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Fri, Feb 15, 2019, 1:12pm (UTC -6)
Re: DSC S2: Saints of Imperfection

It's difficult to express how much it means for a gay couple to have the arc we just saw for Stamets and Culber. The first kiss between two men on Star Trek being followed immediately by one of their deaths let us down profoundly. If you're not queer, you might not realize the harm of the endless repetition of "bury your gays" in movies and TV, or how exceptional it is to have an Orpheus story with anything other than a straight man.

My partner and I had no spoilers and were invested in every step. We begin with the stakes of rescuing Tilly, and that mission conflicting with Tilly's need to rescue the JahSepp despite her fury at her abduction. In Trek, we've often had "monsters" turn out to be creatures defending themselves against us. This time, a human is the "monster," and a species that has only just learned to communicate with us faces the decision of what kind of people to become.

Reclaiming Hugh turned into quite the roller coaster. We the audience know how stories work and realize we're either getting him back permanently or giving Stamets a final closure and goodbye. The episode plays with the stakes at just the right pace that we remained in suspense over which one it would be. We verbally exclaimed, "oh noooooo!" when Culber's hand couldn't manifest into our world. In order to bring him back, we would need to sacrifice something, namely our newfound ability to communicate with the JahSepp--and even then it wasn't a sure bet.

Tilly's compassion to aid strangers even when those strangers have harmed her ultimately brings forth those strangers' capacity to do the same. Both she and Stamets combine love with scientific knowhow to bring about a reunification past death. If this isn't Star Trek, I don't know what is.

Notes & Quibbles:

The explanation for Culber's return could've used more tech-leaning technobabble. Stamets transferred Culber's brain patterns into the mycelial network, which feels awkwardly new-agey to call his "energy." It's no more science fantasy than most of Trek, but the language used leaves it feeling less grounded.

Section 31 looks like a fairly overt black ops outfit. We have to assume that they're actually quite secret, and just the small bubble of characters we see happen to know about them.

It's not clear why May couldn't ask the JahSepp to lay off the Discovery for five minutes. My best guess is that she couldn't actually communicate with them while manifested as May. Leaving Tilly alone had been pre-arranged, and the others never left the ship and so were safe. We ought not have to guess at this significant plot point, though.

To my surprise, Ash and Mirror Georgiou are interesting to have around. I particularly enjoy Pike's interactions with Ash.

The Spock plot continues to develop at an appropriate pace. Personally I'm glad the season is holding off on having him onscreen.
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Fri, Feb 1, 2019, 12:25am (UTC -6)
Re: DSC S2: Point of Light

Definitely enjoyed it!

This felt like a season 1 episode done right. Season 1's breakneck pacing might have worked had its constant and predictable revelations not wound up as eye-rollers. Let's contrast that style with even the silliest of this week's plots, the Booger Monster sucked from Tilly. We the audience should guess early that it's an alien entity for exactly the reasons that Burnham supplies, in classic Sherlock style. The writers clearly know we know and don't treat us like we're dumb. However, it's entirely reasonable that Tilly, under duress of believing she is losing her mind, does not put those pieces together. So instead of a clunker of a twist played for audience shock, we watch a character fall apart under something whose nature we're in a better position to guess at than she is.

And hey, the Klingons think like Klingons! Which is to say, chest-beating honor in public, and cowardly treachery behind the scenes. Someone above wanted the transfer of chancellorship via contract defended by any long-term Trek fan. To anyone who remembers the Duras, or for that matter Gowron, can anyone remember the Council working in any other way than whatever will serve the machinations of power? This held my attention. I wanted to stab myself with a bat'leth with every Klingon scene last season, which would've taken a long time since mine is foam. Not so here.

It was a bad idea to begin with to make the lead of the new show the sister of a beloved character from the old, but season 2 is rolling with it, and it feels reasonably engaging. The "Logic Extremists" come up again, and it's a shame that the Vulcan supremacists have such a silly name, because they make a measure of sense at this point in Trek history. The worst folk of Archer's era are still alive, and they would hold a minority view that has no sway through electoral means. So, terrorism. Being targeted for violence hasn't exactly helped what would already have been tense family dynamics in Michael's household.

