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Thu, Apr 9, 2020, 8:09am (UTC -5)
Re: VOY S2: The Thaw

I thought this was a good episode...very creative and different with some unique directing...but fun.

Some things bug me though. If the characters KNOW they are in illusory bodies then why would they die of fear when their illusory body is killed? It would be like being killed in a dream. Remember when Spock in the Hatfield/McCoy episode convinces the crew they couldn't be harmed because they were in a simulation? That same angle could have worked her...and perhaps better then the technical gimmick they invented.

The other thing that annoyed me was the occupants requires 10 minutes to recoup, otherwise they are brain damaged? Yet, when the occupants leave in the end they do so in well under 10 minutes. Also how does "the joker" have the ability to instantly sense that Janeway is hooked up into the system but not deceiving her? How does he know that this new presence isn't say Chakotay? It's just too convenient that he can instantly detect and identify occupants...but there is a delay in his reading their thoughts...yet this delay is less then the recovery time it takes to safely leave the simulation.
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Thu, Apr 9, 2020, 7:59am (UTC -5)
Re: VOY S2: Innocence

There were just too many bad Trek cliches in this episode. We see (yet another) shuttle crash on a planet "forcing" contrasting crew members to "get along". It was so cheesy and one-dimensional. The children are also Trek cliche's...whiny and annoying.

The final act WAS good and that was a cool twist....but it wasn't enough to save the episode. Had this episode been reduced to a much better paced 15 minute subplot and the kids made to be less annoying it could have worked.
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Thu, Apr 9, 2020, 7:55am (UTC -5)
Re: VOY S2: Deadlock

I agree with so many others... The writers CAN'T constantly tell us that Voyager receives serious damage then magically is as good as new by the end of the episode. It's just not believable.

The concept of the episode was a good one...but it never realized its full potential. Too much focus was on the fight/flight/destruction scenes which made them boring. How many panels do we need to explode to understand that Voyager is badly damaged...we get it...

A better concept would have been to focus on the duplicate crews interacting with each other. Remember when Calvin of Calvin and Hobbes fame duplicated himself to do his chores but then all his clones disagreed on who would do them? That's what we needed. I would have loved to see the two Janeway's get into a genuine power struggle with one locking the other in the brig for example. Maybe both Janeways give the crews conflicting orders resulting in confusion...but unfortunately this concept was never really explored.
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Cody B
Thu, Apr 9, 2020, 7:18am (UTC -5)
Re: VOY S2: Innocence

@Sarjenka’s Little Brother

I’ll be your Tuvok. Everyone here is your Tuvok. We are in this together 🖖
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Thu, Apr 9, 2020, 6:53am (UTC -5)
Re: PIC S1: Et in Arcadia Ego, Part 2

@ Andy's Friend

I am curious, what episode of Space: 1999 do you consider as among the best episodes of science-fiction ever made? I watched its original run dubbed in French when I was around 10 years old.
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Thu, Apr 9, 2020, 6:50am (UTC -5)
Re: PIC S1: Et in Arcadia Ego, Part 2

Sorry Andy Friend I mostly skim through your posts.
To your mythical, identifiable broad strokes argument.

Yeah, I looked into these western shows. They all have white heterosexual male STRONG leads/heroes, one of them is always the boss of something. Well, to be fair Gunsmoke had a woman in the main cast. She was a prostitute.

Everybody can relate to those. Ok, not women (who aren't prostitutes), non- whites (as you mentioned there were Chinamen, certainly played in a very non racist way here for example at 4:40 to see how absolutely non racist the chinaman is portrayed ) and LGBT people but everybody else.

The 5 Most successful shows 2010-2020:
- Game of Thrones
- The Walking Dead
- Breaking Bad
- Mad Men
- Stranger Things

All of these shows have mythical or fantastical elements with fairly broadly written characters, and with smarter I meant the quality of the writing and directing in Black mirror. One could call it artistic quality.

" with that background in sociology you claim to have."
My social science department is actually in the Top 50 world wide and our Humanities department is in the top 20. Yours is certainly good as well. :)

"What are many of your precious sociological models, if not statistical abstractions?"
I will not explain the methodology of the social sciences now.

By the way, do you have anything to say about STP or are just here to lament about the downfall of US culture?
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Andy's Friend
Thu, Apr 9, 2020, 6:44am (UTC -5)
Re: PIC S1: Et in Arcadia Ego, Part 2


Sen-sors said: “I'm 31, my favorite Trek is TOS and I think Kurtzman Trek is trash but feel free to lay the blame for Nu-Trek on my generation.”

