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Dan Bolger
Thu, Dec 14, 2017, 7:46am (UTC -6)
Re: Rogue One: A Star Wars Story

I thought rogue one was an excellent addition to the star wars canon. An original and interesting story that seamlessly segues into a new hope. Not much I disliked in the film at all, an interesting premise for a side story and an excellently utilized exhibition of darth vader, particularly in the last few minutes. I slightly preferred it to the force awakens. Good performances throughout, generally, and only a bit slight for the lack of a cogent film score theme. Great fun throughout the film.
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Thu, Dec 14, 2017, 5:16am (UTC -6)
Re: TOS S2: The Ultimate Computer

These "misunderstandings" by the M5 seem to be pretty simple - it's not like there was some complex puzzle to figure a war game, no! it's a real war!
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Thu, Dec 14, 2017, 12:21am (UTC -6)
Re: TOS S1: Tomorrow Is Yesterday

I really liked this episode, but I wish Captain Christopher's child that would change the future had been a daughter instead of a son. And that the thrilled comment from him had been "I'm going to have a daughter? Wow!"

I know, I know, this was 1967.
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Thu, Dec 14, 2017, 12:02am (UTC -6)
Re: TOS S3: All Our Yesterdays

I also liked the character actors in the 1700's type era Kirk lands in. That whole dimension and the characters in it (the woman accusing Kirk of witchcraft, the magistrate, and the jailer) was very well done.
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Wed, Dec 13, 2017, 11:20pm (UTC -6)
Re: TNG S4: Clues

It’s a 3.5 Star episode only thing holding it back from 4 stars was the reveal of missing day. In hindsight I think a better alternative to Paxans being isolationists and needing memories of their existence wiped would be that they are so paranoid about the Borg learning of their species existence and coming for them to be assimilated that that was the reason for them so determined no one knows of them
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Wed, Dec 13, 2017, 11:07pm (UTC -6)
Re: VOY S3: Remember

Huh, no William B's review/comments here?

@SteveRage: "I had no emotional investment in these "Regressives" so couldn't really be bothered if they were being exterminated or not...... Sorry."

Really? I find your lack of empathy disturbing.

@Dave: "But I have to wonder, if the Regressives were all killed, where did these Fima Colonists come from? I assumed throughout the entire episode that the new home they kept mentioning was Fima Colony. Or did they create two colonies and kill off one of them? In that case, why would they go to all that trouble of starting a second colony? It all lends too much credency to the theory that these memories aren't 100% accurate after all."

I'm quite sure they created only one colony for themselves and the Regressives were just killed in a spacecraft that was supposed to take them to their new planet/colony.
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Wed, Dec 13, 2017, 9:19pm (UTC -6)
Re: VOY S7: Workforce

Pretty good 2-parter - felt like a full-fledged Voyager movie. I actually prefered the 2nd part over the 1st part as the 1st part seemed like something more familiar for the Voyager crew to be undergoing -- just happy in their different jobs ("Bliss" came to mind) whereas the 2nd part had more conflict and a good wrap-up.

I liked the idea of the Voyager crew in a different setting and how their individual characteristics get reflected in how they do different work (7 as some QC officer, Paris tending a bar, Janeway hooking up with a credible dude). Good episode for Chakotay who did a convincing job as the main man on the ground.

Big production here as well, plenty of decent guest actors, sets etc. That's refreshing to see -- a budget being put to good use.

I actually wasn't a fan of the start of the episode as it's pretty clear Voyager's crew has been kidnapped and then you know we'll get the backstory from somebody left on board the ship -- haven't we seen this kind of trick before?

Would also have been good to know what motivated the doctor who was pulling off this job -- odd that it seemed he was the head guy running this crime. So some of the operation could have been made to appear more believable for me.

I enjoyed the bit of humor with Harry Kim and Doc vying for command while Chakotay was gone -- we know both of these 2 have ambitions of bigger and better things.

Part I 2.5 stars, Part II 3 stars -- Part I had some padding in it, Part II had none and really got to the gravity of the problem and the difficulty in solving it. Nice moments at the end for Janeway and Torres/Paris. Good ambitious episode here, but not particularly creative.

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Wed, Dec 13, 2017, 8:18pm (UTC -6)
Re: DSC S1: Into the Forest I Go

@Mertov: Interesting points. Let me try some counter arguments or enhancements as to why Discovery is so polarizing.

