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- Thu, Apr 2, 2015, 12:49am (USA Central)
Ah, another species destroyed by the self-righteous Enterprise crew as they speed along their merrily way. At this point in time they are most definitely more trouble than they're worth to the galaxy. It's a wonder Starfleet ever flourished the way they did. Kinda wish Q would have appeared in this and put humanity on trial at this point, but the guilty verdict would've been a foregone conclusion. "Rapid progress". Whatever.
- Wed, Apr 1, 2015, 11:45pm (USA Central)
Star Trek IV: The Voyage Home
My FULL EXPERIENCE review can be found at captainjonreviews.blogspot.com. Enjoy!
The crew of the Enterprise make their way home in their captured Klingon ship to face the consequences of their actions in Star Trek III: The Search for Spock. But when an alien probe sends destructive signals to Earth, causing critical damage to the planet, Admiral Kirk, Spock and crew discover that the only way to save Earth is to travel back in time to acquire a pair of humpback whales to bring them back to the 23rd century to communicate with the probe.
Before the release of Star Trek III, Paramount approached Leonard Nimoy to direct a sequel with Harvey Bennett continuing to serve as producer. Having been held under certain constraints for his directorial debut, Nimoy would be allowed greater creative freedom for Star Trek IV. According to Nimoy, Paramount wanted "his vision". After three heavy-drama, space opera-esque films, Nimoy and Bennett wanted to go in a different direction, choosing a story that was much more lighthearted. With lead William Shatner at first unwilling to return, they began to explore a prequel concept pitched by executive producer Ralph Winter that would feature the cast at Starfleet Academy. But with Shatner signing on, that concept was discarded. Shatner's growing salary would lead Paramount to turn to Gene Roddenberry to develop a new TV series to feature a young, cheaper and lesser-known cast; Star Trek: The Next Generation.
The first draft of The Voyage Home by writers Steve Meerson and Peter Krikes was intended to include a big role for Eddie Murphy as a professor who liked whale songs. Murphy disliked the part, wanting instead to play a Starfleet office, and thus turned down the opportunity to be in the movie -- he later recalled it was a big mistake on his part. The part was combined with that of a female reporter in the role of Gillian Taylor, played by Catherine Hicks whom Nimoy cast because of her chemistry with Shatner. The script, however, was poorly received by Paramount so Star Trek II director Nicholas Meyer was approached to salvage the script. Meyer was tasked with writing the 20th century portions of the script while Bennett would handle the 23rd century parts. The humor introduced by Meyer not only had the humor Nimoy and Bennett desired but also the environmental message for which they searching. The result was an unconventional and comedic affair that would not only distinguish The Voyage Home from the rest of the franchise but would also go on to be the most financially successful entry for 23 years.
Just as The Search for Spock continued from the events of The Wrath of Khan, so does The Voyage Home continue from TSFS, thus creating an unofficial trilogy within the Star Trek film series. Connecting the three stories into a trilogy brings a sense of scope to the three films and The Voyage Home serves nicely as a finale to the trilogy. Though its tone is substantially different from each of its predecessors, it's that change of tone that makes it so successful. Though its environmental message may be a little too obvious and its story is a little flimsy, Nimoy keeps the focus on the cast and their experience in the 20th century. Despite the unusual story (just reading the summary makes one question how this could be such a good film) the script's cleverness comes in it's snappy and witty dialogue which takes off even more once the crew is in the last. Watching the normally poised crew of the U.S.S. Enterprise stumbling about in 1986 San Francisco without a clue in the world of what's going on or what to do to fit in is what makes The Voyage Home work so well and accessible to general audiences. It works wonderfully as a (no pun intended) fish-out-of-water story.
The acting of each cast member is fantastic as each actor relishes in the opportunity to venture into comedic territory. Each of the supporting cast is given wonderful moments to shine, especially James Doohan as he tries to work a 20th century computer and Walter Koenig who's search for "nuc-le-ar wessels" is quite amusing. It's nice to see everyone not only get an enlarged part of the plot but to enjoy themselves as well. Unfortunately, it's George Takei who gets a bit of the short end of the stick here as he receives the least material out of anyone.
