The Star Trek Lit-verse Reading Guide

star trek story records

Since 1967, when the first Star Trek comic was published, 2,639 Star Trek stories have been released in print, comic, and original audio form. In the first decades, the majority of these were standalone stories that only referenced the show. However, over most of the past twenty years the majority of Simon and Schuster novels took place in a shared continuity in which the events of one novel often had major repercussions on the novels following it. This modern continuity will be referred to here as the STAR TREK LIT-VERSE.

       Unlike the Star Wars Expanded Universe or various other media tie-in lines, no Star Trek novel, comic, or game is considered canon. Even those written in conjunction with the new, currently in-production series. However, that doesn't take anything away from the quality of the material or its ability to entertain. Even as Star Trek has returned to the small screen and the Simon and Schuster novel continuity has mostly drawn to a close, the inter-connectedness of the novels will likely continue in some form as it has for the majority of Trek history.

       The complete Lit-verse consists of a continuity web of more than 1100 stories. That is approaching half of all Star Trek fiction ever published. In addition to the majority of the novels which have been released over the past two decades, many older novels have been referenced in this continuity as well. Available to the left are reading lists for each of the series. Don't be overwhelmed by the length of some of the lists. All anthology short stories and many comic issues are listed individually, so it's not as much reading as it seems to a newcomer. Not all connections are noted, only the ones which form the branching out of the lists. Author annotations can be found for many stories to provide more extensive references.

       My placement of a story in the Lit-verse is not intended to imply that there are no continuity discrepancies included in the material. There are definite contradictions in the lists I've compiled. The fact is, not even the shows themselves are free of continuity errors, some quite large. The older novels do not always agree in every detail with the Lit-verse, or even with modern canon. Indeed, even the newer novels, written with the modern continuity in mind, sometimes contain a few mistakes. The majority of all this can be ignored, or explained away by a creative mind. My goal here was to include every link possible and leave the continuity problems up to the reader to resolve. If you don't want a book in your personal continuity, then just ignore it. Don't become so invested in continuity that you forget to enjoy the stories themselves.

A Note On the Format of This Website

       Each Star Trek series is given its own reading list page. The major Lit-only series, New Frontier, SCE, Gorkon, Titan, Vanguard/Seekers, Mirror Universe , and Myriad Universes also have their own pages. The easiest way to include Stargazer, The Lost Era, and certain other like-period pieces was to create an Early 24th Century reading list containing them all.

       I then have a simple list of Simon and Schuster stories that take place after Star Trek: Nemesis grouped into "chapters". A more detailed timeline of the stories following Star Trek: Nemesis is given on the Post-Nemesis: Month-By-Month page. Note that these stories were published in the years before Star Trek: Picard premiered, and the authors were given free rein to explore the late 24th century. Things do "eventually" lead back into the modern television continuity now shown in Star Trek: Picard and other series, but tell an alternate history of the intervening years that only makes sense in relation to the canonical storyline at its conclusion in the Coda trilogy.

       Also to the left is a month-by-month breakdown of the Five Year Mission. The Complete Pocket Books Novel List updates the novel list as given in the back of Pocket Books novels in years past, before the list became so long that it was considered impractical to include in every book. I also have a list of all the ebook exclusive Trek stories which have been published and never been released in print. Then there's a vast examination of the minutiae of Klingon date keeping systems. I've keep an exact count of every Star Trek story ever published, updated with each new month's releases, and a count of just how many stories have been told that take place in the Five Year Mission. And for the first two seasons of Discovery, I kept an examination of the dating of each episode. Don't miss pictures of my 1:5000 scale Star Trek ship model collection, and a page where I log all the updates to the site, for those interested in seeing what is new and what has changed.

       Forthcoming is the Complete Lit-verse reading list, which will include every story from the main reading lists in order. Also to come will be more specific reading lists (character specific lists, species specific lists, storyline specific lists). I also want to build a "Simple Pre-Nemesis Reading List." Someday I will develop an explanation of my own personal continuity and a list of what it includes.

       Each anthology is broken up into individual short stories, and each novella and comic issue is included separately. Special cases were The Lives of Dax and No Limits. These were both broken up into their individual stories (which spread them out over different series) and also placed in their respective series as a whole (for those only reading that series.) For example the short story 'Q'uandary from New Frontier: No Limits is essentially a TNG story and is included in that reading list, but for those only reading New Frontier , the entire No Limits anthology is listed there as well. In addition to being broken up across series lines, each story from Tales of the Dominion War is also included on the DS9 page, because of the centrality of the overall story to that series.

       New Frontier presented a specific challenge in that much back story had to be presented to get the series established, because of its Lit-only nature. Thus to experience many of its short stories in chronological order without breaking up some of the New Frontier flashbacks into separately listed sections would have been somewhat unintelligible to a new reader. This is not the case for the TV series based book lines, nor is it a circumstance shared by the other Lit-only series. So with New Frontier some of the flashbacks are presented as separate portions of the list. This is explained further on the New Frontier page.

       With comic series, miniseries were treated as whole unique stories, but only individual linked issues of anthology or ongoing series were included. I didn't consider the "Previously in Star Trek--" intros in Marvel comics to rise to the level of a story reference. Where possible, I have condensed miniseries or story arcs into single entries to trim the length of the reading lists. Above all the proceeding considerations, however, my overriding rule was that if multiple stories were published in the same work, such as a short story anthology or multistory comic book, all stories between those two covers would be included if anything from that volume was connected to the Lit-verse.

       The Strange New Worlds anthologies were forced to break this rule though. At least one story from almost all the volumes of SNW was referenced, and this would have necessitated putting almost every SNW story into the reading lists. Also specifically not included are references involving RPGs or video games.

       The timeline used for these lists was derived from the Timeliners chronology in Voyages of the Imagination by Jeff Ayers and lots of research done on my own, with the Memory-Beta timeline being a very important resource. Much of my process of figuring out the timeline of the various series was recorded on the TrekBBS. Starting here , with more to come in the future.

Note of Inspiration and Thanks

      Very special thanks goes to turtletrekker of the TrekBBS message boards. His work in compiling at least half of these continuity connections was both the inspiration of and basis for this website. This entire idea began from the dozens of message boards questions about what books had to be read before reading Keith R.A. DeCandido's Articles of the Federation. The specific thread that can be considered the grandfather of this website can be found here . Turtletrekker ran with this and compiled the vast Charting the Novel-verse project, the second version of which can be found here . My interest in the project began and was first manifested in a discussion here and continued here .

       More thanks to all the TrekBBS members who contributed to these discussions. Thanks also to Steve Roby, whose amazing Complete Starfleet Library is a great resource. And on the other side of the literary coin is Mark Martinez's Star Trek Comics Checklist , which is invaluable to me, and Curt Danhouser's Guide to the Star Trek Story Records

       None of this would be possible without the original Timeliners who created the Voyages of the Imagination timeline, and all of my colleagues who have kept it alive over the years. I thank them for their allowance to include small tidbits of information here and there. Keep in mind this is simply my interpretation of Star Trek continuity. Your mileage may vary. Enjoy, everyone!

      Questions? Comments? [email protected] Twitter: @ryan1234560 Or vist the Trek BBS Thread

The Star Trek Litverse Reading Guide is not affiliated with CBS Studios Inc.. Star Trek ® is a trademark of CBS Studios Inc.

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A friendly reminder regarding spoilers ! At present the expanded Trek universe is in a period of major upheaval with the continuations of Discovery and Prodigy , the advent of new eras in gaming with the Star Trek Adventures RPG , Star Trek: Infinite and Star Trek Online , as well as other post-57th Anniversary publications such as the ongoing IDW Star Trek comic and spin-off Star Trek: Defiant . Therefore, please be courteous to other users who may not be aware of current developments by using the {{ spoiler }}, {{ spoilers }} OR {{ majorspoiler }} tags when adding new information from sources less than six months old (even if it is minor info). Also, please do not include details in the summary bar when editing pages and do not anticipate making additions relating to sources not yet in release. THANK YOU

Peter Pan Records

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Peter Pan Records logo.

Peter Pan Records was a company which produced records for children under both the Peter Pan and Power Records labels. The company held licenses for many TV, comic book and film franchises, for which it produced original, full-cast audio dramas for release on vinyl records, primarily in the 1970s . Some stories were accompanied by a read-a-long comic book illustrating the audio drama. Peter Pan/Power released a number of Star Trek records, most written by an uncredited Alan Dean Foster . Artists for the comic book versions included well-known comic book artists such as Neal Adams and Dick Giordano . Some of the stories featured characters from the animated series , and later stories were published as tie-ins with Star Trek: The Motion Picture .

The voice actors for these productions were not credited; Peter Pan utilized a repertory company of voice actors who played different roles throughout their licenced productions.

List of Records [ ]

Connections [ ].

  • Peter Pan Records article at Memory Alpha , the wiki for canon Star Trek .
  • Curt Danhauser's Guide to the Star Trek Story Records
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Published May 22, 2024

A Guide to Star Trek's Essential Libraries and Archives

The Eternal Gallery and Archive is not the only collection dedicated to the preservation of galactic knowledge.

This article contains story details and plot points for Star Trek: Discovery's "Labyrinths."

Collage of Star Trek's libraries and archives episodic stills

Housing the largest known collection of historical and cultural artifacts in the Alpha or Beta Quadrant, the Eternal Gallery and Archive was devoted to the preservation of galactic knowledge. Whether ensuring that lost civilizations were never forgotten or storing obscure texts like Labyrinths of the Mind , the Archive acted as a neutral site where all species were welcome — as long as they obeyed the rules, of course.