1.) Yes, you are right, everything thats new is hated at first. And it is also clear, that the only thing praised was production (as it was obviously better). But Discovery is not just new and mildly different (like TNG is to TOS), it is completely different in tone (blood, gore), themes (torture, warcrimes, done by the "good guys") and execution (serialized, not episodic, constant plotting and mystery like Game of Thrones). The production is newer, but also of a very distinct style, that of the Abrams movies, which are equally polarizing. Enterprise got much hatred from many people, but it at least really looked like Star Trek - which leads to point 2.

2.) Yes, being a prequel is VERY bad for the show. Not only does it make the visuals even more jarring, when everybody knows how TOS looks, how ENT looks, how TNG looks, it also can not add anything radically new to the universe - and when it does, people will lose their minds over it. Just remember the shit Enterprise got for the Borg-Episode, or including the Ferengi far too early. And when it adds something radically different (like Spocks adoptive Sister, or the Spore Drive), we know that it can not have any consequences, and if it does, it completely breaks the previous series.

3.) I think that is not a reason at all. People watch weekly shows all the time - or purposely postpone watching them until a season is out completely. Yes, it can be true that negative attitudes toward the show increase negative attitude in viewers, but that is true for every other show out there right now - and shows like The Expanse or Walking Dead still have massive fan followings - not to speak of Game of Thrones, and all those shows have their haters. The problem with this show is that is has "Star Trek" written on it - just like many people didn't like the new Mad Max (even though it was not a bad movie, but it wasn't about Max).

So, while your points play a role, I think it is not entirely the reason people scrutinize the show so much. I think reason four is the reason why I personally scrutinized the show so harshly: Because I watched it.

I saw the first episode when it released, didn't read any comments on it, and was prepared to forgive it many flaws - I actually liked the first fifteen minutes or so. It was all downhill from there, for an two episode opener that had so many flaws that I could scarcely believe it. After that, I looked out extra carefully for any flaw, because the show had to prove to me that it was not as bad as it seemed. Now, in hindsight, I would maybe not as harsh - but everything viewed in hindsight is not as bad as when it happened, and when a show can make up for it in the long run, you can forgive a first season. Yes, the scrutiny of this show is extreme - but the last Star Trek show is not that far in the past that it has an entirely new fanbase (or mostly new) like Dr. Who, and it was always far more consistent than the latter. It also has fifty years of history, droves of scientists who only became scientists because of Star Trek (the extrasolar Asteroid passing through our solar system right now was given a name in Klingon in a scientific paper), and is a global cultural phenomenon. So yeah, if you screw that up, people can and will criticize your product down to the smallest detail.
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Wed, Dec 13, 2017, 7:49pm (UTC -6)
Re: TNG S2: Elementary, Dear Data

I've been on the HMS Victory - a huge, beautiful museum ship in the British town of Portsmouth - so seeing the Victory model on screen in the opening teaser was a treat. Regarding some criticisms voiced above: I think we just have to forgive the characters in season 1and 2 for having no idea how the holodeck works and what its implications are. It's something the writers themselves seem to be figuring out.

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Wed, Dec 13, 2017, 7:47pm (UTC -6)
Re: ORV S1: Mad Idolatry

Was a good episode, 3 stars from me. Yeah, of course, the plot was contrieved in places, and Kelly was stupid to just show herself, but lets be honest, it was just a shorthand to get the plot moving. Now, you might not like that, but given that the story only has about 40 minutes to get going, I personally can live with that.

As for the religious aspect: Seth was actually really kind to the religion. The head-priest or pope that was entirely reasonable and valued truth over dogma, the explanation at the end that religion is a necessary step on the path to enlightenment ... Really, if he had wanted to shit on religion, there were many more options open to him.

And for the people criticizing him for supposedly not understanding religion: First, he didn't try, that was not the focus of the episode. The focus was on "how can an advanced civilization affect an underdeveloped culture". Secondly, he does not have to understand the intricate details of religion - the effects that religion has on people is enough reason to criticize religion. To all of you defending religion, must I remind you of the Middle East? Or the Middle Ages? I get it, you don't want to lose your faith, but face the facts: God has retreated into the farthest corners of the universe, to a time before the Big Bang, and clinging to a belief in god today is like believing in Santa Claus. Now, does that mean that religion teaching or spirituality can not teach us anything? No. But it is time that supernatural superstition and organized religion goes the way of the dinosaurs.
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Trek fan
Wed, Dec 13, 2017, 5:08pm (UTC -6)
Re: TOS S3: All Our Yesterdays

A touching Spock story with a poignant Sci-Fi setup, "All Our Yesterday's" is one of my favorite Trek episodes. The way it separates Spock/McCoy from Kirk, and ALL three of them from the Enterprise whose interiors we never even see in this one, remains unique in TOS despite the more routine reset-romance subplot. I gladly give it 3 1/2 or 4 stars.

