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Total Found: 25,271 (Showing 26-50)
Page 2 of 1011
- Fri, Jul 3, 2015, 12:42pm (USA Central)
Descent, Part II
@ Peter: Haha, I love the idea of Data calling Dr. Maddox over to pick up Lore. Dr. Maddox would be so grateful! It would have been too comical a way to end the episode, but oh well.
I guess I'm one of the few who really liked Descent I AND II. I can concede that they are both flawed episodes, but they were interesting to watch. I didn't mind the presence of Hugh, or the change in Data, plus the dynamic between him and Lore and him and Geordi was interesting. I also liked the way Beverly commands a ship, although when the question is posed to Picard "Who will stay behind to command?", the OBVIOUS choice is Captain Picard, not the freaking CHIEF MEDICAL OFFICER (who should be sending some of her medical staff with the teams instead). I scratched my head when the possibility of Picard staying behind isn't even *considered*. (But this episode involved a mistake that Picard made, so he had to fix it in person, I guess.
It was also interesting to see a multi-away-team deployment - like, they can DO that? Neato. But just as it's easier to pretend most of the time that the ship can't separate and doesn't have a battle bridge, It's also simpler most of the time to pretend the ship isn't a compliment of just over a thousand, except as an abstract reference during times of all-encompassing danger.
I laughed at how Troi had to make herself useful somehow. "I'll watch the door". And then she bungles the attempted escape. (Or was that an intentional bungle, just so Picard could retrieve the transceiver thingy from the downed Borg? That wasn't made clear).
I also didn't mind the bridge officers bantering, even if the dialogue was very "OF COURSE the Lieutenant is a dick, and the Ensign is a chirpy fresh-out-the-Academy uber-genius, who talks WAY too damn much." [I guess all the other bridge officers there are mutes? Ehh, they hardly ever talk anyway]. But at least the Ensign character progressed in her scenes from being nervous and unsure of herself to being confident and bold, which is slightly more than one can say for entire seasons of certain TNG character's arcs.... And some of the banter between her and Lt. AngularFace McTallGuy was cute enough, esp. the reversed "I'll just have to make sure my calculations are accurate, ".
I actually starting thinking of some fanfiction story for the grumpy Lieutenant and uppity Ensign, but that would be too likely to descend into a cheesy "characters in conflict for no real reason realize [because...plot] that they're totally IN LURVE with each other" kind of storyline that infests most romantic comedies.
- Fri, Jul 3, 2015, 11:52am (USA Central)
This is an episode that I find more entertaining now than when it first aired. When I first watched it, I groaned at the "science". Now I just accept it and find myself amused with the character interactions.
- Fri, Jul 3, 2015, 8:21am (USA Central)
Far Beyond the Stars
This episode got me to spend a year studying Africa and now it's my least favorite episode.
It's like watching an someone whine incessantly about how he grew up as the runt in a mildly dysfunctional family while the next room over has a guy who survived a childhood of 2nd degree burns in a severely abusive home and nobody cares.
Uhura is Bantu. Geordi's from freaking Somalia. Sisko is from New Orleans.
Now compare how much fun it was to live in 1950s Bantu-speaking areas or Somalia versus 1950s New York or New Orleans. (or ya know, 2015 right now. "Do ya wanna live in New Orleans or Dar es Salaam?" kinda depends on how much money you make individually, but "Do you wanna live in New Orleans or Mogadishu... pick New Orleans.)
There are parts of current USA racism that are horrific, and there's huge parts of Africa that are really, really awesome. But bringing up "US Racism Bad!" when you have Happy Somailan (SOMALIAN!) Geordi and Totally Chill Bantu Uhura is cringeworthy. 1 mention once? Fine. Giant meta weird crap all centered around you personally? Very very VERY not fine. It's so America-centric it misses the point and ruins the effect.
Studying this also generated a funny pet peeve: Xhosa is hosa, not "zhosa". I accidentally "correct" it every single time.
- Fri, Jul 3, 2015, 4:10am (USA Central)
Probably could have used another re-write. I hate when a guest character comes on under suspicious circumstances and the writers don't bother with a solid backstory.