Character development takes a backseat, however, as they're not given as much depth here as they were in the previous two entries. The only significant attempt is with Spock, who's mind is still being retrained following his death and reintegration of his katra with his body. At the film's outset, a strong scene with his mother, Amanda (Jane Wyatt reprising her role from the 60's series), successfully establishes Spock choosing the logical Vulcan way over his emotional Human side. Throughout the film, Kirk and McCoy frequently try to get Spock to embrace his Human half and to not always choose the logical course of action. By film's end, Spock stands with his shipmates because they're his friends. It's a simple yet effective journey for Spock as he rejoins the cast.
Newcomer Catherine Hicks is great as Dr. Gillian Taylor who works the whales Kirk and Spock seek. Her chemistry with Shatner is really good and you get the sense that this is a relationship that could go somewhere if given the opportunity.
Of course, ultimately the best parts go to Shatner and Nimoy. After being separated until the end of The Search for Spock, this iconic duo is given as much time together as possible and they both make the most of it. Their witty banter is great and never have the two seemed so comfortable in the roles, especially Nimoy. Shatner's performance is a step back from The Search for Spock, mostly because the material is much more lightweight. He seems to be playing William Shatner more than James T. Kirk but that's okay because, within the context of The Voyage Home, it works. The most entertaining element of their banter is as Kirk tries to teach Spock to use "colorful metaphors," with a running gag that features Spock struggling on more than one occasion to appropriately use profanity. It's great to see the Kirk/Spock dynamic return after being absent during The Search for Spock.
Don Peterman's cinematography is beautiful, especially when diving underwater to film the whales. ILM's visual effects also work extremely well, a step up from their work in the previous films. Most notable are the shots of the Klingon ship over the whaling ship and the Klingon ship flying under the Golden Gate Bridge. These shots are well conceptualized and well executed. The design of the alien probe is unique and original, it's mysteriousness upped further by the strong sound mix found in the film.
Though lively and entertaining at points, Leonard Rosenman's score is a step back from the previous entries in the series. There are some definite highlights, especially with the main theme and the cue accompanying the hospital chase is brilliant, but the music that accompanies the scenes surrounding the probe isn't very interesting. While it works within the context of the film, it's a definite departure from the scores in the rest of the series. There's nothing wrong with taking the music in a different direction, but Rosenman's score, though effective at points, doesn't always work.
The Voyage Home's closing scenes not only provide an appropriate closing to the film itself but serve as a coda to the entire trilogy that began with The Wrath of Khan. Though the ultimate resolution involving the consequences Kirk must face for his actions is a little too easy, it's still satisfying. The closing moments as the crew sees and departs aboard their new U.S.S. Enterprise (NCC-1701-A) is very appropriate and promises further adventures to come.
Despite a wacky plot, good humor mixed with great cast chemistry, strong acting and wonderful visuals make Star Trek IV: The Voyage Home the funniest and most lighthearted entry into the Star Trek movie series. It's one of the film series's strongest outings.
Writing: 1.5 / 2.0
Characters: 1.75 / 2.0
Acting: 2.0 / 2.0
Entertainment: 2.0 / 2.0
Music: .75 / 1.0
Visuals: 1.0 / 1.0
TOTAL: 9.0 / 10
- Wed, Apr 1, 2015, 11:35pm (USA Central)
Resurrection Ship, Part 2
SlackerInc your comment has left me traumatised! I'm watching for the first time on the recommendation of a friend and I've really enjoyed it so far! The only episodic sci-fi I've ever stuck with until now has been DS9 which I enjoyed a lot, but it was a series of marvellous highs and embarrassing lows.
So far I've enjoyed the pace of BSG, the main arc to this point has never been parked for that long, particularly in the first series it really swept us along. I felt that DS9 had too many single episodes with little or no impact on the grand scheme of things; it frequently felt like just passing the time with the main characters. I've really enjoyed BSG for the lack of that so far, perhaps Final Cut and Rise of the Phoenix slowed things a little but the last three episodes were fantastic again.