When I first saw this episode as a kid, I was moved by Spock's tragic romance with Zarabeth, as he devolves mentally into a more primitive state (and yes, I think that's plausible given his isolation from the logical trappings and mental bond with Vulcans of his own time) and begins gradually to show alarming signs of shirking his duty to remain with the woman who loves him. Today I'm a bit more "meh" on Zarabeth, having seen the entire series including Spock romances like "This Side of Paradise" that make the beats feel more routine, but Nimoy still plays the part well. This story feels like the more challenging performance for him, given that he needs to show gradual loss of control rather than a sudden alien-induced emotionalism as in earlier episodes, and he has some nice chemistry with the guest actress who unfortunately isn't terribly strong. As their shared loneliness smolders into a deep attraction, and McCoy becomes alarmed at the realization that he can't get back to the future alone without Spock, there is still some genuine tension in the dilemma.

The Sci-Fi setup of a planet whose people travel back into their own history to avoid destruction by their sun's supernova -- a highly understandable way of coping with an inconsolable disaster, as I can understand their preferring to live on their home soil even in the past to current-day diaspora, if resettling on another planet was even an option -- is to me one of the best and most intriguing in Trek. And I don't mind so much how the Big Three get there: While trying to ascertain where the planet's population went to avoid the supernova, Kirk hears a woman scream and acccidentally jumps into the time machine, and McCoy and Spock jump in after him. Makes sense to me: They wanted to stick around just long enough to find out where people went and make sure they're safe; there's no way they could have known what would happen. When they land in different places, there's a real shock in the realization that they will spend most of the episode incommunicado and completely cut off from their own time period, and I like that extra edge. The time machine -- Automocron? -- perfected by the planet's society is fascinating, as we learn that it was used in the past to sentence criminals like Zarabeth, who is apparently from a time earlier than the present-day supernova, when she was sentenced to the ice age for life by a tyrant. Meanwhile, Kirk meets a magistrate in the planet's Salem Witch Trial age who is actually from the present day and has chosen to flee into this particular time period, learning that the machine needs to prepare them to survive in the past or else they will die there. On the other hand, if they are not prepared on a molecular level before time travel, they must return to the future before they die.

On this point, watching Spock rebuff McCoy's digs and become the Alpha Male of their three-person universe is also intriguing: Spock's actions are technically logical, as he mistakenly thinks he and McCoy can no longer survive in the future, and McCoy is the one illogically clinging to the hopes of return. Yet Spock seems a bit too quick to accept the apparent logic of the situation for illogical reasons, namely his attraction to Zarabeth. In any event, his closing line about Zarabeth being dead for 5,000 years is moving in its self-inflicted coldness. If the planet's people cope with their pain by fleeing into whichever part of its past, they idealize most, Spock is a man who copes with his personal pain through logic, allowing his brain to soothe his feelings. This kind of emotional suppression is not the best coping mechanism for an emotional crisis, obviously, but it's a key part of Spock's character nicely essayed by Nimoy here.

Meanwhile, Kirk plays around in the renaissance fair and returns to the library, where he talks to Scotty (audio only -- and Scotty is the only other cast member in this episode since we never see the ship's interior) and contends with the irritating Mr. Atoz. The scene where he pushes Kirk in thte library cart is funny. Indeed, the colorful and over-the-top Kirk action subplot is almost comic relief between the increasingly desperate cave scenes. I like the Spock-McCoy dynamics when McCoy finally says something like "my life is back there, and I'm going to try, because I want that life." Another unusual touch is that McCoy (with this dialogue, in which he decides to return to the portal) and not Spock ends up saving them from the death they do not even know awaits them (they merely think they are lost in the past forever) if they stay too long in the past.

