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Jack - Sun, May 17, 2015, 10:00am (USA Central)
Re: DS9 S4: Paradise Lost

This episode really cheats, and it even lampshaded it with dialogue.

"Are you going to tell me how you faked the blood test"

"Does it matter?"

But...boy does it matter. How did Leyton acquire a sample of changeling material? This is vital to know. We already know that changeling material reduced to the gelatinous state the instant it leaves a changeling entity, so the ruse we witnesses seems quite literally impossible, but the episode seems not to care because it needed a climax. Can't give this episode more than a star and a half.
Mart - Sun, May 17, 2015, 9:36am (USA Central)
Re: TNG S4: First Contact

I'm going to disagree here, I hold this episode to be no better than two stars.

The setup is intriguing, and the plot is well-crafted, but the characterisation is lousy, with Krola and Mirasta being mere stereotypes (of the Evil StateSec Guy and the Treehugging Scientist respectively).

The dialogue clunks like a steampunk robot. Poor Patrick Stewart gets a bunch of sanctimonious speeches that even his talent can't make riveting; the babe in the hospital speaking in cult-like adulation of aliens; the declamations of Krola and Mirasta in support of their cardboard cutout roles: it grates.

The only saving grace is a powerful performance on some decent lines for Chancellor Durken.
SlackerInc - Sun, May 17, 2015, 7:26am (USA Central)
Re: BSG S2: Resurrection Ship, Part 2

MisterBenn, I enjoyed reading your comment and I can understand how it would be difficult to stop. I almost feel like I am a soothsayer who is cursed by being able to warn people how to avoid disaster but will never be believed.

It's too bad this site does not have email notifications so we could carry on more of an interactive conversation. If anyone wants to provide feedback, disagree with me, or describe how my warning was ignored but in retrospect looks good, tweet at me: I use the same handle on Twitter.
SlackerInc - Sun, May 17, 2015, 6:27am (USA Central)
Re: BSG S2: Final Cut

I can't believe neither Jammer nor anyone in the comments mentioned the use of the original Battlestar Galactica theme music in the documentary! I loved that even if the episode overall wasn't that great.
Darknet - Sun, May 17, 2015, 2:24am (USA Central)
Re: DS9 S4: Hippocratic Oath

I have to agree with @Quarky. Obrien has always been a bit of a dick to Bashir but this episode was too much. He disobeys his orders and talks down to him. He treats him like a child and has no respect for him as an officer. He single handedly sabotaged a mission that would likely have divided the dominion and gave the federation a tactical advantage. And in the end Bashir is still talking about playing darts in few days? Their friendship should have been over. He should bought him up on charges or at the very least threated him with court martial if it happened again. I really hope there is a future episode where Bashir just gets fed up and puts him in his place.
Regine Pineda - Sat, May 16, 2015, 11:26pm (USA Central)
Re: DS9 S4: Rejoined

I love to be kissed by a girl but it has to be SUSSANA THOMPSON ONLY! Omg ! She's amazingly beautiful and great actress..I so love her MOIRA QUEEN !
Big D - Sat, May 16, 2015, 10:58pm (USA Central)
Re: TNG S6: The Chase

For point 5, they were using the Enterprise instead of bumming rides around on shuttles, freighters, and transports.
Steve DeHaven - Sat, May 16, 2015, 8:58pm (USA Central)
Re: TNG S6: The Chase

Simply from the standpoint of DNA, this episode contains several glaring flaws:

1) Why haven't biologists on multiple worlds already figured out that these humanoid species have a common ancestor? After all, they're able to interbreed and create fertile offspring. Nothing says common heritage like makin' babies!

2) If we did all share common DNA, the evidence of our common ancestor would be seen in that DNA, as it is on all life on earth.

3) Did the progenitors seed worlds that already had life? If so, then why would the DNA that evolved into humans match all the other DNA on earth?

