Yeah, if they’re sending Uhura forward in time as the trailers have suggested, it would be the perfect opportunity to introduce them without actually introducing them.

I think I got a stomach bug or food poisoning

I feel you. I’ve been going through it this weekend, myself. Flu season came early.

In Picard, she becomes a vigilante and ultimately kills Bjayzl out of revenge even after Picard explicitly challenges that choice.

And you believe the show was endorsing the fact that she did it? Portrayal of an act is not an endorsement of that act. Seven did plenty of shady stuff on Voyager, from trying to take over the ship to disobeying orders and waking up the Vaadwaur.

That distinction matters to me: not “nobody ever does wrong”, but the narrative still knows that the means require moral scrutiny.

You seem very determined to make the case that the new shows don’t provide that, but I simply don’t agree.

Doesn’t NuTrek glorify Section 31, which is basically just that?

Arguably in the movie, though they didn’t do anything particularly immoral in it.

Beyond that, not even a little bit. They’re still the bad guys.

NuTrek would probably use it to 9/11 Romulus’s sun’s core and wipe their home world out just to stir up drama.

If you have to conjure examples out of thin air, it’s possible your argument isn’t as strong as you think it is.

And even then…they got there in the end. It was rather the point of the arc.

Do you have any particular examples of the “the ends justify the means” attitude you seem to think is so prevalent now?

it’s a bit of a reverse rug pull, given she never actually “dies”, unless I am misremembering something.

I was thinking the same thing - I guess being locked in another universe is the equivalent of death, at least from everyone else’s perspective, but it’s still rather weak.

It’s hard to know what to make of this, which I suppose means it’s time for an RTD finale!

There’s some stuff in here that I like a lot - the normalization of the “ghosts” in society is at once silly and realistic, and a very RTD idea. The Doctor quietly assuming control of the situation depite nominally being Torchwood’s prisoner, culminating in his little standoff with Yvonne. Torchwood’s whole “restore the British Empire and defend the borders from aliens” vibe probably works better now than it did at the time. Oh, and the idea of building a skyscraper just to reach a spatial anomaly is great. I like the Void Ship, and it only occurred to me today that it was probably designed to be reminiscent of the spheres on a Dalek.

But there are also plenty of things that I think could have been executed better. The “ghosts” are a neat concept, but sort of a bad fit for Cybermen, since they’re the one villain that have a very distinct way of moving, and the ghosts aren’t like that. The big, goofy levers in Torchwood Tower are silly, especially when you can apparently operate them remotely with some haxxing skillz we haven’t seen the likes of since “School Reunion.” The set design is uninspired, especially when we get to the paned windows that definitely don’t belong on a skyscraper. A lot of the episode seems a little undercooked.

But it’s engaging, and sets the table nicely for next week’s Cybermen/Dalek war. I’m looking forward to revisiting that one.

Five days later, I’ve finally brought myself to watch it. Here’s what I’ve got.

This is “Doctor Who” trying to do an episode of “The X-Files,” and falling flat on its face.

It’s brightly (and flatly) lit, when it should be dark and moody.

Murray Gold’s score is unusually lifeless, and seems to strike the wrong tone more often than not. Give me some mournful cello while they’re in Chloe’s room, examining her drawings.

It tries to blend a story about aliens with more “mature” themes like child abuse and depression, and isn’t terribly successful.

The “all it needs is the attention of the world” riff was basically done several episodes ago (and better) in “The Idiot’s Lantern.”

Just a complete failure on damn near every level.

But at least they do a better job of “mature themes” a few years later with “Night Terrors,” and of evil drawings with “Flatline.”

I wouldn’t mind if it was solved through introspection and realization

I think that’s what happened, at the end of the day. Princess Thalia is fictional, but she’s representative of personality traits La’An has suppressed since she was a child.

I don’t remember a cogent explanation for the planet, either - it didn’t bug me, but it is an omission for sure.

Well, their past wasn’t changed, and that’s the only past Starfleet is really concerned about - that’s the problem with predestination paradoxes.

I understand your reaction to the episode, but I also think you’re hitting on exactly the thing that makes it interesting.

When you get right down to it, that’s the essence of the temporal prime directive, is it not?

I’m shocked and dismayed by the implication that the BBC execs aren’t visiting this site daily!

All right, I’ve got about $10 CAD, and I expect them to cover my relocation expenses. I look forward to their response.

Okay, I guess it’s time for some actual thoughts. It was all right.

I’m not really big on Jungian psychology, but writers love it, since it’s so steeped in metaphor. It’s been many, many years since I studied it, so I’m just going to defer to Wikipedia.

In analytical psychology, the shadow (also known as ego-dystonic complex, repressed id, shadow aspect, or shadow archetype) is an unconscious aspect of the personality that does not correspond with the ego ideal, leading the ego to resist and project the shadow, creating conflict with it.

In analytical psychology, the struggle for the superego is to retain awareness of the shadow, but not to become it or be controlled by it. “Non-identification demands considerable moral effort [which] prevents a descent into that darkness”; and though “the conscious mind is liable to be submerged at any moment in the unconscious…understanding acts like a life-saver. It integrates the unconscious.” This reincorporates the shadow into the personality, producing a stronger, wider consciousness than before. “Assimilation of the shadow gives a man body, so to speak,” thereby providing a launchpad for further individuation.

So sure, this is all fine and good. Taking stuff like this and making it literal has a long tradition in sci-fi generally, and Star Trek specifically. I’m glad they addressed La’An’s inner conflict without confirming her fears of her genetic heritage controlling her destiny. I hope they’re finally putting the subplot to bed - it’s hard to see where else they could go with it.

Seeing Hemmer in the previouslys primed me to expect to see Caster show up, but nope.

They had some fun with Carol Kane’s “Princess Bride” connection - too much fun, perhaps, but whatever.

It’s a little disappointing that Ortegas in particular didn’t clock the imposter Pike and Spock immediately - the others I can forgive due to the ongoing crisis, but it would have been nice to see Erica had simply decided to go along with it for a while.

Find yourself someone who looks at you the way Melissa Navia looks at Rebecca Romijn.

Sounds like they’re going to a world that’s both strange and new. I expect everyone will love it.

Yeah, it seems like they’re being very selective for some reason.

Hoo boy. Wait until they hear about the rubber ducky…

…Do I even want to ask?

I’d have to double-check, but it IIRC it was the same map we typically see. But maybe that’s the “problem” 🙄.

Yeah, I think you’re right. On paper, this should be the show’s bread and butter. But the execution of this one is dull as dishwater.