I agree some characters are under-written, but I find Reed enjoyable and sexy, and Phlox always a joy. Travis aka "that black guy" seems intentionally bland. Connor Trinneer is a superb actor, imo.
- Thu, Jul 2, 2015, 6:39pm (USA Central)
So Opaka spells out for us a big part of what this episode is about: warring factions locked in perpetual combat as a reflection of the state of Kira's soul. Or pagh, I guess. Kira is both ready to fight others at a moment's notice and is in a state of war with herself. There is the Kira who refuses to step down from a fight, even one that is not her own, and even one in which there is very little evidence suggesting that Their Side is any better than the other side; and there is the Kira who does not believe that the Prophets could ever forgive her for the things that she did to survive, and to help Bajor survive, the Occupation. There are no easy answers here; in a broad sense, I think Kira deserves forgiveness and peace, but in practice Kira's keeping at least some degree of self-loathing may have been one of the only things holding her back from greater horrors; meanwhile, a full-on embracing of peaceful ethos puts her prior behaviour into a new context that makes it seem horrible, unforgivable; and how can she be a woman of peace, eschewing these people locked in perpetual combat, when she would not have *been* here if it weren't for her intense dedication to violence?
That Kira needs to start healing, and needs to forgive herself, is well taken, and the backdrop of a perpetual combat which sets the same people through an endless cycle (in the metaphor, this is akin to blood feuds lasting generations, where no real progress can ever be made because the combatants essentially view themselves as part of a long line) helps clarify the type of person Kira does not want to be. Still, in spite of that nice scene between Opaka and Kira, the situations are pretty non-analogous either to the way Kira was during the Occupation, or the way Kira is now. The Resistance to the Occupation was not an endless cycle of revenge, in that they actually *did* achieve the goal of getting the Cardassians to leave. And current Kira certainly very quickly starts barking orders about how to improve their defenses, and seems in a perpetual state of readiness for a fight...but this PTSD-ish readiness to combat is not the same as wanting personal vengeance.
Camille Saviola is strong as Opaka, and it is also nice to see Breaking Bad's Jonathan Banks as Shel-La, leader of one of the warring tribes. Nana Visitor is okay in most of the episodes, but I agree with commenters above that her breakdown over Opaka's death did *not* work, and her breakdown when Opaka read her pagh similarly left me cold. Those help elevate the episode, which is something like a grimmer version of TOS' "Day of the Dove," except transposed to aliens and thus leaving Our Heroes mostly off the hook, despite the examination with Kira. Opaka's decision to stay behind is kind of annoying; there is some vague reference to a prophesy, which she does not go into (and the show is not really dipping its toes into the murky waters of the Prophets stuff), and to her having gut feelings blah blah blah, but it's worth noting that Sisko/Kira/Bashir do not get the words out that she's trapped on this planet forever to live out an eternal damnation, and while it is surely a noble endeavour to help these guys, there *is* still Bajor, isn't there? She saw Bajor through the Occupation, but Kira can only start healing because Opaka tells her to, and Opaka leaving Bajor very suddenly just opens up the power vacuum for people like Winn to seize control and steer Bajor toward fundamentalism. I guess maybe Opaka is meant to understand that she is dead if she leaves the planet, in which case her behaviour makes a little more sense.
The pagh ear thing does bother me, though not entirely -- touch telepathy is a feature of the Vulcans, so it makes sense that some Bajorans with a certain amount of training would be able to do that, though at times it seems as if the only thing Opaka is doing is grabbing someone's ear so hard they go delirious from pain. This would not grant mystical powers but a certain amount of understanding of a person by touch-telepathy (through another name) is consistent with the Trek universe. I've got to say, Opaka does not talk about the importance of the Celestial Temple as the Prophets' home, and indeed I'm still not sure, on a rewatch, if we are meant to understand by this point in the season that the wormhole aliens are The Prophets, who are really mostly mentioned here and there in passing.
The Runabout scenes were very filler-y and tech-y. Nothing to see there.
- Thu, Jul 2, 2015, 4:03pm (USA Central)
Let He Who Is Without Sin...
Oh, yeah. This one stinks. On reflection, this is the episode that made me start thinking that the time had really come to get rid of Dax. In terms of character development, she became completely unappealing in this episode and the "ick" factor remained for the rest of the her run on the series.
