What Gen is this… the acting is horrible, the lines have a very bad delivery. It’s nice to put on and mentally shutdown after a working day..
I HATE that they ruined the secret behind the Breen masks like this... I'm sorry, weak...damn...sauce...
Mol & lock escape yet again. How does 2 people continue to out smart the entire start fleet? The writing is getting dumber and dumber each episode.
[6.8/10] “Mirrors” does the exact sort of thing I ask for from Star Trek: Discovery. We have a focused story with an immediate goal. It centers on a handful of characters with meaningful tension and key connections to one another. It spends time with our antagonists, both in the present and in flashbacks, so that they feel more like people than cardboard villains. And it requires the right blend of working together and camaraderie to solve the problem du jour, in the proud Star Trek tradition.
And I didn’t really like it.
Which, I think, is another way of saying that even in its final season, I just don’t connect with Discovery’s style. For most of my reviews, I center on the writing -- big picture story choices in terms of plot or character or theme that can make or break an episode for me. And on all of those measures, “Mirrors” is resolutely sound.
The halfway mark of the season is a good point to have our two big couples, Michael and Book on the one hand, and Moll and L’ok on the other, confront one another. A clue that must be retrieved from a pocket of space that seems to wreck anything that comes in contact with it poses a suitable challenge. The fact that what they find there is the I.S.S. Enterprise is a neat twist. And I especially like Rayner and the rest of the squad doing the usual Starfleet problem solving routine to rescue their comrades.
On the character front, I’m also encouraged by the show’s attempt to add depth to L’ok and Moll. Thus far, they’ve had personality but not character. Giving us flashbacks to their experiences in the Breen Imperium follows the same laudable tack Discovery did with Ruon Tarka. Seeing that bond form in the past makes us more likely to care about how the baddies are motivated by it in the present. Writing in what their relationship cost them, and what they’re trying to achieve, is good block and tackle to turn your villains into people and not just obstacles to be leapt over.
And thematically...well, I don’t know...it’s fine. “Mirrors” gives us some closure to the events of Mirror Georgiou’s alt-timeline jaunt in season 3’s “Terra Firma”. It turns out the Action Saru that Georgiou spared went on to rescue many of his comrades and got them to the prime universe, which is nice enough, even if we’re told rather than shown. The vague lesson, about not giving up hope, is trite but fine, even if it comes in a writerly scene that practically paints the point on the screen in a way that gives me pause.
And that's the problem, really. The ideas here aren’t bad, but the execution is still just hard for me to warm too. When I think about what I would change in “Mirrors”, it’s hard to come up with something that isn’t already hard-baked into the series. As I’ve mentioned before, I think the show overuses its music, trying to inject emotion into scenes that can't earn that sentimental response on their own, and ironically exposing that fact. But that's been a longtime thing for the show.
The dialogue doesn’t do anybody any favors here, but it’s largely fine. Often, it’s too blunt or too didactic, with characters making statements that seem more intended for the audience than one another, with the viewer just happening to be an unseen observer. But again, that's nothing new and seems to be part of Discovery’s style.
The other problems I have are unavoidable. Discovery continues to look sterile, antiseptic, and unreal. It’s hard to feel Moll and L’ok’s coming together when the lone site of their rendezvous seems to be some odorless, CGI-sweetened soundstage. While it’s cool to finally see the face of a Breen, their frozen computer-generated visages look downright comical by 2024 standards. I guess, at least, the visit to the I.S.S. Enterprise is an excuse to use Strange New Worlds’ practical sets, but still, everything about how the show is shot and visualized comes off cold and removed, which is something far too late to fix now.
And once again, the performances are solid, but don’t elevate the material. Eve Harlow makes the biggest mark as Moll, with some strong emotional moments when the going gets tough, but even she’s reduced to playing a generic femme fatale much of the time. The rest of the cast in the episode does yeoman’s work, without any real faults in the acting, but they aren’t able to elevate the material either.
The result is an episode that is resoundingly solid but unspectacular. The episode is well-constructed, but ultimately still unengaging, to where it’s hard to criticize the thing too deeply, but it’s hard to praise much of it either.
At the end of the day, the idea behind giving us deeper insight into Moll and L’ok, and contrasting and comparing their connection and potential second chance with what we’ve seen of Michael and Book is a sound one. But the execution is so generic, clumsy, and flavorless that it leaves no impact. The show is doing and saying the right things, but the effort comes off plastic and desultory, to where you can barely connect wit the characters or materials.
“Mirrors” does feature some genuine high points and low points. Commander Rayner’s nervousness about stepping back into the captain’s chair, only to gingerly but resolutely finding his way into Discovery’s more open culture, and working with his crew to save his captain, is a nice little storyline. Tilly looking out for Dr. Culber’s emotional well-being the way he looks out for the crew’s is sweet, even if the listing toward “spirituality” sounds dicey for Star Trek. And hell, I even got a kick out of Book asking Burnham if they should “hit it” given the Enterprise environs, and her responding, “Let’s just fly.”
For the most part, though, “Mirrors” is an episode with a sound footing and a few good gimmicks, that nevertheless fails in its overall project to make us care about these new characters, their connection to the ones we already know, and the broader fetch quest the crew of Discovery is on. You can fix story problems; you can rehab characters; you can come up with good themes for your work. But things like tone, visual grammar, the style with which you present everything, is much harder to fix on an episode to episode basis After four and a half seasons, those things are pretty well set, and maybe, even when you shore up everything else, that's still enough to keep crusty old grumps like me from connecting with your show.
The scene with Moll and Book on the bridge left me thinking: can't they hold cameras steady anymore?
And why is the I.S.S. such a clean wreck? Looks like a brand new ship with failing lights.
from the episode dedication
Allan Roy Marceta "Red"
Born
November 12, 1973 · Croatia, Yugoslavia [now Croatia]
Died
August 22, 2022 · Trenton, Ontario, Canada (motorcycle accident)
from IATSE873 website:
Submitted by Stephanie Osaro on Mon, 08/29/2022 - 15:40
We are saddened to inform the Membership of the passing of Allan Marceta (Props/SetDec/ Greens Member) on August 22, 2022. His time with us ended abruptly when he was hit riding home on his motorbike that he loved so much. Allan was a devoted member of the IATSE Local 873 for over 10 years. Allan had a large personality and loved to spend time with all his brothers and sisters on whatever show he was on. He was a former service member based out of Trenton and still loved to fly helicopters, as he would often say “ can’t work tomorrow I gotta fly!”. He is survived by his daughter Nika and his brother Sergej.
No funeral is planned as he will be taken back to Croatia.
His brother would like to have a celebration of life for his friends here, to be scheduled. A GoFundMe page has been set up to help support his family.
link to Facebook video of his christening as a helicopter pilot:
https://fb.watch/rF-AK34iGA/
Am I the only one lost? Burnham and Book are sad. The two antagonists are sad. The doctor is sad. Tilly was brought back and is barely being used. Otherwise the crew (what little we see of them) is looking for Jenga pieces. That's about it right?
I didn't really need to see the villain backstory
Not my most favourite episode! It had potential but just seemed to get bogged down.
AND Moll and Lock escape yet again. :see_no_evil:
Shout by Ofer ChenBlockedParent2024-04-25T21:15:25Z
Michael's saga: Emotional Tensions in Space—The narrative picks up on the tumultuous emotional life of Michael, delving into an unexpectedly poignant subplot involving cross-galactic daddy issues of a minor character. This episode teases potential crew development but ultimately falls short, wavering between nonsensical and gibberish. Unfortunately, the series' storyline seems to continue its decline. Enduring the season is becoming increasingly challenging due to its diminishing quality.