LeftHandedGuitarist

How did Quark find the right file if Kira and Odo never told him what to look for? All they told him was "certain communication files in the Vedek Assembly records". No source, destination, or date range was ever given, nor did anyone hand Quark a data storage device of any kind with the details of what he should look for.

There's a fairly strong "meh" factor to this episode, because so much of the outcome is obvious from the moment Winn starts Kira on her investigative mission. It's obvious that Winn knows the truth already, and it's obvious that Bareil didn't do it. What saves the episode from a "Meh" (5) rating is the acting. It's always the acting with this show. Even when the plot is utter shite (not that this one was that bad) this cast can usually salvage something worth watching from the muck.

The Bajoran political angle and the new information we gain about the power structure on Bajor during the Cardassian Occupation don't hurt, either. It's especially nice that this little "Opaka has skeletons in her closet too" thread got injected, reminding the viewers that even the most perfect hero you can possibly imagine has probably done something that would kill their reputation if it got out. (In most cases it's a lot smaller than precipitating the massacre of 43 people, but political candidates at all levels have had campaigns derailed by something so little as a careless remark made decades earlier…)

I'm not proud of this, but I'm downgrading this one a bit ratings-wise because Ewoks. I have a hard time deriving enjoyment out of Ewok shenanigans anymore. But hey, these are aimed at kids so some teddy bear capering is to be expected. For some mild adventure, it's perfectly fine, though I don't know if we ever really needed to learn the origin story of Leia's dress from RotJ, and I'm not sure why they couldn't get the actress who voiced young Leia in Rebels.

"It's like we sprung a leak, but I can't find the crack." Except if you actually sprung an antimatter leak, you wouldn't have much time to find the crack, Torres.

So if all decks but Engineering are evacuated and life support cut off to save power for the reintegration attempt, how can the duplicate Janeway and Kes breathe after going through the spatial rift on deck 15?

This episode makes reference to "phase variants", not "variance". (I checked the official DVD subtitles. But that could be a mistake in the subs, I guess.) At any rate, I could nitpick about crew members and objects being visible on the other side of the spatial rift despite being out of phase with the rest of the ship. In nearly every Star Trek episode that mentions people or objects being "out of phase", that means the subject is not normally visible or detectable except by extraordinary measures—see: "The Next Phase", "Time's Arrow", "The Pegasus" (TNG); "Distant Origin", "Scientific Method" (VOY); "Shockwave" (ENT). But let's just assume that passage through the rift (with or without one of duplicate-Kim's "phase discriminators" to soften the transition) hand-waves that one away. It's much easier to just roll with such a tiny detail in an otherwise superb episode.

This is one of my favorite Voyager episodes, and one of the few that can be called an unironically "good" script. Sure, the thing with the Vidiian ship just happening to lock onto the "good" Voyager is predictable, but I can see past that. It has a little of everything: drama, comedy, action, and the kind of moral dilemma so many of us Star Trek fans love about the franchise. Watching Kate Mulgrew play opposite herself is extra icing, and a treat we don't get much of outside of this episode and "Endgame".

I know my reviews usually follow a nitpick-first, review-later pattern, but that's just how I write these things. The nitpicks get typed out while I'm watching, then the longer-form, bigger-picture thoughts come after I'm done.

Well, the concept would have been interesting had they gone through with it. Althought he bought into it to willingly. In the end it became an oversexed episode with touches of "Shades of Grey" (of course that wasn´t written than) that would have felt more at home in a TOS setting.
Sidenote: I wasn´t aware Kristanna Loken was ever in Star Trek.

Aaaaww, a "Groundhog Day" episode! I'm always so fond of those in each and every show they all appear. But, somehow, I didn't like this one, I actually fell asleep while watching it. Mudd was too damn annoying as a character to make all the "rewinds" appealing, as they're supposed to be with this kind of episode, on other shows. It's like the writers were trying to make a Q out of Mudd, but without any of the charm or charisma. It all fell flat, in the end.
Judging by the comments around here, I know this will be an unpopular opinion, but this was the least enjoyable episode of Discovery for me, so far. Not only that, it was one of the least interesting "Groundhog Day" episodes I remember watching on any show.

Having never truly watched anything Star Trek related before, I must say, each episode is better and I am really, really enjoying this.

I absolutely love this show! Amazing episode with exciting, emotional story and stunning visuals! Loved to see Michelle Yeoh again in this episode. Can't wait for next week. Finally we have a great sci-fi space opera back on the air!

