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Star Trek: Strange New Worlds: Hegemony (2023)
Dark Frontier
This episode contains a lot of the high stakes energy of classic Star Trek two parters. The crew is tasked with a number of hurdles to overcome (which commonly involve rescue operations), and Starfleet plays the role of the underdog. I will never complain about this formula, especially as a season ender. The cliffhanger and wait for the resolution is actually quite nostalgic. In this case, the tension hit hard as the crew was divided and had differing goals to achieve which leads to even worse situations. Spock's mission in particular as the climactic moment was highly produced and made for some effective bonds. This season has been a bit of a mixed bag, I believe I've truly enjoyed about half of the episodes. The bottle episode format allows for this experimentation, but it somehow feels less balanced overall than older series. Not to say that TNG or Voyager's offerings were all above average, but the experimentation was somehow more believable under the same hull.
Futurama: The Impossible Stream (2023)
A little too familiar, but relatable return.
The second return from hiatus episode once again relies too much on fourth wall breaking. The writers are very much focused on poking fun at their multiple cancellations and renewals. It's hard to say whether this Hulu run will improve upon the Comedy Central seasons. However, the run time has returned to 24 minutes(instead of 21), allowing for less rushed storytelling. Hopefully the likely budget increase will allow for a return to form of the first 5 seasons. If they were able to retain most of the original staff while being given time to craft less spur of the moment ideas, this revival certainly has potential. My advice would be taking a more back to basics approach. We rarely saw Planet Express making deliveries in the Comedy Central run, so the spirit of adventure was lost in favor of more regular topical humor. Although some of the episodes this season seem to be centered around current events, others seem to be direct sequels to the original run. Whenever the Hollywood writer and actor strike lifts, I would advise the crew to think "creative reboot" and craft imaginative sci-fi stories with less of the series' established tropes. After all, looking to the future doesn't mean revisiting the past.
It's Always Sunny in Philadelphia: Dennis Takes a Mental Health Day (2023)
Assurance that going outside is a nightmare.
Commentary on how modern day "luxuries" wear on the first world psyche. It is a perfect role for a sociopath like Dennis. It's fun to relate to someone, but laugh at them at the same time because the karma is due. Writing and performances are on point.
Then you realize the swerve. It relies on a reference or two and wraps up pretty quickly from there. In essence, I think the ending was to frustrate the audience because we were relieving our stress, but in fact Dennis got one over on us. At least we got the laughs along the way, but I would have appreciated an ending that was more fluid with the momentum they built.
Star Trek: Strange New Worlds: Charades (2023)
The most emotionally charged, character driven episode Star Trek has seen in decades.
This episode was a much needed change of pace that focused on interpersonal relationships between every major character on the show. Having the luxury of downtime was a key factor in establishing that this cast has the chemistry and ability to create magic on set. Spending time crafting the viewer's sense of the show's spiritual emotional center.. in the moments where key characters also experience the same developments allows for some incredibly wonderful payoffs. If you have any friends or family that need to be sold on the idea of Strange New Worlds, this is the episode to show them. Although plot elements are carried through, it also serves as an effective bottle episode and brings all the charm of the best Berman era camaraderie focused episodes(ie Data's Day, Lower Decks).
Star Trek: Picard: Imposters (2023)
Boldly going somewhere
It would be funny if the lead changeling looked like Remmick just for the jokes. The two biggest conspiracies in Federation history having both been led by the same weird man. The show certainly doesn't have a problem with bringing people back for various reasons.
That being said, is this Ro thing entirely earned? I don't know. This is clearly not the same Jean Luc Picard. Sure, he has basically lived 3 lifetimes (Sarek, Kamin, himself) and had many years to recall his past adventures. I never really thought of Ro Laren as Picard's adoptive daughter though. It often feels like modern Star Trek tries to do overly melodramatic things to play with our emotions. When really all it needs to do is spend more time building bonds in a long term capacity. Instead, we are revealed everything about Ro in a couple scenes and she is killed by the episode for dramatic effect (Remember when Ro and Geordi died but didn't die and how much it meant to witness their own funeral?)
