The advantages of a new timeline definitely makes for new adventures for Voyager, but as Q is influential and influenced by the Voyager crew if John de Lancie is prepared to be part of the project then the Q Continuum could easily protect certain elements of the Prime Timeline such as Voyager and Chakotay's ship being pulled to the Delta quadrant. Given the part Voyager plays in the seeds of destruction of the Borg it could easily be what the MCU calls a "sacred" timeline.

Janeway and Picard have already crossed paths in the prime timeline. The Kelvin incident could shake things up by making the Andorians more prominent than Vulcans in the Federation. The knock-on impact might be a tool to reduce the influence of the Cardassians and result in Chakotay not becoming Maquis but rather being Janeway's First Officer by natural promotion. Tuvok was in Starfleet when Sulu was captain of the Excelsior. Making him a Kelvin timeline survivor would be reasonably straightforward but he could be an iral rather than Commander. In the same way Leonard Nimoy played Spock Prime in the Kelvin line, Chekov or Sulu could also be pulled through. Since Kirk already entered the Prime 24th Century in "Generations" it might not work having Shatner meet Pine and they're running out of TOS original cast.

Prime Chekov being brought through time and establishing his own descendants in the Kelvin line despite the sad ing of Anton Yelchin if Walter Koenig is willing to get involved, maybe with Chekov's grandchild as one of the Voyager crew.

It could be a fun project, but it would need to contain enough similarities to the series not to alienate the fan base.

The biggest concern with the adaptations of CS Lewis is the habit of the assorted producers and directors to change his work to fit their ideology.

The BBC made several series in the 80s/90s covering up to The Silver Chair, and of course the Disney/WB trilogy is perhaps the best known. But the sanitisation of the battles and even changing Lewis's own experience of warfare in the dialogue with Father Christmas is problematic.

My biggest concern is what has become referred to as the "Susan problem" when discussing how her story arc might end in The Last Battle.

Lewis makes it clear. Susan is no longer a friend of Narnia. She has become shallow and disdainful. Despite attempts to make it about her sexuality in several articles, a more accurate depiction is in the Parable of the Sower told by Christ. Some accept the seed with gladness, but as it grows it is choked by the cares of this world. That is what happens with Susan. She is worldly and as such misses ing the other children beyond the Shadowlands of this world in an eternal Narnia.

Aslan never says she can't repent and them later. Reading any of Lewis's works makes that clear. Just that without repentance there is no entry to Paradise - something Lewis and every Christian Apologist has made abundantly clear over thousands of years.

It would be better if a team led by individuals who shared Lewis's Faith had been given a suitable budget to bring his masterpiece to the screen. But then this industry is hardly known for being tolerant of Christianity.

Having been reading the Narnia stories for about 45 years, it came as a real shock to find there are people out there who have completely missed the point of Susan's story arc, and worse have changed Lewis's story as written in the 1950s into somehow sexualising the character - presumably because she is mentioned as "“Oh Susan!” said Jill. “She’s interested in nothing nowadays except nylons and lipstick and invitations. She always was a jolly sight too keen on being grown-up.” “Grown-up, indeed,” said the Lady Polly. “I wish she would grow up. She wasted all her school time wanting to be the age she is now, and she’ll waste all the rest of her life trying to stay that age. Her whole idea is to race on to the silliest time of one’s life as quick as she can and then stop there as long as she can.”" (The Last Battle, Chapter 12).

It has nothing to do with sexuality. Susan's rejection of Narnia speaks to what Christ said about the need to accept the Kingdom of God as a child or be unable to enter it (Mark 10:15).

After the events of Prince Caspian, Susan turns her back on what she learned in Narnia. Like in the parable of the Sower, initially she accepted the Seed (Narnia) with joy, but the cares of this world grew up alongside it and choked it.

Lewis wrote a masterpiece in the Narnia Septology that is a mix of allegory and fairytale (his own description of the books). Because he wrote it from a perspective of a combination of 1950s society and Biblical Moral Absolutes, 21st Century liberals think they can "improve" the stories by adapting them with a contemporary secular perspective - like adding spectacles to the Mona Lisa in crayon.

Susan's story is a warning echoing Christ's teaching that in the End Times even the elect - represented by the children - will be deceived.

If Gerwig, or any adaptation, can't present moral absolutes as written, don't make the film.

The credits aren't as important as the characters. A retired "Viper" could be reintroduced as another mentor to "Maverick" if Tom Skerritt is available.

But the real issue is the plot. The pilots don't actually have to go into literal combat to deal with their issues. There is a danger of trying to flog a dead horse by making a third movie centre around Maverick. If his character was able to take the role Viper was to him in the original, with Rooster as an instructor at Miramar and a new batch being trained by them with different issues to overcome then the story could be brought full circle. Having the pilots face off against another uncertain for from an unnamed country in the installment would become tired. Instead the pilots could overcome prejudice by having to work with Chinese or Russian pilots to deal with a common problem. But that also starts to sound formulaic.