4) If the progenitors only seeded worlds that had no life, then there is still no explanation for spacefaring species all looking so similar after having evolved on different worlds. After all, look at all the non-quadruped animal life on earth, from insects to jellyfish to mussels to earthworms to crabs to slugs. There's no reason to assume that the dominant or intelligent life forms on other worlds would have a quadruped form.

5) And if I may inject one non-DNA based flaw in the plot...why was following Galen going to cost Picard a year of his career, yet after Galen died the puzzle was solved in a matter of (I presume) days? Was Galen holding up progress?
Zeldark - Sat, May 16, 2015, 8:20pm (USA Central)
Re: VOY S2: Tattoo

So we can all agree no one likes Space Indians? They seem so forced, boring and out of place.

Also as far as the doctor goes, there are bits of his coding that I'd like to think would be encrypted and read-only. This is the EMERGENCY MEDICAL hologram. The crew's last line of defense for protecting and restoring the lives of personnel. It annoys me that the writers would have this character of making itself sick on a whim, or by a crew mate. Things go wrong on starships all the time. A thousand anomalies can happen that prevent the EMERGENCY medical hologram from returning to a fully functioning status.

Another example is his interaction with the blond warrior woman from the Heroes and Demons episode, or that French lady in Paris' pool hall. EMH programmers would have had to go out of their way to write code that he gets nervous around pretty ladies flirting with him. Can you imagine AI breaking procedure during triage because he falls in love, or failing to remember treatments because he was so distracted by pretty alien guest of the day? He should have absolutely no emotion at all. But I guess that's boring to watch when you consider that's like Data but without the charming intrigue constantly wondering about humanoid culture, and expertise limited to medical knowledge as a role.
Brent Holmes - Sat, May 16, 2015, 10:15am (USA Central)
Re: Star Trek: The Motion Picture

Ian, I must disagree with one point in your cohesive, factual and revealing analysis of ST:TMP.

I would argue it’s a great movie. I think all the points you make in its defense elevate the film over much contemporary product. (The Thing and Blade Runner, released on the same day! in 1982 while competing against Khan and E.T. are the only other big budget ‘hard’ sci-fi films I recall experiencing from the late 70′s/early 80′s; except maybe for the first, Hoth third of Star Wars: The Empire Strikes Back).

Aside from Decker, Ilea and ‘The Big Three’ the crew exist to advance the plot and reflect the broad, high level competence and indeed great advancement of humanity Rodenberry used as a guidepost for what we the human race might achieve by the time this film is set in. The main 5 characters reflected Rodenberry’s hopes for humanity on the emotional, creative and human rights spectrums. Examples include Spock’s tears and Kirk’s suprised, grateful acknowledgement of them in a story where Spock’s rigid adherence to the cold logic of Vulcan was very much in contrast to the rest of crew’s feelings; particularily wonder at what they were encountering. Rodenberry always wanted to explore humanity and their reaction to the unknown and fantastic, as opposed to merely showcasing those elements for a thrill ride. (I’m looking at you; Star Trek: Into Darkness)

Your point about Rodenberry being shunted aside multiple times in the history of the Trek franchise for more conventional producers NBC and Paramount hoped would generate greater commercial success is well made. I recently rewatched Season One of TNG and the clumsiness and growing pains trump most messages the show may have been trying to send. (Tasha Yar’s death was a notable exception; even as this came from Denise Crosby’s desire to leave the show rather than an organic production idea).
The pacing in ST:TMP is slow; requiring more commitment from the viewer.

But the Great Bird achieved much with this film. His novelization of it is a particularly insightful blueprint of his goals. The opening pages reveal a cybernetic implant in Kirk (for rapid, long-distance alerts) and subsequent discussion of cybernetics and defining human. They also posit a theory that Starfleet has rejected always selecting the best candidates on paper to crew starships because people who perceive themselves as perfect fall into stasis when confronted with situations suggesting they are not. I also recall Kirk addressing rumours he and Spock were lovers; clearly Rodenberry’s desire to at least discuss the notion that people of different sexual orientation are equal. Kirk’s reply was classic: he had no problem being seen as or perhaps being bisexual; but wished people would credit him with the good sense to choose a lover who became aroused sexually more than once every 7 years!) Film novelizations today are much more about brand awareness and perhaps a ‘special bonus chapter’ or two.

