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Few fictional characters conjure up as strong a mental image with just a mention of their name as the captains of the beloved "Star Trek" universe. Mention the word "Picard," and it's impossible not to think of Patrick Stewart's cerebral, near-Shakespearean leader, who oversaw years' worth of chaos and adventure in "Star Trek: The Next Generation" and its sequel series. The name "Captain Kirk" conjures up images of William Shatner in full hammy hero mode, sitting in his captain's chair or in the middle of the action — wearing an artfully torn uniform.

Every "Trek" captain conjures up these strong associations, but "Star Trek: Voyager" nearly ran into a problem with its captain's name when it turned out the original option was already taken. According to the book "Captains' Logs Supplemental" by Edward Gross and Mark A. Altman, which was published during that show's '90s run, Kathryn Janeway almost had a different name: Elizabeth.

Captain Kathryn Janeway, played by Kate Mulgrew, had two different first names before the show settled on Kathryn. Janeway was the first female captain to lead a Star Trek show and became one of the most successful admirals in Starfleet. After leading the USS Voyager back to the Alpha Quadrant, Janeway chose to remain active at Starfleet Command and continues to stand up for her friends.

Star Trek: Voyager considered a few different first names for the captain of the USS Voyager before she became Captain Kathryn Janeway (Kate Mulgrew). Over the course of seven seasons, Captain Janeway led Voyager home from the unexplored Delta Quadrant, encountering many new aliens and other surprises along the way. Kate Mulgrew brought confidence and heart to the role, but she wasn't the first choice of Voyager's producers. Canadian actress Geneviève Bujold spent two days filming as Janeway before deciding to leave the role,...

Star Trek: Voyager was an underappreciated series in its day, but had passionate fans, especially shippers. The biggest one-true-pairing in the series seemed to be the unspoken affection Captain Kathryn Janeway and Commander Chakotay shared. It was never acted on, but Star Trek: Prodigy's larger story arc is the last hope Janeway and Chakotay shippers have to see the romance done right.

The following contains spoilers for Star Trek: Prodigy, Season 1, now streaming on Netflix.

Perhaps one of the biggest selling points of Star Trek: Prodigy for audiences who aren't young children is its connection to the legacy of Gene Roddenberry's universe. Specifically, its ties to Star Trek: Voyager via the character of Captain Kathryn Janeway. Star Trek: Voyager had troubles during its run that went beyond simply whether or not the captain and her first officer, Commander Chakotay, hooked up. In fact, actor Kate Mulgrew almost didn't get the role.

What? A movie where adults behave like adults? Otto Preminger showcases a quiet maturity in this story of an independent woman caught between two men, adulterous lover Dana Andrews and conflicted suitor Henry Fonda. The script is witty and the people believable -- this is one of Joan Crawford's best performances. Daisy Kenyon Blu-ray Kl Studio Classics 1947 / B&W / 1:37 flat full frame / 99 min. / Street Date Nov 15, 2016 / available through Kino Lorber / 29.95 Starring Joan Crawford, Dana Andrews, Henry Fonda, Ruth Warrick, Martha Stewart, Peggy Ann Garner Cinematography Leon Shamroy Art Direction George Davis, Lyle Wheeler Film Editor Louis Loffler Original Music David Raksin Written by David Hertz from the book by Elizabeth Janeway Produced and Directed by Otto Preminger

Reviewed by Glenn Erickson

Why is Daisy Kenyon one of Joan Crawford's best pictures? Crawford could be a fine actress, but too many of her pictures seem distorted by her star persona.

By Michael Atkinson

The seminal will behind everything that matters about sub-Saharan African cinema, and at the same time the world's most guileless filmmaker, Ousmane Sembene was virtually a one-man continental film culture for 40 years, establishing the cinematic syntax and priorities for an entire section of mankind, and its relationship with movies. From the first mini-feature, "Borom Sarret" (1964) to the last, vibrant, polemical film "Moolaadé" (2004), Sembene's work aches with sociopolitical austerity . as an artist, he's virtually style-free, almost unprofessional, but possessed of a voice as clear and uncomplicated as sunlight. Primal, unsophisticated experiences, the films are simple but never simplistic, lowbrow but unsensational, fastidiously realistic and yet unconcerned with sustaining illusion. His filmography is more or less divided between cool, undramatic autopsies on post-colonial norms and folly (1966's "Black Girl," 1968's "Mandabi," 1974's "Xala") and demi-epics of colonial horror (1971's Emitai, 1977's "Ceddo," 1987's "Camp de Thiaroye"). The slow burn,...