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Mon, Oct 14, 2019, 10:20pm (UTC -5)
Re: TNG S3: Sins of the Father

Watching and commenting:

--Kurn!! I like Kurn. Instead of "Engage," he says "Execute!" Perfect.

--Picard sure can slice a turkey! I'm going to invite him to my Thanksgiving this year. Please pass the potatoes, Jean Luc.

--Great scene between Worf and Kurn as Kurn makes his revelation. But I have to say, it's hard to believe Worf, at the age of five, wouldn't remember he had little brother. But I will accept it.

--Picard makes a wonderful gesture, going with Worf to the Great Hall.

--Duras. Such a slimy guy.

--"It is a good day to die." Such a useful quote. I like to pepper it into my conversation whenever possible. I need to go to the BMV this week. Maybe I'll have an opportunity there.

--Nice bonding and development of Picard and Worf's relationship.

--Lots of references to who's in charge, who's got the power. And lots of references to the past, what can be left behind, and what cannot - what is dead, and what is not, what is unchanging, what has a lasting impact, and what is lost.

--Worf makes a huge sacrifice for his brother.

Nicely done.
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Mon, Oct 14, 2019, 9:27pm (UTC -5)
Re: TNG S3: The Offspring

A solid episode.

I liked the beginning, everyone's reaction when they see The Child, and Picard trying to explain his concern to Data is priceless. Spiner and Stewart are great.

Does the crew generally consult Picard before they procreate? I bet they don't, Data.

Picard and Data reminds me of Janeway and the Doctor - yes, the Captains acknowledge the sentience and indulgence and rights of their non-biological crewmen, but not really. Not completely. Not wholeheartedly.

The Riker business in Ten Forward was a great little lighthearted interlude. Wouldn't want Data to miss out on the "dealing with Lotharios" aspect of raising a daughter.

The ep hammers the importance of relationships, connections, when it comes to "being human/truly alive." At a micro-level, literal connections form in Lal's brain, at a macro level we watch the connections amongst the crew (we open with closed-up-in-his-lab Data finally letting his friends in on his little secret, as doors open and shut. Lal asks about everyone's coverings, and we get repeated references in the ep, to sharing our inner lives, to connecting to others). And we watch the connection form between Data and Lal.

In doing this, the ep also explores the definition of love. Data's attentive, concerned, protective actions toward Lal has Dr Crusher believing he loves Lal. Is love ultimately defined by, expressed by, actions?

There's something else we're hitting on here: What did Worf tell Q, when Q asked what he had to do, to prove he was human? DIE.

A lot of nice little moments, well done. A bit too low key for me to think of it as a classic, but definitely a good one.
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Paul Hardwick
Mon, Oct 14, 2019, 5:26pm (UTC -5)
Re: TOS S1: Miri

I watched this episode today for the first time since I was a kid and I was genuinely impressed with the build up. Very eerie setting and the kids playing havoc with the new grups by throwing things at them at singing the "nyah nyah, na nyah nyah" was just brilliant. When the zombie like creature first enters at the start when Bones takes an uncharacteristic interest in the wheel of trike was an excellent action sequence with some great (for the day) makeup.

The premise is both intriguing and absurd. With a little more care with the writing, perhaps allowing some better character development and maybe playing off the whole Kirk, Miri and Jand love triangle with more aplomb may have led this episode becoming a true classic.

Unfortunately we have some jarring dialogue (Bones : I've never seen so much bacteria, enterprise, send down some virus scanners!) and kirks final speech is pretty lame. The ending left me agog with the Enterprise leaving orbit and leaving the kids there on the planet!

So a great start to the episode but it doesn't meet its promise of a true classic.
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Peter G.
Mon, Oct 14, 2019, 3:24pm (UTC -5)
Re: TOS S1: The Return of the Archons

@ Chrome,

"However, the episode isn't consistently anti-Christian as the solution to beating the machine is telling them how important soul and human spirit are (which is a message aligned with Christian values)."

Yeah, I would say that the message seems to be against what I would call 'fake Christianity', i.e. the sort of society that forces a bunch of conduct and for everyone to walk around pretending to be happy all the time. It's the Christian-shaped tyranny that I think is being criticized, which to be fair many Americans probably equate with Christianity as a whole anyhow. But I think Kirk and co. are effectively operating as "real Christians" here insofar as they see it as their obvious goal to save people who are in trouble and to help them start thinking for themselves.