Oddly the Last Battle was the one book I struggled with - until about two years ago I found a recording of Sir Patrick Stewart reading the unabridged text and suddenly the way he brought it to life made it real.

Lewis's Narnia reflects our world. Sin enters into it on the day it's created - Jadis of Charn invades it and is the devil to Aslan's Christ - powerful, but no true understanding of the truer Power in Aslan's Father.

The influence her rebellion from the first moments of the creation of Narnia have are reflected by Lewis and what he had seen in the wars.

I hope the Netflix movies do justice to the depth and complexity of the Narnia stories.

If a filmmaker had the guts to start with Magician's Nephew, then do Lion, Witch & Wardrobe, then Horse and His Boy, Caspian, Dawn Treader, Silver Chair and finally Last Battle so the story is told in Narnian chronology instead of book publication date it might stand a chance.

The story of the creation of Narnia and where Jadis originates gives a good canvas for the rest of the books. Silver Chair - other than an attempt by the BBC in the 90s - hasn't made it to screens, neither have the stories of Shasta and the Final Battle with the end of the Shadowlands.

But I doubt the new adaptation will get beyond the normal 3 stories, which is a shame.

Action, definitely. Horror? Write your own story. If you take the time to really understand the books then you see that the closest to "horror" is actually this world in the Narnia series.

Having the guts to use Lewis's own words would be refreshing as well. His line from Father Christmas "Battles are ugly affairs" is worlds away from what Lewis actually wrote - that they are ugly "when women fight". Anyone who understands the books in the context of Lewis's writing and beliefs would recognise how critical strong women are to build a Just society. The comment would never have been interpreted at the time - less than a decade after World War 2 - to be a glorification of war, nor would it have been seen as a denigration of women. Simply a fact that something already ugly becomes infinitely worse when both sexes fight.

Of the seven books, the closest to a "horror" tale would be "The Silver Chair". Caspian's son, tortured and tormented for years. Giants plotting to eat the children and the Marsh Wiggle. The serpent guarding the underworld. Done properly there's a great deal of "Horror" in the story. Creating it in the earlier tales is simply unnecessary. It's a shame neither Disney or Warner had the guts to make the other four books into films. I'm not surprised Disney pulled out with Iger heading up things, but disappointed in Warner.

It's going to be near impossible to make a version that competes with Andrew Adamson's adaptation of the three books he covered.

I'd love to see a director have the nerve to bring back the cast from the Adamson movies to make The Horse and His Boy and The Last Battle as the children in the stories are older in those books. Adapting The Magician's Nephew could work by having Professor Kirk telling the older children about his journey to Narnia as a child. The only sticky point is The Silver Chair as the actor who played Eustace would be too old for that role now.

Disney pulling out of the project was likely the best thing as a DEI version of any CS Lewis book would be a disaster.

If the allegory Lewis wrote was understood by the article writer then it's obvious that Susan isn't punished for being grown up or discovering her sexuality. She's forbidden from entering Narnia with the others because she rejected Aslan, the Christ figure in the books.

It has nothing to do with her age or gender, but is a reference to the parable of the Sower where the seed sown in shallow, stony ground initially grows fast, but then dies; and the seed in the weeds that is choked by the world.

I'm watching the DVD sets at the moment. Other than "24" and "NCIS" I can't think of any series I've enjoyed as much in the genre. There's definitely none I've enjoyed more.

If David Boreanaz and Emily Deschanel are up for it and the rest of the cast are prepared to in - including Billy Gibbons (!) - then it'd be great to see a revival. After all, if "Frasier" can do it there's no reason to think a show like "Bones" wouldn't work.

Start with a season bringing back a key central adversary - Arnold Vosloo springs to mind - as a story arc to make reuniting something essential for them to get back into the groove.

It would be easy to tie The Magician's Nephew to The Lion, The Witch and The Wardrobe simply by pointing out that Digory grows up to be the Professor who takes the four Pevensie children in during the war. And it was set up brilliantly in the last adaptation by having Professor Kirk tell Lucy he'd tried to get back using the wardrobe many times. If they were to film Magician's Nephew and Lion, Witch, et al concurrently - bearing in mind the four children are adults in the Horse and His Boy so it's less important for the child actors to be in that movie - then the Professor could be telling the children about his time in Narnia fifty or sixty years before after they've returned from their reign there. The Last Battle makes it perfectly clear that Digory and Polly are meeting with Peter, Edmund and Lucy to discuss Narnia before they are thrown back there. There's no ambiguity in Lewis's stories that there's a continuity of characters in our world over around sixty years that covers the entire history of Narnia.