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Other Robert
Sun, Apr 21, 2019, 12:08pm (UTC -5)
Re: DSC S2: Such Sweet Sorrow, Part 2

Did not purchase this season, feel like I got the same amount of entertainment just reading here and spent 14 less hours in the process, thanks everybody.
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Other Robert
Tue, Mar 27, 2018, 1:11am (UTC -5)
Re: DSC S1: Will You Take My Hand?


Kern is amazingly entertaining in that ep too.



Loooooooooool, "Actually we had 327 plots to put in season 1 but we could only fit 224 b/c the Internets ran out of space" #temporalwardeletedscenes #tillyisanaugmentforreals #qandneelixpuddingwrestleinseason2

Thanks for the TNG remaster links, amazing to see how much work went in.


Yeah the dystopian media corporations selling us constant dystopian futures is at the very least fairly ironic at this point. I listen/support Isaac Arthur's (nonfiction) futurist Youtube channel as it's such a breath of fresh air. Also the Martian (film) was pretty inspiring.

In the indie video game realm, a couple years ago Hyper Light Drifter blew through its Kickstarter goals just by offering a couple screenshots of an intensely neon-colored, verdant postapocalyptic setting. It felt strange and different, and people instantly wanted it. Lately indie games go to a lot of places aesthetically and conceptually that film/TV seem completely unable or unwilling to follow.
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Other Robert
Fri, Mar 23, 2018, 10:57pm (UTC -5)
Re: DSC S1: Will You Take My Hand?

"As for the actual set, TNG and TOS had very bright bridge sets."

DISCO got me to rewatch TNG 3-6 for the first time in 25 years, and rather than going into a whole tirade, I'll just point out two things:

1. Anyone notice how hyper-futuristic beige/tan ENT-D bridge is feeling these days? All the sweeping curves and warm neutrals--makes you feel like this post-scarcity society has created a space that is not only comfortable (in contrast to the bleakness of deep space) but almost a sacred space for sending its emissaries to the farthest reaches of the galaxy. In contrast, the stark gray utilitarian look of sf these days implies a paucity of imagination, human ambition, and feeling. It's funny, the beiges and tans now feel almost alien, like it should be an Iconian chamber.

2. I had no idea about the HD remastered TNG, which is available on Blu-Ray and that popular streaming service. If you haven't seen it, it looks amazing!

2.5. There is more Klingon characterization in any random 4 minutes of Sins of the Father than the entire season of DISCO. Oops strikethru
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Other Robert
Mon, Feb 12, 2018, 7:49pm (UTC -5)
Re: DSC S1: Will You Take My Hand?

Ed: "The show could have easily made it clear that at least a few years peace was in the interest of both sides. This is one of many things where the basic scenario is great and a good story is just sitting there waiting to be written and they don't go all the way with it."

Yeah, this would have been way better than wasting a bunch of time in MU.

Maybe in an alternate universe, the writers decided:

En route to penal colony, Michael gets rescued from a Klingon attack by Discovery. Saru becomes acting captain after the captain dies during the mission. Saru gets the exact same arc.

Michael gets stuck on DISCO because war. A bunch of people got killed rescuing her so now they need people in engineering, so she has something to do, and she feels double-guilty.

There is no Lorca, meaning we don't have to go to MU at all. We get to spend that time on getting to know the Klingons as real people/culture instead of props standing in circles in the pilot. (Don't get me wrong, Lorca was great but since he was thrown in the garbage why not just delete him altogether?) Through L'Rell's eyes we see the toll of war and feel them coming to the brink of internal collapse. Maybe the Orion Syndicate has been using the Federation/Klingon conflict as a way to take over Klingon Empire, so Clint Howard still gets his green cameo.

Stamets just deteriorates throughout the season, and the mycelial network weakens due to our misunderstanding and misuse of the it. (If this was supposed to be DISCO's environmental allegory, blaming it all on the evil MU was a serious cop out.) Now we can't make more spore ships and magically beat the Klingons with magic. (Though if you still want to make the MU sojourn for the purpose of showing Burnham a glimpse of !Voq then this could have been handled in a single-episode spore drive malfunction.)