To sum up; I think Rodenberry’s significant involvement with ST:TMP made it a better film and continues to enrich the Star Trek experience. Thank you for your post.
Ian Dawe - Sat, May 16, 2015, 9:25am (USA Central)
Re: Star Trek: The Motion Picture

A Defence of Star Trek The Motion Picture

I don’t like to rank art, instinctively. This isn’t a sport, and it’s not about ringing all the bells and checking off all the boxes. So, when people ask me to rank the Star Trek movies I always decline. There are ones I like more than others, for sure, and there are some that I think are of particularly low cinematic quality, but they’re all interesting in different ways. (Save for the Next Generation films, which all seem to come from a different show than the one I remember.)

In any case, they’re all of a piece, particularly the core films made during the 1980s and early 1990s (II through VI). They defined the look, feel and mythology of Trek for the late 20th century and provided both a path forward to the Next Generation and backward to the earlier series. But the first Trek film was different, and many fans would rather it were forgotten.

I’m going to be making an argument here for Star Trek: The Motion Picture, but I’m fully aware of its flaws. That should be mentioned right away. Its pacing is glacial at times, it lingers where it should proceed forward, everyone seems to be taking it way too seriously, there’s a smug self-importance about it (Shatner picks up on it and lets it infect his performance as a distant, arrogant Kirk) and its compressed production schedule led it to make technical mistakes and necessitate multiple cuts. The best version is Robert Wise’s “Director’s Edition”, which he produced in 2002 with the help of a young digital special effects team, but even the best version of this movie will have those flaws.

But if you can see beyond that, within the film itself is the most Trek-like story of all the original films, except possibly The Undiscovered Country. Star Trek puts its mission statement right on front street: “To explore strange new worlds, to seek out new life and new civilizations; to boldly go where no one has gone before.” Well, Star Trek The Motion Picture is the closest they come in the film series to actually doing that. Although at times it comes close to plagiarizing scripts from the 1960s, but in an interesting way The Motion Picture is the closest to the spirit of the original series, or at least what the original series stood for.

Even The Original Series (TOS for those not in the know) strayed from its original tone, with greater or lesser success, through its three seasons. The first few episodes, such as “The Cage”, “Where No Man Has Gone Before”, “Charlie X”, “Mudd’s Women”, and “The Omega Glory” (written early but not filmed until later) all had a great deal of involvement from Gene Roddenberry himself. They all reflect Roddenberry’s peculiar interests: social utopia, sexuality, humans coping with power and political allegory. You can argue about whether later incarnations that focused more on characters and traditional good guy-bad guy conflicts were better or worse, but there’s no debate that these early episodes most closely reflect Roddenberry’s vision.

One perennial issue in the world of Trek is that Roddenberry wasn’t exactly the only, or even the best, voice in creating the show. The recent These Are The Voyages books, now in two volumes, go a long way to clarifying some of the historical myths that grew up around the show, many of which were created by Roddenberry himself. (For example, the myth that NBC objected to a woman in a command position in “The Cage”. In fact, the network encouraged this sort of thing and simply objected to Majel Barrett being in the role because she was having an affair with the then-married Roddenberry, not out of sexism. This is typical Roddenberry: create a politically-charged myth to cover up his own character flaws.) Better, worse or indifferent: the public spoke loudly, finally, and Roddenberry’s version of Star Trek is emphatically NOT the one that succeeded.