If we compare this final Spock episode to the next and final episode "Turnabout Intruder," which is the final Kirk episode, I think this one is the real winner. While "Intruder" has plenty of Shatnering, the spectacle of Shatner pretending to be a woman in a man's body, and the female guest star pretending to be Shatner in her body, feels weird and uncomfortable. By contrast, "All Our Yesterdays" delivers a classic tragedy that looks through a Sci-Fi lens at how hurting people cope with impossible loss, and offers some really solidly thoughtful stuff on that.
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Wed, Dec 13, 2017, 4:47pm (UTC -6)
Re: VOY S1: Parallax

I don't get why people hate tech talk so much. That's the best part of star trek alongside the space battles! Seeing so many ways for future tech to work
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James Alexander
Wed, Dec 13, 2017, 4:14pm (UTC -6)
Re: VOY S6: Blink of an Eye

this was my favorite episode of the series when I was little. I thought it was so fascinating watching an entire civilisation develop.
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Wed, Dec 13, 2017, 4:07pm (UTC -6)
Re: TNG S3: Transfigurations

I am pretty sure I had given up on TNG when this was on the first time around as I could not remember it at all.
This was a tedious collection of overused Trek themes as has been remarked upon already.
God knows what the heck Geordi's new mojo has to do with anything at all and no , please,please Mr yawn fest-in-a-hilarious-full body condom-don't transform into a glowing superbeing.
Yep-series 3-hmm-at least the Borg are coming to kick the Federation's arse next week.
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Wed, Dec 13, 2017, 3:41pm (UTC -6)
Re: VOY S7: The Void

A decent but overly idealistic episode that illustrates the Trekkian themes of cooperation, non-discrimination, not giving up. Perhaps something like this is needed now and then but I still liked the idea of a spatial void and ships having to do whatever it takes to survive.

The idealistic part is Janeway immediately resorting to Federation principles to try and work together to escape given what the immediate experience was with Valen. It's worth trying I suppose and the episode challenges her principles a bit but not as much as it should have given the really dire circumstances.

There's the incident with the bigoted alien who proves Janeway's first instincts about him right. I guess Janeway needed more of a challenge to her ideals than Tuvok/Chakotay providing some initial resistance for the episode to have enough teeth.

We also see the potato people again who join the alliance -- and as I recall, they're quite good at surveillance. Plenty of oddball aliens in this one which made the episode a bit goofy at times. Janeway had a good line about feeling like she's back in the Federation again given all these alliances Voyager's making .

What's also nice and Trekkian is Voyager adopting the alien vermin who live in the void and then they come in handy by disabling Valen's ship and an bigot's. This works out too conveniently and in the nick of time.

There's the usual ending with Voyager and the alliance ships getting fired upon but managing to escape as Torres pulls off what should be understood as something of a miracle although it doesn't get played up that much.

2.5 stars -- thought the episode could have been grittier, but not a bad premise overall. This kind of reminds me of how a TOS episode might have unfolded -- trying to exemplify some key themes without being dark or sinister.
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Wed, Dec 13, 2017, 3:29pm (UTC -6)
Re: TNG S1: The Big Goodbye

This episode has one great scene, and that's the moment Picard in the ready room joyously tells the crew of his fun times in the Holodeck. The rest doesn't work. It fails as a homage to 1940s/50s noirs, and its central conflict makes no sense, as Data - super fast and impervious to bullets - could have easily saved Picard and company and disarmed the holo-villains.
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William B
Wed, Dec 13, 2017, 12:31pm (UTC -6)
Re: VOY S5: Juggernaut