Hope the season keeps a good mixture of slower episodes and more plot-driven ones like this.
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Sun, Jan 27, 2019, 8:49pm (UTC -6)
Re: DSC S2: New Eden

Solid 3.5 stars.

Now we're watching Star Trek!

We have a 23rd-century enlightened crew interacting with descendants of 21st-century humans who have become enlightened in their own and different way. We have classic sci-fi themes of the relationship between religion and science, but make no mistake: this is no rehash of the same old Trek. Old Trek almost never touched actual Earth religions, and it would not have depicted them in this fashion.

The humans of New Eden came from a world torn apart by war. And what do they do? They fuse their different religions and cultural differences and create a little society apparently unmarked by significant violence for two centuries. They do not possess the technological utopia of the Federation, but their Eden is perhaps the first apparent idyllic planet in Trek that turns out to be exactly what it appears.

Then we have Burnham, with her Vulcan upbringing, declaring that their religions are simply false. Pike has greater respect both for difference and for the Prime Directive, and we see their philosophical differences play out in their choices.

Meanwhile, both Stamets and Tilly encounter the inexplicable. Culber seems still to exist somehow, whereas Tilly has made contact with an alien life form that takes the shape of a dead childhood friend. "Your brain is so much fun," this entity says; she behaves quite differently from the ghostly Culber and is surely no hallucination.

The red flashes and the angel who comes with them have so far behaved in only a benevolent fashion, but not one that has clear motives as we would understand them. We're not facing a monster of the week, or an arbitrary universe-ending threat. We seeking out new life. We are watching Star Trek.
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Tue, Feb 6, 2018, 7:26pm (UTC -6)
Re: DSC S1: The War Without, The War Within


Previous Trek made a point of asking moral questions. Discovery rarely explores the themes it raises, and at times it depicts actions which informed viewers understand as morally problematic even in our era, to say nothing of what fits in Star Trek, but with no indication that the writers even thought the ethical issues through. The first major example would be Georgiou's planting a bomb in a corpse to attack during funeral rites after losing a battle. It's handled as a plot point with no moral implications whatsoever, and Georgiou is depicted as the torchbearer for Federation ideals throughout the series.

Tardigrade torture, on the other hand, is depicted as something that clearly horrifies Burnham, but the Trekkian tropes invoked here serve more as a narrative shorthand than as a moral issue in its own right. Witness the utter lack of any conversation whatsoever between Lorca and Saru over the loss of the creature.

Sarek initiating a mind meld without consent is another example. Spock does this in Star Trek VI, when the stakes are exceptionally high and time extremely short, and it's still a problematic scene. But Discovery blows past this sort of thing constantly without a thought. It's possible to raise instances in other Trek of issues that ought to be major moral questions being breezed past, but the history of the franchise takes its pride in exploring the nuance and consequence of moral and political decisions.

Discovery barely scratches at that. It seems content to stage action hours with Trek tropes layered on top, and depending on what you're looking for, that may satisfy. Jammer gives it more of a pass than I do, whereas others regard the show as utterly unsalvageable. It has quite the uphill climb after its first season.

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Mon, Jan 29, 2018, 9:36pm (UTC -6)
Re: DSC S1: What's Past Is Prologue

How disappointing. I'd hoped perhaps that MU Lorca might have noble motives within his own universe, but no, it turns out that the Empire just isn't quite racist enough for him. All the moral ambiguity established in the first 9 episodes was just a moustache-twirling villain not fully able to hide his eeeeeevil.

DS9 could get away with one comic-book Mirror Universe romp per season of 26 episodes--and even those wore thin. Discovery just blew 4 of its first 15 episodes on the Mirror Universe, and for what? Some gorgeous pyrotechnics and a marked decrease in what little depth the show had. I remember Jammer's reviews of Andromeda's ridiculous excesses. Well, now on Discovery we risk "all life in all universes!"