I also agree that this is another "look for a better structure" type episode, and it's probably most like The Apple in that a happy-seeming people are told it's not good enough. The difference here is that the people aren't really happy, they're just forced into a mode of conduct that in reality leads to explosions. So basically the episode is saying this model doesn't work at all. In The Apple that type of society actually does work, but at the expense of keeping the people like children for all time. The Side of Paradise is actually a funny one and I'm not even sure where that one lands in Trek ethics. Basically it's a strange case of mutualistic parasitism where the spores get what they need and give the humans everything they need, albeit also at the expense of their ambitions. I feel like that one is closer to really asking "do people really need their ambitions, or are those just a means to get to the pleasure they want?"
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Top Hat
Mon, Oct 14, 2019, 8:17am (UTC -5)
Re: DS9 S5: The Darkness and the Light

I always thought this episode (which I mostly like) has an unresolvable plot (or at least thematic) problem towards the end. Odo assembles for Kira a list of 25 suspects:

ODO: My sources on Cardassia have given me a list of possible suspects. They all have the computer skills, the opportunity and the motive to carry out these attacks.

Conveniently this list seems to be nothing but a set of names -- it doesn't detail who they are or their potential motivations or their skill set. Prin ends up being fourth on that list -- a tad convenient but not outside the realm of possibility. But the fact that he was on the list at all means that he is known to be a computer expert with a malicious vendetta against the Bajorans. I guess that sort of is possible -- but does it fit thematically? This sort of flies in the face of "just a domestic servant," no? Okay, so he acquired the computer skills after his disfigurement in order to pursue his eventual revenge but he did it with a sufficiently high profile to be known to Cardassian intelligence.
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Top Hat
Sun, Oct 13, 2019, 8:54pm (UTC -5)
Re: TOS S3: And the Children Shall Lead

Is it clear that McCoy outright lacks the authority to overrule Kirk on this point? It seems possible he has just decided not to, only to register objections.
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Peter G.
Sun, Oct 13, 2019, 8:24pm (UTC -5)
Re: TOS S3: And the Children Shall Lead

@ Trish,

"What happened to the Chief Medical Officer's authority in matters of health? Shouldn't he be ordering the captain to take the kids to the starbase for the treatment he believes, in his expert medical opinion, they require? Or at the very least ordering him not to play psychotherapist with them?"

That's a very reasonable question and really does impact on how we read some of these Trek stories (by no means just this episode). Maybe someone who knows officer regs in the current military will comment too, but from what I can gather from Trek itself the CMO has medical authority with regard to the fitness of the Captain and crew only, and does not have any mission authority nor authority over the Captain's decisions so long as the Captain is fit for command. If the Captain gives an order that's that, although the CMO can file a protest if they wish. So the CMO can order the Captain to take leave or dismiss the Captain from duty if the Captain is medically unfit, but other than that cannot issue orders to a superior officer.
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Sleeper Agent
Sun, Oct 13, 2019, 4:07pm (UTC -5)
Re: VOY S6: Equinox, Part II

The first part was pretty good, the second part, however, is magnificent.

Mostly thanks to Mulgrew, who is absolutely ravishing as dark Janeway. The interplay between her and Chakotay also added an interesting dynamic to the duo (although I can't for the life me understand why anyone would disobey Janeway).

Also, Savage does an excellent job as Equinox's Captain. I thoroughly enjoyed the Doctor without the ethical subroutine as well, reminded me of the great movie "The Dentist".

4 Stars, thanks to the Janeway factor.
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Top Hat
Sun, Oct 13, 2019, 6:33am (UTC -5)
Re: DS9 S2: Melora

@Omicron, that's precisely what I was getting at. The phrase "differently abled" might help reshape the language, since "disabled" has an edge of "there's something wrong with you," rather than that society and your environment fails to accommodate your needs. This episode seems like wants to make a statement about the way we construct disability, but it's too muddled to say anything coherent.
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Sun, Oct 13, 2019, 2:44am (UTC -5)
Re: TNG S3: A Matter of Perspective

Well, I didn't really care for all the character drama stuff in this one.

