While being little more than a scene-setting episode that attempts to arrange all of the characters on their new journeys, and also being unfortunately predictable. I found this quite easy to enjoy. The characters all feel so fully rounded and developed by this point and their easy cameradie comes across so well. In particular, O'Brien/Bashir/Quark make for a fantastic trio, and I also loved seeing Miles going to visit Worf for a drink.
Kira, now a Colonel, gets some meaty material as she goes head to head with the new Romulan representative. Nana Visitor does her usual excellent job, it's such a shame that the same can't be said for the utterly bland Romulan who seems to speak her lines with all the enthusiasm of reading the phone book.
The Sisko part of the story is a bit more troublesome. Seeing our Captain depressed and lost prevents the episode from having momentum and it feels like it goes on a bit too long. There are some major revelations that occur here, though, which do spice things up but it's also where the predictablity factor comes into play. Sisko's dad becomes very dramatic in the way that only TV characters can when questioned about his mysterious secret. The locket has some writing on it and, guess what? It's ancient Bajoran - who didn't see that coming? The mysterious hooded figure turns out to be an assassin. Mm hmm.
It's fortunately not enough to derail things for me. We get some superb moments here too, notably the continued arc of Damar who we now learn has developed a drinking problem. Plus, the episode ends with the wonderful introduction of EZRI! God, I love Ezri. Maybe it's a poor idea to replace Jadzia so quickly, but Ezri is going to inject all sorts of joy and enthusiasm into the show and I'm so glad she's here.
A good moral/ethical debate is part of the heart of Star Trek, and this episode delivers on that quite well even though it lacks any kind of subtlety. There's very little grey area, and it really does come down to a good or bad choice, one of which will save a crew member's life. When the stakes are that high, it's not difficult to guess which is chosen.
Also, ew! Giant bug thing!
I liked quite a bit about this episode, though. I think a big part is the whole Cardassian/Bajoran angle which I always found one of the most fascinating and enjoyable aspects of Deep Space Nine. Bringing that over to this show incorporates a lot of background depth which Voyager is rarely equipped to employ given its episodic nature. I also know the character of Crell Moset from a few of the Trek novels (in fact I had just read one with him in, 'The Battle of Betazed', which chronologically takes place almost right alongside this very episode). So, I knew of his past as soon as we were introduced to him.
It's also one of the areas where the logic of the episode disappears for nothing but dramatic story reasons. Some of the crew are upset at seeing a Cardassian, but he's a hologram - there was no reason that the Doctor couldn't have just changed his appearance to human. Similarly, once Moset's background is revealed, why not just use a different exobiologist from the ship's database?
Janeway's character is kind of destroyed once again as she makes a decision for one of her crew and refuses to hear that she did anything wrong. I swear, nobody on this ship has free will.
There's also the issue that Crell is nothing more than a simulation created by the ship's computer. Any knowledge the hologram presents is therefore already existing within the database's somewhere. But I guess holograms have always been a murky area on Star Trek.
Pretty fun stuff, mostly due to the surprises along the way. Garret Wang does a good job of portraying and older version of Harry who has quite a different personality (and unsurprisingly, Chakotay hasn't changed one bit). I also loved seeing a Galaxy-class starship again, and the unexpected appearance of Geordi. Time travel stories tend to click with me, I think because I enjoy the often creative storytelling opportunities they open up. There's also the potential for a large amount of clichés to appear, but this handled things pretty well. The crash landing sequence was quite spectacular.
Of course, the episode does raise the question of why Voyager doesn't just make several short slipstream jumps to get home. The drive appears to work fine for short periods of time. Tom is acting very out of character in the early scenes and it feels more like a role that B'Elanna should have had. Speaking of her, she appears to completely have gotten over her intense depression from a couple of episodes ago - how nice for her.
I also am really noticing that Janeway pronounces Harry's name as, "Hairy", and it won't go away now.
Almost unwatchable. I watch children's TV with my nephews and it's nowhere near as painful as what is portrayed here. On the plus side, the show managed to grab a decent child actress for Naomi and there was really nice Tuvok moment.
It took me a little bit of time to get my head around just how utterly insane this episode is. By all rights it should stand as one of the most awful entries in the series, but through the sheer audacity of it it ends up as something quite watchable.