Hy'Rell escores Burnham and Book through the aisles at the Eternal Gallery and Archive in 'Labyrinths'


While Star Trek: Discovery 's " Labyrinths " showcased the Archive as the preeminent repository in local space, other Star Trek facilities have played a pivotal role in safeguarding an array of priceless antiques and information.

Flint's Gallery in the Omega System

Spock lifts his tricorder while observing a painting in Flint's Gallery in 'Requiem for Methuselah'

"Requiem for Methuselah"

We'll begin with the ornate collection owned by Flint, a 6,000-year-old being from Earth who eventually retired to Holberg 917G in the Omega system.

In Star Trek 's " Requiem for Methuselah ," Captain Kirk learned that Flint's immortality afforded him the opportunity to take on numerous names over the centuries, including Leonardo da Vinci, Johannes Brahms, Merlin, and over a hundred others. His travels brought him into contact with the likes of Galileo, Socrates, and Moses, allowing him to amass his collection of rare books and artwork.

From Shakespeare's First Folio and a Gutenberg Bible to art by Sten of Marcus II and lithographs from Taranullus of Centauri VII, his own talents provided him with new additions for his gallery, as he continued to paint Leonardo da Vinci masterpieces and compose Brahm waltzes.

The Kelvin Memorial Archive in the Kelvin Timeline

Thomas Harewood pauses in front of the Kelvin Memorial Archive as he looks over his shoulder in Star Trek Into Darkness

Star Trek Into Darkness

Starfleet honored the U.S.S. Kelvin crew members who were lost during Nero's initial incursion by naming its London-based data archive the Kelvin Memorial Archive. James T. Kirk referred to the building as a library in Star Trek Into Darkness , but a bombing orchestrated by John Harrison — an alias used by Khan Noonien Singh — exposed the archive's true purpose.

Beneath the Kelvin Memorial Archive is a secret base for Section 31 in Star Trek Into Darkness

While the structure contained an abundance of publicly-available information, its cavernous lower level was dedicated to Section 31, a top-secret branch of Starfleet. Concerned that a war with the Klingons was inevitable, Section 31 was using the archive to develop defense technology and train its officers to gather intelligence on potential enemies of the Federation. Overseen by Admiral Marcus, the creation of specialized long-range photon torpedoes represented one of the facility's many innovations.  

Kivas Fajo's Collection on the Jovis

Kivas Fojo leans against a table among his prized possessions in 'The Most Toys'

"The Most Toys"

Much like Flint, the Zibalian trader Kivas Fajo gathered a unique collection of priceless artifacts to display in a room aboard his vessel, the Jovis , in Star Trek: The Next Generation 's " The Most Toys ."

However, Fajo proved willing to acquire these pieces in a variety of nefarious ways, such as kidnapping Data and forcing the android to become a centerpiece in his personal museum. A vase by Mark Off-Zel of Sirrie IV, a Salvador Dali painting, a 1962 Roger Maris trading card, and the last surviving lapling were also held captive in his menagerie. Fajo prized original and one-of-a-kind items, finding his thrills by bragging about his valuable finds to his friends and fellow collectors. Sadly, Fajo's violent interests also led him to obtain four Varon-T disruptors, a gruesome weapon that delivered a painful death and had been banned by the Federation. 

The Probe from Kataan

Close-up of an aged Picard who has lived Kamin's entire lifetime after encountering a probe from Kataan in 'The Inner Light'

"The Inner Light"

Our next entry is a little unorthodox, as this repository of knowledge did not possess any halls to roam or galleries to enjoy.

The Next Generation ’s " The Inner Light " introduced us to an enigmatic probe from Kataan. The object projected an unusual particle stream toward the U.S.S. Enterprise -D which incapacitated Captain Picard and permitted him to experience the life of a person from that long dead planet in a matter of minutes. Although Kataan had been destroyed when its star went supernova approximately 1,000 years earlier, Picard embodied the existence of a man named Kamin for what felt like decades to him. The probe even carried Kamin's beloved Ressikan flute within it. Preserving Kamin's perspective on Kataan's final days kept the planet's legacy alive and left an unforgettable impression on the captain.

The Starfleet Archives on Earth

Picard walks down the long aisle of the Starfleet Archives in 'Remembrance'


Star Trek: Picard 's first season debuted with " Remembrance ," an installment which found Jean-Luc Picard heading to San Francisco in order to visit the Starfleet Museum.

The Starfleet Archives resided in the building, where the quantum archive supplied the Federation to lock key relics in stasis. Picard maintained his own personal room within the archive, and his collection was overseen by an interactive holographic assistant. A wealth of items from the retired admiral's career — a Klingon bat’leth , a model of the U.S.S. Stargazer , and his famed Captain Picard Day sign — were stowed here, but Picard made the trip so that he could visit Daughter , an oil on canvas painting created by Commander Data in 2369. This excursion convinced the admiral that Dahj Asha was indeed Data's daughter.

The Fleet Museum at Athan Prime

Earth's old spacedock is retrofitted to be the Fleet Museum in Athan Prime in 'The Bounty'

"The Bounty"

While many people collect paintings and sculptures, there are others who prefer that their art is powered by a warp core.

Situated above Athan Prime, the Federation's Fleet Museum turned the old Earth Spacedock into a respected resting place for every legendary starship that survived to retire from active service. First seen in Picard 's “ The Bounty ,” the Fleet Museum provided berths for the likes of the U.S.S. Defiant , U.S.S. Voyager , a Klingon Bird-of-Prey captured by Admiral Kirk, and multiple starships bearing the name Enterprise .

In " Vōx ," Commodore La Forge revealed that he had even used the facility to rebuild and restore the U.S.S. Enterprise -D to its former glory, an enlightened endeavor which contributed to the Federation's victory over the Borg Queen.

An Archive from the D'Arsay System

The Enterprise-D stands beside an the D'Arsay System artifact in 'Masks'


As if the probe from Kataan was not strange enough, the U.S.S. Enterprise -D located an 87 million-year-old comet originating from the D’Arsay system in The Next Generation 's " Masks ."

An artificial object was buried within, and the device downloaded information into the ship's computer core. Believing it to be an archive from an ancient civilization, the crew watched as the library used the Enterprise 's replicators to manifest artifacts throughout the vessel. The archive connected with Data, subjugating the android to thousands of personalities. The transformation intensified when the object began to turn parts of the ship into swamps, aqueducts, living plants, and other elements from D’Arsay culture. The crew managed to avert a disaster and restore the Enterprise to its previous configuration, but Captain Picard concluded that Data had actually been given a gift in the form of being an entire civilization.

Mister Atoz's Library on Sarpeidon

The librarian Altoz faces Kirk directly at his library in Sarpeidon in 'All Our Yesterdays'

"All Our Yesterdays"

With its star set to go nova within hours, the planet Sarpeidon conducted a very unique evacuation for its entire population in Star Trek 's " All Our Yesterdays ."

A local librarian named Mister Atoz, as well as his replicas, operated an advanced library consisting of more than 20,000 tapes. Employing a device called the Atavachron, Atoz was capable of sending his fellow citizens to safety at any point in the planet’s history… so long as the Atavachron had prepared those who entered the portal by altering their cell structure and brain patterns to make life natural in Sarpeidon's past.

In a sense, the extensive library did not simply collect a comprehensive archive of the planet's history, it also allowed Sarpeidon's population to live on even after its star went nova.

Daystrom Station

Breaking into Daystrom Station, Worf, Riker, and Raffi discover the latest Soong-type android which possessed elements of Lal, B-4, Lore, and Data in 'The Bounty'

From experimental weapons to contraband from non-Federation species, Daystrom Station concealed Starfleet's most off-the-books tech from the public. During the Dominion War, Vadic and other Changeling prisoners were imprisoned at Daystrom and subjected to invasive scientific procedures. After escaping, Vadic acquired a devastating portal device from the station.

In Picard 's "The Bounty," Admiral Picard and his crew organized a break-in at Daystrom to obtain a manifest from its primary vault, an area protected by a lethal artificial intelligence. A team led by Captain Riker boarded the station and passed a host of Section 31's prized possessions, including the Genesis II Device, James T. Kirk's remains, and a genetically-modified Tribble. However, their greatest find was surely the latest Soong-type android , a highly-advanced hybrid synth which contained elements of Lal, B-4, Lore, and Data.

Memory Alpha

Spock, McCoy, and Kirk beam aboard Memory Alpha in 'The Lights of Zetar'

"The Lights of Zetar"

The Memory Alpha planetoid depicted in Star Trek 's "The Lights of Zetar" shared many objectives with the Eternal Gallery and Archive, as the Federation set the structure up as a central library to store the total cultural history and scientific knowledge of every Federation member. The library complex lacked shields, as such defenses were considered inappropriate to its academic purpose. Memory Alpha's information was intended to be made available to everyone, so a protective system did not seem necessary.

Unfortunately, a community of interstellar lifeforms wrought havoc upon the facility, burning out its memory core and killing the various scholars, researchers, and scientists who were present at the time. As it turned out, the beings were the noncorporeal remnants of the Zetar civilization whose life forces refused to accept their own deaths.

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Jay Stobie (he/him) is a freelance writer, author, and consultant who has contributed articles to, Star Trek Explorer, and Star Trek Magazine, as well as to Star Wars Insider and Learn more about Jay by visiting or finding him on Twitter, Instagram, and other social media platforms at @StobiesGalaxy.

