falling away in favor of equivalents with no copyright entanglements, gesturing at a sprawling universe that pulled together major science fiction works.

Eventually, I imagined this world as created by a producer bringing together H. Beam Piper and E.E. Smith, with Gustav Holst as the primary composer, all longer-lived than in reality, rather than a replacement for a more popular franchise…

This became the (now mostly abandoned) Celestial Patrol, with a pilot script Armageddon that borrowed tropes from about half a dozen public domain science fiction stories that involve societies managed by musical computers, alongside Armageddon: 2419 A.D., in case the story needed Anthony “Don’t Call Me Buck” Rogers later. As a prequel to Star Trek, that story would provide a link in the chain from the computer-managed societies that Kirk encounters back to some origin posing a larger threat.

The second episode (This World Is Taboo) takes its name (and would have taken most of its story) from a story that you can find on Project Gutenberg which may come from a broader series with elements still covered by copyright. It would also introduce the idea that the government used these military-style patrols to carry different services to worlds with less infrastructure, and the officers in charge of those services could require the captain to follow their orders under some circumstances. A third or fourth episode would flash back to before the ship launched, to reveal the captain’s primary mission.

I had a few more full episode ideas and a rough arc of twenty-two episodes with blocks that interested collaborators could fill in. But turning them into “television” meant getting Gen Audio working—and Paramount launching Discovery obsoleted the “distressed property” conceit—so I hit the pause button, and have no idea whether I left behind a readable, let alone good, script. Likewise, Gen Audio could probably use an overhaul, maybe using modern AI voice cloning based on LibriVox narrators to produce a better variety of voices than traditional synthesis could.

Broader Franchise

While developing Celestial Patrol, and even having most of that “first season” mapped out, I had already started souring on the format that I described above. Even tempering it with the idea that some officers have second civilian duties (medicine, law enforcement, maintenance, intelligence, criminal justice, and so forth) giving them the authority in certain circumstances to take control of the ship if the captain doesn’t answer their mission needs in a timely fashion, it still reeked of a colonial military trying to pose as a utopian force in the galaxy.

I tried fixing the problem by removing the military trappings such as real-world ranks, but I couldn’t find or devise a credible substitute, and the fact that everybody lives inches from certain death does suggest that everybody needs to know who can legally boss them around. That, in turn reifies some problems even if I could put a new coat of paint on them.

Therefore, I turned to the idea of this “show” establishing the universe for spinoffs to play in. The spinoffs started strongly inspired by existing or mainstream ideas that didn’t take off, such as Assignment: Earth, a Stargate knock-off built from a public domain Pulp novella, a time-travel show chronicling alien interference in human history, an early version of Merlin (above) that tried to ape Firefly (back when most of us pretended not to notice Joss Whedon’s sexism and racism or that particular show’s glaring faults), and so forth. And even these, you’ll notice, strongly reek of xenophobia, using worries about foreign influence to motivate the plot.

Still, I have hung onto these ideas. If you squint, you can probably see my vision for Assignment: Earth influencing The Veil, for example, as it combined with other influences, such as a task force operating out of Area 51 for non-extraterrestrial reasons that I don’t recall.

Anyway, I might get deeper into this at some point, but especially talking about “re-homing” hypothetical spinoffs earlier, it seemed worth talking about what I (or you) could use as that new home, if anybody wanted to help recondition things. I still think that the story could work, especially if the presentation didn’t break down.

Media

In no particular order, I present a list of some things that I finished watching, listening to, or reading in February.

No, I don’t remember when I started them, unless they didn’t take long. You can probably estimate that I watched about an episode of any given “archived” television show per day, though, if that helps. If you’d like to know what I finish watching as I finish it—sometimes I catch something during the narrow window when people can watch it free—you might consider becoming a member at Buy Me a Coffee.

  • I didn’t really have the energy to invest in Love and Rockets, vol 2, which—I liked it, I think, but…—ends up as more an illustrated novella than a comic. Over the years, I have made fun of comics with walls of text so large that the characters would need to crouch to get any time in front of us, and this has many pages that come close. And I couldn’t really justify staring at a screen reading page after page of handwritten text, no matter how good snippets seemed.

  • Bitter has some good writing, but I feel like it focuses the story on the wrong aspects, giving us a cinematic revolt against injustice, but never really personalizing or fleshing out the problems, and waving off the (more important and more interesting) problem of rebuilding after destroying the city’s ruling class. It acknowledges that a better world will take more effort, then moves on, as if somebody else can solve it.

  • Akata Witch didn’t really capture my attention as much as Okorafor’s other books that I’ve read, but I would still call it well worth the time.

  • The End felt like it wanted to tell too many stories at once, never quite investing in any of them.

  • I had a lot of fun with The Haunting of Tram Car 015, though I might call it much too short.

  • Grantchester often almost feels written like a rejection of Father Brown. We have the similar setups of a kind member of the clergy—different denominations—who assists the local cops with their empathy and common sense, and it has a similar sense of humor. But here, the police solicit their help and enjoy the relationship. And the housekeeper learns over time to stuff her bigotry and outgrow it. Honestly, if they could’ve replaced the police side of things, I’d love a lot about this show; when the episode focuses on the characters, it does a wonderful job, and only gets bogged down when they need to do actual policing.

  • All about Love provides more bell hooks goodness. What more do I need to say…?

  • In the Upper Country comes to life better than I expected it to. I’d highly recommend it.

  • Spy City (on Kanopy, but somehow no longer shows up?) didn’t really grab my attention, feeling more like a leftover script from the 1960s than a modern script set in the 1960s, not really interested in commenting on anything that happens so much as wanting to cheer it on.