From the opening it's clear that the Starfleet headquarters we are seeing isn't real, because everyone is wearing the old uniforms and there are a bunch of Ferengi around. The revelation that Species 8472 have transformed themselves into humans is... a stretch. They are also using Earth slang and engaging in typical social activities. One of them likes kissing Chakotay. It's just such a far fetched concept that it blindsides you. The concept of them appears to have been changed dramatically from their first appearance in the show.
It transpires that it's an elaborate preparation for them to invade the Federation - by play acting as us and spying. Never mind the incredibly advanced technology they possess which would give them a decisive advantage, and their extremely warlike tendencies demonstrated before. The implication here is that they are more like the Soviet Union of the 1960s. Again, I have no idea how this story came into existence.
The ending boils down to a conversation that goes along the lines of:VOYAGER: We mean you no harm.SPECIES 8472: We don't believe you.VOYAGER: But we're telling the truth.SPECIES 8472: Okay, good enough for me.
I'm not entirely sure the writers had watched the previous episodes with these guys in. No mention is made of the episode 'Prey' in which the crew successfully communicated with a member of Species 8472 and manages to almost reach a kind of understanding. Also, no mention is made of their extensive telepathic abilities which surely would have allowed them a a great deal of knowledge over the crew's true motives.
Add to that some absolutely terrible acting from usually great actors like Kate Vernon and Ray Walston (I can't believe how bad his dialogue is, son) and I can only assume this episode is intended as a massive joke. With that in mind, I sort of enjoyed it because it's just so nuts. People mock an episode like 'Threshold' for how ridiculous it is, but this goes miles beyond that.
Bonus points for also having Billy from Gremlins.
A pretty uninspired look at self-harm, which never quite rings true. I have a similar issue with this as I did with the DS9 episode, 'The Sound of Her Voice', in that we are suddenly presented with a main character who is depressed/struggling and apparently has been for quite some time, but the show has done nothing to show this to us in the previous episodes. B'Elanna is acting very out of character and while I know from first hand experience the way that depression sneaks up on you, this doesn't work at all.
The depiction of the depression itself is also a little simplified. I'm disappointed, because the episode actually made me dislike her when I should have been feeling sympathy. Chakotay's smirk whenever he's talking continues to bug me, too.
The Delta Flyer is kind of cool, the show has needed a runabout style craft for quite some time. I do think that Tom's retro controls are a bit dumb though, and they look like something from an old Atari console.
B'Elanna disengages the holodeck safeties a number of times in this episode, and on each occasion the computer asks her for confirmation and provides a warning. Great, but only two episodes ago Seven disengaged the holodeck safeties and it was instant. A small thing, but consistency counts for everything in storytelling, and Voyager continues to fail at this.
The Malon also still suck. Are we going to be spending more time with them?
I was initially worried that this would be a rehash of the TNG episode 'I, Borg', but it goes in a different direction and has its own identity. The crew of Voyager have a very different relationship to the Borg than the crew of the Enterprise, and there's far less hate involved. Again we are given a showcase for Jeri Ryan's talents and proves that she really has become essential to this show, and has improved it considerably.
It's mostly a low-key affair that explores Seven's ability to become a parent (more or less) and her acceptance of her own emotions. The Borg, One, manages to become quite charming as the story progresses. But it's the ending which really makes the episode something special. There's a genuine sense of loss, despite the fact that we all knew One wasn't going to be hanging around. Jeri Ryan really sells the pain and fear of her loss.
I have to admit, I half expected the Doctor to come over to Seven and say, "if it's any consolation, at least we can retrieve my mobile emitter now."
Well, at least Janeway is finally acknowledging her selfish and impulsive behaviour - a nice continuation of her character from the finale of season 4. I also quite liked that the crew actually do feel like a bunch of friends at long last, despite the lack of evidence the show has given along the way.
The Captain Proton/Flash Gordon rip off worked quite well, and that surprised me! But still, we have the ship desperately trying to conserve power in the Void and people using the holodeck constantly. I'd imagine it's pretty essential for morale, but at least attempt to make this situation realistic.
Quite a nice chat between Chakotay and Tuvok. The Malon are yet another weak and uninteresting alien, though.
This definitely has some, shall we say, annoying writing. Specifically between Maureen and John. John says not to tell anyone about the robot, Maureen says that secrets eventually come out. That's clearly exactly what's going to happen, so this seems like nothing more than an attempt to build up some tension. It doesn't work. Just tell people, seriously.