Star Trek: Discovery Seasons 1-4 are streaming exclusively on Paramount+ in the U.S., the UK, Canada, Switzerland, South Korea, Latin America, Germany, France, Italy, Australia and Austria. Seasons 2 and 3 also are available on the Pluto TV “Star Trek” channel in Switzerland, Germany and Austria. The series streams on Super Drama in Japan, TVNZ in New Zealand, and SkyShowtime in Spain, Portugal, Poland, The Nordics, The Netherlands, and Central and Eastern Europe and also airs on Cosmote TV in Greece. The series is distributed by Paramount Global Content Distribution.

In addition to streaming on Paramount+ , Star Trek: Picard also streams on Prime Video outside of the U.S. and Canada, and in Canada can be seen on Bell Media's CTV Sci-Fi Channel and streams on Crave. Star Trek: Picard is distributed by Paramount Global Content Distribution.

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Star Trek Power Records book & record sets

For more detailed plot summaries of these sets and those on the next page, you can go offsite and visit Curt Danhauser's Guide to the Star Trek Story Records .

star trek story records

PR-25 1975 Passage to Moauv The Enterprise is ordered to transport the noisy, cat-like pet waul of the Moauvian ambassador to his home world. The waul escapes and its telepathic projections of fear affect all crew members except Lt. M'Ress ( The Survivor ) who manages to calm the alien kitty cat. Stardate 5440 For reasons unknown, Sulu is black rather than Asian, Uhura is a blonde, and M'Ress appears to be Orion. Illustrated cover. 7" 45-rpm record and 20-page comic book. Writer: Alan Dean Foster Artists: Russ Heath, Dick Giordano, Neal Adams Cover artist: Neal Adams

star trek story records

PR-26 1975 Crier in emptiness The Enterprise encounters a being of pure sound, whose musical voice causes damage all over the ship until a crewman establishes a musical rapport with the being. Stardate 5444.9 Illustrated cover. 7" 45-rpm record and 20-page comic book. Writer: Alan Dean Foster Artists: Russ Heath, Neal Adams? Cover artist: Neal Adams

star trek story records

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Memory Alpha

The Man Who Trained Meteors

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  • 2 Memorable quotes
  • 3.1 Releases
  • 5 Characters
  • 6 References

Summary [ ]

As the Enterprise approaches Perinda IV, they detect a massive swarm of meteors headed for the capital city, Perinda City. Unfortunately there is nothing they can do; the meteors become meteorites and destroy the city. Uhura picks up a distress signal from the survivors. In the short garbled transmission, the caller begs for help from the Enterprise , and warns of a mad man who poses a great threat.

Kirk and fellows decide to beam down to the planet. When they arrive they see the devastation caused by the impacts. As the survivors slowly come out of their underground shelters, Kirk recognizes Tulid Yorker, the governor of the settlement.

Governor Yorker reveals to Kirk that a mad man had threatened them with destruction unless they evacuated the planet. Kirk is skeptical.

Back on the Enterprise , Scotty is nervous. Uhura picks up a transmission from the middle of a meteor field. It is a threat to leave the system or they will be destroyed die. Uhura cannot trace the signal, so Scotty goes to his engineering room, to work on problem. Sure enough, Scotty uses his incredible machinery to pinpoint the source of the transmission.

Kirk, Spock , and Scotty jump into a shuttlecraft and set a course for the source. Scotty reveals that the signal comes from under the surface of a large meteor in the field. He further suspects that it is hollow, and the mad man lives there. They land on the meteor, but as they prepare to leave the craft, a voice contacts them and tells them he will guide the shuttlecraft inside the meteor where there is a breathable atmosphere.

They are guided inside and meet Teranius, who claims he deserves to rule all of space. He explains his telekinetic powers.

Kirk pretends to agree with Teranius, asking him to return to the Enterprise , so that they can help him take his rightful place as ruler. Scotty doesn't realize Kirk's plan and tries to tackle Teranius. Teranius freezes all motion and makes the Humans into zombie-men. He orders Scotty to return to the Enterprise and blow it up. Scotty heads off to obey the command.

Unfortunately for Teranius, Spock's Vulcan mind is unaffected. He mind-locks the psycho, and Kirk calls back to the Enterprise to warn them about Scotty, but the meteors are blocking the signal.

Spock uses his mental lock on Teranius to move the meteors through his mind. Kirk beams back with Spock and the unconscious Teranius.

Scotty is about to destroy the ship, but he hesitates and Kirk knocks him down. The spell is broken and Scotty is himself again.

Memorable quotes [ ]

"Greetings! … I am Teranius, ruler of this world, and soon to be emperor of all space!" "Emperor? Why you little bald runt of a whithered old weasel, you have a lot to answer to, man, about destroying a Federation outpost on Perinda IV. "

Background information [ ]

Releases [ ].

  • This story was released twice during the Peter Pan Records run. It could be found on Records #15 and #22.

Nitpicks [ ]

  • Like other later releases in the Peter Pan Records series, the Stardate used does not correspond to the standard format for the dating system.

Characters [ ]

References [ ].

  • 3 Marlys Burdette

star trek story records

Star Trek: The Next Generations 'Cause and Effect' Explained

T he Star Trek franchise has a straightforward mandate when it comes to making individual episodes. The writers select a science fiction idea with varying levels of grounded realism. Each concept walks a line between needless complexity and fanciful silliness. The writers and directors generally accomplish that feat, delivering fun episodes of TV that leave audiences thinking without making them laugh inappropriately. "Cause and Effect" is a stellar example of a now well-worn trope that blew fans' minds in the 90s.

The time loop or temporal loop is a literary plot device that originated over 100 years ago. Russian novelist P. D. Ouspensky used the concept in his 1915 book, Strange Life of Ivan Osokin, to discuss the mechanical nature of human thought. Richard A. Lupoff's 1973 short story "12:01 P.M." cemented the concept and its most common format. The most popular example remains Harold Ramis's Groundhog Day . The concept appears throughout pop culture today, sometimes including groundbreaking innovations like Nana Kwame Adjei-Brenyah's "Through the Flash." "Cause and Effect" is Star Trek 's first foray into the concept.

Star Trek: Who is Isabella?

What is "cause and effect" about.

"Cause and Effect" opens with a gripping teaser in which the Enterprise-D suffers a cataclysmic collision, spins out of control, and explodes, killing everyone aboard. The episode resumes unabated, depicting a tense poker game between the Enterprise-D crew members. Beverly Crusher calls Riker's bluff, winning the hand with unusual prescience. As she treats Geordi La Forge for his unexplained vertigo symptoms, Crusher experiences déjà vu. Worf discovers a localized fluctuation in the space-time continuum, through which a Federation ship suddenly emerges. The vessel rockets inexorably toward the Enterprise-D. Picard requests suggestions from the senior staff. Riker recommends igniting an explosive decompression reaction to push the Enterprise to the side. Data pitches using a tractor beam to shove the oncoming vessel away. Picard follows Data's advice , but the ships collide and explode, just as they did in the teaser.

The Enterprise-D crew experiences the time loop again. They play cards, but Riker experiences déjà vu and folds before Crusher can call his bluff. Details shift through each subsequent loop. Now La Forge feels the familiarity Crusher expressed. Crusher and other crew members hear whispers in the night. Déjà vu spreads throughout the crew. The Enterprise hits the mystery ship and explodes again. Crusher records the mysterious voices on her third trip through the loop. La Forge discovers the temporal loop , prompting Data to examine the recordings and pick out thousands of copies of Picard, Worf, and Data's voices. With the knowledge of what will happen next, it's up to the senior staff to find a way out before they're doomed to endless violent deaths.

Why is "Cause and Effect" significant?

"Cause and Effect" earned excellent ratings when it premiered. It also prompted hundreds of calls to local affiliate stations from confused viewers. The TNG season 5 Blu-ray special features mention widespread complaints from fans. According to writer Brannon Braga , audiences of the early 90s were less understanding of non-conventional story structures. Those calling in believed that the episode footage was repeating unintentionally between commercial breaks. This likely primed Star Trek fans for unusual future episodes. Braga also stated that "Cause and Effect" was his most popular episode. The outing appears to this day on various top ten lists and compilations.

How does "Cause and Effect" end?

Data discovers a way to create a resonance in his positronic brain, essentially leaving a message for himself on the next loop. As the day starts anew, Data gradually notices the number three appearing in various places. Data deals only threes in the poker game, followed by several players simultaneously drawing three of a kind. The statistical anomaly draws attention. Data runs diagnostics, receiving a string of threes. He reports his findings, prompting a discussion about the number's potential meaning. As the ship emerges again, Data realizes that the three represents the command pips on Riker's uniform. Data withdraws his tractor beam idea and supports Riker's proposition , which allows the Enterprise to evade the oncoming vessel. The time loop ends, revealing that the crew spent 17 days in the fluctuation. They welcome the crew of the USS Bozeman , who has been trapped for more than 90 years.

"Cause and Effect" is a compelling episode of Star Trek: The Next Generation . It enjoyed the benefit of a trope only one year before Bill Murray would make it iconic. Though contemporary audiences struggled to understand the unique premise, modern viewers love the episode. It's funny that Jonathan Frakes would direct an episode in which the solution to an otherwise unsolvable problem is to listen to his character. "Cause and Effect" is worth a rewatch, for anyone looking to relive the past a few times.

Star Trek: Why Was The Original Series Canceled?

Star Trek: The Next Generations 'Cause and Effect' Explained

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Strange new worlds can answer a big section 31 question before ds9.


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Star Trek: Strange New Worlds Season 3 Wraps Filming & Anson Mount Hangs Up His Boots [UPDATED]

What happened to brooklynn in jurassic world: chaos theory, it's difficult to believe shogun season 2 can work without the show’s most impactful character.

