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Hank
Fri, Mar 27, 2020, 9:53pm (UTC -5)
Re: PIC S1: Et in Arcadia Ego, Part 2

The scene with Data proves what I have been saying since Episode 1: This should have been Picard introspection land. Take his illness seriously. Have him come to terms with his past. And if you absolutely must, let him die in the final episode. A bittersweet ending, after he came to find peace of mind. That scene was the only one kind of interesting in all this. Just have those dream-sequences in between showing his real life as an aging, ill man, and voilla, instant TV-Show.

Instead, just with Discovery season one, we are left with a bomb, a button, and people maybe willing to press it in the same place: Android 2995 decides that today he will call the reapers, boom, universe kaputt. Or the Tal Shiar flew ten lightyears away, cloaked, came back, sterilized the place, threat eliminated.

Final rating: It's over out of It began some time ago.
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Hank
Fri, Mar 20, 2020, 1:04pm (UTC -5)
Re: PIC S1: Et in Arcadia Ego, Part 1

Well, for the first time, Picard actually tried to look like TNG ... to which I can only say: Too little, too late, and a much too jarring contrast to the rest of the show.

Anyways, this was SOOOO BORING. "Muh advanded AI gonna kill all dem fleshbags" ... Honestly, Conan the Barbarian at least gave us the riddle of steel and great acting by Schwarzenegger ... a thoughtfull deep-dive into the human psyche.

I am so sick and tired of Picard getting pissed on every single episode.
Picard: "Please, lets talk and reconsider. It doesn't have to end this way."
Noonien Soong: "What are you, a faaaaaaggot, bro? Like, bro, talking is like totally uncool and shit, yo!"
Ugh ... I mean, the worst thing is that his whole crew agrees with that view. He is the lone voice in the desert in this regard. Also, where is his spine? He NEVER has any follow up or counterargument, he just bows his head and accepts defeat every time.

So, where does this first part leave us? Nowhere. Either we get the giant battle in Space(tm) or we get the "Picard talks to everybody and this time it actually works" - wait, no. Picard says something which DOESN'T work. Then Soji comes along and says something (I hope something like Rose Tychos Line from TLJ: "We do not win by fighting what we hate, but by protecting what we love!", while in the background, their planet got blow'd up!) and everybody is like: "Huh, yeah, thats ... totally cool, bro, uh, sis." and then they lived happily ever after through the power of friendship while Picard is shown at the back of the crowd, smiling emasculated and weary and he breaks down due to his illness.
And in his final moments, he has a vision of Data and they share a kiss, then Raffy comes along and smokes a crackpipe and everybody reminisces about their time with Picard and how he was like a totally chill dude, yo? Rios drops some spanish lines, Agnes agonizes over the death of her lover and channels John Snow: "I'm dun killin. I dun wannit", and, with a quick look at Soji: "She's muh queen!", Elnor is totally candid: "I am very sad that Picard is dad. He was a great dead. Oh no. It is the other way around!" (ba dum tsss), and then, Seven has the great idea to just upload his mind into the android body, and with Chakotay chanting "Achoochy Moja!", bubbling pots and putrid potions, in the darkness of the night, the twelve witches of Kobol butcher an Ewok, and with his entrails they perform the forbidding joining of the fruit of knowledge and the fruit of life and born is Adam, the first angel, and Picard, thus reborn into godhood, rises from the ashes and proclaims: "Look at my works and despair, for I am become death, and my name is Pale Horse!"
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Hank
Mon, Mar 16, 2020, 9:01pm (UTC -5)
Re: PIC S1: Broken Pieces

I am actually surprised. I kind of enjoyed the last two or three episodes. Don't remember much, but wasn't angry either. Maybe I just finally stopped thinking.

Well, I definitely stopped thinking, I think - and thats a good thing, in my opinion. Thinking has never helped with anything. No amoeba ever fought a war... anyway, I am drifting off again.

In the "previously on..." of this episode, Rios tells one of his holograms that his captains brains ended up splattered on a wall. When Raffy asks the holograms what happened to the Captain, nobody knows.

Uhm, what else? Oh yeah, Sevens violent mood swings when she proposes her plan, rejects her plan, then implements her plan, and it turns out that borg cubes are made of individual tiny little cubes and can open any compartment directly into space... also, those repair drones. At first I thought it was a cool shot of nanites repairing a circuit-board zooming out and showing us how the borg cube restores itself to the green, mist filled giger-like glory of voyager days, but no ... hm... that made me sad.

Well, I could complain all that and much more, but I wasn't even bothered by it. I think I have transcended that stage and am now indifferent again. Or maybe I am just too tired. All those whys and ifs just lead to nothing. It is what it is. I rate this episode a borg cube out of an octuple star system.
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Hank
Sun, Feb 23, 2020, 12:07pm (UTC -5)
Re: PIC S1: Stardust City Rag

@Booming: Yeah, bad choice of words, that wasn't my intention, more a comment on his (apparent) self-identification.

And you are exactly right, Picard is, like Discovery was, utterly confused in what it wants to tell its audience - because in truth, it doesn't want to tell us anything, it ticks boxes because it is there to make money, completely muddling any points it could make.
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Hank
Sun, Feb 23, 2020, 9:30am (UTC -5)
Re: PIC S1: Stardust City Rag

"Picard goes into a preachy rant about "humanity" that is obviously intended to mock the high-faluting speeches Picard gave in TNG. Because that's all he did: Give speeches and then never act, never help those in need. He gave speeches and then went home and felt his job was done. And look at the world that has come out of that mind-set. Look at what the Federation has become."

Are you for real? Are you ACTUALLY for real?

"That's why its so amazing that Annika - who has reclaimed her name and her humanity - listens to his bullshit and then goes back to doing what needs to be done: Taking action. Punishing those who need punishment. Righting wrongs and not letting people get away with their disregard for others."

Yes! Shoot those fuckers! Fuck rehabilitation or progress, the death penalty it is! Old testament bullshit.

"The writers have taken a character that was always objectified, that was nothing more than eye candy to satisfy the male gaze of its audience and they've turned her into a feminist icon: A woman who decides how she looks, what she is called and who will not let evil people trample over the lives of others any longer."

A woman who acts exactly like Dirty Harry, because as it turns out, the old white men were right all along. And really? That's ALL you've seen in Seven up until now? God ... So the endgoal of feminism is to turn all women into angry men, got it.

"SHE is the moral center of this episode while Picard still is a nostalgic old fool who has to learn that he and his speeches are part of the problem, not of the solution."

Eye for an eye. How progressive. Oh wait. No. Thats regressive ...