Upon watching this I find it more and more likely that a theory I have read about is possible.
I'm not quite over the Klingon revamp but placing the show in the Mirror Universe would nullify the problems and explain how "un-star trek" the Starfleet people are acting. Even the amount of lighting in the ships, tech and the general feel of it all (including the ominous shadowy figures of Starfleet Command) make sense in the Mirror Universe..
Even if the theory isn't correct: big fan of this show.

Black alert? Starfleet officers being mean and sarcastic? I'm having some trouble getting used to 2017 Star Trek... When they boarded the Glenn I even felt as if I was watching a scene from "Doom" (the video-game), instead. I do like the darker tone (as I often enjoy things darker), but it takes some time getting used to it, considering the Star Trek roots. At least I liked Michael a LOT more in this episode than in the previous two.

This is Star Trek updated for a new generation (no pun intended), and thankfully it doesn't seem to lean on the later movies that much. It's doing its own thing and, as weird and strange and unfamiliar as it seems right now, it looks like they're taking this show through a well planned and solid route. I'm definitely curious for what's coming ahead.

Also, Discovery is still one fugly ship.

I screamed at several points... the tension was beautifully unbearable throughout. Well made, and pitch perfect.

since last season its been a drag...

[3.1/10] Got word that this is considered one of the worst episodes of the show and yeah, it’s pretty awful, but frankly not significantly worse than the show usually is, so it’s hard to take the cries that this is the nadir too seriously.

But I get why this ep is so derided while at least some others are given a pass. For one thing, it leans heavy into the James/Donna/Mrs. Marsh storyline and the ensuing overwrought melodrama. It’s a plotline that’s been crap since it started and wallowing in it for three overblown scenes’ worth of nonsense does the episode no favors. Mrs. Marsh semi-remembering the whole thing in flashback at a funeral is a mildly interesting wrinkle, but it’s more bouts of bad acting and soapy ridiculousness.

Speaking of ridiculousness, we get the goofy conclusion to the “Ben Horne thinks he’s General Lee” storyline, with Dr. Jacoby, Audrey, Jerry, and Bobby doing an alternate reality recreation of Appomattox. It’s pretty dumb, and lightly offensive, but at least it’s sort of silly in the way that’s more palatable than when the show’s trying to be serious and failing miserably. Oh, and we see Audrey’s brother for the first time in forever! He’s even (in)appropriately in full Native American garb for his father’s bout of insanity.

Then we get Wyndam Earle as a third rate psychopath torturing Leo Johnson and tormenting Cooper with clues about the hypotenuse of their little love triangle. The shock collar is cartoonish, Earle himself is too outsized to have any real menace, and the whole chess angle so overdone that whole thing falls apart.

So with all that, is there anything good about “Slaves and Masters”? Well, I don’t know if I’d call it good, but there’s interesting motifs of people in uniform standing in lines. Is there a point to the symbolism or is it just some pattern for the sake of a pattern? Who knows! But it’s something. The only decent thing storyline-wise is Cooper and Alfred (who’s always a pleasure to have back) uncovering that Josey probably killed Jonathan and may have even had a hand in Cooper himself getting shot, but being hesitant to tell Sheriff Truman because of his relationship with her. There’s some emotional heft there that plays on Cooper’s relationship with Truman to decent ends.

But Josey’s actual part of the storyline is pretty terrible. Again, Joan Chen’s not a good actor so her efforts to seem disturbed or manipulative come off eyeroll-worthy. In the same way, Catherine Martell and Mr. Eckert exchanging Bond villain lines over dinner is a big stupid nothing.

We also get more with Norma and Ed, where they’re supposed to having intimate, wistful pillow talk that’s sunk by the show’s usual bad dialogue. Nadine kind of gives them her blessing, but who knows what will come of that. It’s becoming increasingly clear that it’s dangerous to have someone with super strength and mental instability roaming around unchaperoned, but whatever, it doesn’t even make the top ten most foolish things on Twin Peaks.

Otherwise, we’re just deep in the weeds on the Wyndam Earle storyline and there’s nothing, at least nothing so far, to show for it. This one is, perhaps, a little worse than usual, but only because the other episodes of the show didn’t devote as much time to garbage like the Marsh storyline. The quality of the show hasn’t gotten worse. It’s still as poorly written and acted as ever. But it’s major mystery, the only decent thing about this show story-wise for much of it’s run, is worse, with the Earle business being a paltry substitute for the Laura Palmer stuff.