Star Trek: Strange New Worlds can answer a lingering question about what happened to Section 31 between Star Trek: Discovery season 2 and Star Trek: Deep Space Nine . Discovery season 2 revealed that the covert intelligence organization Section 31 was more officially affiliated with Starfleet than in DS9 . A century later, the organization had retreated into the shadows, re-emerging during the Dominion War to recruit Dr. Julian Bashir (Alexander Siddig). It quickly becomes clear that nobody in DS9 is aware of Section 31, despite their high-profile involvement in both the Klingon War, and the crisis involving Control and the Red Angel in the 23rd century.

When they were last seen in Star Trek: Discovery , Captain Christopher Pike (Anson Mount) held Section 31 responsible for the apparent destruction of the titular starship. Despite this, Section 31 is presumably still operating in Strange New Worlds , as Starfleet promised Pike they would reform the organization. This raises the question of why, if Section 31 is a known entity in the 23rd century, their existence has been redacted in the 24th century. That's a question that could be answered in a future episode of Star Trek: Strange New Worlds , which could also set up Michelle Yeoh's upcoming Star Trek: Section 31 movie .

Strange New Worlds Can Answer Section 31’s Biggest Question Pre-DS9

It's possible that, after almost a century of inaction, the Dominion War inspired some freelance elements within Starfleet to resurrect Section 31 to meet the threat posed to the Federation. However, that doesn't answer the question of what happened to the organization after the debacle involving Control. In Star Trek: Discovery season 2, Pike was assured that Starfleet would reform Section 31 and placed Commander Ash Tyler (Shazad Latif) in charge of the intelligence agency. Star Trek still hasn't answered what happened next, with the story picking up again with Luther Sloan (William Sadler) attempting to recruit Dr. Julian Bashir into Section 31 in Star Trek: Deep Space Nine.

This leaves a big gap in Star Trek canon in which to play with the concept of how an intelligence organization with some official Starfleet oversight becomes increasingly secretive. It's likely that Section 31 will eventually go too far, requiring Starfleet to authorize a massive cover-up and a public shuttering of the organization. As it's effectively a sequel series, Star Trek: Strange New Worlds can pick up the loose threads left by Star Trek: Discovery 's season 2 finale to set up Section 31's DS9 "return".

Section 31’s Status In Strange New Worlds

As it's not been stated otherwise, Section 31 is still active during Star Trek: Strange New Worlds , under the command of Ash Tyler. So far, Captain Pike's Enterprise hasn't come across Section 31 or any of its operatives, but that doesn't mean that their paths won't eventually cross. As Strange New Worlds season 2 begins, Pike is aware of a future Romulan attack , and the USS Enterprise crew learned more about the Gorn after a harrowing away mission to the crashed USS Peregrine in Strange New Worlds episode 9, "All Those Who Wander". Pike's knowledge of both the Romulans and the Gorn will be incredibly valuable to Section 31, so he may find himself called to their new headquarters to contribute to their threat assessment.

Starfleet is also presumably still publicly promising to reform Section 31, but as Captain Benjamin Sisko (Avery Brooks) discovered, they may have other motives. When he investigated the organization in Star Trek: Deep Space Nine season 6, episode 18, "Inquisition", he discovered that Starfleet would neither confirm nor deny Section 31's existence. Star Trek: Strange New Worlds can, therefore, begin to explore how Section 31 managed to delete themselves from official records so that no one in the 24th century had even heard of it until they resurfaced during Star Trek: Deep Space Nine 's Dominion War.

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Angela Watercutter

Shockbuster Season: Why the Death of the Summer Movie Is a Good Thing

Anya TaylorJoy as Furiosa getting out of a vehicle while holding a gun

Forty-seven years ago today, everything changed. True believers might already know what it was: On May 25, 1977, Star Wars hit movie theaters and irrevocably altered nearly everything pertaining to the act of moviegoing. Lines around the block, overly excited nerds, an appetite for action figures. Star Wars taught Hollywood that certain genres—sci-fi, fantasy, anything that percolated in the offbeat TV shows, books, and comics of the 1950s and ’60s—had fans, and those fandoms would show up. Star Wars made a meager $1.6 million in the US in its opening weekend. But people kept coming back, and by the end of its initial run it had made more than $300 million. Hollywood’s Next Big Thing had arrived.

Common wisdom dictates that Jaws , which came out in 1975 and made some $260 million , was the first summer blockbuster. That’s true, but it was Star Wars that shifted the idea of what kind of film future popcorn flicks tried to be. In the years after its release, a trove of sci-fi and genre films landed in theaters: Blade Runner , Alien , E.T. , the Mad Max sequel The Road Warrior . By the ’90s, the summer movie energy had shifted to action fare— Twister , Speed , Jurassic Park, Independence Day —but nerd stuff still ruled. For every Forrest Gump there was a Batman Returns or Terminator 2: Judgment Day .

Then came a little juggernaut called Marvel . By the time Sam Raimi’s Spider-Man movies started clearing nine-figure opening weekends in the aughts, it was obvious that comic book heroes’ true superpowers involved making your money disappear. The Avengers opened in early May 2012 and nearly recouped its $200-million-plus production budget in three days. Suddenly, there were at least two superhero movies every year, if not every summer, and some new Star Wars flicks at the holidays.

The one-two punch of Covid-19 theater closures and streaming pretty much kneecapped this entire process. The summer of 2020 had virtually no blockbusters , and by the time moviegoers returned to multiplexes in 2021 and 2022, there had been a vibe shift. Movies like Black Widow and Doctor Strange in the Multiverse of Madness did well, but they weren’t events . Rushing to Fandango for tickets didn’t feel as urgent as it once did. Last summer, Barbenheimer was the buzziest thing in movies. Spider-Man: Across the Spider-Verse and Guardians of the Galaxy Vol. 3 made money, but they still got beat by Barbie ’s might.

Overall, this year could be a wake-up call for studios that superhero fatigue has fully set in, says Chris Nashawaty, author of The Future Was Now , a new book out in July about how the movies of 1982— Blade Runner , E.T. , Star Trek: The Wrath of Khan , among others—ushered in the current blockbuster era. That epoch, he says, “was always going to be something that couldn’t last forever; I’m frankly surprised that it lasted as long as it did.”

Nashawaty says the success of Barbenheimer—both movies—indicates that audiences are hungry for smart films, but Hollywood’s risk aversion likely means studios will greenlight more projects based on toys and games like Monopoly rather than movies about physicists. “This is a real existential moment in Hollywood right now,” he adds, and studios need to be bold to stay relevant.

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Summer 2024, which unofficially begins this weekend, promises a move away from the formula that has been in play for decades. There are only a handful of big popcorn-ready movies coming, and they’re decidedly less family-friendly than the blockbusters of yore. Furiosa: A Mad Max Saga , which dropped on Friday, is a teeth-chatteringly gritty prequel about a kidnapped woman (Anya Taylor-Joy playing the younger version of Charlize Theron’s character from Mad Max: Fury Road ) who ends up in a war between two overlords and has to fight her way out. Deadpool & Wolverine is a Marvel movie, yes, but it’s apparently a paean to pegging and cocaine so hard-R that Ryan Reynolds won’t shut up about it.

The series of weird indies coming in the next few months—the thriller Cuckoo , Ti West’s latest horror flick MaXXXine , a new collab from Poor Things pals Emma Stone and Yorgos Lanthimos called Kinds of Kindness —finally have some room to get into the summer movie conversation.

Make no mistake: I am typing these things with glee and admiration. Glossy family movies have their place, but they’ve grown awfully predictable. Safe—not necessarily in their plots, but in their substance. No matter how fun last year’s barn-burner The Super Mario Bros. Movie was, you can’t say anything about it was surprising, much less new. No one walked into the theater for Guardians of the Galaxy Vol. 3 and walked out as gobsmacked as they were when they saw Star Wars , or even Speed.

This is not a “Hollywood is so homogenized” argument. Rather, it’s a reminder that Tinseltown wasn’t always this way. Its influence used to introduce people to the future. What’s happening now has the potential to mark a return to the kind of startlingly original movies that used to be hits. Between the pandemic, streaming, and the Hollywood strikes of last summer, a lot of old habits got broken, and there’s a sense that a renaissance is afoot.

This revitalization won’t come easy, if it comes at all. Summer 2024 still has its share of redos and sequels—a new Inside Out movie, reboots of ’90s summer staples The Crow and Twister . (The latter is the aptly-named Twisters ; there are more tornadoes this time, apparently.) But even those movies at least feel like they’re grasping for the prefranchise days, even if they’re birthing franchises in the process.

Furiosa is currently projected to bring in more than $40 million at the US box office this weekend, a figure that would bring it close to Fury Road ’s tally but may not convince Hollywood execs that it should bankroll more R-rated, original shockbusters. It would, presumably, best The Garfield Movie , which is also out this weekend and has the makings of a more surefire hit: well-known IP, animated, PG-rated. (For the record, though: Critics seem to think it sucks .) Early ticket sales for Deadpool & Wolverine are already breaking records for an R-rated movie. Should it dominate the conversation for a couple weeks while also raking in money, that embrace of a very not-Disney Disney movie—coupled with Furiosa and Hot Barbenheimer Summer—could signal a tipping point.

Look, nothing will ever completely derail Hollywood’s reliance on sure things. Video game adaptations remain poised to take the crown long held by superhero flicks. ( Borderlands , starring Cate Blanchett, is coming to theaters this August.) But if this summer’s ever-sprawling slate turns up just enough weird hits, maybe we’ll once again know the feeling of walking out of Star Wars for the first time.