I still really am enjoying the kids, though, and the robot is great. Hiding him in a cave seemed like a stupid idea, however. I'm disappointed to see the return of the chicken guy, and Doctor Smith doesn't seem to be doing anything sensible.
Ah, The Americans. What a ride we've had. Simultaneously an exquisitely rich series with superb acting while also being a directionless slog for large periods. When it was good it was top-drawer TV, but it always felt like a show that was lacking in behind-the-scenes navigation. The amount of dead ends, unimportant characters and entire plots which went nowhere far outweighed the intense drama of the core story: Philip and Elizabeth, and their family.
I recognise the hyperbole in saying this, but you could almost watch nothing but the first episode of season 1 followed by this finale and not really miss out on all that much. The status quo set up in the pilot episode had very few changes along the series run, with the only truly big event being Paige discovering what her parent's were doing. I thought we were going to be in for a thrill ride after that happened, but it was quite the opposite. The fact that I was more interested in the fate of Philip's travel agency than in any of the spy work says it all.
There is a lot more to it of course, not least the emotional journey the show took us on. This series finale delivered the emotional moments needed and gave us some truly heartbreaking moments as the story of the Jennings came to an end, and they lost their children while regaining their home. The garage scene with Stan was one of the most intense things the show ever did, and the final phone call with Henry had me in floods of tears. But for me, the finale failed to deliver all that much from a narrative perspective. There is no conclusion here, almost all plot threads are left dangling (Henry? Paige? Stan? Martha? Oleg? Renee? Claudia? Oleg's family? Philip's Russian son? The mail robot??? What about the travel agency?! We'll never know.)
I find myself torn between satisfaction and disappointment. I felt that the show has been largely going in the wrong direction since season 4 (that is to say, no direction at all). Circular plots went round and round again, Philip and Elizabeth grew more and more apart as the work drained them. Characters and plots kept being introduced with no bearing on what was truly important to the show's core.
I feel very let down that the show decided to leave everything until the last episode. The amount of great story opportunities concerning Paige and Stan that could have happened over the past few seasons but never did is overwhelming. As it stands, this last season of The Americans managed to go out on a higher note than I had expected but it feels to me like a show that will not be remembered as one of the TV greats (it never helped that the UK broadcast was put on an obscure channel in the early hours of the morning), but provided characters that will stick with me for a long time.
Nice to see the family working cohesively as a unit. The episode took a while to find its feet, but got pretty exciting. I still think the kids in this show are outshining the adults as actors. Some good tension built up with the eel monsters.
I'm just not all that motivated about continuing. Hmm.
I'm disappointed they've decided to leave everything we've been waiting for until the very last episode. Hopefully it's a satisfying conclusion, but it definitely didn't need to take this long to get there.
I am impressed that I really don't know how it's all going to go down, nor who I'm rooting for most.
I'm glad we've had a time jump, the characters and story were at such a dead end and this is a good method to inject some new directions. I admit, though, I was lost through much of the episode until some things were clarified at the end.
Things sure would go smoother if Elizabeth and Philip would just talk! It's been a big problem for them for quite a long while and evidently still is.
I'm kind of surprised to see Paige becoming part of this life. She still doesn't understand what it's really about and it's quite sad. Elizabeth is hard to sympathise with.
Guest star Ray Wise makes this episode special, but even without him it would have been one of Voyager's stronger outings. I wish it had been more like this up to this point. The episode builds upon the relationships and experiences of the crew up to the point and takes what they've gone through into consideration. It also directly addresses Janeway's tendency to make selfish decisions without thinking the consequences through. However, I get the feeling that she won't particularly learn from this experience...
The Dauntless is a fascinating ship before it's revealed to be a lie. It's clear something is up early on - not only because we know that any opportunity for the crew to get home is going to fall through, but because the fancy new technology hasn't been developed or mentioned over on DS9.
Great scenes between Janeway and Seven, and a nice entry in the ongoing story. It's mostly unknown territory from this point forward for me, so this episode gives me hope that the quality may improve from here on.
I find the background story to be the far better part of this pleasant but unremarkable episode. Quark realising he can take advantage of the whole Odo/Kira relationship is quite brilliant, as well as seeing Odo's complete infatuation. And at the end, the further proof that he and Quark really do respect each other despite being genuine rivals. There's a friendship there that's complicated and they realise they both owe a lot to each other. Jake's involvement seems very peripheral and left field, but hey, it's nice to see Cirroc Lofton on screen more.