- Thu, Jul 2, 2015, 2:30pm (USA Central)
Yeah, wow, that was pretty bad and boring. Can they ever time travel someplace besides the US (particularly California, even when they say it's Detroit and obviously LA), and not the present day? In any case, I'm so sick of Trek time travel episodes, they just overdosed on it to the point of it being silly and trite. At least DS9's Past Tense was about something interesting, it had a point. This episode was completely by the numbers and pointless.
And I agree with the other commenter that Daniels needs a new barber.
- Thu, Jul 2, 2015, 10:42am (USA Central)
I think he means if only it was cancelled during this point, in season 1 and not when it was later.
- Thu, Jul 2, 2015, 10:39am (USA Central)
Shadows and Symbols
I think DS9 handles time like Timecop the present is immutable but the past isn't. It's possible Sisko, Dax and Bashir impacted their own histories in 'Past Tense' and maybe 'Trials and Tribblations' and the Prophets saved them by fixing a few threads that modified the present.
Sisko is now compatible to join the prophets because Sarah and Joseph were originally meant to be together but the premature death of Gabriel Bell and who knows who else in Past Tense unraveled all that, changing their characters and fates. I recall in season 2 Sisko talked as if Joseph had died years earlier but he pops up alive in season 4.
- Thu, Jul 2, 2015, 10:21am (USA Central)
The episode's big draw, naturally, is the Odo of it: it's a better episode for the character than "A Man Alone," and it gestures to some of the other Big Themes besides Odo's search for justice, namely his loneliness and difficulty fitting himself in to the world of solids. The episode emphasizes different kinds of family units (Quark and Rom, Croden and his daughter) with the Miradorn who cannot live without his twin and so turns to revenge as a sole purpose being the biggest example. And along there is Odo, chasing after a necklace and the chance at meeting *someone* like him. The way the Miradorn and Croden are willing to give up everything for their missing family member -- in the Miradorn's case, to give up life entirely for a *dead* family member -- gives weight to Odo's plight; and Odo's somewhat intense questioning of Quark about other beings from the Gamma Quadrant, as well as his feelings of intense disappointment that Croden was lying about whose family was in that Vortex (as well as those tall tales he mentions) hints at Odo's own capacity. Odo's intense, connections-free attitude to his work is his protection against those feelings of isolation, but his willingness to be somewhat distracted by Croden's playing on Odo's desire to see his "family" (or at least evidence of them) suggests that, in the fact of true connection with others of his people, Odo might well find it difficult to keep his head for Justice! straight.
Croden plays on Odo's feelings quite well -- by making himself out to be a persecuted prisoner and describing the way the changelings were persecuted, he essentially casts him as another person like Odo's people, even on his own planet. That his stories may have some background in myths and legends makes sense with later revelations; the Founders claim that they were persecuted before they decided to become conquering gods. Croden is playing Odo here, but it does seem plausible that Croden's life of crime did start the way he claims it did, as a nonviolent political dissident whose family was slaughtered in front of him. Of course, he might be lying. Odo's suspension of his usual absolute dedication to justice is a step toward his recognizing that things aren't as black and white as he wants, in particular the recognition of the mitigating factors in Croden's life, and that is mostly a good thing. On the other hand, there is some indication he lets Croden go because Croden has been able to convince Odo that the two of them are alike, and indeed that Croden might be like those mysterious changelings from long ago, an impression which may have lasted until even after Croden's stories about the changelings were revealed to be mostly BS. Personal feelings gradually wear down Odo's absolutist moral code, which renders him less rigid (good) but also increasingly willing to put personal feelings far above other ethical concerns (bad), and some of that ambiguity is here.
I guess I do find Croden's heel-face turn at the episode's end a little unconvincing. When he finds his daughter, he really does seem to become a different character, and while I get some of that (he is going to behave differently when back with his daughter, and around her), to some extent the depiction of him as mostly a man of conscience who Did What He Had To Do to get back to his daughter doesn't *quite* settle with exactly how cavalier he was about killing the Miradorn earlier in the episode. I also think that Quark is pretty blase about a guy dying because of his negotiation tactic/trick, but then I'm still not quite sure how to read Quark's attitude about, you know, people dying because of him. Just business, I guess? The chase sequences are okay but not stunning. I think overall this is a strong episode with some significant weaknesses. 3 stars from me.