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The full story of Scottie Scheffler’s shocking arrest: How tragedy, chaos struck at PGA

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Scottie Scheffler on Friday at the PGA Championship.

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LOUISVILLE, Ky. — There’s only one road in and out of Valhalla Golf Club.

This stretch of U.S. 60 is known as Shelbyville Road; it’s a four-lane highway that connects downtown Louisville with its eastern suburbs. Valhalla is some 20 miles east of downtown, your next left after Barrel 33 Tavern and Grill and Louisville Paving and Construction.

Most weeks the drive from downtown would take just 20 minutes. But PGA Championship week? All bets are off. More than 200,000 spectators are expected on property at some point this week, here to see Tiger Woods and Rory McIlroy, who have won here before, or Brooks Koepka, the defending champ, or Scottie Scheffler, the best golfer in the world.

Traffic snarls easily around here; there’s no simple pedestrian access and not much infrastructure for large-scale parking. Yards and driveways become makeshift lots, charging $50 or $80 or $100 for close access. Trampled grass becomes makeshift sidewalks. There’s a give-and-take between drivers and pedestrians and officers handling traffic control. Everyone’s trying to get where they’re going. Inevitably, things slow to a halt.

On Thursday, a crash near the entrance to the club involving a shuttle bus and an SUV led to a backup on Shelbyville Road. The driver of the vehicle was reportedly treated for minor injuries; it was the sort of unfortunate footnote that frequent accompanies gatherings of this size. Dismayed spectators arrived a little later. The show went on. Xander Schauffele shot a record-setting nine-under 62. McIlroy and Koepka and Scheffler weren’t far behind.

But Friday began dark and dreary. Prep began early, with rain expected for most of the day and tens of thousands of spectators, too.

Then came tragedy.

Around 5 a.m., still 90 minutes before sunrise, a man named John Mills attempted to cross from the south side of the road to the north, near the entrance. Mills was on-site security for the week and either heading to work or already there. As he crossed the road he was struck by a shuttle bus carrying volunteers in from Louisville. Mills was pronounced dead on the scene.

A short while later the PGA sent out an announcement: tee times had been delayed at least an hour after a “serious accident” near the course. At that point the public didn’t know many specifics. Players didn’t, either.

Harris English arrived just after 5 a.m. “I guess I got there right after all the police cars got there,” he said later. “I had no idea what was going on. I knew they weren’t letting anybody through from that side I was arriving from, so I had to turn around, go north of the course, took an extra 20 minutes or so, and then I got to turn into the club.”

Min Woo Lee arrived around 5:30. He skirted around the traffic, he said. “I was following cars — a Lexus car that was one of the courtesy cars.”

Just before 6 a.m., Scheffler arrived at Valhalla’s entrance, intending to get a workout in ahead of his 8:48 a.m. tee time. The course wasn’t yet open to fans but the police force had swarmed to the site of the earlier incident, creating what Brian Harman would later tell ESPN was a “confusing and chaotic” situation.

The specifics of what happened next vary based on perspective.

ESPN reporter Jeff Darlington was standing near the entrance when he saw Scheffler come through in a courtesy car of his own. A police officer tried to flag him down, but whether due to darkness, misunderstanding or something else, Scheffler kept going. That’s when things escalated.

“The officer started to yell obscenities at him and then hung onto the side of his car in some way, the driver’s-side,” Darlington said later on ESPN. Scheffler’s car continued forward some 15 yards before he pulled to a stop.

“The officer took out his flashlight and started banging on the side of the car to get out, but Scheffler did not at first do that,” Darlington continued. “The window came down, the police officer reached inside, opened the door and started to pull Scheffler out. Once Scheffler was out of the vehicle he immediately pressed him, face-first, against the rear driver’s side door, immediately put him in handcuffs and started to walk towards the patrol car.”

The reporting officer, Detective Bryan Gillis of the Louisville Metro Police, gave a different version of events. Gillis said he stopped Scheffler and attempted to give him instructions, but that Scheffler “refused to comply and accelerated forward, dragging [him] to the ground.”

According to the police report, Gillis “suffered pain, swelling, and abrasions to his left wrist and knee. He was transported to the hospital for further medical treatment by emergency medical personnel.”

There was also this detail: “Detective Gillis’ uniform pants, valued at approximately $80, were damaged beyond repair.”

But Scheffler said in a later statement that he was “proceeding as directed by police officers” and described it as “a big misunderstanding.” His attorney, Steven Romines, told ESPN that upon his arrival at the course, Scheffler knew nothing of Mills’ death. “He was going into Valhalla to work out,” Romines said. “He was getting ready for his tee time. They were directing traffic. He held his credential out and was going in like they’d been instructed to.”

At 6:35 a.m. Darlington posted breaking news to Twitter that the world No. 1 and pre-tournament favorite was in handcuffs in the back of a police car. A short while later he posted a video he took of the incident. The video displayed a surreal scene, the rain-soaked parking lot bathed in flashing red-and-blue lights, a handcuffed Scheffler in a blue shirt and shorts being led away by two officers. In the video Scheffler sees Darlington and calls out to him: “Can you please help—” before he’s yanked away, the rest of his request swallowed as he’s led into the darkness and another officer delivering one line to Darlington:

“There’s nothing you can do. He’s going to jail.”

Later, Scheffler described his powerless feeling in that moment.

“I’m sorry,” he told the officer. “I’m just trying to get to my tee time.” He offered numerous apologies. “But it was chaotic, it’s dark, it was raining, there’s a lot of stuff going on. I was doing my best to defuse the situation, really. Yeah, I was just sitting there just trying to remain as calm as possible.”

Scheffler didn’t try to name-drop himself, he said. As he sat and waited he realized it might not have helped, anyway: the officers had no idea who he was.

“I was just sitting there in the back of the car just listening to the police officer as he’s trying to figure out who I am, figure out my name,” he said. “They were trying to find me in the system, but there was something wrong with going across state lines with my Social Security Number and stuff like that.”

Eventually things got even stranger: Scheffler was hauled downtown for booking.

“I was pretty rattled to say the least,” he said. But he appreciated the kindness of the officer who drove him to the station. “We had a nice chat in the car, that kind of helped calm me down. I was sitting there waiting to kind of go in and I asked him, I was like, ‘Hey, excuse me, can you just come hang out with me for a few minutes so I can calm down?'”

Scheffler was never angry, he said. But he was in shock.

“I was shaking the whole time. I was shaking for like an hour,” he said. “It was definitely a new feeling for me.”

At the station, several officers figured out who he was. Scheffler described them as “tremendous.” They cracked some jokes. That helped a little bit.

“This one older officer looked at me as I was doing my fingerprints or whatever, and he looks at me and he goes, ‘So, do you want the full experience today?’ I kind of looked at him, and I was like, ‘I don’t know how to answer that.’ He’s like, ‘Come on, man, you want a sandwich?’ I was like, ‘Sure, I’ll take a sandwich.’ I hadn’t eaten breakfast yet.”

His official booking time was 7:28 a.m. Before long his mugshot — orange jumpsuit and all — had hit the internet. Back at the course, nobody could believe it.

“Turn on ESPN and seeing Scottie in handcuffs, getting in a police car? I never would have thought I would have seen that this morning. It was just wild,” English said.

“#FreeScottie” tweeted Lee.

Mark Hubbard was focused on the height and weight portion of the booking: 6-foot-3, 170 pounds.

“I’m like, Scottie’s bigger than me, there’s no way he’s 170,” he said. “Like, I got to get to the gym and stop eating so much of my kids’ leftover mac and cheese.”

Stuck in traffic, Austin Eckroat checked his phone.

“I pulled up the local news station trying to figure out what was going on, and the first thing I saw was Scottie had been put in handcuffs, and I was like, ‘What in the world is going on,'” he said. “It was a weird morning.”

The first tee time of the day was bumped to 8:35 a.m., but players with morning times quickly grew anxious as they sat in traffic. Eckroat ended up getting out and walking the remaining mile and a half to the clubhouse. He was joined by Cam Young and Will Zalatoris in their trek.

Meanwhile, we’re stuck in traffic trying to get it. Will Zalatoris and Cameron Young have opted to walk in. We’re half a mile from the entrance. — Brian Keogh (@IrishGolfDesk) May 17, 2024

When they arrived in the locker room, Zalatoris said a group of players wondered if they’d even resume play on Friday.

“Some of the guys were talking about, wondering if we should even play today,” he told The Athletic . “At one point there were a group of guys in the locker room talking about going to the PGA of America about it, but I think it was dead in the water in the locker room. It was bizarre. We just didn’t know … When Scottie was going to get out, any of the details.”

From his jail cell, Scheffler didn’t know either.

“I was just so confused at what was happening at the time,” he said. “I didn’t know what time it was. I didn’t know what was going on. There was a TV in the corner, though — and on the TV he saw himself.

“‘Get Up’ was on, so in the corner it showed the time and it said they were delayed, and I was kind of thinking about my tee time, I was like, well, maybe I could be able to get out,” he said. “The officers downstairs, they were discussing how long it was going to take me to get released. Obviously we have to go through all the due process and everything.

“I did spend some time stretching in a jail cell,” he added. “That was a first for me.”

But the charges were serious. Scheffler had been charged with a felony, second-degree assault of a police officer, as well as third-degree criminal mischief, reckless driving and disregarding traffic signals from an officer directing traffic. His arraignment was set for Tuesday.