To prevent this, an assault team must lower the shields so that one ship can make a well-placed shot to make the whole thing go boom, and we are now officially watching bad Star Wars.

My partner and I kept pausing the show just so we could sigh. I see someone above express excitement that "the robot faced girl" got some lines, which for me drives home just how little we know the characters on this show.

I've found the show problematic throughout, but it also kept giving me cause to hope it could grow. This Mirror Universe arc dashed most of that.
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The Dreamer
Sun, Jan 28, 2018, 10:42pm (UTC -6)
Re: VOY S7: Renaissance Man

Interesting dialogue, like I stated in my comment on Homestead, Voyager was hamstrung by the studio. They green lit a show that *demanded* continuity and then insisted on a more or less stand alone format. Trek fatigue was in full effect as well and it showed. Perhaps the show would have been better if it was not designated the flagship show for a network not enjoying the freedom as first run syndication like TNG and ds9.

As it is almost every series I like has been screwed by the network so I enjoy what I see the best I can. (The Pretender, Firefly, Farscape, Dark Matter to name a few) And also no longer fall in love with a show.

It’s good to see the former cast mates enjoy their moments at the cons and convention. I respect what those artists have to go through but would not want that burden.
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The Dreamer
Sun, Jan 28, 2018, 10:21pm (UTC -6)
Re: VOY S7: Homestead

Touching episode
Correct a throwaway line about a wormhole or a sub space corridor would have been nice but alas . . .perhaps it was left on the cutting room floor.

Given what I know now about the behind the scenes challenges and ALL that executive meddling, it’s amazing that the show maintained any continuity at all.

The modern advent of streaming which has enabled binge watching has allowed for catching the subtleties often missed on a single viewing. I have a greater appreciation for the series. And I already like all the trek series’ any how. But even 17 years after the final episode, I still find scenes that I have missed or forgotten and e be certain episodes.

Nuff said
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Mon, Jan 22, 2018, 11:28am (UTC -6)
Re: DSC S1: Vaulting Ambition

With the Lorca reveal, the most nuanced characterization on the show is now out the window. Instead of someone so determined to defend the Federation that he has lost sight of its ideals, we have a villain from the cartoonish Mirror Universe.

What are we getting from any of this? We're not getting much meaningful characterization. We're not getting a story with any clear themes or direction. We're not getting insight into our current real-world ethical or political dilemmas. The show could still grow into something worthwhile, but by slicing away Lorca, they've just kicked in one of their best supports to do so.

Clearly the writers or directors believe that by making a show more gruesome they make it more adult. They're wrong. We don't benefit from seeing Voq's surgery over and over, or from watching Lorca suffer in the torture chamber. Whom does this entertain?

Stamets is doing a disproportionate amount of work to make the show enjoyable. I'm not yet sold on the writers' declaration that killing Culber does not amount to yet another "bury your gays" moment, but his scenes with Stamets in this episode worked. Will Stamets find that mirror Culber is some kind of decent human being and bring him back? It's among the plots that keep me watching.
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Thu, Nov 16, 2017, 9:44am (UTC -6)
Re: TNG S3: The Price

It's extremely edifying to witness the evolution of our own culture, right here on this message board, over just the past 10 years. The earliest comments here, dating back to 2007 (though I believe there's only one from that far back), focus their criticisms of "The Price" on the cheesiness of the Troi/Ral romance, the annoying musical score, and the lack of chemistry between the characters. As the years roll on, some reviewers begin to comment that Ral feels like a stalker or even guilty of sexual harassment, especially for the way he first comes on to Troi. By 2017, he is being tarred and feathered as a "creep". The episode itself was made in 1989, a time I'm too young to remember clearly - though presumably there was nothing objectionable about his behavior in those days at all. Today, of course, you simply couldn't make a story like this, with a male character like Ral (you probably could do it with a female character, scoring men like this). Your entire show would be decried as misogynistic, and might even get bullied off the air.