It may seem like I'm negative towards the creative direction, but they are actually winning me over. I was scared that a show that has often prematurely killed characters was actually going to kill Worf, but instead tied the fakeout into Klingon lore. I also particularly appreciated how the two storylines merged together through the gift of a mutual accomplice. So although I can try to poke holes in character motivations, there has been justification for the ways the story is playing out.
I still think Star Trek has become more about the feels than the science, but as long as the writing continues to be smart (while only bending to societal trends when it makes sense for the rules of the established universe), I can live with it. After all, adaptation is a sliding scale and with Picard season 3, the momentum is shifting back in our favor.
How I Met Your Father: Rewardishment (2023)
As good as it gets
It took this long to find the magic within the core cast. Each member contributed memorable moments. The episode was packed with events around classic HIMYM gimmickry. It was through these events that we were able to learn character quirks that made each of them more likable, which is something the series has been lacking. Not only was it fun to see the transitions, but the overall flow worked well despite the fast pacing. Each character was also assisted by other characters helping build camaraderie between them. And in the end, their efforts brought them together for one final resolution worth the investment.
This was a resounding success in what has otherwise been a middling to below average sequel series. If not for older Sophie's constant presence and over-utilization, it could have earned a 10. I wonder if the cast and crew can find inspiration in that they were able to excel once. If this can become a pattern, the show may be worth saving. At least they've proven they can do it.
Star Trek: Picard: No Win Scenario (2023)
Good, but let's keep some perspective.
Some of you seem to forget just how awesome the Xindi arc, the Borg/transwarp arc, and Year of Hell were. Don't get me wrong, things are definitely looking up here and I definitely appreciate the callbacks. It's just that this has just aired. I'm not trying to downplay the efforts by the cast and crew, but let's not forget where we came from out of some recency bias. It's entirely possible that this run of 10 episodes will add up to something amazing, but so far it's been some setup and a two parter that utilized a lot of elements we've seen before. They put some nice spins on it that were fresh, but it really all depends on the layers to be added with the rest of the season. Time will be the judge if this season holds up with the best of the best of Star Trek.
Star Trek: Picard: The Next Generation (2023)
Keep your expectations in check until you have proof..
Star Trek: Picard has a history of doing this thing where it establishes what might be considered an intriguing premise in its first episode, but then swerves afterward. I'm still a little hesitant to put my heart in it for fear of getting hurt again. In this season, if you look beyond the surface level you may find some intriguing hints at a conspiracy. However, at this time it doesn't make a lot of sense, at least in the world of Star Trek I once knew. It is, thankfully this time appearing to take place in space and promising to show more of the original timeline with the cast I grew up with. I still just don't think it feels like Star Trek TNG, in either structure, how it's written, or directed. It does kind of feel like one of The Next Generation movies. The jury is still out though on whether they can craft a season that carries the legacy properly. Despite the high critical reception, I'm not so quick to praise it.
The Walking Dead: Rest in Peace (2022)
An unexpected but welcome farewell
I get it. It's a divisive series.
People enjoy it for different reasons. I was one episode away from dropping at the end of season 8 because of a total lack of logic and interesting writing.
Then Angela Kang took over as showrunner.
Characters started to have more complex relationships. The dialogue and meaning behind it became more about world-building than just feelings and with it, everyone developed more unique identities.
We witnessed more ambition in the creative direction as stories were told in a more non-chronological fashion and balance between a bloated cast found better pacing. With 2 seasons of course-correct behind it, season 11 was set up for success.
And in my opinion, it achieved it. I believe it to be the best season of The Walking Dead. It had lots of variety but found narrative consistency. Storylines were always progressing but never fell into disarray. The world felt the most alive it has ever felt and the cast was generally likable, outside of a few you're supposed to hate. Everyone found a way to serve a purpose in a show that has a history of imbalance in this respect. I must admit that the 24 episode season probably helped but if anything, adding the additional run time could have been disastrous having to balance so many elements. However, they mostly nailed it.
The final episode itself seemed like a more cinematic version of the whole season. The first half was meant to deliver on the promise of action, while the second half had an unexpected shift to an extremely wholesome vibe. Action fans may have been disappointed by the hard shift, but it was interesting to see this duality. Having such a beloved character such as Rosita take the fall and taking time for the small moments left arguably more impact than a mass-death sequence. I don't personally feel like killing a bunch of people at the end would have left enough time to pay tribute to them all. So in a way, Rosita was the right choice and the montage brought everything full circle.