Oh no, don’t worry, I don’t. I think the main target audience for NuTrek is people younger than you are. But see below.

“Considering how Kurtzman Trek is roughly 50% violence, mystery boxes and cuss words and 50% schmaltzy nostgalgia pandering to older fans who weep openly after Picard says "engage", don't you think your generation is at least partly responsible for the current state of Trek?”

If I may use another generalisation, I think it fair to presume that the older you are, the more likely are you to dislike NuTrek. I personally have never watched this latest offering. Kurtzman Trek wasn’t primarily made for my generation, and I think its use of said nostalgia elements is mostly to legitimise the Star Trek brand name. Having said that, you certainly have a point.

Here, I must entirely agree with OmicronThetaDeltaPhi. I don’t understand why so many people keep watching what they admit they would stop watching were it not for the Star Trek name. This is insane, and Omicron is quite right in saying that people should vote with their wallets and cancel their subscriptions instead of hoping for that improvement in quality that will never come. So you are partly right, Sen-Sors. I guess all generations are indeed partly responsible for this miserable state of affairs.

Otherwise, I agree with you. I watched the first half of ‘Into Darkness’, and stopped. I later reluctantly saw the first half of 'Discovery', and stopped. It was some of the worst television I have ever watched.

I also saw ‘Terminator 3: Rise of the Machines’ in the cinema, and never cared for any continuation. Later I saw ‘Prometheus’ in the cinema, and have seen no further. Most recently I saw ‘The Force Awakens’ in the cinema, and didn’t come back for more. Franchise upon franchise: the creative power is entirely gone. And frankly, so is my desire to see continuations of stories of beloved characters. I have never watched ‘Blade Runner 2049’, and never will. And so forth.

So I also haven’t watched 'Picard', and never will. The consensus seems to be that it is better than 'Discovery' and I accept that, but that says precious little. After ten episodes and thousands of comments here, the kind of debates it inspires—or rather, fails to inspire—tells me everything I need to know of its qualities, or lack thereof.

Ah well, we still have all those seasons of TOS and TNG and whatever classic Trek one happens to prefer. I am currently re-watching all TOS-VOY with my better half for the Nth time after a hiatus of a few years and we're having a ball. Curiously, we now both prefer VOY to DS9. Back when they aired, it was the opposite. But TNG remains our favourite, followed by your TOS.

I'm curious, Omicron, as I don't remember: what is your personal favourite Trek?
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Andy's Friend
Thu, Apr 9, 2020, 4:15am (UTC -5)
Re: PIC S1: Et in Arcadia Ego, Part 2


You wrote: ‘That is a very smart analysis considering that the most dominant genre right now is superheros.’

The superhero genre as played out at present is but vacuous fantasy entertainment for teenagers. The mythical foundations that some of the superheroes possess are mostly completely obliterated by the pure fantasy elements. Many superheroes possess no archetypal foundations at all, and serve no archetypal function.

Compare. In 1950s-1960s American television there were westerns. ‘Gunsmoke’. ‘Wagon Train’. ‘Rawhide’, and so forth. Episodes focused sometimes on entertainment, and sometimes dealt with realistic social issues in their respective settings in a moralistic way. But always solidly anchored in myth. Solidly anchored in archetypes. I trust you can see the difference.

How do you punish a horse thief who stole to feed his children? How do you treat the good doctor who just happens to beat his wife and children every now and then? How can you help the poor Chinamen being exploited by the railroad company? These are the kinds of realistic, down to earth issues that such series often dealt with. And any young boy or man, and any young girl or woman in the audience could identify with the diverse male and female leads. For they were symbols, archetypes not burdened down by too complex psychological profiles.

How can anyone identify with Colossus, or Cyclops? With the Hulk, the Human Torch, or the Thing? Only in escapist fantasies. More importantly, they serve no moral, archetypal function. But you *could* identify with Matt Dillon. Or, if you were of a different personality, you could identify with Rowdy Yates, who served another, different archetypal function. And so forth.

Here we see an important distinction: archetypal function vs. ‘cool superpower’. Characters as in those older series seldom had special skills. What set them apart was, above all, their personality. As with ‘Angry Achilles’, ‘Cunning Odysseus’, and so forth in the Iliad: archetypes as old as the ages. Characters in such series all served an archetypal function each. Put together, they all represented the human race.