I think I remember reading someone doing a psychoanalysis of this episode, with the monster as id -- I read it years ago, and don't remember much. Anyway, here's my take, possibly informed by that: the teaser features the first genuinely sympathetic Malon characters we've seen, and establishes the importance of a happy childhood as the two Malon discuss what toys to get Fesek's child. Then after a rupture of containment, the teaser ends; when we come back, the B'Elanna/Tuvok scene establishes that B'Elanna, wounded over her pile-up of childhood and young adult injuries, takes her anger out on people who happen to cross her. B'Elanna is hostile to the Malon, but what she emphasizes repeatedly is her disgust that these people are dumping their garbage on innocent people rather than dealing with it. I'm sensing a theme. So B'Elanna reacts badly to the Malon partly because they remind her of her own problems (at least her problem-of-the-week), because she's in grave danger of dumping her own unprocessed garbage on anyone who happens to be nearby, when a rupture is ready and containment fails. This comparison comes to a head in the climax, when it turns out that the monster is a Malon who has been sufficiently poisoned as to "die" and then go mad with rage and want to kill everyone, and here B'Elanna articulates that she understands that kind of anger -- no longer fully separating herself from what she sees as the monstrousness of the Malon, even in its most extreme form. Tuvok also mentions, early in the episode, that anger can be a powerful tool if channeled properly, and so yes, B'Elanna ends up pouring out her anger on the diseased Malon in a life-threatening (lives-threatening) instance. And then she showers to get rid of the grime on her while she revisits her memories of the fight, and we're meant to see these two actions -- the processing of what just happened to her and the sonic showering to vibrate the dirt away -- as being the same thing. So this is a show about emotional waste management, about finding ways to remove the theta radiation of pent-up feelings without harming innocents, and maybe sometimes to use that as a power source. In addition to B'Elanna relating to the poisoned Malon directly, still feeling like an injured outsider all these years later, it also serves as a reminder that the parts of oneself that one doesn't want to recognize still live on and can end up causing considerable damage; the Malon ship is also in some ways analogous to B'Elanna, with the hidden creature inside being the congealed anger and pain she tries to deny until it continually sabotages the ship (her life) and threatens to hurt anyone near her, including those trying to help.

On that level, the episode is a decent psychological study with a good central metaphor. The performances I thought were good, especially Ron Canada's guest turn as Fesek, and I like that he is rendered sympathetically throughout. The episode gives Neelix something to do in a way that's pretty in keeping with his character history and is not annoying. I also like that Voyager works on plans B and C while the Plan A goes on, suggesting a kind of competence and decent planning on the main staff; and I think also that this ability to make relatively cool-headed decisions contrasts with the difficulties B'Elanna is facing. There are two main problems I have with the show:

1. B'Elanna has always had a temper and this is a consistent point that has been raised. However, the idea that in *this* particular episode, she is a constant live wire unable to control herself, to the point where Tuvok recommends pulling her from the away mission, seems a little out of nowhere. She's been on life-threatening missions before. Why is it that they're so sure that she's unreliable *now*? Relatedly, B'Elanna's frequent outbursts seem to be implausibly intense throughout the show. The episode just doesn't justify why her garbage is all coming out right now. This is as opposed to something like Day of Honor, which clearly identified an initial trigger and then showed her day gradually worsening, and even so her professionalism was not in question, so much as her failure to make sense of her personal life.

2. It's kind of boring for some stretches and I'm not sold on its effectiveness as a horror story. The "monster" ends up not being that interesting except for what it tells us about B'Elanna, and the POV shots just seem silly.

All in all, it's an episode with a cool character core idea, somewhat fumbled in execution by insufficiently justifying what makes B'Elanna so totally unreliable in this situation, as opposed to others -- and which is not all that entertaining for me. 2.5 stars, probably.
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Wed, Dec 13, 2017, 12:25pm (UTC -6)
Re: ORV S1: Mad Idolatry

People love to debate. On religion maybe you should watch Dr Who episodes and debate on which faired worse.

This is my last post until 2018 so Happy Holidays! Merry Xmas, Happy Hanukkah, and Happy Kwanzaa! And Happy New Year to the Orville Faithfuls! 😁
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Wed, Dec 13, 2017, 11:13am (UTC -6)
Re: DS9 S7: Take Me Out to the Holosuite

The episode had some fun looks at the characters and I am a defender of a bit of "filler" now that we're in the age when some people think that practically everything on TV has to be just one long movie to the exclusion of anything else.

But the extremism of the Vulcans' problem with Sisko and humans (and other non-Vulcans) in general made the whole setup just plain unpleasant and not very believable. This is, after all, a centuries-old society where people of different species cooperate on a regular basis even if they don't always like each other.

The idea that it's remotely acceptable in the Federation to burst into someone's office, racially abuse them and challenge them to a contest designed to be particularly humiliating to people of their background if they lose is outrageous. Imagining this going on in your workplace.

It also gets Vulcan bigotry wrong. They would be coldly superior, not flinging stupid insults. They would be overly annoyed at humans for actual common human flaws rather than on some obsessive quest to prove that humans are bad at everything.