"I salute a show that dares to take its source material, deconstruct it and tell people why that source material was problematic. And I just hope we get a spin-off show of Annika Hansen travelling through the galaxy and making people pay who deserve it."

This is what you want? That's what you "progressive" people clamour for? Revenge porn and more vigilante violence? Jesus fucking H. Christ, the absolute state of humanity ... I am honestly at a loss for words ...
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Hank
Sat, Feb 22, 2020, 8:54am (UTC -5)
Re: PIC S1: Stardust City Rag

Jammer said it best in his review: At the most basic, Star Trek NEEDS some kind of intelligence in it. Whatever you think Star Trek is or should be, THAT's the single requirement nobody should be willing to sacrifice.

Why do you think we are complaining about the gore and the violence? Because there is nothing else there to criticize! Except the bad plot, and the boring story, and, oh, thats the meat of the complaints anyways.

@A A Roi: Way to misread my post and claim all I want is nostalgia, when I intentionally mentioned NO details at all about what kind of things I want to see. I hated every single nostalgia-bait moment in modern Trek, from the Enterprise reveal in Disc to the Tribbles in Forgettable Movie 2 or 3, to the "Engage!" shenanigans in Picard. No, give me something new but recognizable.

And stop with the Deconstruction bullshit. "Deconstruction" is an analytic tool, first and foremost, and a deconstructivist story is not automatically good or interesting because it tries to examine things from a different perspective. Yet people trott this word around like it somehow excuses every creative decision made by the writers. The nitpicking we do here IS a deconstruction of Picard. A realistic look at what is implied by the things shown on screen. Does that make for an interesting story? No! It's angry rambling, most of the time (from your perspective, anyways).

And, here's the kicker: A deconstruction is by necessity NOT the the thing it deconstructs. It just resembles it, and then breaks it down. All the anti-war movies of the seventies and eighties are deconstructions of the classical Jingoist War Movie - thats why they are called "anti-war-movies." So, Star Trek is an utopia - thus, a deconstruction of Star Trek HAS TO BE not that. Thus, Anti-Trek is not Trek. Because if it WAS, it wouldn't deconstruct it. Way to prove our points ...

And again: Just because something is new and different, it isn't automatically better, just like "Old and the Same" is not automatically better. I can take a classical piece by Mozart and remove everything that made it great, like, melody and chord progression, just hacking away at the keyboard, or better yet, electric guitar, because piano is sooooooo 200 years ago, call it a deconstruction of Mozart (a destruction, really, what most so-called "deconstructions" really are), and guess what. It sounds like shit because it is shit! It's new and fresh and a bold new direction for classical music but in the end, it just isn't good, and most definitely not classical music!

"But I like it!", you say. Right, perfectly fine! Maybe it spawns a new genre of "Anti-Mozart" music! Great! Maybe it grows, and builds an identity of its own ... wonderful! But it still isn't Mozart! Just like Rock'n'Roll isn't jazz, and Pop songs aren't Heavy Metal. You can put cocain into your coffee, because like sugar, it's a white powdery substance, but that doesn't make it sugar!

And to all the people saying "Star Trek always had this and that", yeah, sure, but the dosage makes the poison! If I hit you in the face once and break your nose thats violent, but if I then proceed to kick your rips in, break your arms and legs and finish off with a kick to the crotch, I can not claim "Lol, there's no difference here!" Oh, so we had ONE cruel scene in Wrath of Khan ... Therefore, constant violence in Disc and PIC are totally the same thing. Just like giving somebody a mild concussion is the same as giving them brain damage, or shooting somebody dead and dropping a nuke killing hundreds of thousands is murder, thus equivalent.


Anyways, all of the above would be irrelevant if Picard was interesting on its own, achieved something truly remarkable, but it doesn't, it is mediocre in EVERYTHING at best. The violence isn't particularily gruesome, compared to modern TV. The action scenes are not exactly thrilling, the "philosophy" is about as sophisticated and interesting as middle school discussion, the pacing and directorial style is bog-standard modern TV, the visuals are nothing new either. The Last Jedi is one of the worst movies ever made, but it had ONE scene that was truly remarkable (even though it utterly ruined the whole worldbuilding), and that was when the Supremecy is destroyed light-speed-ramming. That was a perfect scene, truly impactful, a visual spectacle worthy of admiration. Godzilla 2014 had the Paradrop sequence, a true achievement of style and visual composition, even though the movie was so-so. Shin-Godzilla went the other direction, being a political commentary on current-day Japan, but STILL delivered on the spectacular visuals even though the movie is 90% talking and bureaucratic red tape, with a cast of maybe 40 forgettable people, intentionally filling the screen with written names, titles and legal texts to overwhelm the audience and hammer home just how impenetrable and incompetent an overblown bureaucracy is, while at the same time being an hommage to the all the Godzilla movies that came before without obvious "Remember that?" nostalgia bait.

What does Picard have? Nothing! It has a franchise name, nostalgia and political messaging. It does nothing new. It isn't boldly going anywhere. It has no distinct style, no unique story, not even unique characters. It doesn't have a single new idea! Borg? Old. Androids? Old. Refugee crisis? Old. Secret agency conspiracy? Old. Hinted at homoerotic relationship? Old in current year! Ninjas? Super old. AI Is dangerous? Jeez, the oldest sci-fi trope in the book! So, what's new here? Nothing. The only thing it has is that it's different from what was previously called "Star Trek", but that just makes it more similar to other things. Hell, one could argue that it steals the core idea of DS9, namely: The Federation is not as perfect as you think it is.

And you know, THAT wouldn't be a problem either if it just wanted to be Star Trek, but it doesn't, it WANTS to be new and fresh, it just fails at that.
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Hank
Fri, Feb 21, 2020, 6:28pm (UTC -5)
Re: PIC S1: Stardust City Rag

@Dom: Well, the thing with darkness is: It needs to be a trajectory. Either it gets better or it gets worse, but so far, it just stays the same. To be really effective, you start of mildly dark, then go carefully optimistic until the half-way point, and then, over the course of following episodes, slowly break down the characters we now care about and want to succeed and use that to examine them in close detail. And then you top it all off with a bittersweet but hopeful ending.

Or, dunno, you just insert violence at random points in the story. That should work just as well.
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Hank
Fri, Feb 21, 2020, 6:08pm (UTC -5)
Re: PIC S1: Stardust City Rag

@A A Roi: Yeah, just like Star Wars made the leap - into oblivion. Or Stargate with Universe ... even though that show actually improved and was cancelled prematurely in my opinion, just as it was getting interesting. It still shed its fanbase and, standing on its own, found out that there is no new group of fans to replace the old.