The situation on the Defiant is a mixed bag. The crew having conversations with the unseen captain is often compelling but at the same time never evolves into anything truly strong. The main characters are all talking about problems which we've seen no evidence of up until this point. I find it hard to believe that nobody on the ship bothered to look up who they were talking to in the Starfleet files and realise that something a bit odd is going on.
The ending is quite heartfelt, and yet manages to feel a bit unnatural in its telegraphing. Julian gets some beautiful dialogue and the camera gives us a lingering shot of Jadzia.. I wonder what's about to happen...
It's hard not to like Hondo. Although, that didn't really sound like Emilia Clarke.
Nice to see that more elements from the old Expanded Universe are being brought into official canon.
I freakin' love the Porgs.
I often see this derided as one of the worst DS9 episodes, and while it's definitely not going to win any awards I found myself seeing the good in it. It's certainly got a lot of issues and major story problems, but the episode has a heart and emotional punch which affected me. It also manages to be a very generic and unambitious Trek story.
Yeah, big parts of this don't make sense. Once Molly comes back as an 18 year old, the possibility is discussed of trying again to grab her through the time portal and bring her back as an 8 year old instead. This entire idea is dismissed by both the O'Briens and Dr. Bashir immediately. Why? Because they don't want to deny her the years she's had on the planet. Completely alone, separated from her parents, forced to learn to survive, scared out of her mind. OF COURSE YOU SHOULD TRY TO PREVENT THAT FROM HAPPENING. So, that's moronic.
Once back on the station, no real attempt is made to rehabilitate Molly. There are no child psychiatrists or doctors (bar Julian, who doesn't do all that much) assigned to help her. Miles and Keiko attempt to do everything alone, and it's insane how little patience they have. Miles is getting annoyed when Molly won't pass the ball back to him - based on the amount of balls she collects, they've been trying for all of 5 minutes. They put her in situations among crowds and seem surprised that she lashes out; why didn't they just beam to and from the holosuite to avoid problems?
Their final solution is to just send Molly back. Alone, to remain alone for the rest of her life until she dies alone. There is no feasible way that this is a good idea. For some reason the O'Briens completely reject the notion of Molly getting professional help and being rehabilitated properly.
As for the good stuff, I thought that Keiko especially brought a lot of emotion to the episode. Seeing a child separated from distraught parents is quite upsetting to watch. It's a shame that Molly isn't really a fully formed character, despite appearing on both this show and TNG for so many years (impressively, played by the same actress all this time too!). O'Brien's family in general seem to be a background thing that he doesn't need to deal with unless the story calls for it. Something of a missed opportunity there.
The actress for 18 year old Molly was fantastic, and easily the highlight of the episode.
Oh, I hope this season starts to get better soon. While there is entertainment to be had in the mayhem, none of the quality writing from season 1 is present here anymore. I continue to be despondent that Sizemore the scriptwriter guy is still in the show. Dolores is some kind of evil genius Terminator now (although the scene with her father was absolutely gorgeous). The less said about all the Delos suits/army guys the better.
I did quite enjoy the opening in the Indian tiger-hunting park.
And here we have it, the real blemish on an otherwise great show and a contender for the worst episode in the whole Trek franchise. This is quite a disgusting episode for very clear reasons: it makes light of sexism, sexual assault and attempts to turn trans-genderism/gender identity into a joke. I honestly have no idea how anyone thought this was a good idea, other maybe than "it'll be funny!". It's a shame, because the episode starts with the very interesting issue of women getting equal rights on Ferenginar before becoming derailed. It also has the superb Wallace Shawn and Jeffrey Combs doing their usual excellent work.
We open with Quark, a character we've come to love through his faults, openly encouraging a female employee to perform sexual acts on him under the threat of being fired. But it's okay, right? It's meant to be funny.
Quark is forced to have gender reassignment and becomes woman. It's okay, it's meant to be funny.
We all laugh at Quark trying to act like a woman, and the way his hormones now make him feel. It's okay, it's meant to be funny.
A Ferengi male traps female-Quark in his quarters and chases her around in an attempt to have sex with her against her will. It's all very slapstick. It's meant to be funny!