Not sure I understand what's happened to Worf; looks bad.. People turned their back on him. Powerful! Yeah, sarcasm....

Again a more or less cheesy episode. The synopsis for this episode gives that away already but I was pleasantly suprised that it didn't turn out to be as cringeworthy as it sounds, although, to be fair, the "acting scene" on set was cringeworthy.

I love self-irony and hoped this episode would be self-ironic and it definitely was.
Malcolm Goodwin's (Babineaux) deliverance of his line to a TWD-styled zombie extra of the show Zombie High, who said: "You know what would be fun? A zombie show where the zombie is the star." was absolutely on point and hilarious.
Just like his remark about zombies and how they affect him. Foreshadowing much?

Finally they realized that they were after Blaine, took them a while but since this is a show where the zombie is the star I can live with that. Additionally, I am glad that Clive and Liv could work their differences out quickly. Without them working together something's missing. Overall a weaker episode but as a critic once wrote even in its weaker episodes iZombie delivers (paraphrased).

Sadly it seems like The CW postponed the next episode to the 2nd Feb. Oh, well, I guess (and hope) that explains why the backorder was 6 to 19 episodes in total instead of 9 to 22 or so for season 2 because they needed the timeslot.

really liked this pilot. well, at least the beginning. the end felt too much like every other cheesy superhero show. meh

oh my god ! this episode is so intense ! my heart beating so fast !!

[9.7/10] Justice is a slippery concept. Everyone has an intuitive idea of what it means. Something about fairness and folks getting what they deserve, good or bad. But the bigger the crime, the more people involved, the more victims created, the harder it becomes to figure out what a grand idea like “justice” means in that situation.

It’s a notion Jews have been wrestling with for a long time in the shadow of the Holocaust. “Duet” has particular resonance for me as a Jewish man, one who lost relatives to that atrocity. The episode reckons with how survivors of state-sanctioned, abominable actions feel, how we treat those who were complicit but not active perpetrators, and how those who weren’t directly harmed, but who nonetheless share their people’s righteous indignation, should respond to those who benefited from such suffering.

Those are still live issues now, with no shortage of horrid acts perpetrated across the globe, and were ever more salient then, when the direct analogues “Duet” is referencing were still fresh in the popular consciousness. The heart wrenching tale starts when Deep Space Nine receives a visitor with a rare disease, one suffered only by people at an infamous Cardassian “labor camp.” Kira goes to see this passerby, since the liberation of the camp and the suffering of its prisoners became a moral rallying point for the Bajoran resistance. But she’s aghast when she sees he’s a Cardassian, not a Bajoran, marking him as one of the operators of the camp, not one of its victims.

With that setup, you can basically divide “Duet” into three phases. The first is how do you treat a person who was a small cog in a terrible machine? The second is what do you do with a notorious war criminal? And the third is how do you respond to a former enemy trying desperately to atone?

There’s intrigue and depth in each of them. I’ll confess that I think phase one asks the most interesting question of the three. At first, it seems like Kira has merely tracked down one Aamin Marritza, a dedicated but unremarkable file clerk who worked at the notorious labor camp. His presence aboard the station, the Bajorans’ enthusiasm for extracting him and stringing him up, and Sisko’s insistence on getting to the bottom of the situation before proceeding all establish a thought-provoking dilemma.

It comes down to motivated reasoning. Kira wants vengeance and so do her people. The first section of the episode suggests that, despite her protests to the contrary, this leads her to see Marritza as more than he really is. There were undoubtedly horrors committed at the labor camp, but he seems unlikely to have committed any of them. Kira’s gut-level certainty that he did, that his lies about not having been there mean he’s deep in the shit, compromise the investigation and its ability to achieve justice.

So too does the sense that Kira, the Bajoran minister she alerts, and the station’s equivalent of a town drunk all just want an outlet for their (righteous) anger, someone to hold to account for such grievous crimes committed against their compatriots, whether this particular individual’s specific actions rise to the level of those crimes or not. The episode lays it on a little thick in places, but in short, Kira and her allies want vengeance more than they want justice, and they’ll take it from a file clerk even if they can’t take it from the true butchers they’re after.

And it’s complicated by the question of how much should we hold a complicit file clerk accountable for participating in such a craven venture? How do you punish someone who was a tiny but active part of a genocide? What do you do when someone committed no acts that we would traditionally think of as crimes, but whose work nonetheless supported something generationally awful? Taken in his initial guise, Marritza feels like he deserves to be held responsible to some degree, in some proportion, to what his duties contributed to, but parsing out the how and the what, in the face of a people hungry for moral recompense, while still being just, is nigh-impossible.

