In the opening scenes the viewer is expected to believe a couple things right off the bat; first being that after surviving 100 years following the apocalypse on a space station, beauty care product synthesization has been perfected, and there is apparently plenty of electricity for blow dryers and curling irons -- not to mention lots of water for hair washing and conditioning. On the other side of the scale: overuse of medical supplies is punishable by death.
Take scene 1 for example: teen aged girl, blond highlights & dark roots, lots of mascara and eye shadow -- and she's in space-station-prison. Dressed in teen-Gap spacewear, she must have traded her exercise time for peroxide and hair foil, because after 100 years, there's plenty of that stuff onboard.
No shortage of hair product -- plenty of gel and mousse for all the men and women of the 100 year old space station. And speaking of the men, apparently there's an abundance of shaving stuff as well, making it possible to maintain a shave-every-day standard in space. Amazingly, even the young men sent to earth who are struggling through a radiated danger-filled jungle just to find the food locker manage to remain cleanshaven. Similarly, all the girls keep perfectly arranged hair, and manage to change their eyeshadow colors in that same jungle. Clever way to convey the passage of time, change eyeshadow colors. All this without carrying a single supply box, bag, or container of any sort off the ship they landed in.
The genre of SciFi should be offended, but then again, it's CW ;-)
So glad this train wreck is finally done. Kinda like a bad relationship you know you need to get out of but just keep hoping it will be better. Well it never does.
This whole series had your typical conflicts and needlessly forced drama, but all in all the story arcs weren't horrible and you could sorta suspend belief.
But this final season has just been utter garbage.
Female characters suddenly turned into stereotypical lesbians butch types for no apparent reason and a few look terrible. Characters changed personality also for no apparent reasons. Lack of continuity and explanation, confusing story lines kinda went off to nowhere. Motivations are unreliable and random. I'm sure the PC police will crack down on me, but the whole "Girls Kick Ass" gets tedious. Except for Shadeheda, no man can stand against the magnificent power of the Mary Sues.
I'm so sick of agenda driven story telling. A. it's insulting to our intelligence and B. Its crap story telling.
I don't know if Hollywood is in its own echo chamber or these people really think this is good stuff. Probably a little of both, but it's a shame. The premise was good. The production value was good. The acting was good for the most part given the script. But it's unbearable to slog thru this knowing it could have been so much better.
Wow, what terrible acting and storylines. It's like they throw darts at the episode plot board and just riff on what they hit.
With every Star Wars spinoff Disney demonstrates their acceptance of mediocrity in entertainment. Each spin off uses the leftovers from the previous shows as set pieces and everything is just lower and lower production value with more talentless actors and bad writing.
Mando set a gold standard in the first two seasons, Fett was OK but felt forced, Obi Wan didn't really land and Ewan couldn't resurrect it, Andor was slow and recycled too many previous Star Wars sets and now Ashoka is just a sad attempt at another spinoff, of which there seem to be a limitless supply of. With Ashoka it seems like they are trying to break the "one season special" formula and make it a slow burn to run for multiple seasons.
Disney is grasping at anything to keep their failing streaming service (and frankly, their failing corporation) alive.
As I write this I realize how much Star Wars has been spun off, especially if you include Solo and Rogue One. Disney got their hands on the franchise and turned it into a giant cash grab which worked for a minute but is watering down a beloved franchise more and more with each spin off.
I was looking forward to this when discovering the synopsis and wasn't disappointed at all. Quite the contrary, I was even pleasantly surprised by this pilot.
Not a fan of the rather young cast but I've seen much worse and guess I can deal with it on the long run.
I'd say the premise was set a bit fast but on the other hand it didn't drag the episode.
Somehow it feels a bit like the TV series Forever (fantastic series, btw) just in a lighthearted format, plus a zombie instead of an immortal. Comedy is rather subtle here but very well used.
The only issue I have is the morgue sidekick or boss of Liv, Ravi. He's just too laid back about this zombie thing and too willing to cover her up and send her off to do police work, risking her cover. While I appreciate a non dragging establishing of characters, some more background about Liv and Ravi would have been necessary to make it more believable here. But that is nitpicking.