I'm also braced for the religion/prophecy aspect to eventually disappoint. If I've worked out anything from science fiction fantasy, it's that The Big Prophecy is Always Real! I feel that not letting the low points annoy me is a skill I honed quite a bit watching DS9, the episodes there were quite uneven too. This was the main reason I discovered this fantastic site, and I definitely learned that when Jammer said that an episode was a dud, he would invariably be correct!
So despite your warning Slacker, I will grit my teeth and push on watching these! It's pretty unthinkable to just leave things here. The ominous thing is that this entire program completed years ago and it's not possible you're wrong about the facts! Hopefully there will be some more great highs to go with the lows. For now I will hope for the best, and if I spot any jump-able sharks I will toss them in the airlock!
- Wed, Apr 1, 2015, 10:59pm (USA Central)
The Omega Directive
2015 and still talking about Voyager :-p I just watched this on HULU & have been going through the whole series episode by episode.
I'm not sure why I felt compelled to write anything about this episode except that it was written so badly that I actually was getting upset over it. Whomever wrote this episode just has no concept of science.
Some other people mentioned many of these same things in the comments above this but I'm still pissed off so I'm going to write much of the same.
1) The ship somehow detects a SINGLE molecule of this stuff from lightyears away?? LOLOLOLOL
2) Federation Captains are expected to carry out all things related to Omega with no help from their own people?
3) This molecule is so unstable that it only hangs around for a microsecond but again there's a container of it that can hang around long enough to be transported?
4) If the molecule can be transported then obviously the federation has devices that can make the stuff .. like a transporter.
5) They go through all this effort to destroy this stuff but they have no issues returning the scientists that produced it??
I'll skip all the crap about 7 of 9, the way they had her charecter acting was just plain silly.
ok rant over
- Wed, Apr 1, 2015, 8:06pm (USA Central)
I actually didn't really mind the Bomar. Maybe there's a reason for them being so strict and unyielding it borders on paranoia. Maybe there isn't. It's not really important. What is important is that they are aware of the Borg and that Seven loses control and becomes Borg at the worst possible time. She effortlessly makes her way off the ship, thus giving the already suspicious aliens every right to refuse Voyager passage.
It even makes sense that they pursue Seven so fiercely. They are already established as extremely territorial and they are aware of the Borg and what they do. Two very good reasons to hunt her down.
The only thing that bothered me a bit was the woefully outmatched security systems. Seven just casually walks out, completely unharmed, unfazed by any security measure put in her place. I guess Starfleet security is about as ridiculous as mall security when the script needs it to be.
- Wed, Apr 1, 2015, 7:26pm (USA Central)
A very good episode. The idea of having one's own double appear is intriguing, and it's executed brilliantly here. The episode has a lot of depth to it in exploring the character of Riker and his relationship with Troi. The plot device that sets it up is unavoidable and nobody dwells on the silly techno-babble because the plot is, correctly, seen as more important.
A totally underrated episode. And, do you know what's even more satisfying? NO RESET SWITCH. All the way through this episode, on first viewing, I was expecting to see Tom Riker die at some point, but thank god the writer of the episode had a brain to realize why that would be a cheat way out. Tom makes another appearance in DS9, which I also enjoyed (at least SOME writers out there give a shit about canon and continuity).
A shame that his character wasn't utilized more with Troi... It would have been nice to see the arc get completed at some point. But nothing takes away from the fact that this is a well written tale that asks questions, doesn't brow beat you with answers, and respects the characters and viewers.
- Wed, Apr 1, 2015, 6:11am (USA Central)
I second the premise that the remote drone will be viewed as a liability, as we can already see this one has broken down in enemy territory with the bridge in the hands of enemy humans.
That aside, the execution of this episode is well done.
- Wed, Apr 1, 2015, 4:17am (USA Central)
Requiem for Methuselah
After viewing this episode for only the second time in 20 years, I can only assume that Kirk's judgement was impaired by early symptoms of the onslaught of Rigelian fever. That's the only way to explain his totally out of character actions in this episode, since it had already been well established on multiple occasions that his first love is his ship. Perhaps Flint was even aware of this early symptom of the disease and decided to exploit it in his effort to unlock his android's emotions.
If that was, indeed, the rationale driving this story, I sure would have appreciated a few lines of exposition by McCoy or Spock confirming it.