Star Trek didn't grow, it shrunk. It went from "Universal Moral stories told with a somewhat detached look at things" and "Suitable for all audiences" to "Specific moral stories told through the lense of "Current Year(tm)"" and "Suitable for mature audiences only."* That, right there, is why NuTrek sucks. Instead of beeing rooted in the future it planted its feet firmly into the ground of the present - in terms of style, presentation and storytelling. It went from "Here is this thing nobody else does" to "Lets do what everybody else does." Which means: It will be forgotten REALLY fast, and then it will die. Because, oh shock, oh horror, TV is a visual medium. Change your style to resemble something else and that makes you LESS unique, not more. That's the problem with making the Klingons look like Orks: It takes away, it doesn't add.


*Funnily enough, NuTrek replaced the actually mature discussions and themes of OldTrek with the fake maturity of violence, sex and cursing. Old Trek could be violent and dark and sexy at times, but that was always on top of all the other things. Now, there is nothing beneath the superficial elements, and even those are average at best.
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Hank
Fri, Feb 21, 2020, 1:52pm (UTC -5)
Re: PIC S1: Stardust City Rag

@Bold Helmsman: Yes. In the smallest way possible. Why can't he do anything? Can he not speak out for them? Can he not call on old allies or friends who owe him a favour? Can he not try? Apparently he has given up on all that and focuses on selfish desires (save the daughter of your dead friend to replace him/save her sister to not feel so guilty anymore). In other worlds: He has already given up on the world.

But Ok, I give you Picard as the sole optimist in this story - an optimist who is constantly berated and ridiculed for his ivory-tower mentality, shunned by superiors and peers alike, who has failed more people than anybody else apparently and is universally hated and ignored. A dreamer, deluding himself, that's what he comes off as. A relict from another time, thrust into the harsh reality that everything is pointless anyways.
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Hank
Fri, Feb 21, 2020, 1:03pm (UTC -5)
Re: PIC S1: Stardust City Rag

@Booming: Exactly! Optimism isn't a fixed point to be achieved, it's a mind set, and so far, none of the characters in this show have it. Even Picard has given up on his optimism and instead retreats to saving a single person who is the daughter of an old friend instead of trying to do something for the Romulans, for example. A personal quest, not some principled stance.

Add to that: Bitter Romulan refugees sitting on a planet, putting up signs "Romulans Only", never even trying to better their lot themselves? Bitter Admiral saying "Fuck you, Picard, you are a piece of shit!"? Bitter Picard saying his interview was a mistake (because it clashed with public opinion, apparently)? Heck, even scientist lady is bitter because her research was shut down for no other reason than fear, while the research itself yielded nothing but an army of enslaved robot workers!

Seriously, we get a 20 year timeskip, a catastrophe 14 years ago and NOTHING has changed from that point onwards, nothing turned to the better, nobody moved on. People got more hateful and bitter because of it, and it somehow all relates to Picard, who is the lynchpin of this turn. Everybody we know is either dead, bitter or absent and the new characters are either bitter or jaded. If the qualifier for "optimistic future" is "Some things are better than now" then even Warhammer 40k qualifies as that, since there are whole planets of absolute peace and quiet, untouched by any danger since milennia!
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Hank
Thu, Feb 20, 2020, 8:00pm (UTC -5)
Re: PIC S1: Stardust City Rag

@Jensen: Yes, Eric, I have a better grasp of writing, apparently. Seven is a ranger. Her life is dedicated to helping freed borgs who are hunted for their implants. One of those implant hunters killed her "child". Now, tell me, what would she do? A: Staggering around space bamboozeld for 13 years, not trying to stop her, or B: Accomplish the mission she states she has and try to stop her? And if you now say "Well, it wasn't THAT important to her", well, she lies to Picard, she beams down, she WAITS for the guards to arrive, she shoots the gang boss deader than dead, vaporizing her, and THEN walks into gunfire guns blazing not caring for her own safety. It was important enough for her that her survival is not a concern if she achieves her goal.

You know whats funny about this? All they needed to do was either: Make the time span shorter, or give us a single line from Seven how she was looking for her all that time but was never able to get close. The second option is still flimsy, but hey, better than nothing. To improve it, you could make the lady actually hard to find. At least acknowledge the fact that time passed and she tried before. Because if she didn't you have to explain why, otherwise her motivation does not fit her actions and thats the number one rule of writing: Character motivations inform character descisions. And in this case, her other motivation, protecting fellow ex-borgs, enforcing the law, directly reinforces her first motivation, revenge. So you can't even say "Well, she had more important things to do for 13 years".

Or, how about, just don't tell us how much time passed so that we don't question it? Or better yet: How about we don't have a revenge plot for Seven? How about, for once, we are introduced to a sane, logical, well adjusted character without any hidden agenda or tragic past? Hm? Some variety? Oh yes, that assasin dude, but he still has beef with Picard and got demoted to extra REALLY fast. And no, I don't care that Patrick Stewart is a exec-producer or is pitching his ideas. I wouldn't care if Shakespeare or Orwell or Tolkien or ... dunno, Rosy McDowall from Frogballs, Arkansas wrote this. Names do not matter. Results do.

And, as an aside: This is all just, like, my opinion, man :) Since the theme of this episode was revenge: If you want to rip something apart that I like to even the scales: Watch "Genocyber", but the english version with the shitty nineties anime voice actors. It's on youtube, I think. THAT clicks with me more than Picard, just like TNG does, and I would argue that those two shows are as far apart from one another as can be.

Anyways, no hard feelings on my part. I'm just poking a little fun at the show (not at you for liking it, just to make that clear) and I am fond of hyperbole.

@Drea: It would be nice if the show hints at that, though, everything else is just fanfiction. Just have Seven say "T'wasn't exactly hard to find yee, me captain", implying that she was looking for him and not just randomly there. We know nothing about her normal patrol area, how the rangers operate, anything. With a simple line like that, none of it matters, really. She went looking for him, arrived just in the nick of time. And to explain the why: "I went looking for you because you made a big fuzz. Thought shit was about to go down, and hell fucking yeah, I was fucking right" < - this last sentence is brought to you by "Everybody swears because not swearing is for kids."