Also, Rose McIver looks really hot as a zombie but not nearly as hot as a human. Or maybe I'm just into zombiegirls. shrug
Sidenote: The cover for this show here on trakt looks awful with the "main" characters posting in front of a white screen. Looks absurd and not fitting of the tone the first episode set.
Supernatural Season 12: the return of the Assbutt. I was so happy to listen to that again. It never gets old. If I ever stop thinking that's funny, just assume I'm dead.
I enjoyed the episode, even though it felt different to the others. The tempo was slow but likable. I like that they're doing new things as well as evolving the plot slowly. The ending was good, though. I like the Lucifer without a plan as a big bad. He's even scarier. When they said they were going to L.A. I was expecting a reference Lucifer (the show), and nice callback to Hollywood Babylon. Love Supernatural for these little details. So now we have the Bits and Lucifer as the two big bads this season.
Right when I was digging into Rick Springfield's portrayal of Lucifer, he's a goner. He played it very well, imo. He was scary as hell (no pun intended) with Roseleen. But the "holy crop" moment was when he made the producer kill himself with his pen. I totally agree with Sam, "Lucifer was bad enough when he had a plan", but now he's just scarier. His mologue at the very end really made me sad. I mean, he's Lucifer and all, but he just wants to be loved. Daddy issues is his cross to bear.
Cas and Crowley are so funny in that 80s buddy comedy. "What's the spell? It's breakfast". Please, make this a spin off. I love sassy Cassy. That sarcastic "yay" to Crowley was so funny. That "at least I don't look like a lumberjack", rotflmao. As well as the vegetable water. I love how Dean reserved his horrified to look to the water. So Deanish. But let's take a minute to consider Deannerisms. As well as how good they look in a leather jacket.
Did anyone noticed that the leftovers in Words with Friends spelled Lucifer? And Mary's screen name was "mothermary1983", these Winchesters.
Quick question, did we just saw a resurface of Sam's powers at the end? Cause that's exactly what I thought.
Overall, enjoyable and different tempo episode. Lovely Assbutt and very good ending. Sad to see Springfield gone.
"Star Trek: Discovery" is not just a TV show; it's a cultural mosaic set in the final frontier. It's like a cosmic Pride parade, celebrating every color of the human—and alien—rainbow. The series doesn't just push the envelope; it puts the envelope through a wormhole and into a parallel universe where diversity is the prime directive.
The bridge of the USS Discovery is a veritable Benetton ad of interstellar proportions. It's as if the casting call was a group text that said, "Hey, does anyone NOT have representation on a sci-fi show yet?" And the response was a resounding, "Beam us up, Scotty!"
Michael Burnham, our protagonist, is the epitome of a 21st-century hero(ine). She's like if Rosa Parks and Neil Armstrong had a baby, and that baby was raised by Oprah and Ellen in a zero-gravity environment. She's not just breaking the glass ceiling; she's shattering the dilithium crystal barrier.
The show tackles every social issue you can think of, and even some you can't because they haven't been invented yet. It's as if the writers' room has a checklist titled "Inclusivity Goals" and they're scoring higher than a Vulcan playing 3D chess. The Klingons have been reimagined as misunderstood outsiders, not so much the villains of the galaxy but more like that one cousin who's really into heavy metal and just needs a hug.
And let's talk about the storylines, which are more tangled than headphone wires in a pocket. The plot twists come at you faster than a tribble's reproductive rate. Just when you think you've got a handle on the multiverse, the show hits you with a revelation that makes you question reality itself.
In essence, "Star Trek: Discovery" is the avocado latte of television – it's what happens when you blend science fiction with social consciousness, then sprinkle it with a dash of cosmic dust for flavor. It's a bold journey not just into space, but into the heart of what it means to be truly woke in a universe that's as diverse as it is vast. So strap in, set phasers to 'woke', and prepare for a ride that's as enlightening as a pride rainbow. :rocket::rainbow:
