Totally idiotic way to show 16 minute webisode.
After these "webisodes" AMC next project for TWD is spin-off that will be shown 1 frame/week.
I watched this when it first came out on nicktoons! I had no idea the show would become so popular!!
Great plot twist. Best work of M. Night Shyamalan so far.
i swear to god this looked like an episode from Dora the Explorer, she had to get somewhere but always had something in the path!
UPDATE: I saw a movie so beautiful I started crying™
Stop rating movies before you even know they are in production!!!
Well so far so good, really touched by this episode, even if the pacing was kind of weird and not typical for this show. Let's see what the ending has coming for us!
A friend recommended this series and I have to say I'm stunned. It literally has everything. Great music, quality animation, storyline from the humourous and light hearted to the darker recesses of humanity. Some episodes make you laugh some could make you cry. All life is here in an at at times whymsical series but often a serious one as well.
For anyone who has friends who think animation isn't a serious art form then you can do a lot worse than point them here.
i think it's time we blow this scene, get everybody and there stuff together ok 3.2.1 LET'S JAM
SEE YOU SPACE COWBOY
for me, it was the best anime series ever created, not only the script, music or an ordinary hero is very real in its concept and undoubtedly messages between lines are best.
I used to skip cleaning the classroom just to catch this on TV back in high school. And it still holds up! Actually, now that I understand it better, it's all the more awesome. The music is a stand-out, the story progression and interesting characters all serve to make this truly a masterpiece.
Absolute masterpiece. I remember the first time I watched it and needing to take a quiet half hour after the jaw dropping finale.
If anime has never grabbed you, this is the one to check out to maybe change your mind. Regardless of the medium it's just a fantastic story with big ideas, engaging characters and good balance of humor.
...and what's not to love about a tricked out welsh corgi in space :)
Totally space cowboy.
[there is a live action adaptation in the works with Keanu Reeves chasing the lead role. Sadly for the moment its stuck in development hell]
Damn... That FBI description of the "killer"...
Nooooo Omar T_T
It was obvious that it would happen, but still... Nooooo!!!
I knew this was coming but it still made me angry. What an absolute bullshit way to kill a legendary character :(
[7.0/10] “Tomorrow Is Yesterday” is, at least so far, the peak of those goofy sci-fi conceits that people (lovingly) make fun of the show for. Let’s be frank, nothing here makes sense. The time-travel related trek-no-babble is patently ridiculous; the grave concern and then general lax attitude about messing with past is puzzling, and the solution to all of these problems is as much of a nonsense cheat as it is full of people diving out of their chairs on the bridge of the Enterprise.
And yet, there’s such a joie de vivre to the proceedings that it’s hard not to be charmed despite that. As ridiculous as the premise, plot, and resolution of the episode are, the people involved are having such insane, occasionally swashbuckling fun, and the episode coasts off that pretty damn well considering.
Let’s get right down to it – as much sci-fi mumbo jumbo as Star Trek has, it’s pretty silly that they just happen to go back in time to the 1960s where the show was airing. The explanation is fairly weak (jargon about a “black star”) as the cause, but what’s striking his how nonplussed everyone seems about this development. Bones and Scotty make brief comment on the fact that they’re trapped in the past, and maybe working on the federation’s flagship inures you to fantastical happenings taking place on a regular basis, but for the most part, everyone takes being flung two centuries into the past in stride, and it’s really weird.
That extends to the presence of the Air Force Captain whom the crew beams up. Maybe it’s years of stories where characters rail about the risks of changing the past, but tons of people are incredibly cavalier about letting him see and learn about all this stuff from his future. That seems like a pretty bad call. Spock’s aware of this, and admonishes against him, but then spills the beans that the Captain’s son becomes a big famous space hero, totally tainting the timeline! For someone who seemed concerned about what that Captain Christopher does or doesn’t know, he sure doesn’t mind telling him what the future holds.
What kills me is that there’s a cool story there – the prospect of a man who knows too much, and the dilemma of whether to trust him to return to his own time and risk changes to the timeline from his advance knowledge, or to take him away from his wife and kids and risk messing up the timeline through his absence. But Star Trek mostly glosses over that, giving him an interesting character motivation of following his duty the same way the members of Starfleet would and wanting to get back to his family, but compartmentalizing that for most of the way.
Don’t even get me started on the other guy they beam up. The air force major is, I think, supposed to be scared stiff, but the fact that he gets beamed up, causes no fuss, and essentially becomes a living prop in the episode is just bizarre, and makes you wonder why he was included in the episode at all.
At the same time, the resolution to this conundrum just makes absolutely no sense. It is super, super convenient that the method to getting back to the future will takes the Enterprise just far enough into the past to deposit their unexpected passengers back in their own time. What’s worse is that the episode seems to imply that Captain Christopher’s and the USAF Police Sergeant have their memories erased in the process. Why does that happen? How does that happen? Why doesn’t the journey seem to affect the members of the Enterprise crew? “Who knows! The episode’s over! Stop asking questions!”