Or just have her say: "This is my patrol area, and you were in danger." Or have HER be surprised as well. Just like this:

P: "Seven?"
7: "Picard??"
P: "of Nine???"
7: "Jean-Luc????"
P: "Do I even know thee, my fair maiden?"
7: "Nah, we never met. We are just two ex-borg randomly meeting on a quest to infiltrate a borg cube."
P: "Oh. Right. Earl Grey?"
7: "Whiskey. Deliver it shaking while looking stirred."
P: "It's just about noon!"
7: "Yeah, well, you see, I've got this drinking problem because my child was killed by an organ harvester thirteen years ago, thus, I became a western Gunslinger and drown my pain in alcohol now. Ah, that reminds me of that one time the Doctor inhabited my body ... fun times, fun times."
P: "Oh. Hm. That's sad. Want to do anything about it?"
7: "Yeah, kill that bitch."
P: "Well, as it turns out, we are about to meet with that exact bitch because she has kidnapped a guy I want to ask some questions."
7: "Hm, isn't that a coincidence?"
P: "Sure, but ... do you mind?"
7: "No, not at all."
P: "While we are at it, Seven: I am against needless violence."
7: "Hm. Ok, fine."
P: "You give up on the revenge and hatred you harboured and let fester for thirteen years? Just like that?"
7: "Sure. Pinky swear!"
P: "Do Borg even have pinkies, if you know what I mean?"
7: "Ah, sexual innuendo. Chakotay told me about that. Remember Chakotay?"
P: "Never met."
7: "Tall guy, square jaw, tattoo on his face? Was demoted to extra even more when I was introduced?"
P: "Oh, that guy. I smoked his 'peace pipe' once."
7: "Isn't that just a cliché, or is this another sexual inuendo?"
P: "Yes."
7: "... I miss Star Trek ..."
P: "Ask me about it!"
7: "Remember that episode where Tom Paris turned into a lizard?"
P: "That was drole. Remember when Archer had to use a chainsaw to do some ritual?"
7: "Or when Trip got pregnant?"
P: "Or when those worms infected upper managment?"
7: "Good times, good times."
P: "Yes, yes, indeed. Engage! Hah!"
7: "Resistance is futile!"
P: "Careful, otherwise I'll extend my assimilation tube!"
7: "Ha! Feeling lucky, punk?"
P: "My last breath I spit at thee!"
7: "Et tu, brute?"
P: "We will fight them on the beaches!"
7: "One small step for mankind ..."

etc. etc. I've got too much time on my hands, it seems.
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Hank
Thu, Feb 20, 2020, 2:55pm (UTC -5)
Re: PIC S1: Stardust City Rag

Yeah, yeah, sure ... Seven waits 13 years to enact her revenge, even though it's her defining character moment, it seems. Walking towards gunfire without cover, dual wielding machine gun lasers, because she just doesn't care anymore, because in the far future, there is only one way to grow your character: Nihilistic and cynical - she doesn't even try to save Icheb, it's the wild west, folks, a horse with a broken leg gets shot. What's that, holographic lung of Neelix? Ah, shit, seems like we forgot about you, we only do leeches now. But at least she's a dirty harry clone now: "Go ahead, make my day." Because of course a hyper-intelligent being with half the knowledge of the borg collective spends her days gunslinging. What use is intelligence when you could just use a gun instead? Don't be silly, there is no problem that sufficient firepower can not solve!

Ah, Icheb. We hardly knew ya. And of course no anesthetic, you want your cybernetically enhanced, super-humanly-strong ex-borg to be fully aware of whats happening ... Also, do it in the most barbaric way possible, because those implants are worth a fortune, so no biggy if you accidentally drill a hole into the cortical implant because you don't use a scanner, but a dull plexiglass drill and the Mk. I eyeball instead. LOGIC. Oh, but maybe they paralyzed him, because everybody in the future is a sadist.

Raffy had a drug problem which ruined her family, how original and relevant - in a future where you can cure almost everything by applying some magic hypo-spray. But even in the far future, blacks will be blacks, amirite? At least our expectations got subverted, because it's an absentee mother now. Yeehah, clichés are SUCH FUN. Right right, it was her pursuit of the truth that broke her family, yadda yadda, because of course that breaks her completely, of course every character is totally imbalanced otherwise there would be no duraaaamaaaa.

Miss "I am too anxious to push a transporter button" murders her lover in cold blood in a VERY painful way instead of just ... dunno, something else less painful? Because as it turns out, she's heard the secret that will DESTROY MINDS. Beware, in the grim darkness of the future, a single contact with the warp will rend your mind and deform your flesh, birthing an abomination of vile, hellish heresy! Yeah, yeah, she cried, but she went through with it anyways. So maybe not cold blood but frozen blood? What's her justification? Killing Hitler? Even though he is no immediate danger? But wait, she got brainwashed by Miss Sunglasses, or somesuch things, in the most horrific way, of course. It included bisecting her brain without anesthetic because torture = authenticity & realism. Remember, folks, the more darkness, pain and blood the more mature your series is, as every human being is more fucked up than the next and there are no good people left, except Picard, and HE STOPPED so he's the worst of them all, except that there's nobody worth saving left anyways, because as soon as you turn away, they betray you and just start murdering everything again.

Next time on Picard: Infiltration of the Borg cube! The Drones awake! Betrayal! Excitement! More sho-ho-cking revelations! Another character with a tragic backstory turns up to berate Picard for giving up! Because nothing says quality writing like piling drama upon drama. Will Romulan brother be raped by Romulan Sister? Will Soji kill her lover? Will Picard hold a speech? Is our beloved cigar smoking badass pilot really a hologram, because the original one got horrifically eviscerated in a flashback? Will Picard hold a speech? Will the EMH tell anybody that he witnessed the murder of Maddox? Is the borg cube secretly engaging in child prostitution? Will there be gambling, alcohol, drugs and course language? Will Picard hold a speech? Tune in next time and find out, on CBS All Access, giving you for money what TV gave you for free!
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Hank
Wed, Feb 19, 2020, 9:32am (UTC -5)
Re: PIC S1: Absolute Candor

@philadlj: Yeah, exactly. There are other shows out there filling the niche that Picard tries to fill and they fill it way better. Trek has it's own niche, why doesn't it try to take advantage of that?

On a more general point: The "two stories in one show" could actually be quite good - if they had two truly seperate stories of wildly different tones, which inform the other story but don't directly interact. Picard rides off to save the princess, high on morals and guilt, in his usual, comtemplative style, while we, the audience, already see the mess and danger he getting himself into - the gritty, violent reality of a fallen empire. Then, slowly bring the stories together.