- Tue, Mar 31, 2015, 11:29pm (USA Central)
MsV, what you are doing (unsuccessfully) is portraying people who have genuine grievances with the acting (bad acting) of Brooks as being intolerant and prejudiced. It really doesn't wash. You provide no rebuttal whatsoever except "He is good and I can appreciate differences"
Bad acting is bad acting. If you can't see it, that's your fault, but please don't start with the moral high ground crap in order to justify your opinion. Brooks is a bad actor. I say that based on his delivery, over acting and inability to make the character believable. There is no smoke without fire, and the fact so many people are irked by Brooks should tell you something.
- Tue, Mar 31, 2015, 11:13pm (USA Central)
Star Trek V: The Final Frontier
Sorry about typos, in tablet. Mostly clear except redtrained = restrained.
- Tue, Mar 31, 2015, 11:11pm (USA Central)
Star Trek V: The Final Frontier
I think it is time to rescue this film's reputation. Mot only is it not the terrible film it is made out to be, it is by far the best of the Trek features and the crown jewel of the franchise. In fact, while I understand that reasonable people can disagree, I think this sublime meditation on man's place in the universe runs circles around so-called classic cinema; the visuals and thematic force so far outshine 2001, the theistic intelligence is as far above something like Ingmar Bergman as humans are above dead cockroaches. There is the beautolly constructed plot, the subtle, satirical and incisive bits of humour, beautiful musical numbers -- how the musically gorgeous "Row, row, row your boat" didn't become a breakaway pop hit is surely criminal -- and held together by William Shatner's assured direction and redtrained performance. A true masterpiece! I feel like I can say without hyperbole that if the Earth were to be destroyed tomorrow, this film would be the single document most worth preserving.
P.S. I don't know what time it is elsewhere, but it just turned midnight here. So, you know. Also, I actually did watch this recently and maybe will do a real review comment later.
- Tue, Mar 31, 2015, 10:08pm (USA Central)
Requiem for Methuselah
I found this episode interesting because in retrospect it functions very much as a precursor to themes that TNG would explore with Data. The most directly related TNG episode is "The Offspring", but there are also links to "The Measure of a Man" (Kirk showing that Rayna can be human and should be allowed to make her own decisions), as well as "The Most Toys" (an android dealing with being considered property).
Having watched most of TOS now, I can say it's surprising how much material was borrowed from it for later use in the feature films and episodes of TNG.
- Tue, Mar 31, 2015, 8:06pm (USA Central)
No mention of Kes when Doc goes looking for her replacement. Her name isn't dropped at any point. This is disappointing to me. I've complained about this before, but the fact that Doc has apparently accepted the fact that Kes is gone and he's moving on without missing a beat annoys me.
- Tue, Mar 31, 2015, 12:32pm (USA Central)
The colonists do have a point - intentionally or not, humans caused the devastation of their planet. Even unintentional near-genocide is a pretty horrifying prospect. Verin is badly written, making it hard to sympathize with his point of view. But the other guest characters are turned around too easily, considering what they’ve been through.
- Tue, Mar 31, 2015, 10:20am (USA Central)
Outstanding episode, Alaimo's performance is Shakespearean and reminiscent of the mad villain Richard III. Descent into madness through grief and loss is psychologically realistic and provides a sound dramatic premise for the episode. Dukat is a tragic hero right up there with the best of them, ambiguous and complex. It's silly that so many in this thread talk about "sympathy" for his character. What a childish and misplaced reaction. Dukat is way larger than life and beyond such pedestrian responses. I feel sympathy for Sisko who comes across as a typical federation sanctimonious prick and for Brooks because Alaimo runs acting rings round him big time.
- Tue, Mar 31, 2015, 12:37am (USA Central)
At the end, the arkonian mentions he was glad he didn't destroy the vessel. My immediate thought was "makes one of us".