Modern superheroes, however, are distinguished above all by their ‘cool superpowers’, not their archetypal function, which they often don’t serve at all. They do not represent the human race. Again, I trust you can see the difference.

I’ll grant you that we find one very popular character who is an exception, very clearly modelled after the archetype of the angry, lone outsider—Angry Achilles. That is Wolverine. And his clear-cut archetypal function likely explains his popularity.

Moving on. You wrote:

‘TOS isn't super smart, for example. It's for the most part: crew approaches planet, something horrible happens, get out of something horrible, laugh. the end.’
You also wrote: ‘Black Mirror is a smarter show, for example (…)’

And what did I write? ‘At their most simple, the best TOS episodes are reducible to fables.’
And ‘I would say TOS (…) and Black Mirror.’

You really should read before you write, Booming.

But no, Black Mirror is not a smarter show than TOS. The themes explored in Black Mirror are more a product of its age than those of TOS were. They are more immediate to our own times and may therefore feel more relevant at present. But don't be duped into thinking that contemporaneity is 'smarter'. In the future, Black Mirror may very well hold historical interest only: ‘What were people concerned with in the early twenty-first century?’ Whereas TOS is likely to be more interesting to future generations for its own sake, because the themes explored in TOS, if you’ll forgive a generalisation, are more timeless.

Finally, and most importantly, I wrote:

‘to use a necessary simplification (…)’
‘I am exaggerating for the sake of argument, of course.’

Yes, this is called generalisation. Generalisation is a form of abstraction. Abstraction is necessary in any intelligent discourse—say, wishing to speak of sufficiently large populations. And you should know this, with that background in sociology you claim to have. What are many of your precious sociological models, if not statistical abstractions? What are your theories, if not generalisations, Booming?
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Thu, Apr 9, 2020, 4:02am (UTC -5)
Re: ORV S2: A Happy Refrain

A (for the most part) standard douchy Data aka Isaac episode.
This episodes main problem is that it makes Doctor Kasidy look like an idiot. Quite a few cringe scenes.When they had sex or when she kissed his faceplate at the end. Yikes.

I don't think that the "love" story is on it's own strong enough to sustain an entire episode. In TNG they paired these Data stories with a B plot but in this basically nothing happens (Bortus mustache and a twinstar something). I guess you could say that these very minor plots are both about couplings: one humanoid coupling (Moclan) and one non humanoid coupling (stars) but maybe I'm reading too much into this. Both side stories are inconsequential.

Another problem is that Isaac cannot really emote in any way. With Data we had an actual face and he often felt more like a young person trying to understand but with Isaac we just have these two lights and and completely unfeeling behavior which makes him seem quite a bit douchier than Data ever could.

Lots of Women congregate scenes, lots of Doctor Finn is confused scenes. None of them worked for me. I guess it's nice that they are supportive but he is an unfeeling robot. The doctor is supposed to be wise but here behaves like a teenager.

The redeeming quality of the episode is that it actually improves in the old Data formula. The unfeeling robot kind of needs the doctor and they start to have a relationship. It is all a little forced (why would Isaac break up with her directly after sex; maintaining a lasting relationships as an interesting insight in Human behavior seems to have not crossed his mind) but I appreciated the effort to give us something actually new.

Man, I do not want to be in the cleaning staff. Cleaning that holodeck must be horrifying. Moclan orgies, doctor fluids... and god knows what Malloy does in his time.

Grayson has toned down the bronzing. She almost looks human. What is it with make up for women on this show?! Xelayan # 2 looks like a goth.

I hate that living bugger. I hope he has to go back to bugger planet for harassment duty.

The person who made the doctors dresses should be fired (into the sun). I laughed so hard when I saw her dress for the first date (the ensemble she wears at the end is not much better). Another laugh moment: Isaac flipping over the table.
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Thu, Apr 9, 2020, 3:20am (UTC -5)
Re: PIC S1: Nepenthe

A silicone based virus killed Riker n Troi's son. Was that an Enterprise callback?
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Picard Maneuver
Thu, Apr 9, 2020, 1:05am (UTC -5)
Re: TNG S6: Birthright, Part I

I realize DS9 has a wild west type atmosphere to it, but I'm still doubtful a Starfleet officer could get away with holding someone over a railing 15 feet up with half a dozen other officers watching.

Loved the wide angle, low shot camerawork during the dream sequences.