In essence, they'd be telling the story from two different points of views: Picard sees the galaxy as flawed but bright - his opponent, or the protagonist of the second story, sees the galaxy as falwed and utterly dark, and thats reflected in the tone, pacing and set design. You could have great scenes where the two characters see the same thing, but it LOOKS completely different. For example, Picard sees a somewhat primitive, but brightly lit town. Change PoV, and suddenly the dirt and trash in the corners is focused upon. Picard sees his opponent as desperate, dangerous but vulnerable and basically human, while he himself is brightly lit. In his opponents eye, Picard looks dangerous, his stern, rightous look becoming one of authoritarianism and lust for power. All you have to do is change the lighting slightly. Something like that. Visual storytelling.

But I guess thats too artsy.
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Hank
Tue, Feb 18, 2020, 10:08pm (UTC -5)
Re: PIC S1: Absolute Candor

I have to admit: It warmed my heart to see Seven again. Guess I'm just another fanboy. Might have helped that she didn't speak much yet, so, lets see how her character has changed before coming to any hopeful conclusions.

Turns out trying and failing is worse than never trying at all, given by the reaction Picard gets. Or rather, stopping to try is the worst sin. And we don't even know if he did try to do something after his resignation. Or if he could have in the first place.

I constantly get the feeling that the writers wanted to create a fantasy story instead of sci-fi, with all the hero+party travelling the land to rescue the princess, the swashbuckling and the mysteries. And now the mysterious warrior (that assassin dude) has entered the picture, together with the sorceress (Seven - if we replace magic with "borg stuff"), after we got the genki-girl (the ditzy scientist lady (didn't we have one of those before, in another series?)), the grizzled veteran and the deadpan snarker (Ruffy). Time to enter hell (the borg cube) and slay the dragon, defy the prophecy and return order to the world.
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Hank
Fri, Feb 7, 2020, 3:20pm (UTC -5)
Re: PIC S1: The End Is the Beginning

Huh, what a curious turn of events. With Discovery, everything was frantic, fast paced, nonsensical.

With Picard, everything moves too slow. Don't get me wrong - I actually liked the scenes with Picard in the first episode. The problem is that everything around Picard feels like a different, somewhat forced story. Taking two episodes just to get the crew together for the adventure, when we have no foreknowledge about any of them, is too long. Fill us in while they adventure, that moves the story and the characterization, instead of giving us expositionary dialogue that I frankly don't care about. Why is she even angry at Picard for having "more stuff" when "stuff" ceised to matter a long time ago? Why didn't she call him? But I digress.

Picard is old. Not the "Old but still lively" kind, but plain old. Yet around him, conspiracy unfolds. Romulans! Tal Shiar! Something even more dangerous! Explosions! Mystery! Ancient Prophecies! Borg Cubes! Grizzled, cigar smoking badass Captain! Pot-Smoking Minority! (oups). What I am trying to get at: Picard feels like a passanger on this trip, yet he is the only character to care about - this is his show, after all. But he isn't even Picard anymore, so much has changed.

What he needed was some final mystery, a small story. Some nice closure, a final trip to the stars. I would have watched a show about Picard travelling the country meeting up with old friends, seeing how they are doing. No plot required at all, just a journey. If need be, tie it in with his illness. A bittersweet goodbye to a beloved character. What we got is a situation where he's dead before he even started. The Romulans are already onto him, thanks to the conspiracy and him telling the wrong people what he wanted to do. Given the complete surveillance of the future, there is no way for him to get to his goal. This could of course have been averted in several ways, the simplest being him just getting his final command, which would also reflect better on Star Fleet and the Federation as a whole. This kind of "Against all Odds" story is more fitting for a young, determined individual. Picard would fit right in with political intrigue as well, not action.

Still, this is way better than Discovery, but at the same time, not very interesting. Maybe I am just jaded, but I don't care very much for prophecy stories, people fated to affect the universe in a profound way just because, or identity confusion. Pretty much everything is a foregone conclusion: One way or another, the prophecy will turn out to be true, but averted (because it isn't a prophecy, it's time-travel). Something-something will find out that she's an android and it will affect her life in a profound way, and in consequence the view of Synths in the Federation. Picard will be proven right in the end: They should have saved those Romulans, Mars was an inside job (well, outside, but the saying goes differently). The Borg Cube will turn out to not be completely disconnected from the collective - Seven has got to be of some use, when we finally meet her.

I comment on this episode because several things stuck out to me. First, the female scientist barging into Picards house holing a romulan disruptor. Why, how, when? An obvious plot contrievance. Why are the Romulans storming the place like a squad team when they should have scanners telling them exactly where everybody is, making for a clean execution? Why not just, dunno, death ray the place? Ever seen what a phaser on overload does to things? Why does Picard hide weapons under his desk? Did he expect to get murdered? On the most peaceful planet in the Federation? Why is Miss Goldilocks living out in the desert in a piece of junk when everything is supposed to be perfect in the future and you can replicate anything for free anyways? Why are the ex-borg completely scarred, when even Voyager level tech can heal skin like it's nothing? And Picards "Engage" was indeed cringeworthy. Picard isn't in command, and too much of a gentleman to impose himself on others in such a way. Or at least the Picard in my head is. He would also never name his dog "Number One", implying that Riker ain't nothing but a hound dog. He also wouldn't call his interview a mistake, for that matter. Picard defended principle above all else, no matter the cost.

All small things, but they add up to make one thing clear: This is something different from TNG, very different. It's another world, and it shows, because the old world is boring. Simple as that. TNG has been done, it will not be repeated. It was a product of its time. Picard, the show, is an adventure story. The kind that is popular right now, proven by The Expanse or Lost in Space. Picard should have been like "Midnight Diner": Smallscale, intimate, low stakes. Human. An internal journey, not an external one. Reflection and Introspection instead of Action and Grand Mystery.

So, let's see where this will go. Right now, it serves as a mind-clearing distraction for me, not exactly entertainment. Passive, distant and ultimately uninvolved consumption. A reminder that all good things must come to an end, and some of them have ended long ago. God do I feel old typing that out.
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Hank White
Wed, Sep 25, 2019, 9:50am (UTC -5)
Re: TNG S7: Masks

NONSENSE! Not the episode but most of the negative comments about this episode. It was abstract art. Give me a break. The universe is a massive probably mostly incomprehensible place and "Masks" placed us squarely within such weirdness but most people would seem to require training wheels of explanation to assist them at every juncture. No I did not understand either "Eraserhead" nor "Primer" but hey thank you creative bold filmmakers for the journey anyway.
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Hank
Thu, Apr 25, 2019, 9:12am (UTC -5)
Re: DSC S2: Such Sweet Sorrow, Part 2

@Omicron: Wow, didn't even notice that I wrote Orwell instead of Wells... Pretty big brainfart...