- Thu, Jul 2, 2015, 10:08am (USA Central)
Eh...pretty dull. I couldn't agree more with Elphaba. To me, quality entertainment has to have a point i.e. interesting plot. I don't care how well produced something is - see the Transformers movies - if it doesn't have a compelling plot, I'm bored with it very quickly. I don't *need* social commentary because quite frankly I usually disagree with the point of view of the writers OR I find the commentary so heavy handed as to be irritating. But at least have some interesting plot twists. I always wished ST hadn't gotten away from accepting "original" scripts from outsiders. I suppose that's just how business in Hollywood is done now...if the writer isn't part of the guild, then their script can't/won't get used. It's a shame IMO since many of TOS' best scripts came from outsiders. Most people only have so many good ideas in their heads. To expect them to come up with a great new idea 22x per year (or more if they work on multiple shows) isn't realistic, so why do they try? If they are going to spend so much money producing these episodes, can't they find a method to generate better writing? More writers, original scripts, etc? Almost all of these shows have the "story" by Braga and Berman. Then they hand the plot outline to someone else who writes the screenplay. Having all "creativity" coming out of these two was a very poor idea. Have you watched any of the extras on the Blu Ray discs? One is an interview with these two, and if there are two more sarcastic, less defensive, less likable people I haven't seen them.
I'm watching Enterprise all the way through again, and with many episodes I'm seeing them for the first or second time. Many are rather good; others are just decent. Still others are terrible. I't put this outing in the "decent" category. Definitely a rehashed, cliched plot derivative of previously-done Trek. I won't go as far as to say "wasted hour" because with toddler twins I only get 45 mins of TV a day. But it's certainly a worse-than-average Trek outing.
- Thu, Jul 2, 2015, 9:45am (USA Central)
This is indeed a lot of fun, and a great addition to the Star Trek universe, even if the second-order effects (i.e. most other DS9 Ferengi episodes) suffer badly. The episode functions as sort of a parody of "The Godfather," filtered through Ferengi values -- one of many occasions in which Quark is chosen to be the centre of one of the classic American films. ("Profit and Loss" -- LOSS, not Lace -- is essentially a low-quality "Casablanca"; Harry Lime's monologue from "The Third Man" is repeated to Quark close to verbatim in "Business as Usual.") The most explicit "Godfather" reference is of course in the darkly lit scene with Quark stroking the Ferengi cat thing, which sets up the pattern: Quark enjoys the feeling of power and demands personal loyalty, like the Don, but unlike Don Corleone the second a sufficient amount of profit is offered to him he drops the act, so to speak:
QUARK: A very lucrative opportunity. Tell me Nava, when Zek announced I was to succeed him, were you pleased?
NAVA: No, Nagus.
QUARK: Did you come to me and offer your support?
NAVA: No, Nagus.
QUARK: Yet, now you call me Nagus. But is it out of true friendship? No. You only pretend to show me respect so I will grant you this immense opportunity.
NAVA: Which I'm willing to split with you. fifty-fifty.
QUARK: Well, in that case, let's hope the Gamma Quadrant develops a taste for synthehol.
Ha. The same pattern is repeated at the end of the episode. (Major spoilers for "The Godfather, Part II" in this paragraph.) Rom, as Quark's "idiot," put-upon brother, who complains that Quark has so much and he, Rom, has so little, can't help but fall into the orbit of an ambitious man who makes promises to Rom which he will likely overturn the moment Rom's usefulness has been outlived. So Rom plays Fredo Corleone to Quark's Michael. The episode ends with what seems to be the start of a "You broke my heart!" scene of Quark unleashing his anger on Rom, perhaps with some sort of threat; or maybe, like Michael, Quark would wait until their mother dies but all the time be planning to dispatch Rom. Nope: Quark sees that Rom had it in him to kill his brother, and suddenly recognizes that their relationship needs to be realigned. On the one hand, Rom is better for profits if he is put in a position where he can use some of his ruthlessness (which up until now Quark didn't even believe existed), and I think Quark also recognizes on some level that, yes, Rom's actions were extreme, but maybe Quark had it coming just a bit for the constant abuse and threats to send Rom out an airlock.