At 8:40 a.m., Scheffler was released without bail on his own recognizance. There to pick him up? Jimmy Kirchdorfer, a co-owner of Valhalla, who’d pulled up in his Range Rover along with Scheffler’s manager Blake Smith.

At 9:12, Scheffler arrived at Valhalla for the second time. He breezed past a group of reporters and into the locker room, where he announced his arrival, got a plate of eggs and conferred with his team.

“I gave my mom and dad a hug. My coach Randy was there, Blake was there, my whole team was there for me in a moment where I really needed them,” he said. “Especially to — like I said, I was in such shock at what was happening that I didn’t stop shaking for a while just because it was a chaotic situation.”

After an abbreviated warmup and several encouraging greetings from fellow players, Scheffler arrived on the 10th tee alongside Wyndham Clark and Brian Harman to roars from the crowd, who chanted his name. He found the right rough off the tee on the opening par-5 but laid up to the fairway and nearly landed his third shot in the hole; it spun and stopped for a kick-in birdie.

“It probably took a few holes to feel normal. Obviously I didn’t have my normal warmup and I usually stick to my routine and I’m a big routine guy, especially when it comes to my preparation,” he said. But it helped to be back in his comfort zone. “It was kind of nice just to be out there inside the ropes competing. It’s one of my favorite things in the world to do, so I was fortunate to be able to come out here and do it again today.”

If you spent the rest of the day watching Scheffler it would have been tough to distinguish from another day at the office. Six birdies. One bogey. Five-under 66. But there were signs of the day’s abnormality outside the ropes — one group of fans had somehow screen-printed “Free Scottie” t-shirts, while others had his mugshot on theirs — and Scheffler felt the difference, too.

“I would say [I was] in shock and in fear,” he said. “Coming out here and trying to play today was definitely a challenge, but I did my best to control my mind, control my breathing.

“Basically just calm down so I could come out here and try and play golf. I knew there was going to be a lot of distractions, but I didn’t really know what the reception would be like. To be honest with you, it was great having the fans behind me. They cheered for me really loud. I felt like they were really glad to have me out competing today, and it was a nice day to come out here and compete.”

After the round Scheffler’s lawyer once again referenced the incident as a “big misunderstanding.”

“[The charges] will either be dropped or we’ll go to trial, because he didn’t do anything wrong,” he told Golf Channel , dismissing the idea of any sort of settlement. “But it was kind of a perfect storm of circumstances.”

As for Scheffler? He finished his round and then addressed a large group of assembled media.

“My situation will get handled,” he said. “It was a chaotic situation and a big misunderstanding. I can’t comment on any of the specifics of it, so I feel like y’all are going to be disappointed.”

But then he did get into specifics. Where he’d gone, how he felt, how he’d rallied. The jail sandwich and the hands shaking and the helpless feeling in the back of the car and the surprisingly normal golf round.

“I would say it was pretty good,” he said, asked to characterize the round. “I definitely never imagined ever going to jail, and I definitely never imagined going to jail the morning before one of my tee times for sure.”

In the end, Scheffler wanted one thing clear: He’ll be fine. This was an oddity as much as anything. A strange, unsettling day. He thanked the police officers who’d helped him and police officers more generally. “They’re our protectors out there,” he said. He insisted he expects his legal issues to be cleared up quickly. And before long he’d be back out at the range, hitting balls and signing autographs and chasing normalcy.

But he began and ended his press conference with a clear focus: The life and loss of John Mills.

“My sympathies go out to the family of Mr. Mills,” he said. “I can’t imagine what they’re going through this morning. One day he’s heading to the golf course to a tournament. A few moments later he’s trying to cross the street, and now he’s no longer with us. I can’t imagine what they’re going through. My heart — I feel for them. I’m sorry.”

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Dylan Dethier is a senior writer for GOLF Magazine/ The Williamstown, Mass. native joined GOLF in 2017 after two years scuffling on the mini-tours. Dethier is a graduate of Williams College, where he majored in English, and he’s the author of 18 in America , which details the year he spent as an 18-year-old living from his car and playing a round of golf in every state.

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How Big Is Taylor Swift?

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Taylor Swift?

As big as the Beatles? Michael Jackson? Beyoncé? We crunched the numbers.

By Joe Coscarelli Graphics and additional reporting by Courtney Cox and Fred Bierman

You might have heard: Taylor Swift cannot be stopped.

Her new album , “The Tortured Poets Department,” sold 2.6 million copies in its opening week last month, earning Swift her eighth Billboard No. 1 album since 2020.

At the Grammy Awards in February, she became the first artist to win album of the year for a fourth time, breaking a tie with Frank Sinatra, Stevie Wonder and Paul Simon.

And earlier this month, Swift’s Eras Tour, the 152-date, billion-dollar stadium takeover that began last year, resumed abroad before it returns to the U.S. in October.

Taylor Swift, in a sparkly leotard, stands onstage on a riser while singing into a microphone with one arm extended in the air. On video screens behind her, the large crowd is visible.

Taylor Swift onstage at an Eras Tour show in New Jersey last year.

In 2023, according to the data tracking service Luminate, one in every 78 songs streamed in the U.S. was by Swift.

With a mix of prolific artistic output and relentless business savvy, plus cultural dominance as a celebrity, Swift, 34, has created such a swell of momentum that she is probably more popular — more omnipresent — 19 years into her professional music career than she ever has been.

That is not normal.

A crowd of excited fans stands in a parking lot outside a concert. Of the three in the foreground, one holds her phone in the air, one looks up and shouts and one closes her eyes and pumps her fist.

Swift fans in the parking lot of MetLife Stadium in New Jersey.

But just how big is Taylor Swift, in terms of the all-time pop pantheon?

The singer’s ongoing surge has inspired inevitable debates about how her success stacks up not only against her pop peers, like Beyoncé and Drake, but to the greats that came before them. Even Billy Joel said he could only compare this Swift moment to Beatlemania.

A black-and-white photo of Beatles fans screaming in a  crowd, with a security officer placing a white-gloved hand on the shoulder of one screeching girl.

Enraptured Beatles fans in 1964.

It may be impossible to do an exact, one-to-one comparison between Swift’s career and that of the Beatles — or Madonna, Michael Jackson, Britney Spears, Bruce Springsteen, Elton John or your icon of choice. Besides music being personal and subjective, the nature of success (and how it is calculated) has changed drastically over time. Much of a star’s grip on the zeitgeist is also intangible — a vibe in the air, their influence moving subtly but undeniably through culture.

But the absence of a truly scientific comparison has never stopped the amusement that comes from the eternal sports and pop culture debates of our time: Jordan vs. LeBron (or Kareem, or Kobe). Brady vs. Montana (or Marino, or Mahomes). “Star Wars” vs. “Star Trek” (or Harry Potter, or the Marvel Universe).

Even without definitive conclusions, it’s impossible for certain loyalists, haters and obsessives not to wonder how giants match up using whatever evidence might be available.

So with Swift’s career still peaking late into its second decade, we ran the numbers and analyzed the data, taking stock of what she has accomplished so far — and when — alongside some of the heaviest hitters in each category.

Taylor vs. the Beatles Hit Singles

A page from Billboard magazine listing the “Hot 100” hits in the week ending April 4, 1964.

First, there are the Beatles, who for most music fans still represent the gold standard of pop mania in modern times.

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When it comes to Billboard No. 1 singles …

… they set the benchmark.

From the early 1960s, when pop music usually came in the form of two-sided vinyl singles, until the Fab Four broke up in 1970, the band released 64 songs that landed on Billboard’s all-genre chart, known as the Hot 100.

In that time, the Beatles helped to usher in the rock ’n’ roll revolution — and the album age — by releasing more than a dozen LPs.

But many of the records they set for hit singles still stand today.

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‘We Are Never Ever Getting

Back Together’ (2012)

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Let’s look at how Swift’s Top 10 hits compare to the Beatles’ over the course of their careers, starting with the year each of them released their first original single in the U.S.

What is incredible to remember is that almost all of the Beatles’ success — and their entire artistic output — happened very quickly.

Of the band’s 35 total Top 10 hits, 32 of them arrived in just eight years. (Three more Top 10s came after the band split.)

The Beatles came in hot, then they were gone — a risk for groups, with their various egos and complications, that Swift will never have to face.

Her career, on the other hand, has been a much slower burn, as she grew from country music ingénue to full-bore pop star.

Swift’s first Top 10 song (“Change”) didn’t hit until around her second album, “Fearless,” in 2008.

When we focus on No. 1s, the Beatles really dominate, with more chart-toppers than any other artist, a record they’ve held since 1965.

Out of the Beatles’ 20 No. 1s, the majority also came quickly, with 11 songs , including “I Want to Hold Your Hand,” “Love Me Do” and “Yesterday,” topping the chart in 1964 and 1965, their earliest years as a fresh-faced phenomenon.

Swift’s first chart-topper, “We Are Never Ever Getting Back Together,” in 2012, needed a more dramatic twist.

Seven years into her career, she left behind her Nashville sound and collaborated with the pop guru Max Martin, who trails only John Lennon and Paul McCartney with 25 career No. 1s as a songwriter.

The bulk of Swift’s singles success has come even later, with seven of her 12 total No. 1s, including “Fortnight,” “Cruel Summer” and “All Too Well (Taylor’s Version),” arriving in the last five years , as her career entered its teens.

By that point in their musical lives, the individual Beatles were well into their various solo endeavors, with McCartney experimenting with new wave and George Harrison writing songs about race cars .

A black-and-white photo of a race-car driver, George Harrison of the Beatles and a race-car advisor standing in conversation.