@Alan Roi: That reply was weak sauce. Also, I said "To the Federation, Burnham is literally Hitler", regarding her importance as a criminal actor, being the first mutineer, starting a war, etc. Which is obviously hyperbole, but ... since you didn't read, I won't bother anymore.

@Booming: Yes, the Federation is not really an authoritarian regime. But we don't learn very much about their inner workings, so we can not really say either way. However, everything we see makes them out to be either stupid or evil, abandoning principles at every turn while still being self-congratulatory about it. I mean, the whole Klingon War could have been averted if they just left the scene. Sure, T'Kuvma could still try to gain the support of the council by attacking some Federation outpost, but I don't see them rallying around him when the Federation backs down and he is the agressor. The whole point of the Battle of the Binary Stars was that it happened right by their ancient beacon, remove that context and T'kuvma is just a fringe extremist. T'Kuvmas point was that the Federation was expansionist, and the Federation proved him right by occupying Klingon space (even though unbeknownst to them) and sending a massive fleet to reinforce Discovery... Really, that whole stand-off was over nothing. We have seen the Federation time and time again choosing very carefully which Hill to die upon, even abandoning people for the sake of peace (that whole Cardassian Border debacle) to an expansionist regime, but now, somehow, that system in the middle of nowhere is important enough to go to war over?
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Hank
Wed, Apr 24, 2019, 4:15pm (UTC -5)
Re: DSC S2: Such Sweet Sorrow, Part 2

@Alan Roi: "Also, the robots showed up last year, when the Discovery was repainted to appear like an ISS ship, but since most detractors of this show don't pay attention, its not suprising that they think they just appeared this ep. I, however, have a good memory."

Wow, aren't you just great? Jeez, man, I am awestruck by your awesomeness. Sure, you are not calling anybody stupid - just suffering from amnesia... And in all your small triumphs of justifying things you completely miss the big picture.

Regarding Verne and Orwell: You missed my point, though. I understood what you tried to convey, no elucidating necessary. Star Trek is mostly Orwellian, in that sense, anyways: It always explores the human condition, the techno-babble is just the lense through which it is viewed. But if you introduce some scientific concept, and that concept is based on real world stuff, but gets it all wrong, thats still a problem in an Orwellian type of sci-fi story.

Which leads me to my main point: You think that we do not understand Discovery because we are 1.) not paying close attention and 2.) pay too much attention to how things work instead of what they mean, which is utterly ridiculous, given that Star Trek always was about "what it all means".

"As I have pointed out many times, if people pay closer attention to the show they will be rewarded."

No they will not be. Just look at Trents observations a few posts above. Explain those, please. Or why Discovery didn't jump far enough away to charge their crystal in peace. You suggested earlier that there must be a hidden meaning behind all that, that there is a reason for Discovery to stay so close. Well, yes, there is, we need Discovery to be there so that the Big Fight can happen. But in Universe there is no reason. Disovery can jump away, charge its crystal, and, if it so pleases, then just jump back to confront control, or lure it in. There is no reason to so drastically endanger your plan that hinges on being able to jump to the future when you have magic tech at your disposal. And they didn't know that the Klingons would show up in the last moment. They didn't call in reinforcements beyond Enterprise, they didn't try to lure Control in to a trap or anything, they just sat there. Have fun trying to explain that with character motivation.

In episode three we have a prison shuttle with one guard, flying alone in deep space, and that guard leaves the shuttle and instantly dies, because there is a space storm outside. Never mind that there are no storms like that in space, that you would never have only one guard on a prisoner transport ever, or that you would not use a shuttlecraft to ferry prisoners between far away points because shuttles are slow, but how did me paying attention in any way reward me with a better experience? That whole sequence was just there so that Discovery can pick up Michael. Thats it. They needed the shuttle to have an emergency, so that they would send a distress call, and they needed the guards to be gone, so that they would not look after the prisoners on board Discovery, so that Lorca can do his shenanigans, because as we later learn, he planned to abduct Michael all along because he is the evil space wizard. So the writers went with the most obvious and most visually spectacular option to achieve that end goal: Have a space storm (because ships sink in storms, space ships sink in space storms), and have only one guard on board that commits suicide. Problem solved.

The problems begin even further back, though, because why would Star Fleet not ask what happend with Michael? She was, after all, the very first mutineer, charged with starting a war. She is, in universe, literally Hitler, as far as Star Fleet is concerned. Even the other prisoners despise her. And then nobody cares that Lorca does not send her to prison but instead makes her his defacto first officer? It's the same problem as before: The writers need Michael to be an outcast, thus, she is made out to be the worst person ever. But the writers also need her to be the main character on board a military vessel, so they ignore their previous story and just put her there. This is all a problem of excess. Everything has to be over the top. It would have been sufficient to have Michael do something that was technically correct but very harmful to many people. She is put in front of a military tribunal, and they find her innocent. But she is still known as "Michael the Killer" or something because her actions caused the death of many people, and everybody despises her. She herself is completely guilt-ridden, because what seemed like the logical choice turned out to be horrible in hindsight. (Heck, it could be something simple like her shooting Georgiou accidentally while they try to capture T'Kuvma, and she then retreats without capturing him and he is later killed when Federation reinforcements show up, completely eliminating the stupid scene where she sets her phaser to kill intentionally despite her previous objections, and yes I know, heat of the moment and all that, but that has been discused to death already) Then Lorca comes along. He already leads a black-ops ship full of shady people, who are ruthless but efficient, and he wants to have Michael Burnham. Star Fleet agrees, and she is send to the Discovery.

Now, the story does make sense and follows the exact same beats as before, but does not require you to not think about it. You do not have a prison guard so incompetent as to get (her?)self killed in the space of five minutes of screen-time. You do not send your most closely guarded prisoner with a completely inadequate shuttle, if only for the reason to save her from retribution by over-zealous Star Fleet personel.

Or what about the scene where that security chief, i forgot her name, lowers the force field and instantly gets mauled by the tardigrade? I mean, sure, over confidence is a thing, but ... thats just outright stupidity. They KNOW that phasers to not hurt that thing and they KNOW what it did to the Klingons because they SAW it earlier... but sure, just go on in... So maybe I didn't pay enough attention when it was established that she is so utterly overconfident and self absorbed that she completely ignores reality around her. But even if you could successfully make that point, you are still missing the forest for the trees. That whole scene is completely stupid. If she is so incompetent, she would not have been security chief in the first place, but if she still gets that position, that means that everybody above her is also completely clueless... It goes on and on.