I don't know how I feel with regard to the setup of the new shows. It was nice to have the character moments(especially with Maggie and Negan), but I'm sure many felt like this direction made it feel anticlimactic. However, I feel that the main narrative was resolved and the characters are in a stable place living more happy lives. So it was interesting and pleasant to see it end in that fashion.
I hope that if you haven't been enjoying the show, you can at least understand my recent praise for it, and if you feel the same way your feelings are more justified. I don't know if I'll be tuning in for the spin-offs, as for me I don't think the universe could find a more satisfying conclusion with a more cohesive cast and interesting setting. Special shout-out to Hornsby for being an incredible villain, to Daryl for being the most improved character, to Mercer for being an unexpected delight, and to Rosita for being the ultimate badass.
Star Trek: Strange New Worlds: The Elysian Kingdom (2022)
Maybe the vision for the series wasn't as strong as we thought..
I could maybe forgive the production team for going for this type of thing, IF Paramount had been constantly delivering quality Star Trek for years. However, this move doesn't exactly inspire confidence. We are still discovering and adapting to the new characters and premise of this show as an audience. It doesn't make sense to spend your limited time in a first season on filler and not have the characters being themselves. Although I wasn't particularly invested in the fantasy (this type of episode is normally relegated to the Holodeck or Q encounter), I still acknowledge the budget spent on costume and set design. I just treated it as a comedy, as Star Trek does this type of thing occasionally. Another gripe I can express is that too much time is being spent on the doctor's daughter. Hinting at it to revisit for later seasons would have been far more effective, as they did with Worf's arc throughout TNG.
The Orville: Shadow Realms (2022)
Where have I seen this before?
Species 8472 infects the crew of the Orville with Barclay's Protomorphosis Syndrome and it was totally okay. The character moments were the biggest plus, while the world building and logic were completely flawed. I'm just appreciating having the show back on air, especially in the extended format. It doesn't need to be perfect, but I'm concerned the Star Trek fans are put off by the dumb stuff and the MacFarlane fans are put off by the smart stuff.
Star Trek: Picard: Monsters (2022)
Lost and unsalvageable
It's not that this episode is particularly bad, it's just that they have done nothing in the previous episodes to make me care about what's going on in Picard's mind. This season feels like it was conceived under work at home conditions where every contributor added their part without collaborating, and then one person tied it together loosely. There's no continuity in the vibe of the episodes as the show jumps around at will with no worry of rules or past events. The talented cast is barely given any story or dialogue with meaning to redeem its flaws, like the cameos from last season. I find myself more invested in Rios' love interest because the connection feels more genuine than anything else going on. Why the creators developed a season based in 2024 and marooned the cast there, I'll never understand. Star Trek has become a boring, mindless shadow of its former self in the hands of a corporation that wants to factory-produce content for their streaming service. There is no intellect, intrigue, inspiration, or identity left.
The Walking Dead: The Rotten Core (2022)
Among the very best in the series
Combined with the previous episode, this makes for a constantly thrilling experience. It involves two main story arcs with meaningful character interactions as well as story payoffs. Never has The Walking Dead done gang warfare, espionage, or good vs evil as well as it's done here. It feels like a crafted and dynamic story in full swing that respects past events while setting up intriguing new ones.
Star Trek: Picard: The Star Gazer (2022)
Hmmm..
Let me try to make some sense out of this. So in 18 years or so, the Borg finally assimilate enough technology to..
1) Evolve into what seems like entirely cybernetic beings. Okay.
2) Use some kind of trans-warp capability. Sure, they've done it.
3) Spy on their rogue Borg ship. I can believe it.
4) Speculate that humans would steal the technology. Alright.
5) Completely surpass Starfleet tech 100-fold, even when Admiral Janeway brought technology back from a further future. Uh, well less believable.
Maybe the Borg hit the jackpot with some assimilated race in this timeline refresh. Maybe the Federation should be a little smarter about what they're doing.
Even so, this new version of Borg is completely foiled by Q, apparently. Who, I guess saves the Federation from their demise.. but they are going to have to jump through hoops to get back to where they were.. and that includes fighting the original Borg again. I wonder if Q should have hit up Picard for continuing his trial when he wasn't, ya know, senile. A movie in 2005 would have been good for that idea.