Roddenberry’s journey from sole auteur to crazy old Uncle, locked away in a “Consulting Producer” position with little power over his creation was repeated at least twice in the franchise history. First, during the run of the original series (he had little to do with Season 3) and second during the run of the movies, where the perceived failure of The Motion Picture (I say “perceived” because it was a huge box office smash, usually a golden ticket in Hollywood) led to his being promoted “upstairs” for the remainder of the run. By 1990, he was reduced to sending strongly worded memos to Nicholas Meyer, where they were politely ignored. In fact, one could say he was living that story out a third time during the run of The Next Generation also, but passed away before he could be completely censured.

Of all those “pure Roddenberry” Star Trek products, and I think there are a rather limited number that can honestly claim that title, The Motion Picture is the best. That sounds like equivocation because it is. No one would argue that it’s a “great” movie. But it is significant in Star Trek history and represents the last time the original creator got to engage with his creation in its original form.

One of the reasons for its middling quality comes from its tortured and long production history. To make a very long story somewhat short, the film grew out of a TV show that was planned as the flagship of a new “Paramount TV Network” that was being bandied about as a “fourth network” for American TV in the late 1970s. Star Trek, one of their popular cancelled franchises, seemed like a safe bet to bring back. Significantly, much of this planning was done before the release of Star Wars in the summer of 1977, an event that forever changed the way popular science fiction would be made and marketed. Star Trek Phase II would essentially continue the mission of the original ship, but without Leonard Nimoy, still smarting over likeness rights and marketing points from the original series. In his place would be a new character, Xon, a Vulcan who wanted to understand human emotion, and Roddenberry also brought in new characters Decker, the young Buck of a first officer, and Ilia, who came from a race of psychically sensitive people. (The parallels between the Next Generation characters of Data, Riker and Troi are too obvious to miss.) Scripts were written, sets were built, and everything seemed to be going along when Paramount decided to drop plans for a network and instead take the proposed pilot episode of Star Trek Phase II, a two-parter called “In Thy Image”, originally conceived by sci fi novelist Alan Dean Foster, and turn it into the first Star Trek movie. Once the project became a film, Nimoy was convinced to return, with a substantial cash settlement. (Nimoy recalls the check arriving 15 minutes before the script.) Robert Wise, the Hollywood veteran, was hired as a capable and professional Director, and they were off.

The movie they finally made eliminated Xon, of course, and since in their minds a continuing series was not in the offing, they were able to take bigger risks with Decker and Ilia. But other than that, they stuck pretty much to the plan for Phase II’s “In Thy Image”, using the new sets and the new uniforms, which resembled pyjamas. (Yet another of the many ways this film anticipates The Next Generation.)

Picking up a few years after the end of the “five year mission,” Kirk is now an Admiral at Starfleet, Spock has moved back to Vulcan to become a monk and McCoy is retired and sporting a seventies beard that would make a modern hipster weep. Just as in the proposed pilot episode, an alien entity of unimaginable power is heading towards earth and no one understands it. The Enterprise, fresh from a refit, is “The only ship in the quadrant”. Kirk is called back into action, recruits his fellow shipmates (the other four major characters, Chekov, Uhura, Sulu and Scotty, never left) and goes off to save the world.

Notice that just from that plot outline, there isn’t much in terms of character-motivated drama and conflict there. There’s no “big bad” villain licking his chops and giving great speeches. There’s no opportunity for Shatner to get his shirt off and fist fight with an alien, not to mention getting in the tights of some feisty alien (or human) lady. Oh, there’s some muted tension about how Kirk pushes the ship past its limits, or how Decker struggles with his role as first officer, rather than the Captain’s chair he had been promised, but really this isn’t that kind of movie. The human tension works least well, and seems the most forced. The movie works best when focused on the huge alien, which appears like a gigantic cloud, threatening the earth with destruction. The step-by-step, professional way the Enterprise crew tries to understand and address the threat, working together, is what gives the film its drama. At one point, relatively late into the movie, Kirk says, frustrated, “We know nothing about it as of yet!” He’s frustrated by a lack of understanding, not by a lack of firepower and strength.