(I guess on Rom nearly killing Quark, I do find it hard to believe Odo would simply let an attempted murder slide like that, even if Quark would. And I do think that Rom's hard edge here is inconsistent with later characterizations, but it works here -- Rom as a mostly soft-hearted man who is easily manipulated and who also responds to his brother's constant mistreatment.)
Anyway, the episode's humour doesn't depend directly on the knowledge of "The Godfather," but I think familiarity with gangster narratives definitely helps. And the episode, ultimately, points to something interesting about what Ferengi society maybe has to teach us. Quark, Zek, Rom and Krax all want profit, but Zek comes out of the episode as a triumphant mastermind, Krax as a miserable failure, Rom as an idiot, and Quark as -- well, as Quark, but not much the worse for wear, and somewhat regarded by Nagus Zek as a guy with potential. Putting morality aside, I think the big difference amongst these guys has something to do with pride and ego. Quark lets the Nagus-ship get to his head, but one thing that is to his credit is that with, say, that Nava scene, Quark is either just pretending to be angry that Nava didn't show him respect, or genuinely is bothered but drops it the moment he stands to gain. Similarly, he doesn't react to Rom's betrayal by angry demands that he will destroy Rom, which one could imagine lots of other people doing -- I mean, for an example from later in series, compare Quark's reaction to Rom's betrayal to Sisko's reaction to Eddington's; by any reasonable standard, Rom's betrayal was far greater, but Sisko becomes twisted up with rage. Quark is greedy and Quark is ruthless and Quark's moral compass doesn't often point in the right direction, but Quark doesn't actually hold grudges; Quark may get angry briefly, but he gets over it and moves on to enjoying life. Quark doesn't really do that revenge thing. Quark's main downfall in this episode is his somewhat pompous behaviour as Nagus, believing the thing is legit and being unable to fully come forward to Odo out of a sense of stubborn pride, as well as his refusal to see Rom's treachery coming (or to start treating Rom better) because he is so used to being the good brother. But ultimately the ego dissipates when confronted with the possibility of major profit or loss; Quark is not so full of himself to be blind all the time, which is what distinguishes his moderate failure/moderate success to Krax's failing MISERABLY -- Krax, who seems to want the Nagus job for the prestige and out of a sense of entitlement and so makes risky, obvious plays rather than, as Zek suggests, be content to acquire profit and influence gradually and in a less flashy way. Quark's willingness to discard pride at a moment's notice means he grovels an awful lot, but it also means that he doesn't actually go out of his way to injure others when his ego is wounded; I'm reminded of the exchange in "The Battle," that there is no profit in revenge, and nor is there in a straight power-grab that is bound to backfire.
The Jake/Nog subplot is sweet, though, yes, I have a hard time understanding why Nog doesn't know how to read at his age; Rom must really be an idiot if he thinks that ability to read couldn't help Get Profit. I do like how the opening sequence gives a pretty good description of how privilege operates, with Nog's failure to do his homework being a direct result of the living conditions he has, being currently at the bottom of the food chain below Rom (below Quark), whereas Sisko's nurturing parenting gives Jake plenty of time to do homework. The subject of the paper -- "ethics" -- ties in with the main plot, in which the seemingly unethical Ferengi end up demonstrating a sort of code, wherein placing one's pride above other benefits is an automatic downfall. In general, Jake and Nog's friendship develops nicely in this episode, which is also the first show to get under Jake's skin a little bit; Jake's unwillingness to see Nog as A Ferengi whereas Sisko can't help but see Nog's uncle when he looks at him creates some nice interpersonal conflict that is delivered in an appropriately low-key way.
I think this earns 3.5.
- Thu, Jul 2, 2015, 9:18am (USA Central)
The strongest episode up to this point. Not only does this give a good introduction to who the Trill are and what kind of internal and external conflicts Jadzia Dax will face, it also is probably the first great vehicle for Sisko -- "Emissary" was okay, but he otherwise has been more part of an ensemble than lead.