Or the way that the Klingon war ended. Star Fleet: "Hurr durr, lets just threaten them with genocide, that will make them give up!" Also Star Fleet: "Lets give the detonator to that Klingon Fanatic that brought on the war in the first place and make her the new Dictator!" Also Star Fleet: "Ermagherd, we are the good guys!" Starship Troopers was right: "Violence has solved more problems in history than anything else!" What is stopping L'Rell from just resuming the war with the Federation now that she holds the controls? Nothing, really. Which makes the whole thing not only morally questionable (one could argue that extreme danger justifies extreme means to ensure survival) but also utterly pointless. The only reason that the plan works is because L'Rell does a 180 and completely goes against her character, because ... reasons.

How has it come to this, that Discovery openly advocates for violence and expects us to cheer for it? Same problem as above: Excess. Instead of having the Klingon war being hard fought but fairly even, which results in an eventual cold war because neither side can beat the other, they have the Klingons completely annihilate Star Fleet - so much so that they are literally right above earth when Discovery returns from the Mirror Universe. Once written into that corner, they can only do something crazy to pull themselves out of it - and they don't even manage it, if you pay attention....

Oh, or how Tyler shows up in the finale on the Klingon ship? Remember when he was the Arch Traitor, who killed L'Rells and Voqs Son, at least that's what the Klingons know? And revealing that thats a lie would instantly crumble L'Rells power base and lead to civil war? Yeah, now he just casually stands there and nobody bats an eye. Guess all those Klingons aboard are 100% trustworthy, and will shut up about it, just like not a single person ever mentions Spore Drives or the Red Angel ever again, because the writers need a soft reset because their story goes nowhere...

I will stop now, but I could go on and on about how paying attention does NOT lead to higher enjoyment of Discovery in the slightest.
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Hank
Tue, Apr 23, 2019, 4:40pm (UTC -5)
Re: DSC S2: Such Sweet Sorrow, Part 2

Oh, just one other thing:
@Alan Roi: A show asking the viewers to fill the blanks in themselves is literally a show about plotholes... Thats what plothole means. A hole in the plot. Sure, we can come up with all kinds of answers to all kinds of questions, and we can interpret the shit out of Discovery, so that it becomes this intricate, multi-season mind bender, but then again, thats our imagination, not the show itself. Last episode you tried to explain the arrival of Sarek by pointing out that Michael contacted him in the past via time travel. Yes, that could have been. But it wasn't. Sarek followed her by Katra-Sensing. Which doesn't explain anything, because it is a temporal, not spacial problem. Yes, you are right, your explanation makes sense, and you might have come up with it in five seconds without breaking a sweat.

Everybody can do that. For example, contrary to popular belief, Burnham didn't shoot T'kuvma in a completely human emotional outburst, but because she knew that it was necessary to shoot him. Hence her completely emotionless acting in that scene. It was deliberate, because she actually recieved a message from her future self saying that it was necesarry to kick of the events that would follow from his death, because a few hundred years later, Klingons and Humans would learn to live together, but if T'kuvma lived, that would be imposible.

See? Now all of Discovery makes sense again. Except that nothing like that was shown on screen and no hint was given that it worked that way. What you are doing to make Discovery make sense it was conspiracy theorists do: Jet fuel can't melt steel beams, hence it must have been explosives, and it makes sense in-universe, because Ameirca wants to have the oil of the middle east. Expect that you don't need to melt steel beams to weaken them enough that the building collapses, so the the whole theory is not needed.

It's fine that you have fun with that. But I am tired of your constant proclamations that "everybody else is just stupid, you don't know how to HANDLE such an intriciate story, that deliberatly leaves out half the important facts so that you can come up with your own reasons, but that would require thinking, and since you all like your Star Trek to hold your hand and spell out its morals, you can not possibly comprehend Discovery, because you look at it like Verneian fiction, where the characters are in service of the technology discussed, while this is Orwellian fiction, where the implication of those technologies are discussed, but it is pointless to talk to you anyways because you dismiss the series out of hand by simply saying that its "pointless" and "stupid", because you don't dare to engage the series with intellectual honesty".

You described yourself as a writer, who loves to come up with solutions to story problems. Thats great. That explains why you have so much fun with Discovery. Because you are not watching the Discovery that we are watching, you are Watching "Alan Roi Discovery", you make your own story as you go along. And thats fine. But it does not make Discovery any less convoluted, disjointed or nonsensical.
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Hank
Tue, Apr 23, 2019, 3:50pm (UTC -5)
Re: DSC S2: Such Sweet Sorrow, Part 2

Having not watched the last three episodes (besides the last five minutes of the finale), just reading the comments, I must say that it is perfectly fitting that the series writes itself out of existence. Well, not really, since the "nobody talks about it"-retcon is the weakest reset button, but ok, lets assume that everything is reset. Back in season 1 I had the hope that by the finale it would turn out that it was all just a weird dream, and we are now getting basically this. It was clear from the start of season 2 that the writers tried to retcon everything away (with characters mentioning that in-universe, for example "Remove all the holo-comunicators!"), because they really had no-where to go. They couldn't do their own thing, because their own thing sucked, and they couldn't go full-retro beceause they would have had to have a massive break in the story, plus throw away all their sets, scripts, etc. So they give us this: Kirk and Spock are where they should be, nothing what Discovery ever did matters (because nobody talks about it, so it might as well not have happened at all, which, in a funny way, proves all the people right who said this show was pointless), and the Discover herself is off in the far future - where the whole story should have taken place to begin with. This whole second season was the writers basically saying: We screwed up, we made a huge mistake, now we just pretend nothing happend.


The last five minutes of this episode could have been the beginning of Discovery (on board the Discovery, not the Enterprise), a well balanced modernized set design (could have been a little lighter still), updated uniforms, etc etc. Just imagine how fun that would have been, but alas, thats not what we got. Still, it is painful to see what could have been.
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Hank
Tue, Mar 19, 2019, 6:24pm (UTC -5)
Re: DSC S2: Project Daedalus

@Booming: Sorry, by first saying "You can pick apart anything" and then giving the example of the Borg having glass jaws, you gave the impression that that point was just glossed over previously.

No, I am sure that most people here are not idiots, quite the contrary, actually.

My argument was that shows and movies, regardless of the outside influences and constraints that apply, can be judged along objective comon criteria. For example: Character A is holding a sword in scene A, after a cut he holds a gun, and after another cut he holds his sword again. All that happens in 3 seconds of screentime with no timejumps between scenes. We will both agree, hopefully, that that is an inconsistency.