This is what Star Trek is supposed to be about. The crew is on a journey of understanding, not conflict. The phasers are never fired in the entire movie, and even a torpedo is used only to clear an asteroid from their path. Instead, the crew uses their minds, their collective power to assimilate and analyze data. It’s what they went to Starfleet Academy for. It’s what these people do. The remarkable thing is that in the history of Trek we so rarely actually see them doing that! Some episodes of the original series of course have this pattern. “The Corbomite Maneuver” is probably the closest in terms of plot and tone, and of course many have pointed out that “The Changeling” is also very close to this plot (although not the mood). I find it interesting that these similarities, when applied to The Motion Picture, are used at criticisms of the film for lack of originality. And yet the very next movie, The Wrath of Khan, literally is a sequel to an original series episode and is structurally identical to many other series instalments, and yet is hailed as a masterpiece.

I mentioned before that after its December 1979 release, the film was a huge box office success, more than covering its then-enormous $40 million budget. (Most of that budget was money that was spent developing the TV series and never made it to the screen.) But mentioning the budget became one of the many ways people attacked this film in subsequent years.

Star Trek: The Motion Picture was always the red-headed stepchild of the Trek movies. (Star Trek V was, of course, much worse, but that one was at least consistent with the other later instalments in look, feel and tone.) Lampooned as the “slow-motion” picture, with its stuffy tone and high-minded ideals, everything I just mentioned as a positive was used as a negative. And, importantly, many of these arguments were applied to the next film as a positive. “It’s just like the series!” “It’s not like the series!” (I know… you can’t win.) “They don’t even use the phasers!” “Kirk doesn’t get into a fight!” Etc. etc. There was something about this movie the fans really hated, once they were given something to compare it to, of course. Remember that Khan didn’t appear until the summer of 1982, two long years in which there was only The Motion Picture, playing in various cuts on TV, re-edited. That made sense: the studio spent so much on it that getting back even part of the revenue from the then-new market of home video was worth it.

Despite being rated “G”, and thus interpreted by everyone as meaning that it was “for kids”, this is actually the least child-friendly of any Star Trek film. It really is Star Trek for thoughtful adults, not those who yearn for fisticuffs and explosions and spaceships flying around. Maybe that’s why the fans turned on it so quickly? It did seem to be a disproportionately bitter response. Perhaps, in their heart of hearts, some fans are ashamed that while they speak in lofty terms about “IDIC” and Trek’s great socially moral program, what they really want are some bloody spaceships and lasers.

Taken out of its Star Trek context and compared to its contemporaries, such as Buck Rogers, Battlestar Galactica, Star Wars and Alien, it really ranks up there with Alien for being fully-realized, well thought-out science fiction, rather than fantasy adventure. (Not that there’s anything wrong with that, either! Apples and oranges.) It represents a much more adult, intelligent and mature engagement with science fiction themes than its contemporaries, and probably grapples with its themes just as capably as The Undiscovered Country. Compared to the rest of Robert Wise’s films, it once again makes a great deal of sense, being very similar in tone and style to his 1975 film The Hindenberg. Wise was no lightweight: he directed West Side Story, The Sound of Music and The Day The Earth Stood Still, in addition to having a history that stretched back to Citizen Kane. He made a film in his style, not necessarily the Star Trek “house” style, which may have alienated some longtime fans.

I mentioned right off the top that The Motion Picture has flaws, but many of those flaws recede if you think of this film as not really a Star Trek film but as a Robert Wise film from the late seventies. Skilled, a bit old-fashioned, but with an unmistakable grace.

For his part, Wise himself was never satisfied with the editing, effects, music and pacing, the picture having been rushed into theatres for Christmas 1979. Subsequent versions added and trimmed but it wasn’t until the aged Wise came back in 2002 to do what he called his final “check cut” (to use his old-fashioned Hollywood term), improving effects with CGI, creating a real 5.1 soundtrack and, probably most importantly, doing dozens of small, subtle edits, sometimes cutting a single line at a time. It’s the work of a master technician, who by that point had worked in the business for 60 years and knew what he was doing. (Nick Meyer, on the other hand, who directed and wrote everyone’s “favourite” Trek films wasn’t even really primarily a filmmaker, but a novelist and script doctor.) In some ways, this was the only Trek film made by a truly professional director until JJ Abrams took over in 2009. (JJ’s films, by the way, can be defended or attacked on the same basis: forget Trek, how do they compare to other sci-fi in 2009, or 2013? How do they compare to his other films?)