- Mon, Mar 30, 2015, 11:41pm (USA Central)
Star Trek III: The Search For Spock
Here's my review. The full experience (including pictures) can be found at my review blog "captainjonreviews.blogspot.com"
The U.S.S. Enterprise heads home, damaged from its battle with Khan, and still mourning the death of Spock. When Ambassador Sarek informs Kirk that Spock's soul is being carried by Dr. McCoy and can be restored to his body, Kirk and his crew steal the Enterprise to return to Genesis to save their friend. But when a Klingon bird-of-prey learns of the Genesis planet, its commander sets out to capture the secret of Genesis for the Klingon Empire.
Following the critical and commercial success of The Wrath of Khan, Paramount Pictures was eager to quickly release a sequel and turned to producer Harvey Bennett to make it happen. Though he'd wanted his character to be killed off, Leonard Nimoy's experience making Star Trek II had been extremely positive prompting him to ask to not only return for Star Trek III but to direct as well. Paramount head Michael Eisner agreed, making Nimoy the first Star Trek cast member to serve as director.
Harvey Bennett began work on the script with the intent of bringing Spock back to life using a little opening that had been slipped in at the end of The Wrath of Khan. Bennett started with the end of the movie and worked his way forward. The smartest thing that Bennett did was to not write off Spock's death with a first act resurrection, but instead center the film's entire plot around bringing him back. More importantly, the film's story centers not just on the actions of the Enterprise crew (Kirk especially) but also the price that must be paid to bring back Spock. It grounds The Search for Spock on an emotional level and delivers some of the movie franchise's best performances.
From its opening moments, Nimoy successfully establishes the somber tone that would hold throughout the rest of the movie. Spock may not be there physically but his presence is always felt. It's this tone that sets The Search for Spock apart from the rest of the franchise and adds to the emotional drama that takes place.
The strongest element is the work that's done with Kirk and McCoy and the performances subsequently brought forth by William Shatner and DeForest Kelley. Kirk is not only agonizing over the loss of his best friend but at the early revelation that he is about to lose his "greatest love", the Enterprise, which is set to be decommissioned. McCoy, meanwhile, is not himself. He's behaving strangely and going to bars in an effort to book illegal passage to the Genesis planet. In one of the movie's most amusing scenes, McCoy angrily spouts logic to a Federation security officer before attempting a Vulcan neck pinch. It turns out that Spock's mind-meld at the end of The Wrath of Khan transferred his katra, or soul, to McCoy. This "Vulcan mystism" is a departure for Star Trek from Science-Fiction based storytelling into a borderline straddling of Fantasy elements, yet it's a necessary component of the story in order to bring back Spock that mostly succeeds. Kelley is fantastic in his depiction of a tormented McCoy but his best scene comes at the end as he opens up to an unconscious Spock and admits how much he's missed his friend. It's a touching standout scene.
Once Spock's father, Sarek (a nearly emotional Mark Lenard in his best performance) reveals what's going on, all bets are off for Kirk as he sets out to return Spock and McCoy to Vulcan in order for the katra to be returned. To do so, Kirk tries to get a starship to take him to Genesis to retrieve Spock's body. His request is denied as Genesis is a galactic controversy which with the Federation is grappling. Despite warnings from Starfleet, Kirk jeopardizes his career by both breaking McCoy out of jail, stealing the Enterprise and sabotaging the state-of-the-art Excelsior with the help of his crew in a sequence that mixes humor and suspense. Each character gets a great moment in the sequence, especially George Takei as Sulu and Nichelle Nichols as Uhura, who both relish their rare moment in the spotlight and make the most of it. Mixed with a great cue from James Horner, the sequence is a highlight for the entire franchise.
Offsetting the crew's actions at Earth are the less-successful scenes on Genesis where Saavik (a rather dull and uninteresting Robin Curtis) and David Marcus are exploring the new planet with the Starship Grissom. They discover that the planet is unstable because a David "cheated" in designing the Genesis Device by using an unstable element known as protomatter. Thus, the planet is on it's way to it's own destruction. They also discover a Vulcan child on the planet, a young Spock who has been resurrected by the Genesis Wave and is aging rapidly with the planet. In addition to Curtis's stiff and unconvincing performance, the crew of the Grissom are rather lame. The captain goes purely by the book and can't make his own decision without consulting Starfleet first. Thus, when the Grissom falls at the hands of a Klingon bird-of-prey, it's a rather welcome moment. Saavik, David and Spock must flee the Klingons, led by Kruge who want the secret of Genesis so that they can manipulate it into a weapon. This storyline is not as engrossing and drags down the pace as it frequently cuts back and forth with the superior story involving the Enterprise crew.