I get it. I get the urge to want to nail anyone you can because so many of those responsible slipped through the cracks or escaped being brought to justice through other means. I get the sense of a grievous, epochal wrong having been committed against you and your people, and wanting everyone tainted by participating in it to be given no quarter. Kira’s anger is resonant. Her willingness to elide the usual processes in the face of something so unique and freighted with communal loss is understandable. And the episode’s questions of whether that might also taint the sort of justice that can be achieved is just as palpable.

But the episode takes a turn when, thanks to some CSI-like questionable image enhancement, it’s revealed that the man in Odo’s cells is not, in fact, a humble file clerk, but rather Gul Darhe’el, the man in charge of Gallitep, the forced labor camp that was a site of torture, cruelty, and extermination.

Here is where the questions of how to process a minor figure in a major atrocity go out the window, and the question instead becomes how do you reckon with the chance to come face-to-face with a monster, to finally make someone reprehensible pay for their unfathomable crimes? Here is the science fiction of the capture of Adolf Eichman, one of the architects of the Holocaust, and Kira must reconcile herself to the man’s undaunted reveling in his “accomplishments.”

The twist might not work so well without the virtuoso performance by guest actor Harris Yulin. The sterling script, penned by key series writer Peter Allan Fields, puts a lot on Yulin’s shoulders. The Cardassian prisoner du jour not only has these long, Hannibal-esque monologues peppered into his taunting banter with Kira, but he has to believably capture and convey every different mode of this man. He must be a simple man caught up in something horrible, a gloating villain whose joy in his deeds is as chilling as it is plausible, and a man desperately seeking his own sort of justice.

He succeeds in all three. Part of what makes the central mystery of the episode work -- Who is this guy really? -- is how convincingly Yulin hits all of those marks. He sells each turn, each reveal, each moment when Marritza is supposed to be bragging whilst on top of the world despite his fate, and when his facade is slowly crumbling. The words he offers of his deeds, of how Gul Darhe’el viewed his life’s work, are frightening in how they align with the self-justifications of real life Nazis, and in how Yulin matches the words on the page with an intensity and maximalist delight that nonetheless comes across as distrubingly real.

Not for nothing, this is Nana Visitor’s best episode so far as well. She plays well with Yulin as a scene partner, and gives a layered performance as Kira confronting so many complicated issues from her past and her people’s unfortunate history. The way she is steadfast in her beliefs and in her anger, while also horrified and vulnerable at finally being able to deliver justice to her people while also forcing herself to verify this man’s abominable deeds, comes through with affecting clarity. The emotions, the questions, the mood of this whole episode is big and intense, but with performers like these, the moments never stop feeling grounded and poignant.

“Duet”, however, has one last trick up its sleeve. After a little more digging (and some cajoling of none other than his former employer, Gul Dukat), Odo uncovers that the man in the brig is not, in fact Gul Darhe’el, but rather actually is Marritza, who had cosmetic surgery to make himself look like the infamous butcher of Bajorans. What’s more, he wanted to get caught, wanted to turn himself over to Kira specifically, rather than getting trapped by chance.

It’s the only part of the story that strains credulity, just a little. Dramatic cosmetic surgery is nothing new in Star Trek. But his ability to pull this ploy off, his behavior in some of the earlier interactions, requires more than a few things to go just his way in order for this series of events to play out the way he wants them to. There’s a touch of noticeable contrivance here in the name of a good series of twists, and it’s worth noting, even if I’m apt to forgive it.

I’m willing to forgive it because apart from the logistics, these extraordinary actions feel right and true based on what we see and are told about Marritza. He is not merely some civil servant with the misfortune to risk being turned into a poster boy for genocide, nor the evil man who bears a substantial responsibility for the war crimes committed. He is a human being (so to speak) tortured by what he was complicit in, desperate for some measure of absolution and communal salvation, willing to go to incredible, arguably unhinged lengths to gain and grant it.

He breaks down and, in a roundabout way, admits that while he was, in fact, a file clerk, he was not one oblivious to the horrors that took place at Gallitep. He was someone who heard the screams of those abused and tortured, who covered his ears to try not to hear such terrible acts lest his mind be torn in twain. He is someone still haunted by what he saw and heard and did, or more accurately, didn’t do to stop any of it.