Saru's Kelpian fear of predators and general distaste for mutiny predispose him to agree with Starfleet's plan to nuke Kronos, a plan that gets hatched immediately after the midseason break, because the cloak breaking schemes fail in the time-honored "Mr. Worf, fire" fashion. We spend the whole second half working on the bomb. We get to explore Saru's inner demons and see his struggle with fear vs. Starfleet ideals. Maybe we even have time to for EVERYONE on DISCO to weigh in (Lol, jk).

Michael and crew have to convince Saru there's another way. They hatch a plan with L'Rell, who has spent the season not in the brig, but on Kronos where she has witnessed firsthand that the current path is destroying her people too. It would have been actually interesting to see a fundamentalist revise her views over the course of the season based on her actual interactions with humans. Rather than magically changing because she's been in a cage for months.

All zero-sum Michael/Lorca stuff and Michael/!Georgiou stuff is now replaced with Michael/Saru stuff, which was genuinely interesting in the first few eps and had great potential before being reset. (Think of the friendship we got from Bashir/O'Brien S1 conflict.) It still gets to be a redemption arc for her finally at the end of the season earning Saru's trust and forgiveness. She still loses Tyler, but she has gained a friend or two--not unlike the end of Casablanca (though I realize Casablanca is not a TOS episode).

She waits til the end of the last episode to give the telescope to Saru, at which point it would have been genuinely touching and a visual symbol of the ship getting back to its mission of "discovery".

This route would have been more coherent, told the same story, and requires zero twists (though Tyler/Voq could remain unchanged).

Aside: has anyone noticed when review sites with a white background scatter screenshots of this episode throughout the article, you literally can't see what's in the picture because it's all so dark? The light levels in this episode were insanely low.
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Other Robert
Wed, Feb 7, 2018, 10:40pm (UTC -5)
Re: DSC S1: The War Without, The War Within

@Yanks "Michael was introduced to us as a kid that lost her parents horribly and was saved by a Vulcan mind meld and eventual adoption and raising by Sarak. That clearly indicated to me that Michael should have personal discipline. I believe Sarak even made comment to this effect when speaking about the meld when he was saving Michael's life."
"Every mistake she has made is contrarian to that baseline. Even when she does "lose control" and make mistakes, do you get the opinion watching her that she is really losing control at all?"

For people who were orphaned, I've found this is often a sensitive and explosive topic throughout their lives, and an otherwise very collected person can unravel around the whole topic of what happened to their parents. So for audience members who are orphans, I think the 30-second origin story we got about how she became an orphan probably cuts really deep and works fine for them. (Certainly there are many, many orphans in performing arts, which is probably why it's such a common plot device.)

Seen through this lens, it makes sense Burnham comes unhinged when faced with a Klingon threat, then T'Kuvma's killing of a mother-figure, an event also echoing the death of her bio parents at the hands of Klingons. Also explains her impulsive rescue of !Georgiou despite all common sense. I think maybe Ash's line about "Klingons killed your parents then you fell in love with a Klingon!" has some dramatic weight if you're really keeping all this in mind and feeling it because you too were orphaned. It doesn't take brilliant writing or acting or anything because you are already plugged in.

For the rest of us who are not orphans though, that 30-second obligatory audio-only flashback-in-a-flashback (yo dawg we heard you like flashbacks) where her parents are killed goes by in the blink of an eye, we didn't feel all the feels that an orphan would feel in that moment that sets up this whole season-long arc of her wrestling with the foundational event of her life. We just see a little kid who's scared for a couple seconds by a test. (During that somewhat incoherent scene, it is not SMG, but a brand new actress so we are simultaneously trying to figure out 1) is this a flashback? 2) where are we? 3) when are we? 4) who is that little girl with the Vulcan haircut? 5) what is going on here? 6) Is the bombardment happening in her mind or in the Vulcan school?) So we don't really remember this event in the context of her day-to-day adult decisions 30 years later at all. It certainly doesn't attach directly to her life as it's portrayed in the pilot.