These scenes play out in a rather pedestrian and businesslike manner without much inspiration. They're also diminished by a Genesis planet that looks a lot like a soundstage at Paramount Studios. The scenes set in a snowy climate are especially unconvincing. Genesis fails to provide a sense of wonder because it seems to be anything more than indoor sets. It's rather disappointing.
Christopher Lloyd is great a Kruge, bringing a sense of theatricality to a role that's not very well-written and a step back from Khan. Still, Lloyd gives it his all and is a worthy adversary for Kirk as the plot has the two parallel storylines come together in a head on collision. The Enterprise is only manned by a crew of five and is no match for the Klingons, leading to a short exchange of fire between the two ships which leaves the Enterprise crippled and helpless. The standoff between Kirk and Kruge is good, but Kruge has the upper-hand as he holds Saavik, David and Spock hostage. In the first of two of The Search for Spock's big surprises, David is killed by the Klingons in an attempt to prevent them from executing Saavik. In a bit of wonderful acting by William Shatner, Kirk breaks down.
This leads to the next big surprise of the movie; in order to save Saavik and Spock from execution, Kirk surrenders the Enterprise. But, in true Kirk fashion, he sets the auto-destruct. While he and his crew beam down to Genesis, the Klingons beam to the Enterprise and are killed as the starship, in the film's best example of special effects, blows up. The conflict with the Klingons then culminates in a hand-to-hand battle between Kirk and Kruge as the Genesis planet goes up in flames around them. The old-fashioned fist fight is a nice throwback to Kirk's regular brawls on the 60's series and is enhanced by good pyrotechnic work on the collapsing set.
The film's emotional climax comes with the return to Vulcan where Spock's katra is returned to him as Leonard Nimoy reprises his iconic role for the film's final scene. The closing conversation between Kirk and Spock is simple yet powerful and the perfect way to cap Star Trek's most emotional entry.
All of this wouldn't work, however, if not for the pitch perfect performance of William Shatner. The Search for Spock belongs to him from beginning to end and he delivers the goods. He's never over-the-top or too sentimental, giving a very somber and tortured turn as Kirk. His portrayal of Kirk's sacrifice is touching. In order to regain his friend, he must sacrifice everything. Not only does he sacrifice his career but ultimately the Enterprise and his son. When the price paid is questioned by Sarek who just regained his own son, Kirk replies that if he hadn't done what he did, the price would've been his own soul. The writing successfully tackles the emotional consequences and Shatner doesn't miss a beat. It's definitely his best performance as Kirk.
The visuals are mixed. Though the look of the Klingon ship is great and the space shots are all well executed, especially those involving the space dock at Earth, the planet sets are far less convincing. The exception to this is the scenes taking place on Vulcan. If the Genesis sets were as vast and open as the Vulcan scenes, perhaps The Search for Spock would've felt a little more epic in scope.
James Horner's score is a strong entry, using many of his themes from The Wrath of Khan with the melodic "Spock theme" taking the forefront here. His Klingon theme doesn't match that of Jerry Goldsmith and is a little obnoxious at points but still entertaining.
Star Trek III: The Search for Spock doesn't try to outdo The Wrath of Khan, nor does it succeed at doing so, but instead proves itself as a strong companion. Though there are some flaws, particularly with the Genesis storyline, the emotional side of the story delivers and makes The Search for Spock an admirable space opera journey.
Writing: 1.25 / 2.0
Characters: 1.5 / 2.0
Acting: 1.75 / 2.0
Entertainment: 1.25 / 2.0
Music: .75 / 1.0
Visuals: .75 / 1.0
TOTAL: 7.25 / 10
- Mon, Mar 30, 2015, 11:40pm (USA Central)
It is explicitly stated that one can have an Orb experience months or even years after the initial encounter. What were they called... orb flashes? In any case, it is possible the accident triggered and/or enhanced one of these flashes; starting the visions.