Now, the part where we disagree in the relative value we assign to this scene. You might simply ignore it because it was just a simple mistake and enjoy the movie regardless, while I, hypothetically, am completely analy fixated and write a fifteen page dissertation about why that ruins the movie completely. In that case, it is arguable that the problem does indeed lie with me, and not the movie.

But if we move away from such clear cut cases, it becomes increasingly harder to determine if it is just my problem or an actual problem in the movie. Lets say the movie has fifteen scenes like that: Characters holding guns when they held a stick before. Doors being open that were explicitely shown to be locked. At some point, the case can be made that the movie is objectively bad. It doesn't mean you are an idiot if you enjoy it. It just means that you ignore more things than other people when assessing the value of the movie. And that is, of course, highly subjective.

So yes, it is related to me, and we can include Alan Rois remarks from above here, who quoted you with: "When people hate a show it often has less to do with the show." This, I think, is a non-argument, just like "When people love a show it often has less to do with the show." is a non-argument, because it conflates subjective enjoyment with objective merits that the show or movie has. The implication is, of course, that the people who enjoy/hate the show are just to stupid to understand it, and that the show itself is flawless/utterly terrible. Telling people that they are the problem, and that if they only were to view things from a different (=the other guys) point of view will never convince anybody to change their mind. The other points of view are clearly laid out here, thats one of the reasons that I read the comments, but if they don't convince me, they don't convince me.

We are again in territory that Jammer wishes to not have on this site in such large quantities, so I will just end it here.

Anyways, I wish you good fun with the remaining 40% of your wine bottle (though I do hope that you are drinking the wine and not eating the bottle ;)).
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Hank
Tue, Mar 19, 2019, 4:52pm (UTC -5)
Re: DSC S2: Project Daedalus

@Booming: The neutering and butchering of the Borg is one of the most common criticisms of both First Contact and Voyager. So it hardly went over as well as you suggest here.

And why can't you compare writing in movies and in TV shows? Consistency, logic and suspension of disbelief work just the same in both mediums. Time constraints don't apply there, as you can just take one scene of a series and one scene of a movie and compare those.
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Hank
Tue, Mar 19, 2019, 3:47pm (UTC -5)
Re: DSC S2: Project Daedalus

Ahhh, come on...

Where are the Admiral and Discovery meeting that she can just jump there instantly with her shuttle? Or was she undereway for a few weeks? Couldn't have used the spore drive. Oh well, space is small.

There is a logic extremist (a known terrorist group) Admiral behind section 31? What the actual fuck? If that is public knowledge, why is that Admiral not removed? "Her fanaticism is ... troubling" Yes of course it is, that's why it's called fanaticism... Jesus. That line delivery, and that sentence, was utterly stupid.

I did like Spock chewing out Burnham. Didn't like him getting all emotional.

Blade mines. The worst invention since the spore drive. You have an organisation with apparently unlimited power constructing forbidden weapons, mines, and instead of arming them with anti-matter warheads, cloaking and shield penetrating abilities, they arm them with swords. Fucking brilliant. Next they invent the front loaded laser musket. The mines are in direct contact with the hull, one anti-matter warhead and Discovery is toast, but no, nada. And when we finally get explosive mines, they detonate with about 100kg TNT equivalent.

Also, the mines track shields, but apparently not the ship itself. What a great targeting system. The Admiral says it is impossible for somebody to remotely send the mines somewhere - why? Because they have no propulsion? In that case, why would you deactivate your shields in the first place? The mines couldn't move to intercept you anyway. Or is it because you can't communicate with the mines? In that case, why can't you? they are not cloaked or in some subspace field or some other technobabble, they are clearly visible. You could send them flag signals for all that we know.

"Sensors say we are upside down" ... ugh, what? In which reference frame? "Black-out mines interfere with our sensors". Yeah, right. Telling you that you are upside down in space, where "down" is not even a valid direction.... Or does space have a "This side up" sign? "Helm is not responding" "It is, you are flying blind, just like in the academy" uh ... no. flying blind is flying without knowing where you are headed. When the helm does not respond it means that your controls are broken. If those black-out mines can hack the sensors that tell you which thrusters are firing, or at how much power your impulse drive is, they can also tell your warpcore that it is only at 50% power, so that it will try to reach 100% and overheat shortly after. They could also tell your oxygen sensors that there is a lack of oxygen, thus the system will flood your ship with more and more oxygen until everything spontaneously combusts.

Stamets is working on a part that he removed from some system. As that part fails, the whole room loses power... Of course, when I remove a tire from my car and then deflate it, the battery shorts out and the doorlocks open.

Airiam offloaded all her memories to Discovery, yet Tillys speech manages to convince her. Why? She has no memories of ever interacting with her at all. Or who she is.

"Michael, it is all about you!" Well, that was a surprise, wasn't it?

To be honest, that "Advanced AI wants to become sentient" plot could have been nice. If it was a standalone episode. Instead we have conspiracy upon conspiracy, and another threat to all sentient life in the galaxy (AI-sentience = all life gone. Well Data... looks like we will have to terminate you). I actually liked some of the cinematography of this episode, and we finally get to know what exactly Airiam was (of course, she has to die as soon as we know something about her...), but whatever potential there was for interesting developements is completely undermined by all the nonsense. Everybody knows that a minefield is dangerous, no need to reinvent the wheel. Enterprise had a very nice episode centered around mines. If the AI is in complete control of the station, why can they turn the gravity back on? Why doesn't the AI turn up the gravity to 11? Again, it could have been interesting, but it was mostly poorly handled.
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Hank
Fri, Mar 8, 2019, 7:10pm (UTC -5)
Re: ORV S2: Blood of Patriots

@Charles J: Yeah, ok, that's a fair criticism. But, on the other hand, we don't know how it plays out, so it is not really fair to compare this single episode to the great DS9 storylines that came in the following seasons.

But yes, there is not much setup for a follow up here, which was your main point. I disagree somewhat on the character part, as for the first time Gordon seems to be more than just comic relief, and he actually makes a hard choice for once. I also got the impression that Mercer was acting a tad more disciplined than on other occasions. But that is a rather minor detail. I agree that it would have been nice to see more of the internal workings of both the Union or the Krill. We got glimpses, but nothing substantial.
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Hank
Fri, Mar 8, 2019, 6:53pm (UTC -5)
Re: DSC S2: If Memory Serves

@Gil: Funnily enough, I thought the same. There was instant chemistry between them, more than between Ash and Burnham or Culber and Stamets... Maybe we are in for another surprise.
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