The problem with enjoying Star Trek: The Motion Picture today is that we can’t take ourselves back to 1979, when all the Trek we had was the original series, and the die-hard fans may or may not have seen some of the animated series. There were the Gold Key comics, of course, but in the public imagination, this was a startling, engrossing and thoroughly adult take on Star Trek. I doubt we’ll ever see another Star Trek film like it again, which I think is a real shame.
jonn walsh - Sat, May 16, 2015, 8:24am (USA Central)
Re: VOY S6: Muse

Okay. I agree with everything being said by those who like it.
A few problems for me:
I must agree, Jammer. 8 days unconscious is serious. Very serious.
She would've been suffering from all of the terrible effects of starvation and dehydration, not to mention possibly a concussion (or worse)...untreated coma with no nutrition, sitting tied to a chair in your own waste?
Because I don't recall Kellis the Poet changing out B'eLanna's bedpan.
And B'eLanna suffers no adverse effects from an 8 day coma? C'mon.
I really hate that I have to live with that BS just so Capt. Jane can fret over Harry's status. 8 days was an egregious error. Ridiculous.
And then it's 10 days?
And Harry has been grooming himself pretty well. Couldn't they have given us some stubble or some grime or ANY indication that this guy is roaming the countryside, traveling by night, for a week and a half, an alien in hiding on a strange, relatively undeveloped world.
Uh. The B'eLanna thing....unconscious for 8 days? Puhleeeeze.

Toony - Sat, May 16, 2015, 7:56am (USA Central)
Re: TNG S4: The Best of Both Worlds, Part II

The Borg changed everything Brian, the Borg changed everything.
As soon as one Cube orbitted Earth (one century after V'ger!) after smashing a fleet, they knew their idealistic bullshit had to end.
After the stories of parasites infiltrating Starfleet at the highest levels got out, starfleet had to tighten it's security measures.
After the ROmulans resurfaced with a fleet of warbirds comparable to starfleets finest, and destablized the Klingon empire, Roddenberryism had to end.
They're through the looking glass people....
Gil - Fri, May 15, 2015, 10:00pm (USA Central)
Re: ENT S1: Acquisition

Enterprise would have been ever so much more bearable those 4 taxing years if the crew had just worn underwear because, well, you can't deny, Trineer had a lovely bottom.

Over and out.
Xylar - Fri, May 15, 2015, 7:59pm (USA Central)
Re: VOY S5: Relativity

Well, after the last 2 slowmoving low on sci-fi episodes, this is a nice refresher. Finally some action and an actual sci-fi related plot.
Sure, it's hopelessly convoluted and nonsensical, but it doesn't seem to care and just swiftly plows through the episode. There's action, there's goofiness, there's a twist. Pretty much everything I like about Star Trek in one episode. I'm not even going to bother nitpicking this time around, even though there's plenty to pick. As far as I'm concerned, this is what Trek should be all about.
Del_Duio - Fri, May 15, 2015, 11:38am (USA Central)
Re: TNG S5: Cause and Effect

^^ They should have tossed in a few cupcakes ^^
KL - Fri, May 15, 2015, 9:18am (USA Central)
Re: VOY S5: Latent Image

With all due respect to the Doc, he cannot age and die (in the traditional sense) like the rest of the crew.
Mart - Fri, May 15, 2015, 6:37am (USA Central)
Re: TNG S4: Family

I liked this episode for the characterisation of Robert Picard.