  • Bookish has a lot of potential, but I have to admit that it felt like it kept doing the “we’re lovers; does that shock you, detective?” thing. I look forward to seeing if the next season can figure out how to work more cohesively, because I did enjoy many of the elements.

  • How Long ’til Black Future Month has the usual mixed bag of an anthology, but Jemisin hits it out of the park a lot more than she misses. That doesn’t surprise me. It does surprise me how many of her stories involve the city—implicitly or explicitly New York City—changing in some mysterious way, an idea that I’ve had a fondness for over the years, too…

  • The Oddly Pedestrian Life of Christopher Chaos, Vol. 1 amused me. Parts of it felt a bit trite, and some characters too thin, but the sentiment works.

  • Good Grief feels amateurish. It has a few good moments, so I can’t say that I disliked it. But it comes in with the idea of two complete opposite sisters, but they both speak the same way and neither has any idea how to manage their lives. And then a bunch of other characters similarly seem similar…

  • Happiness completely delighted me. Does this have a soundtrack? Because I’d listen to “Trojan Horse, the Musical.” Also, I don’t know that we’ll ever get a better line than “it should focus on Cassandra, but Adrian said that nobody cares what she has to say.” Go throw some money at a PBS affiliate and watch it.

  • Africa Risen has a nice mix of stories, though they have such a wide variation that I can’t usefully say much more than that.

  • American Cherry seems…how can I put this? Have you ever wondered what it would look like to cram an ultra-serious prime time teen drama into a ninety-minute film, without the multiple seasons to build its characters and hit its writing stride? I have to imagine that it would look like this, but maybe with more appealing performers and fewer whispering monologues trying to recapture youth.

  • The Last Right has a decent story, but feels like a mess as it jumps between subplots and largely replaces all of them with a romance.

  • Phantom Love felt a bit too artsy for my tastes, such as establishing the character’s situation through lengthy repetition, but I’d call it solid overall.

  • Loner: An Alison Wonderland Graphic Novel has one good story, one that I’d call opaque, and some others, including a role-playing adventure that I admittedly didn’t bother to read.

  • I admittedly only skimmed Tower of Shadows, because 1970s mainstream horror comics all look pretty much the same to me, and generally only ever seem to hold historical interest, because the books commanded so little respect that many writers and pencillers got their start there. And while I enjoyed it, it didn’t really color outside those lines.

  • The Short History of the Long Road bored me senseless. They try to pass off the lead’s surliness as coming out of her recent trauma, but she started story rolling her eyes at everything.

  • The Second Age of Aquarius doesn’t really work, especially in its repeated mentions of sexism while mostly relegating the female lead to a half-dressed plot device who feeds the 3D avatar opportunities to make sexual comments.

  • Daredevil, Vol. 1: Know Fear comes so close to having a point—flirting with the idea that you can’t use violence to systemically stop violence, whether as law enforcement or as a vigilante—but somehow lands on that, when the bodies start piling up, violent people need to make room for the next generation. Ugh.

  • The League of Gentlemen felt promising, hence my getting most of the way through it, but it also kept falling into the same misogyny, homophobia, and transphobia and trying to pass it off as hilarious.

  • The Abagail Mysteries deserves better than sloppy “faith-based” nonsense. The premise of a true-crime podcaster obsessing over her neighbor’s heart attack and trying to build a conspiracy out of hidden Bible verses, resulting in a crackpot scavenger hunt, has a lot of potential. But the church focus off in the background and the prayer increasing over time over-sells the idea. And the writing gets so clunky, such as the male lead calling his meal “an everything pizza” analogous to an “everything bagel,” with no comprehension that everything pizzas exist, including on the menu hanging right behind him. Also, the podcast producer doesn’t want our lead wasting time on something shiny and entertaining, because true-crime podcasts definitely don’t care about attention and entertaining people, I guess? Oh, and they introduce us to “real-Theo” and guy “posing as fake-Theo.”

  • Afro Unicorn: The Land of Afronia, Vol. 1 seemed a bit…simplistic, I guess, not even childish, but more stripping ideas down past the point where they hold together. For the most blatant example, other than literally showing random animals with afros, I don’t understand the point of the naming conventions.

  • First Winter felt like a waste of time, ninety minutes with yoga- and tobacco-enthusiasts who seem incapable of fending for themselves.

  • Nightshade Anthology Book 1: Party Animals has some awful writing, frankly, but comes together as it approaches the midpoint and has some outright fun moments.

  • I couldn’t understand a word of A Few Cubic Meters of Love, but I love the leads’ enthusiasm, so I’ll take it…

  • Hacker’s Game felt woefully out of date and amateurish in almost every respect beyond maybe the drone photography.

  • Salam seemed interesting and painfully appropriate, given how February ended.

Blog Posts for February 2026

In case you missed one and don’t like RSS readers, here’s a round-up of the past month’s worth of posts.

I also revisited and updated some older posts, for various reasons.

Significant changes to the text come with clear and dated markings. Changing the wording or correcting a typo is more routine, but it indicates that I’ve at least been looking at the post. Longer changes probably have a brief write-up in this very newsletter.

The most popular posts on the blog have been Recutils — Small Technology Notes, Real Life in Star Trek, Introduction, Copyright Searches, and Real Life in Star Trek, The Paradise Syndrome for the month.

Articles I’ve Been Reading

You’ve seen some of these already in Friday posts, but here’s more from the sources in my RSS reader that I thought were worth reading.

Web Pages That Caught My Attention

These are pages I bookmarked, basically. They might be old articles, non-articles, fiction, or any number of other possibilities. You’ve seen the web. You know what it’s like out there. And you also know that half the titles are probably bogus, because people are terrible at setting their page titles to something useful.

That’s it for this month. Stop by the blog and leave comments or contact me however else you see fit.

—John

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