By contrast, in Sisko's pilot episode flashback we at least see him and Jake lose Jennifer in realtime (with our *eyes*), and it brilliantly piggybacked off the emotional baggage we ST fans already had around Wolf 359. It is further cemented by the intense conflict it creates with our most beloved Picard. So even if we personally haven't lost a spouse/parent, we felt Sisko and felt the gravity of that event for his character as a defining moment. It's integral to his character as a single dad, as a widower in a strange place, a commanding officer who has already faced overwhelming opposition in wartime, all topics we get to explore in detail during 26*7 episodes that were properly paced.

With DISCO we were further confused by the label "Star Trek" thinking this story is going to develop an ensemble cast and that Burnham's origin story is a very small piece of a big tapestry. We kept looking for more tapestry, but as we arrive at the end of the season, we are finally forced to conclude that the whole thing really was about Burnham and her origin story was actually pretty much the most important fact of the whole season if we are to derive any meaning from the way they're wrapping things up.

I'm reminded of when I saw Arrival, the first time I'd been in a theater since the birth of my three-year-old daughter. The first 5 minutes of that movie completely gutted me as a parent, and I was weeping despite the fact that I met the character four minutes ago and still had popcorn in my mouth. However, my not-parent friend next to me was completely unphased, just as 10-years-ago-me would have been. As a result, I experienced the movie in a very emotional context... he did not.

If you're an orphan and you're still not buying any of this, then I dunno :)
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Other Robert
Sun, Dec 3, 2017, 7:44pm (UTC -5)
Re: DSC S1: Into the Forest I Go

Just want to say thanks to all the people who suggested watching The Expanse... it's great! Pretty effortlessly juggles at least half a dozen plots without feeling choppy, spends plenty of time world-building by actually building it into the story, sticks to fairly feasible technology... very immersive, great watch.
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Other Robert
Mon, Nov 13, 2017, 8:14pm (UTC -5)
Re: DSC S1: Into the Forest I Go

Lots of things point to Lorca being from MU:

1. He kills the prison shuttle pilot to acquire Burnham. What Starfleet captain does that?

2. Landry, his previous right-hand woman was a total psycho--we all noticed how not-Starfleet she was, though her character couldn't be any better-suited to the MU. So maybe she came across with Lorca.

3. He always fills positions from outside the organization to maintain absolute control--especially security chief.

4. What Starfleet captain doesn't go down with his ship? Probably Lorca Prime went down with his ship and Mirror Lorca stole his identity.

5. MU villains are always trying to steal advanced technology to get the upper hand.

6. Cornwell says his personality has totally changed. He gets rid of her as quickly as possible, delivering her into immense peril.

7. Opportunistic sex (with Cornwell) is a hallmark MU behavior. Speaking of that scene,

8. He keeps a phaser under his pillow.

9. He's not super-stoked to find out they rescued Cornwell. He gets rid of her again asap.

10. His menagerie is full of grotesque dissected corpses, something we saw Mirror Phlox doing. The deadliest weapons collection is much more befitting a MU character.

11. He has no interest whatsoever in science or exploration. The Stamets "I didn't know you cared" line reminds us that he doesn't care, unless the info is of direct interest to him--which of course getting back to the MU would be.

12. He manipulates everyone into doing what he wants--something Mirror leaders do constantly--with no regard for their safety.

13. He is always trying to keep Burnham out of harm's way--very illogically as she points out--and went out of his way to pick her up in the first place... guessing they have some MU history?

14. He likes to keep the lighting... really dark.

15. He already has a tribble.

Seems like a lot of stuff to clear up in one episode. Especially since we also have to do the whole Tyler/Voq thing too.
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