The previous 3 seasons have shown us Jean-Luc as a reserved man, capable of great emotion, but usually keeping it locked behind a wall of reserve. Occasionally he is outright cold, even if his care for his crew is obvious in his actions.

Robert comes across as similar. He felt he had to care for his younger brother, but apparently was incapable of showing Jean-Luc that he actually cared. Their parents have a lot to answer for, it appears.

Likewise I don't read his comments as a command: 'deal with it'. They sound more like an observation: 'whatever you do, you are going to have to deal with your trauma'. Completely in character as factual observation, but unhelpful on an interpersonal emotional level.

The brother-brother dynamic reads true, which makes this a highlight of the episode, and raises it to the 'great episodes' list in my opinion.
dlpb - Fri, May 15, 2015, 3:04am (USA Central)
Re: BSG S1: Kobol's Last Gleaming, Part 2

When you're writing a fiction and do away with all logic and all realism, the fiction fails because the tension evaporates. The fight scene was laughable, Starbuck would be seriously injured long before the fall. Adama is dead. And that's without mentioning all the other ridiculous absurdities with the episode.
dlpb - Fri, May 15, 2015, 1:30am (USA Central)
Re: BSG S3: Occupation/Precipice

And if you're going to defend that with the "change of heart" the Cylons had - think again. That makes no sense either because here they are enslaving the humans.

It's like the writers were just rolling dice to decide the outcome of plot threads. 4 Stars? In your dreams.
dlpb - Fri, May 15, 2015, 1:24am (USA Central)
Re: BSG S3: Occupation/Precipice

The question you should be all asking is why the Cylons haven't wiped out Caprica. You see, the whole show makes no sense. It has no direction and it has no logic. It's just running on fumes and has been since Season 2.
eastwest101 - Thu, May 14, 2015, 11:08pm (USA Central)
Re: ENT S3: Anomaly

A much more succesful outing for S3 that still holds up OK today, all the action works logically and looks great, very entertaining to watch and has genuine Sci Fi "Oh wow" moments such as the scene approaching the sphere.
eastwest101 - Thu, May 14, 2015, 11:02pm (USA Central)
Re: ENT S3: The Xindi

Bit of a shock to the system as I had been away from this for a while, as Jammer says, a very mixed bag of an episode that looks a lot better than its rather routine mechanics would suggest.

In no particular order, a couple of other things spring to mind.

"Hey Andromeda - I'll see your silly insect CGI alien and raise you some whale people in water tanks!"

The jaunty elevator salsa mix of the opening song - oh dear.

We have decided to update Ms Pouty Tight Pants wardrobe to a full colour palette Pouty Tight Pants ensemble.

Nice to see some things haven't changed though - T'Pol urges caution with Archer responding by ignoring the usually clear logical advice...
Xylar - Thu, May 14, 2015, 8:06pm (USA Central)
Re: VOY S5: 11:59

Well, on the one hand, I appreciate Voyager trying something new occasionally. On the other hand, this was really slowmoving and rather pointless. It's a good thing they cut back to the Voyager crew every now and again, or I would have been bored to tears.
The Voyager scenes work really well, but the Millenium Gate story was beyond boring. I just couldn't bring myself to care about anyone involved.

And like Jeff Bedard says, why would Voyager have so much history in their database? Same issue I complained about back in 'Once Upon a Time'. There is no reason for Voyager to have this in their database, just like there was no reason for them to have children's stories stored in the holodeck.

Mostly a pointless episode. The only thing worth remembering this for is the nice 'Voyager crew as a family' scenes. The Millenium Gate story itself amounts to nothing and is best left forgotten, if you ask me.
The Man - Thu, May 14, 2015, 6:59pm (USA Central)
Re: TNG S5: Cause and Effect

Totally agree Peter that would have been the perfect time to link the past with the future especially when it comes to the Enterprise. I also heard that they wanted Kirstie Alley to return as her Vulcan character (her spot was probably where the woman stood being Grammer) but they couldn't come to a financial agreement. That would have been a great blast from the past!
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