But as with any comparison across eras, there must be footnotes and asterisks. When we look at Top 10s from the 1960s, we’re only counting an artist’s actual “singles” — songs released for purchase outside of a full album.

After 1998, the rules began changing to include any song on the radio, regardless of how it was released, and eventually counting digital downloads and streams. By today’s rules, the Beatles would have even more hits than Billboard’s official count.

A young person in a sun visor stares at an old fashioned computer monitor with the a screen up reading "Napster."

Swift, whose new album features 31 songs, each of which hit the Hot 100, has dominated with these new metrics: In 2022, she became the first artist to occupy the entire Top 10 on the Hot 100 at once following the release of “Midnights.”

She repeated and expanded upon that feat last month with songs from “The Tortured Poets Department,” which filled the top 14 spots on the singles chart.

This might measure a different kind of fervor than the musical ubiquity of the Beatles or others who ruled the radio later — a depth of obsession for Swift’s fans who stream her music billions of times and purchase it in multiple formats.

A screenshot of the Billboard Hot 100 list from the week of May 4, 2024. Taylor Swift occupies all top ten spots.

The length of Swift’s career has allowed her into the Beatles’ vaunted ballpark by giving her the chance to evolve her sound, grow her loyal audience and take full advantage of technological advances.

Yet as wild as it is for the Beatles to have accomplished so much in so little time, Swift’s longevity might be considered equally impressive in pop music, which often overvalues the new and — especially among female artists — the young.

Taylor vs. Michael Jackson Album Sales

A 1984-era photo of Michael Jackson in a sparkly black jacket, white shirt and dark pants, dancing onstage with a backup singer visible behind him.

Despite Swift’s streaming success — and ability to move even vinyl records — the high bar can only be Michael Jackson when it comes to album sales.

Like the Beatles, Jackson reached heights pop had never seen, changing the very nature of stardom, for better and worse, by kicking off the MTV video age and ruling popular culture amid tabloid mayhem.

Unlike the Beatles’, Jackson’s career was relatively long, from his time as a child star in the Jackson 5 until his death in 2009 at 50.

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(Taylor’s Version)’

But the meat of Jackson’s solo career lasted from 1972 through 2001, during which he put out 10 albums and followed a fairly typical arc for a pop career …

… the release of starter albums like “Got to Be There” and “Ben” in the early 1970s, then a big breakthrough — “Off the Wall” in 1979 — and a peak, before Jackson slowed down somewhat, at least commercially.

That peak just happened to be “Thriller” — arguably the peak of all pop peaks — which came out in 1982, when Jackson was 24.

For albums, going platinum — or selling one million copies — is the go-to stat. Let’s look at Jackson’s platinum albums vs. Swift’s , starting with the beginning of their careers as solo artists.

In the four-plus decades since “Thriller” was released, it has been certified 34 times platinum by the Recording Industry Association of America, making it one of the most successful albums of all time.

Swift’s biggest albums so far are “Fearless,” which is officially 10 times platinum, and “1989,” at nine times platinum.

However, Swift’s platinum certifications are not totally up to date and do not yet count the sales of her redone “Taylor’s Version” releases, which have not been officially tallied by the R.I.A.A.

(It’s also worth noting that an album “sale” now means something different: a set amount of song streams or downloads is considered the equivalent of one album sold.)

Using the more recent sales data available for Swift’s albums, which can help us estimate where her R.I.A.A. certifications will be when they’re updated …

… she starts to approach — and even pass — Jackson’s monster platinum totals, giving us a better idea of how Swift will stack up to Jackson long term. Remember, Swift’s albums have about 30 years less of collective sales when compared to “Thriller” — and they’re still being actively promoted.

Swift’s “1989” — also released when she was 24 — may be the closest thing she has to Jackson’s biggest blockbuster …

… and she’s been strategic enough to release it twice, elongating what could be considered her career peak by stretching it across two distinct eras nearly a decade apart.

Part of Swift’s genius as she’s run up the stats these last few years — releasing nearly 200 songs since the pandemic — is that the music that first made her a star in the mid-to-late 2000s is exploding again alongside her latest hits, giving new fans a fresh entry point.

Already, Swift has released more solo albums than Jackson ever did, and with her productivity — including those two different versions of four of her albums so far — she can approach the King of Pop.

In all, Jackson’s 10 solo albums have been certified 72 times platinum. Swift’s 11 original albums have been certified 50 times platinum. But her album sales tell us that number, including Taylor’s Versions, is likely to be closer to 90. And she is very much still going, with “The Tortured Poets Department” already topping three million in about a month.

Taylor vs. Britney Spears A Pop-Star Arc

Britney Spears onstage with backup dancers visible behind her, wearing a crop top that's half pink and half silver, with silver pants.

Swift’s extended peak becomes even more of a standout when compared to a more typical pop trajectory — even one with towering highs.

Like Swift, Britney Spears released her debut single at age 16 and came to absolutely dominate the cultural conversation (sometimes in ways that discounted her music in favor of her love life).

Commercially huge in its moment, Spears’s music career was also relatively short-lived, which tends to be the case more often than not, especially for singers who are known as performers and celebrities more than quote-unquote serious artists.

Swift, unlike Spears, has been firm in branding herself as a songwriter from the beginning, helping stave off some sexist criticism of her music as frivolous.

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‘... Baby One More Time’

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For reasons that became more complicated as time went on, Spears’s career sloped downward commercially basically from the moment it began, if you’re looking at album sales .

“ ... Baby One More Time ,” Spears’s 1999 debut, sold impressively. It’s certified platinum more times than, say, “Abbey Road” ...

… but it’s not quite “ 1989 ” even in raw numbers, leaving aside any questions of authorship, artistic merit and staying power.

The diminishing returns of Spears’s subsequent releases represent a sadly common path for the kind of pop singers that audiences can treat as disposable, with a new model always on the horizon.

Taylor vs. Madonna Era After Era

Madonna in 1990, with curly blond hair, red lipstick, and her famous Gaultier corset cone bra, singing into a hands-free mic headset.

Madonna’s ability to reinvent — to persist as a woman in pop — is the reason we talk about artist “eras” to begin with. Another path-breaking solo pop singer with a huge peak, a long run of domination, a savvy command of marketing and unexpected longevity, Madonna has had a career that is 43 years long and counting.

From her breakthrough second album, “Like a Virgin,” released in 1984, when she was 26, through “Bedtime Stories” in 1994, Madonna was inescapable, pushing the boundaries of visual and sonic reinvention that are now considered prerequisites for top acts.

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‘Vogue’ (1990)

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‘This Used To Be

My Playground’(1992)

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Let’s look at Madonna’s Top 10 Billboard hits compared to Swift’s, which shows how consistent both artists have been over extended periods of time — but also when in their careers each was most in the mix.

Madonna scored No. 1 hits across three decades, beginning with the title track from “Like a Virgin” in 1984.

In her first 10 years dominating the charts , Madonna had 10 No. 1s, ruling radio, MTV and nightclubs. She also appeared in blockbuster movies like “Dick Tracy” and “Evita,” expanding her cultural omnipresence.

Madonna’s peak was fueled in part by the kind of polarizing, shock-value controversy — think “Like a Virgin,” “Like a Prayer” or the “Sex” book from 1992 — that Swift has studiously avoided. (Although she, too, has had her share of extra-musical headlines, like the Kanye West V.M.A.s moment in 2009.)

But it was Madonna’s multifaceted fame as a triple threat that helped lead to many of her No. 1 hits, including “ Vogue ” (from “I’m Breathless,” the “Dick Tracy” soundtrack album) and …

… “ This Used to Be My Playground ” (the theme from “A League of Their Own”).

Swift has also dipped a toe into Hollywood, although her roles in “Valentine’s Day,” “Cats” and David O. Russell’s “Amsterdam” are less fondly remembered (and have resulted in no hit songs).

The most recent of Madonna’s 12 No. 1 hits (“ Music ,” from 2000) came 19 years into her career — where Swift is now — at the age of 42.

Madonna’s eight-year comeback period , from “Ray of Light” in 1998 to “Confessions on a Dance Floor” in 2005, resulted in six Top 10 hits. She has 38 overall (with none since 2012), compared to Swift’s 59 so far.

Taylor vs. the Veterans Touring and Awards

In a black and white photograph, Elton John wears large glasses and sings while seated at a microphone.

Alongside a pop survivor like Madonna, now 65, acts like Elton John, 77, and Bruce Springsteen, 74, are an interesting comparison point for Swift because of their productivity, longevity and critical acclaim — all of which has paid off on the road.

(See also: Bob Dylan and the Rolling Stones, who are not included here, but would be interesting points of comparison using slightly different metrics.)

While Madonna has slipped on the charts — none of her most recent four albums has gone platinum — she remains a major live draw, a standard give-and-take for a top-tier legacy act.

In a black-and-white photograph, Bruce Springsteen plays guitar against a large American flag backdrop. He is wearing a sleeveless plaid button down and denim pants.

John and Springsteen, both veterans about 50 years into their careers, also had periods of commercial dominance beginning in the 1970s with albums like “Goodbye Yellow Brick Road” (released when John was 26, that pop-star sweet spot) and “Born to Run” (from when Springsteen was 25).

But as they settled into pop-star middle age, plateauing commercially, they too have persisted with uber-successful, long-running tours fueled by fan allegiance and critical acclaim.

