No. People regard the ship as a character and want to see a favorite character morethis is joke, yes?
No. People regard the ship as a character and want to see a favorite character morethis is joke, yes?
Years have passed in the story, and the bureaucracy has moved on. Not seeing this as a qualification for the art, either good or bad. Things do go obsolete, sometimes quickly, or get considered to be so. Why do people trade in perfectly good cars?I do not care for TWOK if only because we spent so long in TMP with it only for the ship to relegated to training assignments. The handling of the ENTERPRISE in the films is strange.
Honestly, as much as I do not care for TMP it's bad art direction to emphasis something only to say it's obsolete two films later.
It's a matter of timing. It's not like we see these things progress. We get one story promising more adventure and then it's over.Years have passed in the story, and the bureaucracy has moved on. Not seeing this as a qualification for the art, either good or bad. Things do go obsolete, sometimes quickly, or get considered to be so. Why do people trade in perfectly good cars?
I would say it’s the series’ frequent moral smugness that’s aged badly. That sense that, rather than “We are uncomfortably trying, but trying” in TOS, “We are right, and we hope you catch up soon” in TNG.After rewatching some TNG episodes, I’ve finally figured out that the show itself isn’t aging as badly as I originally thought.
It is the Picard character that is aging badly.
I would say it’s the series’ frequent moral smugness that’s aged badly. That sense that, rather than “We are uncomfortably trying, but trying” in TOS, “We are right, and we hope you catch up soon” in TNG.
Which I adored as pretty much the best Luke Skywalker story ever made, precisely because it didn’t do the “Luke grows up to stay badass and right” story that everybody wanted. This was a hell of a lot more meaningful than that would have been.It's doing what everyone yelled at Rian Johnson for doing with The Last Jedi.
In The Fifth Element, the protagonist and antagonist famously didn't even know who each other were, and only missed meeting face-to-face by a split second.I like TWoK, but it’s a TV Movie dressed up as cinema. It has a nice space battle, but otherwise it lacks a lot of what makes a movie for me, the most notable thing being a lack of any kind of face to face meeting of protagonist/antagonist.
IMO The Inner Light and The Visitor are extremely boring and are definite skips when rewatching.
I enjoy the film too but it's treatment of the lightsaber from TFA was strange.Which I adored as pretty much the best Luke Skywalker story ever made, precisely because it didn’t do the “Luke grows up to stay badass and right” story that everybody wanted. This was a hell of a lot more meaningful than that would have been.
What does the script say?I am firmly convinced that, with regard to Sarek's surgery in "Journey to Babel," Nimoy was not butchering the pronunciation of "cryogenic," but rather, the procedure was serogenic, i.e., involving unusually large amounts of body fluids in general, and blood plasma in particular. Hence the need for a large reserve of blood.
I would settle for a less genocidal interpretation.more of a willingness to ignore the Prime Directive.
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