Criticisms out of the way first: it is odd, as others have pointed out, that there doesn't seem to be a set Trill policy on the culpability of new hosts for the crimes of their previous lives. Maybe there is such a policy, or maybe Trill society is so invested in the transcendence of symbionts that they deny that joined Trills could ever commit capital crimes at all (the cover-up of Joran supports this theory). Now, the way the episode gets around addressing this directly is by suggesting that there is a Klaestron-Federation unilateral extradition treaty -- but is that really plausible? I mean, if the Klaestrons do not have to show any evidence *at all* that Federation citizens committed crimes against them, what is to stop them from picking up any Federation citizens, i.e. to blame them for unsolved crimes or some such -- with no consequences? Along those lines, the idea that the Klaestrons *can* extradite Jadzia Dax for Curzon Dax's ostensible crime either suggests that the Federation accepts this transfer of responsibility from one host to the next (which would be good to know!) or that the Klaestrons can genuinely apprehend any Federation citizen they want even if the Federation would not even accept that that person was accused of crimes at all.
This type of thing is a problem with most Trek courtroom shows, which tend to fudge the details for the sake of getting to the dramatic meat, which is generally exploring some fundamental issue -- liberty vs. security in "The Drumhead," the responsibility someone has for command decisions in "Court Martial" or "Rules of Engagement," and, most relevantly, the status of an artificial being as person/non-person or property/non-property (or author/non-author) in "The Measure of a Man" and "Author, Author." The courtroom scenes are a great way to introduce the relevant questions of Jadzia Dax's one/many joined identity from several different angles, expanding the Trill metaphor from its use in "The Host" (which was a good use for a one-episode story but limiting for a long-term one).
I like Elliott's suggestion that the big allegorical question here is ancestral crimes and responsibilities -- should children pay for their parents' sins, in some way? This interpretation is given added weight by the fact that it's General Tandro's son who is pursuing Jadzia Dax's extradition and execution, suggesting the way a sense of responsibility passes through generations under normal, non-joining circumstances, where the bonds are of genetics and upbringing and name rather than of symbiont/memories. I think that most people would agree that children are not responsible for their parents' crimes, and so the idea of punishing someone for what one of their ancestors did is clearly wrong. However, in both metaphor frame (Dax) and literal frame (Tandro), people feel a real sense of responsibility to and for their progenitors. Tandro is acting in a legal capacity here, but he is also seeking something like personal justice (vengeance?) due to wrongs committed against his father, and believes that wrongs committed against his father still need to be answered for, both to the state and to him personally. As we'll see in the series, Jadzia has similar feelings about wrongs committed against Curzon and Curzon's "family" (c.f. "Blood Oath") -- where the responsibility to right past wrongs (in the Klingon way, no less) falls on future hosts, to ensure that injustices are not simply forgotten in death. And I think that's the rub: Tandro wants to believe that no crimes go unpunished, that even in death -- death of the victim OR death of the criminal -- there is some way to balance the cosmic scales.
For the Trills, there actually is no simple answer of responsibility. That Jadzia, the host, is blameless for Curzon's crimes is obvious, and I was going to say that Sisko won the case in a slam-dunk (or home run, which I guess would be Ben's preferred metaphor) until Tandro pointed out that Trill hosts accepted all responsibilities when they joined. Now, on the one hand, the idea that Jadzia takes on responsibility for Curzon Dax's actions *about which she knows nothing* by joining, once again is clearly unfair. It's one thing if Jadzia knew that this hypothetical Curzon Dax was a murderer (and, again, we know from "Equilibrium" that this type of thing gets covered up, even from the symbiont), but it's quite another if she is not told that by joining she's both becoming a murderer and sentencing herself to death should the Klaestrons ever release their military files and extradite. AND YET, Jadzia benefits from previous Dax hosts, and agrees to give up some of her separateness in the exchange in order to carry on the Trill legacy. If she gets the benefits, is it not fair that she gets the drawbacks?
And of course, there is also the question of what *does* happen rather than what *should*. It is unfair that Jadzia give up her life because of Curzon Dax's decisions, but Jadzia Dax certainly feels the weight of Curzon's desires nevertheless. Ilon feels the pain of his father's death acutely and wants to try to make it right, even if a generation has passed.
