Also, splendid special effects, as opposed to pure VFX. The pan from the crashed shuttle miniature to the full-scale away team is smooooooth. The Armus oil slick is a cool-sounding concept that by all accounts should have failed miserably in practice, yet it actually works just fine; it's IMHO more convincingly creepy than some of the Odo CGI morphs in DS9. The only minus point here is the silly monocolor studio sky, as the rest of the set
could have done justice to an attempt to seriously portray an alien planet.
damn they must not really care that much about anyone else she is trying to save, kidding
Well, I'm not - it jarred quite a bit that Crusher would go to exceptional effort for this Lieutenant just because she is a main character. I'm thankful the effort wasn't even more prolonged and intense...
I rather liked the scale of things here. On one hand, it's compact and intimate: a simple shuttle crash endangering just two people instead of the entire universe, a single annoying creature that provides a temporary delay in the rescue ops, a sad story quickly forgotten. On the other, there's the high-concept nature of Armus, a nice scifi touch that doesn't really require any more exposition or extrapolation.
And I never got the argument that Yar's death wasn't good drama. It's not supposed to be universe-rattling, as these people barely know each other anyway. It's a simple death, something they could have done with any redshirt, and it's just a dramatic bonus that it happens to a main character. Nice to see how these folks do eulogies or wakes, and this episode gave the excuse to show one; it would have felt out of place in any other episode, for any other death that already carried more of a dramatic ballast.
Timo Saloniemi