I'm still in for this. I've always wanted it. It's just the way this show is structured bothers me. It's devised as a show meant to explore depth and meaning in age. However, the implementation in the direction makes it feel unsophisticated, so it's an odd pairing.
Give me a new show with a new crew in the original timeline that's doing this stuff in 2400 if you want to focus on action. Let the old man do old man things in the future. Hire a writer that can craft a compelling old man story. If they ever figure Star Trek out again, I can't help but feel like this series will be removed from the canon anyway.
The Walking Dead: The Lucky Ones (2022)
Reaching critical mass
It may not be for everyone, but the show has never been in a more intriguing place. Most of the remaining main cast are being written smartly in both narrative and dialogue. Commonwealth has given the show a whole new purpose, and its leaders have potential to be among the best antagonists. Compare it to three seasons ago, a show that was on its deathbed. Kang has revitalized the series through time jumps and structure to be at its peak when it concludes. That's if they can follow through on what they've been building towards.
Supernatural: Carry On (2020)
Vamps again??
This started as an everyday normal episode of Supernatural that might have felt good in the middle of a struggling season 7, provided that Death was around to offer more second chances.
After a jarring, condensed 'true' finale that tripped over its own run time, seeing Sam and Dean resort to normal everyday life was a joy.. for the 3 minutes it lasted.
Then, they resume hunting, as if they had forgotten the concept of truly walking away, which was really the goal of this season. The callback to an old character fell flat of impact(because it has been 15 years), and the incident with Dean happened quite meaninglessly. If he had lost his life in a triumphant battle with Chuck, that would have been one thing, since the story was building to that. Instead, we are left with a depressing unfulfilled resolution, devoid of the celebratory atmosphere of episodes 200 and 300 or pulse pounding edge of your seat season-enders. I would have even taken a fun gimmick built around the idea of the passage of time to close it out, as the show has proven to be capable of in the past.
The fact is that Sam and Dean have earned a good life together. It is the proper resolution, and it is disheartening to see an emphases on emotion over good storytelling. Reuniting in heaven doesn't really do much for the plot when the episode didn't hang around long enough for much of a payoff. Maybe this has always been a soap opera, albeit a good one.
Overall, the episode was well acted and directed, but the leadership and storytelling of this season has been needlessly fumbled. Still, getting the chance to go along for the ride is something I don't regret, and I would take a season 16 in all it's needlessly convoluted glory.
Star Trek: Picard (2020)
3 things I love and hate about season 1:
Love:
We get a look into the future of the original timeline(I had waited nearly 20 years for this.) Since it's a more compact and focused show, nearly all of the universe remains unexplored. However, bits and pieces are sprinkled about containing callbacks and lore that will speak to the nerdiest of Star Trek fans.
Hate:
The universe is presented in a dumbed down and modern Hollywood sort of way. I don't mind that it's rated mature, but the maturity of the writing makes it seem less mature. You don't need to kill off important characters to capture the hearts of the audience. In fact, meaningless deaths do the complete opposite of that. Space fights sometimes capture the essence of tension, but lose it by the finale. Especially when it makes sense, sometimes less is more.
Love:
Most of the acting from the main cast and even extended cast is very well done. Picard himself is of course phenomenal, as are the TNG cameos. Even his bridge crew is very well assembled and complimentary. In the first half of the season, the time is taken to establish all key players. You can tell time went into casting and it shows.
Hate:
I can understand that a limited run of 10 episodes held back character development half way through, but you have to take that into consideration when that is what you have to work with. Craft a narrative that works within what you're trying to achieve and make sure to give your characters time to justify the actions they take, instead of just moving on to the next plot thread.
Love:
Scenes with Data, Riker, and Troi are written with the utmost care. The magic returns, and we are swept up(briefly) in a glorious parallel universe where Rick Berman-led Trek continued for another 18 years. I know(Berman has his faults,) but he mostly carried on the Roddenberry legacy, and brought a quality and budget to Star Trek that hadn't been seen before. The season ends in a promising way, in that it's like we're ready to boldly explore the galaxy like a proper Star Trek series.