A literary detail of interest to me is the fact that Ral possibly even explains his initial heavy-handed approach to Troi when he remarks to her (and I'm paraphrasing here), "You didn't mind when I used my empathic abilities on you." To me, this is saying that Troi was immediately attracted to him the first time she saw him, and he sensed that. This softens the sting of his behavior, because he knew for a fact she was going to enjoy it and respond to it. It's not clear this is what he means by that quote, but even if he had been more explicit, today's viewers don't have the attention span to wait for this defense - much less accept it. That first scene in Troi's office is all most would need to shut off the TV, pick up their smartphones, and start writing angry Facebook posts.

I can't help but feel a certain sadness at this. Don't get me wrong, the romance in "The Price" IS cheesy and overdone. But in a larger sense, watching it makes me mourn the loss in fiction of the suave, debonair ladies' man who confidently and assertively courts the women that catch his eye. I don't mind seeing these advances occasionally rebuffed, or watching one of these characters try it on the kind of woman who (unlike Troi) wouldn't like it and would proceed to give him a piece of her mind over it. And I'm downright intrigued to see the female version trying her luck with a meek male target.

But these days, that's all we get, isn't it? In 2017, "women's empowerment" means that male characters like Devonani Ral are sexist, not smooth, and including one in your story (along with a female character who would do anything other than put her knee in the amorous fellow's reproductive organs in response) makes YOU sexist. This may make modern feminists happy, but it's easy to miss a certain variety in fiction as a result, walled off at least for a time by the stony ramparts of political correctness.
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The Dreamer
Tue, Nov 14, 2017, 4:46pm (UTC -6)
Re: DS9 S1: Captive Pursuit

I enjoyed it, but my recommendation for any show is not to get too emotionally invested to the point where you cannot enjoy the ride
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Tue, Nov 14, 2017, 4:38pm (UTC -6)
Re: DSC S1: Into the Forest I Go

If each episode must be an action blockbuster, at least we get a good one! Jammer nailed it on most points here.

I've felt uncomfortable with the portrayal of Tyler as a male with PTSD from sexual assault for the simple reason that we the audience know that his story is false, because we know that L'Rell was not in the place he describes for most of the time in question and suspect he is in fact a Klingon sleeper agent. There may be ways of resolving this contradiction that do right by the themes raised, but treating this trauma primarily as an expedient plot point, or ultimately showing the scene between him and Burnham to be based on something unreal, does the issue a disservice. We'll have to wait and see.

I would also very much like to see the bridge crew given character depth. We have a very thin cast on this show, so there's no reason we can't devote more time to *all* of our characters in lieu of all the stuff blowing up.

But at least the stuff blowing up had stakes and felt entertaining. I'm cancelling my CBS All Access until the show comes back, and I don't like how much it costs, but Discovery has managed to keep me on board.
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Fri, Nov 10, 2017, 1:36pm (UTC -6)
Re: ORV S1: Cupid's Dagger

So all those times of our playing Yaphit's sexual harassment of Finn for laughs was buildup so that we could play Finn having sex with him while drugged for laughs?

Frak this show. My line is crossed. I'm done now.

If the comments thread needs to be full of "is it really rape?" then your show is doing it wrong.
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Thu, Nov 9, 2017, 4:42pm (UTC -6)
Re: DSC S1: Si Vis Pacem, Para Bellum


Why does representation matter in television, you're asking? Imagine if every movie released in theaters starred lesbian Muslims with autism. Maybe there's a straight White guy in a bit part, but the deep characterization, the heroics, and the narrative substance always go to a particular category of person, and one unlike you. Hey, you have nothing against lesbians, or Muslims, or people with disabilities. Some of these stories are great, others not so much. But people who look like you, or have your cultural background, or your life experience? Sidekicks at best, maybe a villain sometimes, and when they do appear Hollywood gets your culture embarrassingly wrong.

You have no role models in film and no portrayals of people like yourself, or what portrayals do exist make you out as untrustworthy or dangerous. What does this do to your self-esteem? Your estimation of your life chances? And how does this affect others' perception of you when they meet you?