At the end, it turns out that Quark's female employee actually wants to perform the work-enforced sex acts on him! Women always say yes if you're persistent enough, right? SO FUNNY!
Quark doesn't actually learn anything from his experience as a woman! Ha! Sexism wasn't ever a real thing! Oh MY!
I hope someone got fired for this.
Despite problems, I kind of enjoyed this. It shows the Voyager crew interacting and working together in a way that feels like old friends, maybe for the first time I've really noticed so far in the entire show. While it's not perfect - Tom and Harry's playful dialogue and joking is absolutely atrocious - it feels warm and genuine. Better are the scenes with Neelix of all people, as he spars with both Tuvok and the Doctor.
The stuff on the planet is where the episode surprised me, because I didn't see a lot of it coming. Unfortunately it does take a very long while to get going, and all of the really interesting stuff happens in the final 15 minutes or so. The "demon class" planet is an intriguing notion but the episode deals with it in odd ways. Chakotay tells us that even going into orbit around the planet is suicide, but Voyager appears to overcome that immediately, and then shuttles and even people are going down to the surface without much fuss. If it's that easy then class Y planets wouldn't have the fearsome reputation Chakotay seems to imply.
Surprise surprise, Janeway throws the ship into danger again without too much thought of the consequences and somehow makes it seem justified. I was thinking that the crew didn't even get the deuterium they needed to survive another week, but there is a throwaway line about getting some hidden in there.
The ending is odd and kind of cool, but wrapped up EXTREMELY quickly. I also had to kind of laugh at the show's first attempt to give Harry some kind of character development since the first few episodes of season 1 - I wonder if that will be followed up on at all?
The episode has something to say, at least, but I find this infuriating to watch. That is really the point, though. Red Squad are a bunch of the most unlikable, bratty, all-American stereotype, non-diverse bunch of white kids that the franchise has ever presented to us and it's almost a joy to see them wiped out at the end. It also digs into my dislike and mistrust of military mindsets (something which Trek usually handles beautifully).
That is a bit of a disservice to the episode, because there is some nuance in there. The conversation between Jake and Collins is a gorgeous high point with some wonderful dialogue and acting, plus we get to learn more about the moon (or 'Luna') as it is in this 24th century. Nog also gets some great character development as he falls prey to the charms of the elite cadets he always looked up to, then realises the danger in blindly following someone. Red Squad turns out to be little more than a cult, and Captain Watters is so overcome with notions of duty without the experience to back it up that he's doomed his crew from the start.
The ending scenes in which we return to our regular crew with Sisko at the helm feel like a moment of relief, and seeing them utilising their own experience in such a smooth and natural way serves very well to highlight the insanity we've been watching for much of the episode. I also really like the opening section with Quark pining for Dax.
It bugs me a bit that the only escape pod that survives is the one with the main characters on. TV contrivances! This is a bit of a ridiculous episode and I can't say that I have any good feelings towards it, but it's not a throwaway.
Pretty enjoyable, but then again it's always a fun time to see regular characters acting so different. Echoes of a Mirror Universe episode as it begins. But, is it just me, or does Janeway not actually seem all that different from her usual self...?
Robert Picardo does a stellar job as usual. I'm kind of surprised that the EMH backup has never been mentioned before. But then again, this is Voyager where each episode just does its own thing, so I guess I shouldn't be that surprised.
The ending wraps things up a bit quick. I think the episode spends too long going through the early parts without the Doctor, when the episode would have benefited more from spending time with him and what he can do to help these people see the truth.
Bajoran mysticism, Prophets, Pah-Wraiths and the loving bonds between the characters. Yep, this is why I love DS9 the most.Kai Winn consistently manages to surprise, and yet we all still hate her!
Yep, I've forgotten this one already.
It's kind of insulting that the show, often derided for its use of the reset button and lack of consequences, makes an episode in which the characters literally forget it ever happens. I also find it ridiculous that Voyager doesn't have any kind of basic security cameras or way of verifying that Kellin was ever on board. I get that there's a virus to destroy all traces of her presence, but it's a massive oversight.
Also, I thought we were told that transporter technology won't work on her species? Whatever. I wasn't paying that much attention - there was paint drying on the wall next to me.