If Sisko had actually done something that offended or hurt these particular Vulcans personally it would made more sense. Or if Sisko was tired of Vulcan superiority and HE was the one who said "well at least we can play baseball" and the Vulcan were like "Oh, we could become better at that, too."
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Wed, Dec 13, 2017, 8:11am (UTC -6)
Re: VOY S3: Rise

Sklar you need to pay more attention. For example in your own handpicked quotes it says that launching would kill the people in the cavern, which is why they’re panicking so much, but once they’re inside Neelix thinks the carriage will be okay but the launch cavern will be destroyed. No contradiction, no plot hole. And about the poison - they are establishing that the poison is available here but that it wasn’t accidental poisoning. You can get the poison, but it has to be on purpose because it’s a sealed system. So it’s murder not an accident.

That Tuvok apparently doesn’t care that there’s a murderer inside with them is a plot hole. The rest isn’t.

I don’t know how some people miss the point so badly. Saying space elevators is a stupid idea when it’s a real idea and feasible in Star Trek world. Whinging about shuttles (now more than when Jammer wrote his reviews - there are two entire episodes later dedicated to how voyager can not only build but design its own shuttles which he didn’t have, though I think with all the episodes about getting materials for the ship combined with them not really caring about lost shuttles it would have been possible to guess anyway). Saying they don’t understand the murderer’s motives and that that’s a problem with the plot and not their attention. Come on!

There are real problems with Voyager sometimes and this plot has a big one in Tuvok the starfleet officer with his duty to the truth, Tuvok the mystery solver who is completely distressed if he doesn’t have all the answers to a murder even if others would consider it solved, apparently no longer caring about a murder in front of him. On the mission he takes great pains to point out he’s in charge of. That’s a real genuine honest to god plot hole, one that detracts from the episode.

Beaming up in a fight is a plot hole too but not a significant one. I often think American television really suffers from adverts. I assume this was shown in an hour slot and if they’d had that full hour for each episode they would have been a lot better. But that’s how it is. So the first parts are often paced well and then they really squeeze the ending in. It’s not good but I think it’s better than either rushing the whole thing or giving us less story. There are plenty of logical explanations for how they and Neelix got back on the ship and his concussion was at least stabilised, but it was weird that we so conspicuously didn’t even see a hint of any of them. But I don’t call that a serious plot hole because it’s a minor plot point.

I like this episode for the Tuvok/Neelix relationship development and the insights into Neelix. That’s the point of the episode and I think they did it well. I also think the ideas of the failing rickety space elevator, the murder in a closed space, the aliens who use both cunning and force to steal planets, they’re all good ideas and at least felt fresh for Star Trek even if they’re not. I’d give this 3 out of 4 easily
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Wed, Dec 13, 2017, 6:15am (UTC -6)
Re: ORV S1: Mad Idolatry

and when I saw debates.. I'm talking about structured 3 hour long debates where the religious person has a chance to make their case.. and not even a simple case.. they can portray their argument however they want to. And yet I've never seen one that gets past the idea that they just want to believe, or that it's an argument form personal incredulity or and argument from ignorance.. they all go down the seam path
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Wed, Dec 13, 2017, 6:08am (UTC -6)
Re: ORV S1: Mad Idolatry

Ironic.. that religious people HATE when a show makes everything in their religion simple. They hate it. Yet I've watched MANY artiest vs believer debates.. and every argument by the theist is so simple, and so easy to take down.. they HAVE NO ARGUMENT .. no real argument.

Have you all ever considered that your religions are as simple as these episodes make them out to be.. (or at least nearly as simple) ??
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Wed, Dec 13, 2017, 5:55am (UTC -6)
Re: ORV S1: Mad Idolatry

So in addition to be a shorthanded allegory.. the whole reason Seth made the statue so identical to Kelly is to point out that people today seem to all have the same look for Jesus as if they knew what he looked like and they'd recognize him if they would see him. I love that

@Samuel. that is unfair I'm so sorry that religion is so simple that it can't stand up[ to surface scrutiny. By your rationale any important issue brought up in Trek is actually a strawman ..

Get a handle bro
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Tue, Dec 12, 2017, 11:28pm (UTC -6)
Re: ORV S1: Mad Idolatry

So the next month the civilization will be gone, at the rate it evolves. So who cares? The plot contrivance is a pointless excuse to make religion a strawman. Yaaaaaaaaaaawn...
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Tue, Dec 12, 2017, 7:14pm (UTC -6)
Re: ORV S1: Mad Idolatry

"I think we are getting two concepts confused here, faith and religion. I felt the episode was more of an allegory on how the latter can be corrupted and perverted due to sinister motives, like power."

What? The episode was not about that at all.
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