Hate: The show proper and central plot never reaches the heights of the original cast cameos. In actuality it looks worse for it, especially when the all the time needed is taken to develop these scenes. I can assure you that the same care and time management wasn't applied to most of the main plot (and side stories with new cast members.) Sloppy writing aside, nearly every opportunity to capitalize on a resonant moment was skipped over because we had to rush on to the next thing that was happening. I'm hoping they adopt a more closed episode(bottle episode) format for season 2, so that future storylines are easier to manage(with maybe just a single, more focused season long arc.)
-BONUS-
Winners:
Jean-Luc.
Will.
Data.
Elnor.
Rios(and his holograms.)
Dahj.
Zhaban and Laris(farmers.)
Riker's daughter.
The title intro and score.
The advertising holograms in episode 5.
Middling:
Raffi.
Agnes.
Troi.
Narissa.
La Sirena(Rios' ship.)
Losers:
Soji.
Hugh.
Seven.
Narek.
Maddox.
Soong.
That crazy lady who yelled about the destroyer.
The rest of Starfleet.
The rest of the Romulans.
The rest of the Borg.
The rest of the Androids.
Nitpick of the season:
Starfleet vessels apparently don't deploy the armor technology that Janeway brought back from the future at the end of Voyager..
Star Trek: Picard: Et in Arcadia Ego, Part 2 (2020)
Perfectly uneven
In its best moments, the finale of Picard is a 10. At its worst, it's unbelievably bad. I believe that the second half of the season should have been expanded a few more episodes. Bad pacing contributes to the viewer having to suspend disbelief with major plot holes; it also places poor emphasis on what could have been far more emotional or believable scenes. In Picard, sometimes things just happen and we are expected to go with it when it isn't necessarily in the service of the plot. Narek, for example, is a narrative train-wreck, and many facets of the android plot either don't make sense or were robbed of emotional resonance. However, dialogue and writing in key fan-service moments make this show worth watching. When these scenes take place, it's almost as though all the problems with the show seem to go away. For season 2, if they can construct a narrative that knows its boundaries and shows focus while maintaining a more consistent level of quality, this show may yet be redeemed.
The Orville: Lasting Impressions (2019)
A tale of two shows..
The main plot-line was a near perfect story, with a high chance of enchanting the viewer and truly making them feel, or even learn something. The secondary story was a needlessly tacked on comic relief bit from two characters that would probably make the show better if they weren't around so much. Overall, the lasting impression left me with something I will remember for quite some time, and that truly is to the credit of Scott Grimes, Leighton Meester, and the writing staff. Sure, we may tune into The Orville for space exploration and futuristic hijinx, but this was a beautiful study in anthropology that is up there with the best of what this show has had to offer.
The Orville: Identity (2019)
Taking it up a notch!
This appears to be The Orville equivalent to "The Best of Both Worlds" in Star Trek: The Next Generation. However, rather than do a rehash, the creators have managed to create this phenomenon at an unexpected time, place, and involving individuals that could not have been predicted without previews. A story about family and tragedy, quickly turns into exploration and diplomacy, and leads to mystery and betrayal. Set designs, world building, and pacing are also true standouts in this episode. I would have given it a 9.5, due to a child sneaking off a starship just as a plot device, but the ensuing scenes, setting up the payoff and eventual second episode completely made up for it. Congratulations to The Orville for their greatest success yet, in a season that has hit highs but has been dragged down by some odd choices.
Star Trek: Discovery (2017)
Takes itself too seriously in an attempt to become mainstream
Star Trek: Discovery always seems to be in a hurry to get to the next scene and/or part of the story when traditionally, Star Trek has been about enjoying the moment. This pacing is a fundamental problem, as the cast seems incomplete due to an lack of focus in character development, so you find yourself on a dark bridge with strangers. This gloominess is not only present in the art direction, but also in the lore, as it has ditched the classic Star Trek tropes of hope in favor of bleakness. Discovery also abandons the concept of bottle episodes in favor of season long arcs. This makes the show much harder to be re-watchable, like The Next Generation or Deep Space Nine. However, in the end it ultimately justifies its existence, although particular episodes on their own feel at times very lacking.
If you are looking for a darker sci-fi show and aren't concerned with pacing or the Star Trek chronology, Discovery may be for you. Otherwise, you'll always have the classics or even The Orville for a smarter, more positive take.