One thing I can say about this, is that when DS9 decides to do something strange then it fully commits to it. This episode is one that almost fails but pulls through due to its charm and the rich history of the characters and relationships on screen. The pairing of Kira and Odo is one that I've read a lot of viewers discontent with, but I actually found it to work despite the somewhat manufactured nature of it.
A lot of the odds are stacked against this one. We are introduced to Vic Fontaine who I have to admit is a character that I never quite clicked with, but he somehow manages to not grate too badly with me (once I get past his annoying use of dialogue). The 1960s swing music is a a bit too much - and we have to sit through complete songs - but the whole setting somehow seems to nestle comfortably into the show. I'll feel similarly annoyed when he makes future appearances, but I'll also warm to him as the episodes continue.
It's also a far more natural holodeck environment than anything Voyager has done by this point in time. I can understand why the crew would come here to relax.
I remember watching this episode when it first aired and feeling a bit sideswiped by the whole thing. I think that's just because I wasn't expecting it, and I've found myself warming more to it with subsequent rewatches. It's due to the journey we've been on with both Odo and Kira that I feel very invested in what happens between them, but the show could have done a bit more to build up to this naturally.
The dinner between Kira and Odo is genuinely tense and exciting stuff due to the way it's arranged, with Odo not realising he's speaking with the real Kira. We as an audience are waiting for everything to crash and burn in ruins, but simultaneously delighting in seeing Odo really doing well and wanting it to work out. The final moments between them on the promenade manage to be both silly and gorgeous, and I can't help smiling. I'm happy they finally get together.
There is a truly awkward moment during the dinner scene where Vic randomly begins singing and is just staring at Kira and Odo. It's weird and creepy.
The intriguing setup leads into what turns out to be a surprisingly boring episode. Janeway goes into her no-nonsense-no-arguments mode which only further solidifies her lack of definition as a captain and a character, refusing to listen to questions or advice from anyone. The plot attempts to explain this by the magical use of the "Omega particle" and it's priority over everything, including the Prime Directive. Hmm, nope, that's doesn't work for me and isn't enough. It's something that's come out of nowhere and isn't given anywhere near enough explanation: is it man-made or naturally occurring? If it's artificial, then how do random species across the galaxy all happen to stumble over making it? And surely there are all sorts of other equally dangerous substances encountered all across Star Trek that don't receive this level of paranoia?
While I also saw the semi-religious aspects of the episode as a failure (Seven's reverence of a particle is nonsense), I think that Jeri Ryan manages to save the episode from being a complete disaster. She sells Seven's feelings well and gets some excellent moments of conflict with the Captain. These scenes are ones which are making the show in general far better - somebody really needed to challenge Janeway's decision making and the scenes only help to improve both of the characters. By the same token, however, if Seven keeps on doing this then it's going to show a real lack of character development for her which would be a shame.
Very odd scene in which Seven begins treating the crew like Borg drones and Chakotay is perfectly fine with it. Seven seems to have rank privileges over Starfleet crew members now?
IT'S A FAAAAAAAKE!
Can you believe that THIS is the episode I somehow managed to miss when first broadcast? I had to wait quite some time before I got to see it.
Often touted as the best Star Trek episode ever, I'm not sure I quite agree with that but it's definitely in the top 10. This is daring and goes completely against everything that the franchise has been about. It's not quite the shocking tale some promote it as, but still. The main character, our hero, manages to lie and cheat, and eventually be an accessory to murder all in the name of the greater good (the greater good).
It's quite a sedate ride, but it all comes together so well at the end. This is about the intrigue and mystery of what's going on, and the anticipation of the reveal. It's exquisitely put together and the acting from both Avery Brooks and Andrew Robinson is wonderful.
The closing moments are a real high point. Sisko tries to convince himself that he can live with his choices, but it becomes more of a statement of hope rather than fact. The Captain may have to continue lying, if only to himself.
I'm now reading the novel 'Hollow Men' which is a direct sequel to this episode and deals with the aftermath.
It's engaging stuff, but I'm becoming more and more worried as to what the endgame of this all is. More random complications, past revelations, etc. are being introduced and hopefully this isn't going to become like Lost...
At any rate, this was a good change of pace compared to the previous episode, and I really enjoyed the stuff with young Logan/William here. And the meeting between Maeve and Dolores was as electric as I had hoped.
I'm assuming that Anthony Hopkins has been recruited for voice over work, otherwise that was somebody doing a damn good impression.