James Cromwell is lookin' pretty bad. Did he go to warp 10 and have lizard babies with Janeway, too? It's really more the Janeway part than the warp 10.
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Thu, Apr 9, 2020, 12:21am (UTC -5)
Re: PIC S1: Et in Arcadia Ego, Part 2

10000 years ago old men were sitting around the fire and saying:"You know guys, when we hunted back then, we were hunting because we loved the hunt, our hearts were really in it but these young people today, they only do it for the pelts." Approving grunts.

It is obviously nonsense. People get closer to death and that makes their outlook on life darker. So they start to tell themselves how awesome they as a group are to have a little comfort blanket. I AM STILL RELEVANT.

And slowly the younger people get sick of whatever greatest generation preceded them and that leads to: Ok Boomer.

TOS isn't super smart, for example. It's for the most part: crew approaches planet, something horrible happens, get out of something horrible, laugh. the end.

Black Mirror is a smarter show, for example and if you want non fiction then the Wire is a brilliant show almost from start to finish.

to quote from him?: "it was a much healthier society back then," That really says it all. "That is what we have lost, as we increasingly focus on the micro-level of multiple strands of individual psychology instead of the macro-level of archetype and myth." That is a very smart analysis considering that the most dominant genre right now is superheros. He is a scholar of the Humanities, you know.
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Wed, Apr 8, 2020, 10:36pm (UTC -5)
Re: TNG S3: Yesterday's Enterprise

I watched quite a few episodes of TNG when it was originally aired and wasn't enough of a 'fan' to follow onto the spinoffs (and from what I've heard, Berman is definitely a mismatch for the material). As well, I haven't seen every episode nor care about the lore, only the concepts and how those concepts are handled on an episode by episode basis, with only really being nitpicky about character motivations, performances, etc. You know, 'does it hold up as part of the series and as a standalone?' And the sci-fi stuff...well, yeah, it's sci-fi. Literally every sci-fi movie/series (even the movie Primer which took itself a little too seriously on the sci-side of sci-fi) can be dismantled because really the story and execution of the story is more important in...storytelling.

So I'm just commenting on my perspective as I drop a 9/10 review here. I'm rewatching the entire series front to back and so far, this has been my favorite episode. Most of them, I have playing in the background while I am working on something else, but this one I stopped what I was doing and actively watched it start to finish.

To some of the commenters talking about Picard listening to Guiana, I don't think that was a hangup of writing as many people point out. I think Picard, knowing that the Federation was going to lose the war anyway found hope in 'this timeline isn't right'. However, I think where expanding the episode into more parts might have been interesting would be exploring how he lived a life of war that should have never happened. They do touch on this idea with Yar, but finding out you had an unnecessary existence inside of a 20 year war where you likely had many friends who died in it...I would think Picard would have a little trouble dealing with it. However, given the format of 45-ish minutes that the story must be told in, I don't mind it not being there.

For the other comments that Yar shouldn't go back after Picard fought, well, maybe that's implied in the point I just brought up. Maybe Picard thinks his death would be pointless in this timeline and giving Yar a chance to correct her pointless death is something he thinks he can do given he is about to have a heroic last stand for something he thinks can prevent the war from ever happening.

And finally, I think comments trashing the actress portraying Yar generally have no merit. I won't say she's the best thing to ever grace TNG, but people really overstate the negatives of her performance to the point of unreasonable vitriol. I simply don't get it. No one in the first season was doing all that great. As the series goes on, everyone in the cast begins maturing into their character. That's just how series work. Even in films, as shooting progresses, you can sense whether the movie was shot in sequence or out of sequence because of the longer time spent in character.

At any rate, again, dropping a 9/10 on this episode. Not perfect, but is both energetic and poses interesting concepts in a concrete form that often are just silly discussions one might have while smoking a joint or having a beer with a close friend. Very cool and very Star Trek.
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Mark Gubbins
Wed, Apr 8, 2020, 10:06pm (UTC -5)
Re: DSC S1: What's Past Is Prologue

I'm only watching Discovery now on the heels of having finished ST: Picard. I watched this episode a few days ago, and have finished the season today. And I just can't get over how mad *this* episode makes me. It's not just that they ruined Lorca's character arc by making him a generic Evil Empire man; it's that it was so obvious how to fix it!

This episode could easily have been about Lorca's temptation of Burnham. It's "Context for Kings," part two--seeing through the possibility of abandoning Starfleet principles for some apparently greater good.