That climax is also the absolute height of “just reverse the polarity” and “say something complicated and explain it using a simple metaphor” that most notably Futurama has tweaked Star Trek for. Having the enterprise just reverse the process that got them there, and take advantage of an intergalactic (and interchronal) “slingshot effect” to get back to the future is an extraordinarily contrived method to undo something as momentous as being sent two-hundred years into the past.
So why did I still rate this episode as “good,” albeit just barely? Because it’s pretty damn fun in the process. There’s a droll humor on display that just kept me chuckling throughout. Spock looking at the film of the Air Force’s surveillance of the enterprise and offering a dry comment of “Poor photography” is great. Captain Kirk telling Bones that he’s beginning to sound like Spock, and Bones responding “If you're going to get nasty, I'm going to leave” was the line of the episode. And Kirk’s smugness and self-satisfaction, which can often make the character grating, were perfectly deployed when he was being interrogated by the air force. His playing dumb, acting like a wiseass, and saying things like “what, this old thing? I just slipped into it” were all great uses of the character and his personality.
It also produced what I’d venture to call the best hand-to-hand fight of the show so far. I’ll admit, I laughed out loud when Kirk sort of dove into the collection of soldiers in what felt like a ten-year-old’s attempt at a cross-body takedown, and many of the individual moments in the scene were contrived. That notwithstanding, there was a kinetic quality to fight, a certain level of chaos where one skirmish flowed directly into the other, that made this stand out among the typically stolid punch-and-kick fests in the show.
Which is to say that when Star Trek gets goofy, outlandish, and even nonsensical, it should at least be fun. “Tomorrow Is Yesterday” delivers on that. Sure, it handles the issues raised by time travel and unintended consequences with all the deftness of an intoxicated buffalo. Sure, its answer to the plot predicament is to just throw faux-technological terms at the problem and it’ll just go away. And the crew’s attitude about changing the timeline, and the rules employed, make as much sense as the instructions for building a bookshelf translated into Swahili and then translated back again. But by god, it’s all entertaining enough to pass muster, and that gets you a lot of slack.
Ah, so she's a T-1001 model. LOL I like the little jokes and comedy in this one, especially the sad math book joke and the elevator scene. It also has some deeper meaningful stuff in it too.
Surprised to see Derek has a love interest from his time. Something's telling me that something's a brewing in that basement other than the A.I.
What a sad ending (last scene) for a show that deserved to be renewed...what a shame
i know who would love this technology. the answer is orange and lives in a white house.
the production here has really stepped up, shit looking like a film or something. great way to start the new season with a different pacing, an episode filled with tension and a surprsingly "happy" ending, the universe looked really fine and the whole plot was interesting while deviating from the whole "technology is EVIL" from past seasons. Black Mirror is truly one of a kind!
I don't think I breathed once during the entire episode. I'm not okay. This was not okay.
Can somebody please kill Madison? The irrational choices she makes are past annoying ...
Ah, what do we have here? Mmm, Madison making a stupid decision A-GAIN, how original ¯_(ツ)_/¯
Poor baby Alicia, suffering from her mother's and brother's stupidities.
The old lady was more of a mother to her in those 10-15 minutes than Madison has been her whole life
Those windows won't hurt anybody now. Seriously wtf were they shooting at?
The most mainstream film Gilliam has probably made, but also one of his best. Whilst the central mystery of how a deadly virus is unleashed on the world is compelling, it's Bruce Willis that holds the most attention, and whilst the ending is telegraphed well before, it's the journey to that end that becomes the most important part of the film and Willis makes the audience care about his character's fate. One of the best time travel stories ever made!
[7.6/10] Cards on the table -- I have no idea how to rate or judge this episode. The first 2/3 or so are a pretty darn good bit of Trek adventure, with another rogue commander, some interesting science fiction concepts, and a good if hammy performance from a guest actor. Then, in the last third, the episode gets downright idiotic, but it’s so ridiculous, so loony, so absurd, that it can’t help but be entertaining as jingoistic kitsch. The first portion of the episode is pretty great, and the last portion of it is pretty great too, but for entirely different reasons, to the point that they practically feel like different episodes.
The setup is pretty standard. The Enterprise shows up to a new planet, something is amiss (in this case, another starship that was patrolling the planet earlier is still there and won’t respond to hailing), so Kirk, Spock, and McCoy beam over to investigate. They find that the crew has all been killed by some biological agent -- reduced to a few pounds of chemicals, but a last log from the ship’s doctor (the disease seems to have taken away his ability to act) that tells them by boarding the ship they’re all infected and their only hope is to beam down to the planet.