In our real world, neurodivergent people have poor representation in film, and you did not even know who or what they are. Have you observed that people tend to respond with with less trust to the unknown or unfamiliar? Can you argue that it does not matter if people are treated with less respect because differential representation in mass media renders them unknown, or familiar only in particular roles?

Martin Luther King famously asked Nichelle Nichols to stay on the original series when she was thinking of leaving, because she should not underestimate the importance of millions of Black girls seeing a Black woman in a professional role on television for the first time. Representation matters, and it matters on Star Trek more than most places, because supposedly we are seeing a future in which persons of any creed, nation, or ethnicity have equal opportunity to serve and to achieve.
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Thu, Nov 9, 2017, 12:25am (UTC -6)
Re: DSC S1: Si Vis Pacem, Para Bellum

The conversation over diversity and representation is an interesting one. I'm thrilled to have Black, Pakistani, non-straight, and neurodivergent characters on a show with a pretty small main cast. I can't side with criticism that discounts the significance of this diversity, but I can agree that the human crew feels very culturally American, and portraying both humanity and other species as not culturally homogeneous could benefit the show.

I think we're making different critiques, but both are legitimate. I'm pointing out that Discovery values rapid movement of plot points over exploring depth in the themes it raises, and you're raising that the plot points in question don't even make consistent internal sense.
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Tue, Nov 7, 2017, 4:37pm (UTC -6)
Re: DSC S1: Si Vis Pacem, Para Bellum

It's a shame Discovery can't develop its stories as well as its space battles, since we have a logical sci-fi premise. The Discovery begins losing against Klingon cloaking technology, so an away team has been sent to a planet with naturally occurring subspace "sonar" that could reveal cloaked ships if amplified. The planet's ecosystem turns out to be an interlinked intelligent life form itself, which built the organic technology in order to contact other worlds. A crew member begins valuing the inherent peacefulness of this planet above his mission, and conflict ensues. Meanwhile, L'Rell attempts to defect by posing as the captured admiral's interrogator and escaping with her, but instead is caught, resulting in her capture and the admiral's death.

The trouble is that the episode races through each beat more as a narrative shorthand than as a developed story in its own right. Trek fans recognize the trope of a crew member on a paradise planet inhaling the flowers (I truly hoped that Saru would start craving some mint julep tea) and so the writers (or editors?) believe we can rush the implications as a foregone conclusion. We don't get to know these Pahvans, and the episode doesn't seem to care if we do. Similarly, the trope of coming to understand your enemy is one that the show supposes that Trek can take for granted, so that they don't really bother to show us L'Rell and the admiral doing it.

The episode was short and evidently had scenes cut that might have addressed these issues. Does CBS not understand that it is streaming this show? Not all added length is good length, but it's not by accident that most popular serialized television has slowly crept toward longer episodes, not shorter ones.

Still, it's not only a problem in this episode. The writers seem willing to raise Trek tropes as a kind of narrative shorthand in service to plot points rather than as meaningful explorations. The tardigrade served as the Trek story in fast forward of coming to know a seemingly hostile creature as peaceful. Internal Vulcan politics? One of the strong points of Enterprise appears in Discovery merely as a contrived way to put Sarek in jeopardy. "You already know this jazz," the writers seem to wink, "so we're playing this tune in double-time so we can get from A to B." It's like we're getting skins of Trek stories without their substance.
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Mon, Oct 30, 2017, 1:05pm (UTC -6)
Re: DSC S1: Magic to Make the Sanest Man Go Mad

Tonight, relive the excitement of "Cause and Effect," except the reason the ship keeps exploding is Harry Mudd takes over Discovery by riding inside a space whale, and to escape the loop Michael must learn to express her feelings to the attractive new security chief.

I kid, mostly. It's not in fact as dumb as that sounds, and "Magic..." carves out its own identify while it reuses the time loop trope. Moreover, this episodes gives us perhaps the first time we see our crew working as a unit. It's a shame we're missing some links on how we got there, since I'm unclear if Stamets mobilized the entire bridge crew in a single run through their limited time, or if they stole Mudd's device and created a loop of their own to achieve a level of teamwork this crew hasn't shown before.

