It becomes one of DS9’s strengths as a show that the writers take this joke of an enemy species and convert the Ferengi into an interesting people with history and culture of their own.
When ‘Star Trek: Deep Space Nine’ was on TV, almost the only Emmys that ever went their way, despite the good acting and writing, were for makeup.
The truth is, Han Solo isn’t much of a character on paper. He is completely replaceable within the Star Wars story.
The third episode of ‘Star Trek: Deep Space Nine’s’ first season highlights the theme of finding one’s place while introducing one of the show’s most interesting and beloved characters.
The outcome reflects some of the better segments of Roddenberry’s utopian vision: education and the rule of law.
With ‘Deep Space Nine’ now available on Netflix, it is interesting to see how these ideas and plots have held up after 25 years.
To understand why this show simply doesn’t work, compare it to a 20-year-old sci-fi film that almost certainly had some influence on these show runners: ‘The Truman Show.’
Season two picks up from the season one cliffhanger and gets darker still, with the main cast growing even more divided, physically as well as philosophically.
A sense of mystery permeates the overall narrative arc of a fresh yet familiar reboot of the campy original 1966 series.
How can the past be home to anyone, when there was so much injustice and misogyny and racism, when aggressions were macro and hate speech was the lingua franca of even the hated?
A year before the moon landing, man’s greatest achievement of space exploration so far, Stanley Kubrick gave us the first and still most impressive vision of our cosmic destiny.
Having survived pursuing Cylons, infiltration and political unrest, the rag-tag fleet is tested by the power of guilt.
As we rejoin the action, a relentless Cylon pursuit is forcing the rag-tag fleet to make faster-than-light (FTL) escape jumps every 33 minutes.
This film is an opportunity to see what the natural world might be like if the principle of sufficient reason were false and God had abandoned us to Darwin and Nietzsche.
The ‘Star Trek’ take has heat and optimism, without the heavy sadness that permeates shows like the new ‘Star Trek: Discovery.’
The series taps into a timeless, primitive fear of being trapped in the digital hells we’ve constructed — minds with no bodies, no agency.
Luke Skywalker could be the hero of the story, except for him there were no stakes. There is no risk, and without risk, there is no glory.
‘The Last Jedi’ is the Star Wars movie we wanted, the one we needed, and absolutely more than we deserved.
Hopefulness, genuine friendship, and self-sacrifice. That is what make this show meaningful. Small-town virtues.
Dan Harmon said they ‘finale-ified’ this episode once they realized they wouldn’t be able to make the intended 14 episodes this season. And it showed.
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