You are correct sir! I forgot about Roddenberry rewriting the script. He even talked about it at conventions and wrote up an account of it somewhere. Roddenberry and Ellison were friends at the time, and according to one version of the story, Roddenberry would go over to Ellison's house and pester him about the screenplay. Ellison would prevaricate, and Roddenberry would then "borrow" some of the records from Ellison's music collection. Ellison had to turn in the script to get his records back. Only trouble was, Ellison didn't quite get the idea of writing for a budgeted TV show, he had all sorts of crowd scenes in it, huge FX shots, etc. It was also MUCH longer, almost too long even for a two-hour movie. So Roddenberry had to rewrite it, taking all the impossible or over-budget stuff out. The result is essentially a collaborative effort between two writers, Ellison and Roddenberry. And I forgot all this. OMG, am I getting old? I blame it on the rock music and all them violent video games I play.

on writers' shares of secondary rights in contracts before the 1990s. I'd love to look at the 1960 and 1966 contracts to see, but I sincerely doubt they are anywhere to be found outside the WGA-W archives or the LA public library. So I don't have the faintest clue as to whether Ellison has a leg to stand on. If he does, go for it, though he'll only get just enough to pay half his lawyer's bill. Unless the writer of this spin-off trilogy is a big name, he'll be getting around $40,000 per book (maybe a little more, maybe MUCH LESS). The books themselves have limited earning potential, hard to tell for a TOS novel, could be high six or low seven figure sales. Remember, the ST franchise is fractured and competes against itself. Lots of TNG ppl don't like TOS, lots of Voyager ppl don't like TNG, etc. Most of the earnings for the trilogy go to the outlets and the publisher. The license to publish it might have brought only $100,000. Hey, maybe Ellison's lucky and its $250,000 (I doubt it, but I'm always wrong about these things). If he doesn't have a leg to stand on, this is about his anger at his work being spun off without his permission. But all Hollywood writing is work-for-hire, so you're boned if you think you'll ever have a say in how your work is used.

All of them rip off the writers. It's part of the culture. That's why many writers now wear "producer" labels. They get to write and the new label gets them more respect.

What's so special about now? Besides, contractually, I think writers are only eligible for residuals for the first 17 years after the series was on. I could be wrong, "Always in motion, Hollywood writing contracts are."

I enjoy a challenge, and I purposefully die enough in my favorite shooters that no one thinks I'm a pro, semi-pro maybe. But I often hang out with real pros, elite gamers, and when they appear in a game, guys bail so fast, you'd think we were on the Titanic. Some of the pros change their names every so often, just to get a game. But you know who they are, you know when someone snipes you from the freakin' other side of the damn map, from behind a pillar next to crashed gunship, and you know, you just know it's that damn DeathWolf under another name!

Memory in mammals is a complex thing. Just how thorough was this "genetic crippling" of the memories of these mice? Are other genes involved in mammalian memory than just those affected by the experimenters? Where did the mice come from? If from a commercial source, maybe their creation and breeding are somehow flawed. So many questions, so few real answers from this article.

I look forward to future experiments of this sort. Maybe something will come of it; or maybe the experiment was flawed. I'm keeping an open mind until more information is available.

You left one important group out of your comment, the authors! So it just doesn't matter who writes the books you read? Or do we just not deserve consideration in this?