It's also a shame that Tyler is a cypher, since he's inherently more of a plot point than a character. Stamets points out that he seems remarkably well adjusted after seven months of torture, and I must wonder if the writers thought they were inserting another line of clever foreshadowing, when the audience already knows he can't be what he seems. Without having any information on what's really inside his head, we can't have appreciation for any romance that might be bubbling. What does Michael like about him, for that matter? It feels forced.

I like Michael, and I'm glad that our show's lead is a Black woman with a complex history and emotional layers. I just wish the writers didn't keep having her deliver exposition on her own interior state in postcard philosophy form. We're shown and don't need to be told, and because the show remains so much from her point of view, we're suffering in our baseline understanding of the interior worlds of the other characters.

This surfaces in Stamets' tactics and motivations this episode. Why not just call Lorca at the beginning of the loop and insist they not pick up the space whale? Because the episode wanted to initiate a romance between Michael and Tyler, and so it funneled Stamets into seeing expediting their romance as necessary in order to get through to anyone.

Nevertheless, Anthony Rapp makes Stamets such fun to watch that I forgive the episode many of its flaws. Last time, he nearly saved the episode, and with his greater centrality to this outing's story, this time he succeeded. I do feel as if I watched an episode of Star Trek, just not an incredibly good one.
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The Dreamer
Mon, Oct 30, 2017, 12:22am (UTC -6)
Re: DS9 S7: The Dogs of War

Just rewatched , very subtle but when Mila tells Damar that Tain was Garak’s father He just stands there stunned and stares at him

Nice minor moment
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The Dreamer
Sun, Oct 29, 2017, 12:37pm (UTC -6)
Re: DS9 S7: Tacking into the Wind

Found it!

Episode was TNG S5:Ep7 - Unification I

Gowron has been ignoring hails from the Enterprise, Worf explains the possible reason.

Worf: Sir

Picard: Yes, Lieutenant

Worf: I believe I know why our messages are not being answered. Gowron has been re-writing Klingon history.

Riker: Rewriting history ?

Worf: Yes, he is claiming that it his courage, his . . . . genius (said with sarcasm), that brought an end to the civil war

Picard: I see

Worf: In the new version, there is no mention made of the Federation’s help in his rise to power.


So Gowron has been up to shenanigans for quite some time. He picked the wrong time to as Koval put it in Enta Arma [. . . .], Gowron allowed business to become personal. And Worf had to clean up yet another mess.
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The Dreamer
Sun, Oct 29, 2017, 12:13pm (UTC -6)
Re: DS9 S7: Tacking into the Wind

I too wondered about odo impersonating the founder knowing her condition

Since Changlings can imitate voices Odo could have filled in for Luaren , but he was about to turn all “pile of leavesy” shortly afterward, so I guess it was all on Kira and it did add more suspense to the scene

Minor quibbles but idid notice

Additionally Gowron’s politcal slant can also be seen In the tng era with his “re writing “ history, taking all the credit for the events of Redemption. I believe this was revealed in Unification when they needed a ship. Nice gradual continuity there. So along with his treatment of Worf at end of WOW after AR revealed that the founders hoodwinked him exposed his stubbornness and concern more about politics.

Like the character but Gowron has it coming

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The Dreamer
Sat, Oct 28, 2017, 4:44pm (UTC -6)
Re: DS9 S7: The Changing Face of Evil

I read every comment to make sure I would not duplicate an already made statement.

About the book scene, why does it have to be “magic” per se? We have Qs, telepaths, shap shifters etc. Why not aliens who behave like these.

Consider this: We know the wraiths are trapped but still have limited outside influence. They communicated with Sisko, Winn and Dukat.

Even though it appears as if the blood make the invisible ink change, perhaps the wraiths did it after the murder, which gave them even more confirmation of Winn’s turn. Remember she was conflicted and they did it at the right time. Just a theory but it makes more sense the the random chance that blood changes invisible ink.