That’s where things get interesting. Captain Tracy is the most recent Starfleet commander gone mad. He’s effectively taken over the planet, siding with the Congs -- who appear to be Inuit, and are dignified and able to communicate with humans -- and against their rival group, the Yangs, who appear to be a wild, uncivilized people. Tracy’s used his phaser to take control, and taught his local allies about his “fireboxes.”
I really like the idea of a starfleet commander gone rogue like this. Tracy is just unhinged enough to be believable as a madman who believes this is the only way, drunk on his own kool aid. It adds an air of real threat, the way he’s dismissive of Kirk quoting regulation and wise to his tricks. (As an aside, it’s pretty funny that Kirk’s so aghast at Tracy having violated the prime directive, considering how many times he’s pretty brazenly interfered with a local species and left them to pick up the pieces, but whatever).
But what makes this part of the episode really interesting is Tracy’s motive. For one thing, he genuinely believes that he’s trapped on his planet, that what killed his crew will kill him if he dares to leave. But he also thinks he can get rich, or powerful, because he believes he’s found the fountain of youth. What’s fascinating is that he’s half-noble and half-greedy on this account. Sure, he clearly wants to profit from his find, and maybe it’s a rationalization, but he also thinks the veritable fountain of youth, whatever secret these people have found that lets them live for a thousand years, if worth violating the prime directive for. (See also: Star Trek Insurrection).
There’s even an air of tragedy to it once McCoy discovers that, naturally, there is no fountain of youth on the planet. The alleged science is a little incoherent, but the thrust of it is clear -- the locals’ immunity and long life is a product of natural selection and adaptation to their surroundings after biological warfare wiped the less adapted members of their society out, and it’s unable to be replicated.
The tragedy comes with the realization that it was all for nothing. Spock uncovers that Tracy blasted away three phaser power packs’ worth of Yangs to protect the Congs’ cities (which presumably were something he thought he needed to synthesize the cure?), and it turns out he was doing it for a false promise. Tracy is just nuts enough to be dangerous, but just logical enough to still be a threat, and the reveal that his grand quest is a fool’s errand heightens that.
The marginal stuff in the first part of the episode -- the endless scuffle between Kirk and the Yang prisoners he’s with, Spock talking to him through the bars, the chase with Kirk and Tracy -- are fairly pointless, but the core of this section is solid and interesting. There’s hints that it’s supposed to be a polemic on the dangers of germ warfare (apparently Earth had both germ warfare and the Eugenics wars in the 1990s in the Trek universe?), but it’s also a character study -- a Kurtz-like examination of a colonial nation violating all his rules in the name of some mythical holy grail that doesn’t really exist.
The turning point comes when our heroes (and villain) are captured by the Yangs. One of them walks in with an American flag, the score plays an ominous yet patriotic sounding sting, and I just died laughing. The episode half-explains that the Yangs are the Yanks, the Congs are the Communists, and somehow this planet had the exact parallel history of Earth except the “Asiatic” people won the cold war, and drove the Western people into the desert where, for unexplained reasons, they adopted Native American culture.
Oh my goodness is that a stupid, stupid, stupid story development, and it cracked me the hell up. Most of the time when Star Trek is bad, it’s the dull sort of bad, where it’s weak enough to be irksome but competent enough to be dull. But this was the full on, ridiculous sort of bad that cannot help but be entertaining.
It makes so little sense. At least “A Piece of the Action” had the decency to offer the fig leaf of the old book on 1920s gangsters. How did this planet not only develop parallel Capitalists and Communists, but also the exact same American flag and Constitution? Why would otherwise Westernized individuals suddenly adopt Native American identities and rituals just because they have to live in the desert? How did they forget language and have it all turn into a religion. (Alright, maybe that last part is frighteningly plausible.)
So it ends as it must -- with Spock’s psychic powers calling Sulu to come play Big Damn Hero, Kirk beating Tracy in an erstwhile fight to the death but forbearing, and most importantly of all, with Kirk giving one of big, supercilious lectures on the importance of freedom and how great the Good Ol’ US of A is. It’s laughable stuff, but again, the kind of full-throated, absurd sort of laughable stuff, without a hint of irony, that makes it absolutely work as camp even though it doesn’t work at all as the stirring bit of patriotism it’s intended as.
I still don’t know what to make of “The Omega Glory.” Most of it is a pretty standard, well done Trek episode with some very interesting ideas, and then after the big reveal, it turns into an unintentional farce. All I can tell you is that I enjoyed the whole thing, though for the last third, not necessarily for the reasons the episode’s creators intended.
Loved this film, so many great performances. Brad Davis is superb as is the late JøhN Hurt. Randy Quaid plays a great supporting role.
Movie is truly harrowing ,and has hardly aged since I watched when released and revisited recently.
DID TO TURKISH TOURISM, WHAT ‘JAWS’ DID TO SWIMMING IN THE SEA!