What I absolutely loved about this episode is the twist ending. It was an ingenious sci fi idea which, to me, makes up for the... ehm... less-than-stellar moments that came before.
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Sun, Oct 13, 2019, 2:35am (UTC -5)
Re: DS9 S2: Melora

"I do find the point interesting that Melora is not strictly a disabled person, but an alien who travels outside of environments her species has evolved for. Does the euphemism "differently abled" apply more strongly? After all, the problem is the environment around her, nothing inherent to her body."

The same could be said about many of the "disabilities" in the real world, though.

People in wheelchairs would be able to do everything a walking person could do, had they lived in a suitable environment. Does it really make a difference, whether this ideal environment actually exists on some planet or not? The only reason these people have such a hard time in the actual world, is that we live in a society that takes walking for granted.

And the simple fact is that the word "disabled" nearly always refers to some kind of external standard: You can't be "disabled" in a void. It's always in comparison to some set of requirements for being "able-bodied" which is - in the end - a largely social construct.
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Sun, Oct 13, 2019, 2:05am (UTC -5)
Re: DS9 S2: Melora

It's kinda hilarious (in a bad way) that the crew of a space station on which different SPECIES work together, make such a big deal of something as simple as making access for a wheelchair. You'd think such a place would need to accommodate a far bigger spectrum of diverse needs, like extreme temperatures or unusual breathing mixtures or the-devil-knows-what-else, on a daily basis.

Yes, I know that in Star Trek 99% of the aliens are basically humans with prosthetics. And in an ordinary episode this would be fine. We just accept it as a conciet needed due to the constraints of television story-telling.

But when you have a story like "Melora", the rediculousness of it all suddenly becomes evident. In short, this is a story that shouldn't have been made in the first place (even if they fixed all the problems).
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Sun, Oct 13, 2019, 1:39am (UTC -5)
Re: DS9 S5: In the Cards


Don't worry. I have absolutely no interest in continuing on this futile tangent.

Now back to discussing DS9 and this episode:

I actually agree with Lew's general point of how the people onboard DS9 are behaving too much like 20th century humans. It's a thing that bugs me too about this show (and to lesser extent - about Voyager).

I just don't agree with the specific example he gave here. I don't see anything "greedy" or "primitive" in the idea of cheering Sisko up with a sentimental gift. In fact, I find this episode heart-warming and beautiful (and much of the stuff with the Geiger fellow was also hilariously funny).

It's ironic. Because my biggest gripe with the characters of DS9 is how often they fall into being egotistical and petty (at least when compared to the earlier Trek shows) and the spirit of *this* episode is precisely the opposite of that.
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Sat, Oct 12, 2019, 9:49pm (UTC -5)
Re: TNG S3: Yesterday's Enterprise


Some truly wonderful performances, Whoopi, Patrick and the actress playing Captain Garrick, especially. Crosby was good, too.

The quickie romance was done about as well as it could be - the extraordinary life-and-death circumstances and low key presentation made it believable and engaging (instead of nauseating, as in many the quickie ST romance).

Though I gotta say, that actor playing Castillo looks so much like Joe Piscopo that I kept flashing back to Piscopo's awful turn as Data's comedy mentor. Yeeeeee.

Loved the scene in the ready room when Picard tells then he's sending The Enterprise C back - fantastic camera work as we slowly pan through the players. The mood setting throughout was excellent. Perfect.

Sadness. Sweetness. Right and wrong. Terror. Determination. Courage. Confidence. Sacrifice. Leadership. Trust.

Time - lives so predetermined, so tethered, yet so completely malleable and free. So, so short.

The quest for meaning and purpose in this well ordered, yet wholly random, Universe.

The balance of instinct and intellect - so hard to do right, but so important to do right.

The ending, as they fought off the Klingons and Geordi cleared everyone out of engineering, had my heart pounding and tears in my eyes. It didn't matter that I'd seen this one before, and I remember how it ended.

Good stuff - a classic!
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Sat, Oct 12, 2019, 7:11pm (UTC -5)
Re: TNG S3: A Matter of Perspective

@Peter G

Love your comparison of the paintings to the versions of what happened in Riker's room (and @Chrome, your addition was great).

If I remember right, they were three paintings, and three story versions - if I had to pick which story was analogous to Picard's painting, I'd say the last one - it's the last one examined, as is Picard's painting. And it's the least believable/most distorted one. (The story told by the assistant that includes the "You're a dead man!!")
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Fri, Oct 11, 2019, 10:46pm (UTC -5)
Re: TNG S3: A Matter of Perspective

Watching and commenting:

--Well, we're clued off right away from the title and Data's funny critique of Picard's artwork, that this ep is about individual perspective.