Any thoughts?

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Sat, Oct 28, 2017, 12:35am (UTC -6)
Re: ORV S1: Majority Rule

"What if people try to corroborate all this information?"

Here's the tweet where MacFarlane claims he wrote the episode a year and a half ago, so roughly six months before "Nosedive" aired in October 2016. So the claim at least comes from MacFarlane himself and not from insertions designed to alter the cycle of downvotes in this feed.
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The Dreamer
Fri, Oct 27, 2017, 7:30pm (UTC -6)
Re: DS9 S7: Chimera

Sorry for spaces,


When Odo is turned into a solid he is “cured” (even though a few episodes imply that he does retain some some changling attributes,
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The Dreamer
Fri, Oct 27, 2017, 7:25pm (UTC -6)
Re: DS9 S7: Chimera

Posted elsewhere
Odo is infected s4/ep 10&11 HF & PL

S4/finale He infects great link and is turn into a “solid”

S5 ep12 TB changeling baby absorbed into odo, changling again

S6/ep4 BTL odo is reinfected by founder ( link infected a little over year by this time

S7/ep6 FT&TGR first revelation of disease in link.

S7/ep 14 this episode Laas infected

S7/ep 21 WIR odo learns he is infected

They did pretty good with keeping the timing consistent, especially the inclusion that shape shifting accelerates the disease

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Fri, Oct 27, 2017, 2:06pm (UTC -6)
Re: ORV S1: Majority Rule

Usually the Orville riffs from Trek, but last night it cribbed from Black Mirror, specifically the much-lauded season three premiere "Nosedive." Black Mirror gave us incisive and insightful social criticism. The Orville episode... exists, I suppose. I guess that Fox assumes that most of its audience aren't the same people who tune into the contemporary British Twilight Zone?

Everyone should watch that episode of Black Mirror. It's classic TV. The Orville only barely claims an identity of its own by touching on issues of direct democracy and fake news that aren't the focus of the inspirational material. It's not offensive or exasperating on the order of some earlier episodes, but I can't recommend it either.
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The Dreamer
Fri, Oct 27, 2017, 12:35am (UTC -6)
Re: DS9 S7: It's Only a Paper Moon

Great episode kudos to the writers for what they wanted to do. Again I refuse to get too worked up about a show.

Thanks to Luke, Chrome and others for pointing out what I was going to mention about the dark skinned Bajoran topic. Not soap boxing just sharing my observations.

There are many posts made commentors who delved VERY deeply into a given episode who said they never saw a brown/dark skinned bajoran. While it is noticeable that apart from Keisha(They could have put more effort in the name though. Unless father is black, earth human perhaps? I digressed, apologies ) , dark skinned Bajorans rarely had speaking roles, there were plenty of recurring brown Bajorans like the one with the goatee who frequented quarks. The older woman who is often seen on the promenade. There were security officers and vedeks. “Laborers” in flashback episodes

Personally, I’m of African descent , a Sci-if fan who is also realistic. I know posters like Elliot wished the PTBs would show more courage, well one can’t do everything. The show is still geared toward the 20/21st century audience from 20/21st century Hollywood and one has to pick their fights. As posted by someone else, it is possible that that writers were answering the concerns about Sisko as the hero in BTFS via Benny Russell. Anyway, while romance is at times part of the plot, I don’t watch trek or any of my favorite shows for the romantic subtexts but I am certain that Hollywood is/was a factor in some of the casting and it is only now that mixed race couples are being featured with regularity on commercials etc. I believe one trek actor noted that Hollywood has always had difficulty with black romances.

One example I noticed is in another one of my favorites, Leverage (The Pretender/A Team hybrid). It’s very obvious that the were careful with Hardison and Parker, while they had several make out scenes on screen these were framed as part of their current con and not “real” although the characters clearly enjoyed the play acting.

Back to episode, I binge in on all the shows, most of the time while on this site. You guys play rough at times. But like the great material continuum, cyberspace can be treacherous

Godspeed all!

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