The Sisko/Dax friendship, similarly, depends *entirely* on Sisko's bond to Curzon going to Jadzia. Sisko's frustration with Jadzia, though weirdly expressed (IF YOU WERE A MAN I WOULD PUNCH YOU), comes down partly, yes, to the fact that she is refusing to provide any explanation, but also because Sisko *wants* Jadzia to be Curzon -- take charge, be the life of the party, be expressive -- and she stubbornly refuses to be the withdrawn, aloof Dax she currently is (though Jadzia's character will be somewhat rebooted over the next season or so). Sisko's desire to defend Jadzia comes down to his bond with Curzon, which is also how/why he knows that Curzon didn't commit the murder.
The explanation that Curzon did not commit the murder is a bit of a cop-out, but it reveals again that Jadzia puts stock in her loyalties to past lives. And it also, interestingly, shows a Dax who is willing to give up her life to do the opposite of Ilon Tandro holding grudges across generations. On the one hand, continuing to maintain the deception about General Tandro having betrayed his people is maybe a bit shady (the truth is a good thing?), but a lot of it comes down to an unwillingness to open old wounds that could destabilize the Klaestron society -- a willingness to die to let the past be the past. It's an appealingly complex situation.
3.5 stars, I'd say.
- Thu, Jul 2, 2015, 12:30am (USA Central)
This episode has some merit. The relationship between Marr and Data is one of them. However, I could never really like this episode because of how hypocritical it makes the characters look. When encountering the Borg, it wasn't long before the crew understood that they had to be stopped by force. However in this episode, Picard suddenly decides to avoid the use of deadly force at all costs, even after witnessing first hand the planet-killing potential of the entity. On the other hand, Picard never saw the Borg assimilate an entire planet, but nonetheless saw the Borg as an enemy (this was still before he was assimilated himself). To me, Picard's treatment of the entity made no sense whatsoever. His attempt to justify this using a sperm whale analogy doesn't make sense either. While the sperm whale offers some kind of benefit to nature by keeping certain populations of organisms in check-it is part of the 'cycle of nature', if you will. However, the Crystalline entity does not do this. It literally devours organic nature by the planet-load, putting an end to whatever natural cycles existed in the first place! Not one of Picard's better moral philosophies I'm afraid.
- Wed, Jul 1, 2015, 8:21pm (USA Central)
Just rewatched this ep for the first time since I was about 12. I don't recall getting emotional then but I did this time. I personally really bought Majel's performance. In fact, I don't think I would have started crying if not for her breaking down as she relived Kestra's death.
- Wed, Jul 1, 2015, 5:43pm (USA Central)
Star Trek III: The Search For Spock
Why would the Klingons send their boarding party through the Starfleet transporter rather than just transport them straight into a corridor or something? If I were Kirk, I would just arrange for a convenient little malfunction a la poor Commander Sonak in The Motion Picture. "Oops!"
Kidding, kidding. This is still a great Trek movie, and it's pretty amazing that they are able to bring Spock back to life without it feeling like a push of the reset button. That's no small feat.
The scene where Enterprise is stolen is a classic. Jammer is right, operatic is the best way one can possibly describe it.
James Horner does a terrific job with the music, although the TWOK soundtrack is still his best work within the Trek world. He was a man of incredible talent and will be deeply missed.
High 3 out of 4.
- Wed, Jul 1, 2015, 5:05pm (USA Central)
Actually, as much as I never really cared for this episode, '90s guy' never really struck me as out of place. He's an off duty officer in civvies. Adult civilian clothing on TNG was typically distinguished itself from '90s couture by altering the waistline and/or the neckline and I felt that that was accomplished adequately here. The narrow belt with the waistline showing above it was a stylistic touch along with the no lapel neckline giving the ensemble a crisp neat look that said, "we still wear pants and shirts in the future but style still exists as well." It does not scream '90s to me.
I must agree with one of the comments above stating that hellish disembodiment will rewrite anybody's personality after 200 years. Surely enough to drive anyone insane in but a fraction of that time.