--OK, is this the one about the woman/wife who accuses Riker of being inappropriate with her? I hope not. I remember it fairly well, and remember that I did not like it.

--Yes, it is that ep, isn't it? And now I don't feel like watching. But I'm too much of a tight-a** to skip any eps on a rewatch.

--Pretty bored, but it's hard to judge this fairly when my boredom could be in part due to remembering this fairly well, so - no suspense.

--Just kind of silly and unoriginal - the premise (literally showing us their separate perspectives), the technobabble from Geordi and Data (the holodeck did what??), the psychobabble from Troi (both are reporting their memories completely honestly??).

Little to recommend this one. Below average, and very, very skippable.
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Sleeper Agent
Fri, Oct 11, 2019, 3:50pm (UTC -5)
Re: VOY S5: Warhead

I have to admit I'm somewhat perplexed over the negative opinions that many seem to have about "Warhead".

I thought it was an interesting story, beautifully filmed and with strong performances by all - except Picardo. He was too similar to the Doctor, should've switched it up a bit more. I loved the sounds the warhead made to communicate btw.

3 very solid stars.
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Top Hat
Fri, Oct 11, 2019, 11:12am (UTC -5)
Re: DS9 S2: Melora

This was very interesting commentary, MusicalTurtle... I can't help to think more than this wretched episode deserves. I do find the point interesting that Melora is not strictly a disabled person, but an alien who travels outside of environments her species has evolved for. Does the euphemism "differently abled" apply more strongly? After all, the problem is the environment around her, nothing inherent to her body.

Would this episode had made more sense without the science fiction twist (which in a lot of ways fails to make sense -- shouldn't Melora be way less humanoid if she evolved in such a different enviornment?) and simply been told about a more conventional disability? Does it even make matters worse -- Melora's problem is that she's strayed too far "out of her lane" into a world that she's ill-suited to?

PS: I read it long ago, but there's an essay specifically about this episode called “No Ramps in Space: The Inability to Imagine Accessibility in Star Trek: Deep Space Nine.” It was in this academic collection:
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Fri, Oct 11, 2019, 4:50am (UTC -5)
Re: DS9 S5: In the Cards

@Lew Stone

It's amazing that every single thing you've accused the people here of, is a thing that you yourself are doing.

Can't accept criticism? check.
Arrogantly assuming that you're better then everyone else? check.
Playing the role of a victim? check.
Taking everything here way *way* too seriously? check.

So you might want to lighten up...

Also, please remember that this a Trekkie discussion board and that one of our favorite hobbies is to nitpick and overanalyze and correct EVERYTHING we see. So if you see people doing that to your comments, try not to take it personally.

(you might also want to take it as sign that you should try and improve your arguments)
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Thu, Oct 10, 2019, 9:29pm (UTC -5)
Re: DS9 S2: Melora


"And don't forget. Disabled people got that episode which is meh but think about what the transsexuals got... a sex change for Quark and gay men were completely absent."

Representation done wrong is worse then no representation at all, tough. I was actually astounded to learn that the writer of this episode was himself disabled, because Melora (both the episode and the character) annoyed me to no end.

And it's not true that the LGBT people didn't get anything. They got "rejoined" which - in my view - did everything right on this front: It managed to demonstrate that same-sex relationships are a non-issue in the 24th century, while ALSO giving us a compelling "gay rights" allegory.

Of-course, I'm not gay myself, so feel free to dispell my enthusiasm for that episode :-)
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Peter G.
Thu, Oct 10, 2019, 3:36pm (UTC -5)
Re: DS9 S2: Melora

@ MusicalTurtle,

I respect that your position on this comes from personal experience and it's interesting to read your take on it. But I would like to comment on this specifically:

"But not only is she the central character, her disability IS the story - so it HAD to be done right. That's the responsibility they chose to take on and I'm not sure they get a pass just because it was the 90s."

I know you already prefaced this with that it doesn't get a pass just because it was in the 90's, but I think that detail really does matter. At that time certain shows like DS9 (and Frasier, as recently discussed) tried to make a big deal about representing certain lifestyles in a positive way, or at least as being viable. And yet, being the era it was, it was going to come with a sort of cheery and sometimes simplified tone that IMO is highly indicative of TV and film from 1985-1995. The optimism of the time sometimes wiped away ugly details. That may be called a flaw, but I'm not sure it's quite fair to blame DS9 itself for it.