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Taylor Swift

Eras Tour (through mid-Nov. 2023)

Farewell Yellow Brick Road Tour (2018-23)

Sticky & Sweet Tour (2008-9)

Renaissance World Tour (2023)

Bruce Springsteen

Springsteen and the E Street Band Tour (2023)

Michael Jackson

History World Tour (1996-7)

It’s All a Blur Tour (through mid-Nov. 2023)

All figures in 2023-24 dollars

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Let’s look at the total grosses for the best-selling tours by John and Springsteen, which put them in the company of more commercially dominant artists like Swift, Madonna and Jackson.

John’s Farewell Yellow Brick Road tour, a late-career greatest hits show named for his biggest album, made nearly $1 billion in part because it lasted for six years and more than 300 dates.

Madonna’s best-selling tour was Sticky & Sweet , from 2008 and 2009. (Like Swift’s Eras Tour, Madonna’s recent Celebration Tour highlighted all the periods of her four-decade career, although it was less profitable and played arenas rather than stadiums.)

If you look at how much these major tours made per show, the list changes.

This is where Swift shines, taking in more than $17 million per concert. By the time it’s over, the Eras Tour could bring in over $2 billion in ticket sales.

One notable aspect of Swift’s career so far is that it seems to bridge the gap between two kinds of artists, both of which can become legacy acts with strong enough catalogs and fan bases: the sustained, hit-making entertainers who may be overlooked, at least at first, as musicians, and the serious singer-songwriters who tend to be more critically lauded.

The Grammy Awards, love them or hate them, are voted on by other musicians and provide a proxy stat for prestige and overall acclaim in the moment.

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Let’s look at Grammy nominations among the crop of top artists we’re considering.

While Swift has already outpaced Jackson and Springsteen, it’s Beyoncé — another artist who has changed the way we talk about pop stars — who has the most nominations ever.

Looking at Grammy wins …

… we see artists like John and Drake, another modern juggernaut, drop on this list, having converted fewer of their nominations to victories compared with, say, Jackson and Springsteen.

Springsteen has won 20 Grammys across the decades, from his first for “Dancing in the Dark” in 1985 to his most recent, in 2010, for “Working on a Dream.”

Beyoncé is the winningest musician ever at the Grammys, where she has been awarded 32 times, topping the conductor Georg Solti (31) and the producer Quincy Jones (28), who was behind Jackson’s “Thriller.”

Yet Beyoncé has still never taken album of the year — where Swift has four trophies — and has won only once in the top categories , which include record, song and album of the year, plus best new artist.

It's been more than a decade since Beyoncé earned a top-tier Grammy, when “Single Ladies (Put a Ring on It)” was awarded song of the year.

Madonna didn’t win her first Grammy until 1992 (for best music video!) and only has scattered victories since, indicating she may have been viewed by her industry peers as more of a commercial force than a musician’s musician.

It is worth pointing out that the Beatles won just four Grammys while active, including two in the big four categories, out of 20 nominations, demonstrating how hard it is to quantify musical quality and how esteem tends to shift over time. (Three more nominations and wins came after they broke up.)

The band took the top prize just once — for “Sgt. Pepper’s Lonely Hearts Club Band,” the first rock album to win, in 1968 — in part because the Grammys, until the late 1960s, were quite conservative, often recognizing old-school, traditional pop acts like Judy Garland and Barbra Streisand. (“Help!” and “Revolver” both lost to Sinatra.)

Looking at stats like that, you could argue that the most popular musicians are taken more seriously as artists now than ever before, in no small part because of acts like the Beatles, Jackson and Madonna.

Taylor vs. Beyoncé and Drake Modern Heavyweights

Beyonce, dressed in all red and sunglasses, stands on stage with backup dancers in similar red outfits. There is smoke in the background and being emitted from the stage floor.

While Swift’s overall pound-for-pound standing in each of the categories we’ve looked at puts her in rare historical company, it is notable that two of her most immediate contemporaries — Beyoncé, 42, and Drake, 37 — are also legitimate challengers across the board.

All three artists have maneuvered the industry transition between CDs, downloads and streaming to become defining modern superstars while also maximizing those intangibles like cultural reach and celebrity domination.

Beyoncé, now 23 years into a solo career after her time with the group Destiny’s Child, stands with Swift when it comes to versatility and longevity, plus sustained commercial dominance.

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‘I Am ...

Sasha Fierce’

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‘The Tortured

Poets Department’



Let’s look at their album sales as solo artists side by side.

Beyoncé’s commercial peak (so far) came with “ I Am… Sasha Fierce ,” released in 2008, when she was 27. That album has sold more than nine million copies.

Since then , while selling fewer records, she has focused on different pillars of legacy, pioneering the visual album format (“Beyoncé,” “Lemonade”), experimenting with genre (“Renaissance,” “Cowboy Carter”) and pushing the limits of an extravagant live spectacle (Coachella, the Renaissance World Tour).

Both Beyoncé and Swift have had big-selling No. 1 albums this year , during fresh periods of productivity.

Like Madonna and Swift, Beyoncé has continued to stretch the limits of what a woman’s pop career can hold, landing two chart-topping singles in her 40s (with “Break My Soul,” in 2022, and again earlier this year, with the country-influenced “Texas Hold ’Em”).

She has also performed twice at the Super Bowl — something Swift has yet to do — a stage where acts like Madonna, Jackson and Springsteen have solidified their unquantifiable grasp on culture.

A video board showing Drake rapping into a microphone looms over a round stage where the rapper performs.

And then there is Drake, a relentless hitmaker. Like Swift, Drake has optimized his output to take advantage of the way streaming has reshaped the industry and its accolades to set new records, including 328 total entries on the Hot 100.

Swift, with 232, is the only other artist with at least 200.

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Featured Artist

Drake has 78 Top 10 hits so far in his career …

… and 13 No. 1s stemming from a variety of projects: official albums, less official mixtapes, streaming-only “playlists,” one-off singles, collaborative albums and more.

As a rapper and frequent guest artist, Drake, unlike Swift, has appeared on many hits by others …

… like his first No. 1, on Rihanna’s “What’s My Name?” in 2010, accounting for a wide reach beyond his own releases.

Yet somehow Drake and Swift have never released a song together, despite sharing a certain canniness and expressing mutual appreciation for one another.

Even in his recent battle with Kendrick Lamar, Drake made clear that he sees Swift as his only real contemporary competition. (He has also rapped about having “more slaps than the Beatles” and frequently invokes Jackson’s success as a touchstone.)

Drake, Beyoncé and Swift all have this modern characteristic in common: They’re each actively playing for legacy, one eye on history and another on the record books. Ambitious and autonomous, they’re proudly writing their résumés in real time, juicing Billboard numbers and even gunning for accolades.

Taylor Swift appears onstage wearing a red, sparkled unitard and flexing one arm powerfully.

As a shrewd student of music and fame, Swift may know that she will never achieve the exact kind of domination that the Beatles, Jackson and Madonna had at the height of global monoculture, when everyone might pay attention to the same thing. But she’s certainly trying, taking bits and pieces from each’s career and making sure to maximize her work and reach in all the ways that weren’t available then.

She cares how she’s perceived and how she’ll be remembered when the noise fades and all that’s left are the songs — and the stats.

So far, it’s working.

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  1. Guide to the STAR TREK Story Records

    The 45 RPM STAR TREK Story Records were produced in such quantities that many, many exist in perfect condition still in shrink-wrap! The 33-1/3 RPM LP STAR TREK Story Records are less abundant and are thus more expensive. With the exception of Record #22 and Record #23, most LP's can be found through online auctions for around $12-$25.

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    Star Trek Vault: Read-Along Records. By Staff. Power Records began releasing Star Trek -themed albums in 1975. The first ones were 12-inch, 33 1/3 RPM recordings that featured original Star Trek stories. Power Records also released 7-inch records, in either the 33 1/3 or 45 RPM formats, occasionally accompanied by a related 20-page ...

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  7. Peter Pan Records

    Only eleven original Star Trek stories were written. However, these were released and re-released over the years in twenty-three different packages, either on 7-inch or 12-inch vinyl albums. The "Book & Record" sets included a read-along comic book-style adaptation of the story or stories on the given recordings. Albums 1-8 were released with ...

  8. Guide to the STAR TREK Story Records

    For example, in the Star Trek story "A Mirror for Futility", while Kirk is explaining about the two alien vessels entering the Federation space population, you can hear the horns' five ominous notes playing (in the "POTA" movie, Taylor's fellow astronaut Landon is taken into a cart with other humans after Taylor's discovery of his friend's fate ...

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  16. Guide to the STAR TREK Story Records

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    The Enterprise crew encounters two vastly powerful and ancient starships that are locked in eternal combat, and struggles to convince them both that they are...

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    Stardate 5440. For reasons unknown, Sulu is black rather than Asian, Uhura is a blonde, and M'Ress appears to be Orion. Illustrated cover. 7" 45-rpm record and 20-page comic book. Writer: Alan Dean Foster. Artists: Russ Heath, Dick Giordano, Neal Adams. Cover artist: Neal Adams. PR-26 1975. Crier in emptiness.

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    The Edoan Elisiar is intended as a reference to Arex from Star Trek: The Animated Series. The author of this story also wrote the novelizations for TAS, and referred to Arex' species as "Edoan". Releases [] This story was released a total of six times during the Peter Pan Records run.

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    "Captain's log, stardate 95.801. The starship Enterprise has entered the Pylar solar system, a warm comfortable realm with 12 planets orbiting around a medium-sized yellow sun. Our mission is to check the colonists of Perinda IV, a new Federation-settled planet. According to Starbase's last report, the world is one of the richest, lushest, most peaceful settlements in the known universe." As ...

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