- Wed, Jul 1, 2015, 11:51am (USA Central)
On tablet so briefer than usual:
Both plots share a story structure, where our burgeoning best friends end up helping a Bajoran guest character self-actualize and live up to the auhthority role left for them by their father or mentor: the second Sirrah for Bashir and O'Brien, and the princess (effectively) for Nog and Jake. The station plot is not great, but I like the idea of Nog and Jake getting interested in girls together and have Freaks and Geeks lite adventures. The Odo's bucket thing is amusing as a joke played by Nog to shock Jake, though I wonder if Nog having nearly been permanently locked up as a felon in the pilot might make hi warier than he is here. The depiction of the advantages to Ferengi philosophy, helping the princess come to a compromise, is worthwhile, and the princess character is okay. It is lighthearted, not so earnest as to be difficult (ala The Dauphin), fluff and not well acted, but okay.
The Bajor plot is mostly awful, characterized mainly by Bashir and O'Brien not giving a crap about their situation and seemingly viewing the situation entirely in terms of how to get these villagers to stop annoying them -- which I sympathize with to a degree. But really, what exactly makes Bashir think that the guy who tries to murder O'Brien in plain sight of a witness has either the moral fibre or even the common sense to be a spiritual leader, rather than say in jail. I do not understand why Bashir and O'Brien do not consider at all telling the villagers about this deception, especially given that Bajor's situation has changed since the Cardsssians have left; but even if we assume they are bound by some sort of Prime Directive restriction, should they not at least appeal to murderous Sirrah apprentice to send the orb fragment away so that no one will be killed by a cloud monster? At least there is some moral conflict in what should be done, given that the Sirrah himself put O'Brien in charge, and while Bashir and O'Brien are MAYBE not all that prepared to make these Do We Tell These Villagers They Have Been Lied To calls, they have subspace radio and command officers to call, including a Bajoran national who should have no ethical conflicts I can see about exposing the spiritual deception involving using secret Bajoran artifacts to create life-risking shows to maintain authority.
As a story about the power of myth in shaping and maintaining society, it is of a piece with this series in theme, but that the Sirrah is essentially Dukat in Covenant without the charisma (and the apprentice is even worse at covering up his attempted murders) is kind of a big deal to avoid talking about at all.
The Bashir/O'Brien friendship is eventually effective, especially in e.g. Hard Time, but is just annoying here. Why does Bashir tell O'Brien to stop calling him Julian at the end? If it is because he hears the contempt in Miles' voice, he otherwise does not seem to indicate he gets it.
2 stars for the fluffy but somewhat enjoyable Jake-Nog-Princess plot.
- Wed, Jul 1, 2015, 10:25am (USA Central)
Rules of Engagement
The whole purpose of the trial was to convict Worf under Starfleet/Federation rules and discredit him because he chose to serve in Starfleet. As Sisko and Odo proved, it was a set-up.
- Wed, Jul 1, 2015, 10:22am (USA Central)
Enterprise was canceled.
- Wed, Jul 1, 2015, 10:15am (USA Central)
"If only Enterprise had been cancelled instead of Farscape... "
Or Firefly :(
- Wed, Jul 1, 2015, 7:26am (USA Central)
Rules of Engagement
Ugh. Two stinkers in a row. Really disappointing, considering how strong season 4 had been up to this point. The only thing that "lawyer" proved is how ridiculous the Klingons are. He repeatedly states that Worf acted as a klingon would in that situation. If that's the case, WHY ARE THEY TRYING TO EXTRADITE HIM? According to what the lawyer presents, he acted as a Klingon would, so why would they want to put him on trial? In their eyes, he did nothing wrong.
Once again, I tend to dislike Klingon-centered episodes. Jons above pretty much stated my feelings about Klingons.
- Wed, Jul 1, 2015, 6:11am (USA Central)
Bad episode, possibly the worst of the season(along with "The sword of Kahless, although in that case, i'll admit I'm just not a fan of Klingon centric stories). The Bajorans come across almost as bad as the rubes following the crazy lady in "Paradise".
Only thing worth seeing in this episode is Worf's reaction to the news that Keiko is pregnant.
- Tue, Jun 30, 2015, 9:07pm (USA Central)
So there's a "Jack in the box" in the program but that doesn't explain why they couldn't stop the program. The program is supposedly still functioning normally.
- Tue, Jun 30, 2015, 8:15pm (USA Central)
Kobol's Last Gleaming, Part 2
@William B: Touche.
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