So he chose to act now. One of the hardest pills to swallow about the whole interlude is that while you (or at least, I) uncover a new sympathy for this man, it puts his past boasts in a different light. Maybe he was exaggerating a tad to goad the Bajorans into processing him for Gul Darhe’el’s crimes. But I read it as Marritza imitating the attitudes and comments of his superior officers, his parroting of their self-justiciations and philosophies so they can be inscribed in the record, rather than fabricating them. Marritza revealing his lie is, in a sideways fashion, an unfortunate method of confirming it’s all true.
Marritza isn’t here to dissemble. He isn’t even here to die. He’s here to atone, to pay back the Bajoran people in some small way, and to save his own people in another. He wants to cleanse his soul of those screams, use his complicitness for good, or at least, allow something good to come out of it. He wants to give the Bajorans the justice they deserve, if only symbolically, by throwing himself at their feet to be tied in the deceased Gul Darhe’el’s place. And he believes that only through this truth and accounting, can his people be likewise cleansed of the great sin his countrymen perpetuated, only then can they move forward as a people and not eternally carry the stain of Gallitep and similar travesties.

It’s a little insane, but my god, what a piercing, poetic gesture, delivered in the way only fiction can. Yulin again delivers the pathos of this wounded soul and his futile bid to salvage equitable recompense and karmic realignment from such an unlikely source. And the impact of it is not lost on Kira.

If she’d followed her instincts, if she’d allowed her justified anger to overtake her, she would have signed this file clerk’s death warrant, or championed him as the Butcher of Gallitep, and never known the truth. She would never have seen that for all the understandable but nevertheless kneejerk hatred she bears for the Cardassian, here is someone to make her rethink her perspective, to realize that they are no more a monolith than her people are. Hers is a chance to realize that some want to recognize the wounds caused in the war and try to heal them, to uncover true justice unclouded by the urge for base retribution.

And yet, it comes anyway. The bitter Bajoran drunk stabbing Marritza in the back is, in some ways, an easy out. It means Deep Space Nine never has to address how the Bajorans or the Cardassians or the Federation deal with the can of worms Marritza’s existence and scheme opens. But again, it has a poetry to it, an irony to it, where the death of a man whose end Kira once hungered for in the beginning of the episode, leads her not only to mourn him, but to recognize the brutal death he receives simply for being Cardassian as an injustice herself. There’s poingance in that as well, which covers up any convenience.

It makes for a powerful, jaw-dropping episodes from beginning to end, and a sign of the thorny moral questions of war and loss and civilization that DS9 would tackle with aplomb as the show matured and evolved. The meaning “Duet” extracts from each of those phases, the tour de force performances from Yulin and Visitor that power it, the intricate script from Fields that deftly wrestles with big issues that are nonetheless deftly captured in forty-four minutes, is all truly extraordinary.

It comes down to that tricky notion of justice, a concept that initially puts Kira and Marritza on opposite battle lines but ultimately unites them. I don’t have the moral authority to decide who deserves damnation and who deserves absolution in the wake of the Holocaust. Good men did terrible things; bad men did worse things, and even more stood by and did nothing. The ethical calculus of parsing out those actions and bringing them to account is beyond me, maybe beyond anyone.

But I also don’t believe in collective guilt. I don’t believe in holding a people responsible for the actions of their ancestors. And I believe in accepting those souls, be they individuals or governments, who seek to make restitution, make up somehow for the harms they’ve perpetuated. If you asked Kira about these ideas at the beginning of “Duet”, I don’t think she’d agree. But if you asked her in the wake of these events, she might sing a different tune, or at least think hard about them. When trying to discern what counts as justice in a fog of horrid acts and fallible human beings, that’s all we can ask.

Another fantastic episode from what has been an absolutely delightful first season. Did not see the Dr Aspen twist coming which made up for the whole "pirates taking over the ship" plot being a bit predictable at first. Definitely excited for the last few episodes, but at the same time I'm absolutely not ready for it to end.

An outstanding episode. The stakes were much higher than in the first two episodes. The scenes with Vader were just breathtaking. Also Obi-Wan seeing Anakin as Vader for the first time was so heartbreaking but what a powerful scene.

Themes this season: Love, redemption and forgiveness. It's been enjoyable, imperfect, of course... but still, quite enjoyable.

As a long time Star Trek fan, I never thought I'd see the day when the Borg would be welcomed into the federation. Wow, just... wow! That's growth and it's great!