"See, Michael, this is what it was always about; second chances, or at least a new life. You think I'm a savage. Are you shocked I managed to masquerade as a Starfleet captain for almost two years? Well, what about you--didn't you get the hang of being a Terran captain in a few days? And I'll bet you were good at it. Admit it: it was beginning to shape you.

And you know what? My time in Starfleet has shaped me too. God knows the empire I'm heir to isn't about fortune cookies, but I'm not all Terran anymore either. What we do changes us, Michael. Forget the past: what we do now makes us who we are. I lied to you about who I was, but not about who I am. You're looking at the most Federation-friendly Emperor this galaxy has ever seen.

What do you have back home? A war to lose; and, if you win, a life to lose--again. I sent the cloaking information to the Federation; they'll be fine. They don't know how much they need someone like you, but I do.

So I'm making an offer to you: join me, and let's make this empire better--more than it could ever be otherwise. Bring the crew--they're worthy, even the non-Terrans--and let's rule this galaxy for peace and prosperity. With you as the new captain, and my right hand.

And their captain will make the same offer to his crew on the Discovery."

NOW we have a character arc that makes sense; a genuine temptation that's been hiding in plain sight all along and pits Michael's new life against that with Georgiou; a chance to put the Discovery crew at each other's throats about whether to follow their captain this far or not; and, when Michael finally chooses Georgiou ("Always second-guessing your current captain, aren't you, Michael?"), the choice is much more charged. (Not to mention the implicit softening of the xenophobia also explains how Spock got onto the ISS Enterprise a decade later.)

There are other ways to play this, but the thematic connections are so stupidly available that I'm just fuming that the writers (or their producers/editors) blew the opportunity this way. Frankly, this was unbelievable: Lorca's pretended character was so much more interesting and deep than Evil Lorca's true character, that it's almost impossible that he himself would not have reflected on how he was a better, happier person on the Discovery.

Apologies for the rant, but I needed to say something to folks who might understand where I was coming from. There's a lot of promise here (especially Saru), and some fun characterization. But this one ruined the season for me. It literally lost the plot.
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Wed, Apr 8, 2020, 9:21pm (UTC -5)
Re: TNG S4: Qpid

South ofNorth: the bit was not "stolen", it was an homage. Anyone who knows Animal House was waiting for the "Sorry".
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Wed, Apr 8, 2020, 6:51pm (UTC -5)
Re: VOY S2: Death Wish

Wow, "defanging the Q" never crossed my mind watching this episode; not once. I thought it clearly provided some depth to the continuum.

Q himself has always been little more than an all-powerful jokester. Probably the only time he seemed "fanged" was in 'Encounter at Farpoint". Even in 'Q Who', while we were all enamored with the Borg, we all knew he would pull them out. Maybe in 'All Good Things' you could say he got them back but did anyone ever really think he was going to wipe out humanity? ... He just tested us once again... why? ... because he can.

IMO this just might have been the best "Q episode" in all of trek.
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Wed, Apr 8, 2020, 5:48pm (UTC -5)
Re: PIC S1: Et in Arcadia Ego, Part 2

@Andy's Friend

"Young people today don't remember/never knew the old series; and more importantly, young people today are more impressed by appearance than by substance."

Oh man. Now That's What I Call Ageism!

I mean, I'm 31, my favorite Trek is TOS and I think Kurtzman Trek is trash but feel free to lay the blame for Nu-Trek on my generation.

"My guess is, they are probably not used to having to search for meanings in narratives, as everything is made so blatantly obvious and explicit these days. So they can't see past the family-friendly tone to see the seriousness of the story and the themes being told: they seem to simply lack in imagination."

Really insightful stuff here. Let's continue with your logic. Considering how Kurtzman Trek is roughly 50% violence, mystery boxes and cuss words and 50% schmaltzy nostgalgia pandering to older fans who weep openly after Picard says "engage", don't you think your generation is at least partly responsible for the current state of Trek? Or is the whole idea of making blanket statements about an entire generation a dubious way to make a point about... Well, anything?
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Wed, Apr 8, 2020, 4:55pm (UTC -5)
Re: VOY S2: Death Wish

@Smith @Peter G. @Chrome

I fully respect Smith's take and agree with many of the things he says, but I'm largely going to take the other side of his take on "One of the weakest Q episodes of all time."

Firstly, I take it Smith hasn't seen the follow-ups "The Q and the Grey" and "Q2". I cannot see how those episodes are not significantly worse than "Death Wish," which I consider a very strong episode in absolute terms. TNG's "Qpid" is also much worse, however it doesn't "violate" the integrity of the Q.