- Mon, Mar 30, 2015, 8:26pm (USA Central)
Face of the Enemy
Agree on the language thing.
That is part of the suspension of disbelief that we have to accept for the sake of storytelling.
That and her black eyes
- Mon, Mar 30, 2015, 8:12pm (USA Central)
I was slightly bothered by the many Predator esque look alikes. The Kradin, the jungle setting, the weaponry. I don't know if they did so on purpose (although I have a hard time imagining it was all just by accident), but I found it harder to get into because of this.
The twist was nice though. Not only did it come unexpectedly, but it was believable and very well portrayed. I particularly liked the ending when Chakotay attempts to clarify what happened to him and Janeway replies that she doesn't know whether or not the Kradin subject the Vori to the atrocities Chakotay was brainwashed to believe or that it was the other way around.
No clear cut bad guys to be found. No black and white morality issues.
A few nitpick moments I had:
-Another shuttle lost. I'm starting to suspect they can replicate those things as easily as they can replicate a meal.
-Why did Janeway turn to Neelix for an explanation of their war? How would he know? Not only is their war taking place beyond the Nekrid expanse, it's taking place beyond Borg space and there's no way in hell Neelix ever passed through Borg space. Wouldn't she be better off hearing about it from the very people that are involved in the war? Neelix's role as their guide ended a while ago, didn't it?
-Why are the Vori so quick to conscript Chakotay, an alien, to their cause? If they crashed his shuttle, shouldn't they be wondering who he is and if his people are going to look for him? Shouldn't they wonder about his technology (which may or may not be more advanced then theirs) and try to use their brainwashing abilities to extract that information from him? Seems to me like knowledge abour more advanced tech is far more usefull then just another soldier in the fray.
- Mon, Mar 30, 2015, 4:58pm (USA Central)
Hey Promo Guy: You're Fired
Add to the hate list SyFy, which runs promos for upcoming shows EVERY SINGLE FREAKING COMMERCIAL BREAK. And chopping up the show currently being being aired to make more time for the upcoming promos. I love the original Twilight Zone, but can't watch any of the SyFy marathons because I know how badly huge chunks of the show are being cut out to make room for more commercials. KNOCK IT OFF!!
- Mon, Mar 30, 2015, 3:51pm (USA Central)
Hmm-well the punch up reminded me of Kirk and Finnegan from Shore Leave-except that fight was part of a very smart story and this fight wasn't smart at all.
T'Pol snogging Trip's face off was rather gratuitous but excusable and I guess the alien in the pod turns out to be a fair way to introduce the unimaginatively named sphere builders who, as Jammer observes, looked like some sort of Suliban.
- Mon, Mar 30, 2015, 11:42am (USA Central)
Second Season Recap
@Niall, I just wanted to follow up on your comment about David E Sluss and say that the obit you posted was for another person with the same name and similar age. I emailed the Cynic this weekend and he assured me he is alive and well!
- Mon, Mar 30, 2015, 3:45am (USA Central)
The Enterprise Incident
A fabulous episode showing the best of ST and among the best TV episodes of any series ever. A kickass female Romulan commander, played pitch perfect by Joanne, provides a splendid counterbalance to one of Leonard's best renderings of Spock ever. Kirk comes off as second best despite an awesome performance too by William. That's what an episode should be, so much excellence all round you don't know where to focus as a viewer. The complexity and dramatic and sexual tension in the Spock-Romulan commander relationship sizzles all round and is electric till the end, especially at the end, episode endings being so often rushed and problematic in ST. My single favourite episode of all time of any series.I watch and rewatch it forever. BRAVO!
- Mon, Mar 30, 2015, 3:29am (USA Central)
The City on the Edge of Forever
Who makes up these totally cockeyed episode reputations? The single most overrated episode, other than DS9 The Visitor, in ST history. A loopy time loop episode. What a waste of the gorgeous Joan Collins! Why couldn't they write a companion piece to Space Seed with Joan a female super human giving Khan Noonien Singh a run for his money, instead of having the ineffectual Madlyn Rue as the quivering weakling female melting at his male chauvinist charms? ST not full of stereotypes? Look again closely!
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