Have you ever considered that the Prime Directive is not only not ethical, but also illogical, and perhaps morally indefensible?
I think Davies is a pretty diplomatic guy - he didn’t really throw anyone under the bus as an individual, and was pretty sympathetic to the Beeb’s predicament.
Similarly, I don’t think he’s ever said a bad thing about Christopher Eccleston, even though the latter has openly called for him to be fired.
So as much as I’m sure there are other sides of the story, I’m not sure they’d be very juicy. Except maybe the Disney POV, but Davies likely isn’t privy to that.
My memories of this one are pretty fuzzy - looking at Memory Alpha, elements of it are ringing bells, mainly the recurring moon that Chakotay uses to remember he’s dreaming.
It’s a neat episode.
I can get behind this sentiment. I don’t think it’s outstanding, but it’s unique and does some things we don’t typically see.
When it comes to science fiction, the problem of leaking online is now so vast and so pernicious it threatens to ruin everything. And it’s more ferocious than ever with Doctor Who. Every decision we ever made, every single plot twist, every single moment, all the way up to the appearance of Billie in the very last seconds of the last series finale, was leaked. It’s absolutely extraordinary, and I swear it did a lot to destroy the profile of the show. It introduces a cynicism among fans, because they’re not surprised by anything any more. Their response to a leak is weariness, an instant assumption that whatever has been leaked won’t work. They instantly imagine the worst version of it, and then, when they eventually see it, it inevitably confirms their bias.
I feel seen.
A megaproject going over budget? Unthinkable.
Indeed, and if you look at what Daley has said about this Trek film in the past…
I think the portrayal of Starfleet and the people that work within it have always been generally idealized versions of what the future could be. And while this [script] isn’t a cynical or nihilistic take on it, I think it does acknowledge that there are some bad apples in every institution that can have a strong voice and can really make an impact on that institution and everything it stands for.”
Serious, but not cynical or nihilistic.
There’s hope, and then there’s delusion…
it actually starts filming
Now you’re dreaming.
That movie is indeed fantastic, but I don’t think it has quite the tone I would want from a Star Trek movie.
I think their “Crimson Tide” comparison is pretty darned compelling. That’s a serious movie with a lot of tension, but it’s hardly a heavy slog.
I do wonder if they’re dancing around NDAs and junk like that, too - writers really don’t like to talk about stuff in the early stages.
Especially in a SF context where they’re not being clear if “timeline” means “somewhere else on the established timeline” or “a new alternate one”.
Unfortunately, I think that ship hath sailed. The word is used to mean both things fairly interchangeably, by fans and professionals alike.
In this context, I’m pretty comfortable assuming that they’re looking at a new era within the regular ol’ Prime Universe.
Bookmark this now so you can make fun of me later!
TrekMovie playing the clickbait game with the best of 'em.
No legacy characters, nobody that you’ve met before. A different time, not a different timeline per se, but it’s a little further in the future.
I don’t actually think this is very ambiguous?
There’s only one person above him on the org chart.
If this kicks off the political firestorm that it rightfully should, I wonder if Brittin’s time as Director-General will prove to be quite short.
I think the odds of a tv series are less than zero at this point, but comics would be a great fit.
Cyber!Yvonne gave me an interesting insight, she retains much of her identity post upgrade, I think this implies she was an emotionless psycopath to begin with. It fits her character well.
Oh, that’s an interesting take. I wish the first episode had given me any kind of reason to give a damn, but she’s a pretty stock character (though well-cast).
I forgot about the plot point of people debating whether they were alive.
So did I! It’s a little disappointing - that seems like the sort of thing RTD could have made a pretty good episode about.
Nearly every time travel story ever told in Trek has been about doing whatever you need to do to preserve history. The aliens in the episode are a large-scale Edith Keeler, with the chief differences being the sheer scale of it, and the fact that unlike Kirk, Pike didn’t have the steady voice of Spock insisting that this is what had to be done.
And, from the point of view of preserving known history, Pike’s hunch was correct, and now he has to live with that.
So yeah, I think it’s pretty interesting.
at least discussing it through would have been interesting.
I think him having to make a snap decision without complete information is far more interesting, both dramatically and as an exploration of themes that have been present in the franchise since the beginning.
It’s interesting that your preferred solution is to remove all agency from the characters.
You would have preferred the genocide to have been not on a hunch?
All of the things I said last week still apply, really, and I won’t dwell on them too much. RTD finales are messy (though this one isn’t as messy as some), the production values are not great (the dimension-hopping devices look particularly cheap and plastic-y). Moving on!
The bickering between the Daleks and the Cybermen is delightful. Turning them into clowns is a pretty fun way to add some depth to two extremely one-dimensional villains.
Another way to do that? Making some of them “special,” with personalities of their own. I quite like the Cult of Skaro, even though they lead to that dodgy episode of Spider-Noir in the next season.
The “reunion” between Pete and Jackie is quite good - good enough that I was able to (almost) forget that they stopped dead in a corridor in the middle of a crisis to have it. The push-and-pull of knowing that the other person both is and is not the person that they knew is well-executed, and elevated by both Camille Coduri and Shaun Dingwall.
The episode is mostly a lot of running around until the Doctor and Rose can use the ridiculous Torchwood levers to activate the deus ex machina, and I’d rather not spend much time on it, because it doesn’t really matter. It’s awfully convenient that Jackie was able to just run away from the Cybermen before her conversion (shame Yvonne didn’t think of that), and that Yvonne was able to overcome her own conversion (Danny Pink earned it, Yvonne - you did not), and that the Daleks and Cybermen were able to be sucked back through the vortex without levelling all of London, and that the Void - explicitly stated in the last episode to contain absolutely nothing of any kind - nonetheless gives off background radiation, but that’s how these things go sometimes.
And then there’s the ending, after Rose is lost. The Doctor with his head pressed against the wall is iconic for a reason, and David Tennant is masterful with his stiff-upper-lipness throughout. Billie Piper also does a very good job, but I don’t empathize with her as much. I’m just not enough of a Doc/Rose shipper. Murray Gold does some of his best work with the bass-heavy music track that’s used in this section of the episode. Apparently the track is called “Doomsday” on the soundtrack, which…sure, makes sense. It’s prompted me to look up who the heck provided the vocals for the various themes in these two series, and the answer is Melanie Pappenheim, if you’re as curious as I was.
And so endeth the life of Rose Tyler, may she rest in peace.
I wish I could agree. The toxic communities aren’t doing what they do to get the creators’ attention, so withholding that attention don’t accomplish anything. That’s not what sustains them.