In this ep we are given the usual scenario: some unpleasant situation walks in the door. In this case it's a disabled person with a bad attitude, but I think that allegorically it means that for all the positive talk many people in the early 90's still had a sort of disdain for disabled stuff, like making places accessible and that sort of thing. So there was likely a clash in the culture between being increasingly understanding, versus the whole "ugh why do we have to be inconvenienced by this crap" self-serving attitude. So yes, they give Melora a bad attitude here, but I think it's sort of like us getting the POV of someone having to annoyingly cater to a disabled person when all they see is the wheelchair. Sort of like "well I guess we have to treat this person special but it's aggravating to go through all that." What I think the episode is doing is saying that, no, actually it's a real person and not a wheelchair, and that the 'annoyance' that comes with the handicap will go away when you get to know her and see her as a person rather than a disability. In terms of the structure of the episode Julian warming to her is roughly on par with him seeing her more as a person and less as a project. And actually that's a good place for him to be as a character too, since he tends to objectify people in terms of "hot woman, should pursue", or "patient, should heal".

Where the episode may be lacking, and maybe what you're picking up on, is that it doesn't really give us her POV at all. What we see is *other people* experiencing the initial annoyance, then learning stuff, then warming to her, with a happy ending where understanding is achieved. So it's all from their side of things, and we don't get her side to much of an extent other than when we refuses to change her lifestyle to suit them. But even then it's sort of showed as how they would receive the refusal, not so much her perception of all these things. Maybe that is a failure on its part, and maybe it's a 90's style failure, but I do think the spirit of the thing was to show that their initial annoyance was due mostly to not knowing her better, even though it certainly might come off as her having an attitude problem. That's sort of an issue in general with using a scenario as a placeholder for a social situation.

Not that I'm greatly defending this ep, it's one of my least favorite ones. I'd just sort of at least give them credit for trying.
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Peter G.
Thu, Oct 10, 2019, 11:30am (UTC -5)
Re: DS9 S5: In the Cards

@ Lew Stone,

It's interesting you suggest that Jake should have written a sonnet for Ben as part of your critique of the episode. Your general tone seems to indicate you know better than everyone else. Well ok, let's put that detail on hold for the moment. Then you suggest that you also know better than the writers of the episode what would cheer up Ben most, and that it's not an antique baseball card but rather a piece of literature. Let's examine that. Have you seen any evidence in the series that Ben is a fan of high literature? Sonnets? Sure, I guess maybe people in the Federation may read more than people today do, but have we seen anything in DS9 to show he's an avid reader, or lover of poetry, like Picard was? If not, why should that gift make him happy? Because you think it's thematically more appropriate to Jake's characterization?

So let me ask this: when you're getting a gift for someone, do you get them something according to what would maximally demonstrate "your characterization", or do you get them something you think they'd like, based on their tastes? Do you think of creative ways to fulfll what they would like, or do you get thems something *you think they ought to like*? From your suggestion it's sounding like you think Jake should get Ben something you approve of rather than something Ben would actually like. You say that poetry or whatever is better for getting over war doldrums. Is that a fact? Show me the study where the test cases prefer poetry to sentimental shows of affection and I'll be quite interested. On the fact of it your argument seems to make no sense, and I have no reason to believe Ben would be interested in poetry or that it would lift his spirits, other than it's from Jake. But since it has that in common with a baseball card that point is moot. The card is something peculiar to Ben's tastes, so it does seem like the clear choice over something we have no way to know if he'd care for. So are you sure your attitude on this plot point isn't another case of thinking you know better, in this case knowing better than someone what their own likes are?

I mention all this as sort of a parenthesis, because harping on the choice of gift is actually missing the point of the episode entirely. What Jake and Nog needed was a quest, to be able to do something. The fact that it ended up being an immense treasure hunt is exactly the point of the episode, and in some way the card turns into the holy grail in that it was the focal point of a huge exertion whose pursuit brought out the best in Jake, to the point of standing right up to Weyoun. *That* is what Ben would have been most proud of, and although Ben doesn't actually see all this we do, and that's why it's a good episode.
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Thu, Oct 10, 2019, 6:45am (UTC -5)
Re: DS9 S5: In the Cards

"I never said Sisko was "forever depressed" or going to eternally sulk, your words, not mine, but nice try. I stated that it is silly to think that a baseball card, or any gift for that matter, will alleviate the depression that comes from a looming conflict such as war."