Also, they CRUSHED this episode! Lol, good story, good times.

Art is always subjective and it is impossible to please everyone, but if you're lucky your positive impact will outweigh the negatives (like Jurati did for the Borg). ST: Picard is an acceptable TNG sequel I strongly believe all the original creators and cast would (and should) be proud of.

Colonel Carter Count: 14/20 episodes this season. I guess 70% isn't bad, but it's still considerably lower than I'd expect for a star with main-cast billing like Amanda Tapping.

Despite the whole "ECH" shtick in one episode of Star Trek: Voyager, it's still weird to see Robert Picardo in a red uniform. :joy:

This might be the best "clip show" in Stargate history, and that's because the clips are new material. Structurally, though, it's pretty similar: Most of the episode is vignettes tied together with a few low-budget scenes on some redressed corridor sets. Probably the most expensive scene (other than the raid on Michael's compound in the last few minutes, setting up the season-ending cliffhanger) was Sheppard fighting through the sandstorm. I like this style of storytelling, really. I just don't like being fed old footage. :smirk:

Sheppard's quip about it not being his birthday got me thinking… Atlantis never addresses the issue of planetary rotational/orbital periods. Does the planet where Atlantis sits have exactly the same 24-hour day and 365-day year as Earth? Surely not? Surely it's also different from where the city rested at the beginning of the series. There must be some small variation on each world, so what do the Atlantis personnel do about date-keeping? (Probably quartz or atomic timekeeping devices for reference to Earth time, and the city's own systems for local time, or something like that. Still, odd that they never even mention it.)

I had no idea what this show would be about when I decided to watch it. I was pleasantly surprised by the first episode and think it's been getting ever more interesting as it goes along. It's nice to see some thoughtful programs still being made, and as it's set in the 70s (at least the first episodes were) there still an excuse for the idea that America still has to be pre-eminent. After the last 4 years, I think that may have sunk without a trace but hey, empires never last ...

Should have seen this coming. Romances in Star Wars usually don't go well. Shame, Kanan and Hera felt like they deserved each other. After all the sacrifices they endured Kanan now made the ultimate one and by that showed his feelings.

I am not nearly as attached to those characters as I am to the ones from others shows/movies. Which is partly due to the fact I'am watching this for the first time. But Sabine was actually one I began to like. I am sure she will come back at some point, or the story will come back to her as I am sure this starts another sideplot.

I hope the "he" in "he lives" is not Savage. But who else could it be ? Maul should be aware that Palpatine, his former master, is still there. He could mean Kenobi with he sure has a score to settle. Otherwise I didn't know who "he" could be and Savage would certainly be an ally for Maul.

Pretty cool that the ship and pilot are modeled after the star tours ride at Disneyland. Nice little Easter egg

I love the show’s concept, the set design, the bright color palette, and the cast. The writing, on the other hand, not so much.

[7.3/10] I thought this was an improvement on the first episode of the series. Getting Picard opposite some more great scene partners is helpful, and I especially liked his confrontation with the Starfleet admiral. The clash of ideals point is coming through loud and clear, and Stewart is doing good work. (I also enjoyed his scene with his old physician buddy.)

But man, they're really strapping on the lore here, and it's not working for me. I don't know why we need a double secret Romulan police force, and the details that we get for the major mystery are pretty convoluted. This one is a drag anytime Picard's not on screen, and the build up to the main mystery has been less than inspired. Still hopeful for things to come!

The blush on the cheeks scene was a nod at The Simpsons: I remember Marge's mom telling Marge something like "whores use rouge, ladies pinch" ("ladies leech", in Disenchantment). There were probably more nods at The Simpsons (and Futurama?), but clueless as I am I was already lucky enough to find that one.

The humour is a little bit wonky at times (i.e., not working), but this first episode was mildly enjoyable. Definitely not a breath of fresh air (unfortunately), but I found it to be watchable. Honestly, after watching BoJack Horseman I can hardly find any other cartoon show entertaining, but I'm willing to give Disenchantment a chance.

Admittingly a bit of a constructed story with an in-your-face philosophy, but I`ll take it. Well written and balanced. And a good continuation of an underlying general plot that weaves the episodes together and creates a mythology. And the Dolly Parton stuff really made me smile, that was a good idea.
I am really beginning to dislike Klyden a lot and I see a divorce coming. In any case this has to be adressed moving forward.
And have you noticed the line-up of guest stars in this episode. I was grinning all over when I saw the names listed in the credits.