So the real issue is what VOY does to Q and the Continuum -- in some ways similar to what it did to the Borg. That is to say "de-clawing" it. As I mentioned in my initial comment, I don't like the fact that VOY "humanizes" or portrays what are supposed to be omnipotent God-like beings.

But here's the point: This episode tells a pretty compelling and moving story. I liked the point about the struggle for individuality of the Q that commits suicide, his renegade nature. VOY does push the envelope, but ultimately it is using sci-fi to tell a human story that likely will make (probably most) viewers care.
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Wed, Apr 8, 2020, 4:33pm (UTC -5)
Re: TNG S5: Darmok


Kiteo, his eyes closed. Kira at Bashi … Einstein in the patent office, his eyes twinkling. Olivier on stage with Brando. Shakespeare with pen and paper. Shepherd Book with strawberry for Kaylee. Riker! Sonny at the tollbooth. Jimmy Stewart by the Window.

Temba his arms wide. Brando, Pacino, Caan, and Duvall at the Oscars.

... Sigh … Shaka, when the walls fell
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Wed, Apr 8, 2020, 4:17pm (UTC -5)
Re: VOY S2: Death Wish

Great write-up, Smith. One wonders if this script wasn't intended for another advanced alien race and then edited later when they decided they wanted to do a Q episode this season.
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Wed, Apr 8, 2020, 3:48pm (UTC -5)
Re: VOY S2: Elogium

man sometimes i think the writers are just a bunch of teenage perverts. were there any women in the writers room? the pregnancy jokes about eating dirt and bugs was just wierd and gross. it seems like they was Kess to be a manic pixie dreamgirl for the show but every thing they do here is just off putting. Neelix is a jealous creep and its boring and likewise offputting. I dont understand what the writers were thinking on this one.
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James White
Wed, Apr 8, 2020, 3:35pm (UTC -5)
Re: PIC S1: Et in Arcadia Ego, Part 2

You guys are just too timid to just say fuck you to Kurtzman. Try it; it's easy.
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Wed, Apr 8, 2020, 1:54pm (UTC -5)
Re: PIC S1: Et in Arcadia Ego, Part 2

"The Soji/Romulan romance goes nowhere."
Not true! It was the classic girl meets boy, boy is spies on girl, boy uses implanted memories of girl to start genocide, boy tires to kill girl with red mist, girl punches her way through the floor to freedom story. What woman hasn't experienced that?!

This may be just the balcony Mojito talking but I think STP is maybe the greatest Star Trek show of the decade.
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Wed, Apr 8, 2020, 1:41pm (UTC -5)
Re: TNG S4: Qpid

Trivia Time:

Clive Revill (Sir Guy of Gisbourne) staRred as Fagin in the origininal Broadway cast of the musical OLIVER! opposite Georgia Brown (Worf's mum.) Also in the cast was a pre-Monkees Davy Jones as the Artful Dodger.

And to add another layer of coincidence, Jack Wild, who played the Artful Dodger in the movie version, was also in the Kevin Costner ROBIN HOOD.
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Wed, Apr 8, 2020, 1:13pm (UTC -5)
Re: PIC S1: Et in Arcadia Ego, Part 2

Why does Jurati have the Magic Iphone in this episode? Rios and Raffi use it, then leave for the synth compound, while Jurati and Picard walk to La Sirena. How does Jurati find this thing, figure out how to use this technology, and so quickly, and at such a crucial moment?

Regardless, watching this episode again lowers it even further in my estimation. It really kills whatever good-will the series had managed to cling on to. The Romulan Refugee arc goes nowhere. The Borg cube stuff goes nowhere. Picard's illness pops up once and then is suddenly cured. The Federation/Admiral stuff goes nowhere. The synth attack on Mars goes nowhere (how were they hacked? Why are they no longer banned when they're clearly still vulnerable to hacking?). The Soji/Romulan romance goes nowhere. Every single plot thread in this show was botched - PaghWraith and Jesus Sisko level botching - with the exception of Soji's confrontation of her identity as a synth.

And this episode sort of crystallises how throwaway everythiing that came before is. It retroactively destroys the whole season, and does so in a cartoonish way at odds with everything prior. Picard sacrificially flying a little "fighter jet" into the heart of an enemy fleet like Braveheart while trying to hold off space tentacles seems about the worst place a show about Picard should end up.
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