Look... I've lived through my share of impending wars and existential dangers, and I can tell you from experience: The most important and most healthy thing you can do in these situation is to realize that LIFE GOES ON.

Yes, it is *natural* to become preoccupied with the thoughts of doom and the horrors of death. But it isn't healthy. At least, it isn't healthy to be like that ALL THE TIME.

And yes, small actions of goodwill can do wonders in this respect. It may not be 'logical' but human emotions seldom are logical. The simple truth is that it often works.

Of-course, this doesn't mean that now everything will be bubbly and happy forever. It just makes coping with the impending doom easier.

Also, it isn't just the baseball card that cheered Sisko up. It's the fact that everybody on the station was a little less tense because someone has done something nice to them that day.

I know, I know... It is terribly cliche. But it is cliche because it is *true*.

"I'll even give you a quick example that I just thought of. How about a tie-in to Jake's writing ability to have him write a an ode, a sonnet, any kind of poem, or short story, for Sisko that incorporates Sisko's life, his present love interest, as well as themes of peace, love, and acceptance, the beauty of life, the nobility of fighting and dying for your beliefs, and have part of the episode revolve around THAT."

The nobility of fighting?! Dying for your beliefs?! How the hell is that supposed to cheer anybody up? And shouldn't the 24th century Federation be above this kind of thing, anyway?

To be fair, it does look fitting on paper. But unfortunately, to a person who actually *lived* through similar situations, it just doesn't make any sense.

Unless it's a Klingon ship. Writing that song to Worf and Martok would certainly get their spirits up :-)

"Oh well, maybe you guys need to read more classic literature, you don't seem to get it."

Or maybe classic literature isn't as "realisitic" as you think it is, when it comes to the human condition?

"Oh, and the 'are you stalking me now' was a joke, or couldn't you tell?"

Of-course I couldn't tell.

As Booming already told you a few episodes ago, people cannot tell your tone of voice over the internet. He also recommended that you use emoticons to clarify your intentions, to which you replied "good point".

In the post we're discussion right now, you didn't use any emoticons. So if you *were* joking and people didn't get it, the responsibility for not getting the message across lies squarely on your shoulders.

"I'm beginning to think some of you have no sense of humor, take things way too seriously, and are overly-sensitive. You kind of showed your nasty attitude there Omi but whatever... "

How did you leap from "not understanding a joke" to "nasty"?

Seriously, if you think any of the replies you've got here are "nasty" then perhaps it is you who are overly-sensitive...
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Thu, Oct 10, 2019, 4:16am (UTC -5)
Re: DS9 S5: In the Cards

"Are you stalking me now?"

Don't flatter yourself.

Every new comment appears on Jammer's "comment stream" page, which is where many of us hop to see if there's anything new.

Anyway, Booming summed up nicely why Jake's gift has absolutely nothing to do with 20th/21st century greed or material wealth. It's the sentimental value the matters, and the thought that counts.

Also, there's nothing in canon to support the claim that 23rd/24th century humans have stopped being emotional and sentimental creatures. As Spock would say, these emotions are completely illogical. But as Kirk would say (with a huge self-satisfied grin on his face): It is these emotions that make us human.

Besides, would it really be more logical for Sisko to be forever depressed because of the war? Will eternal sulking help the Federation win? Being pereptually stuck in a gloomy mood until the external crisis is solved, doesn't strike me as particularly logical either.
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Wed, Oct 9, 2019, 11:36pm (UTC -5)
Re: TNG S3: Deja Q

Loved it.

I knew I was in for a fun time after this bit:

Q (insisting he's human): What must I do to convince you people???
WORF: Die.

Perfection. Lots of boring preachy dialogue not necessary (or optimal) for getting a point across.

What it means to be human. How best to be human. Selflessness, morality. Happiness, laughter, suffering, tears. Oww!!

It's all there in the ep, all without lectures from Picard.

The dialogue was snappy, the performances were great, the story engaging. Having Data act as a foil for depressed-human Q was pure genius.

John de Lancie at his peak.

The planet is saved; Q is saved.

Q's in his Continuum and all's right with the Galaxy.
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