I watched it for JR Watches Star Trek a while back, and just rely on the notes and review I wrote for that to carry me through.

And making the Delta Flyer was such a huge effort that after they blew it up they had to wait a whole episode before they got a new one!

Ditto. Not the best O'Brien Must Suffer episode, but alongside The Assignment and In the Hands of the Prophets, probably Keiko's best work.

SPOILERS

Heh. Nice choice; it could apply to either of next week's episodes.

The difference, if my comment would ever show up, is that while The Muse and Let He Who Is Without Sin… are woeful hours of television, Profit and Lace crosses the line into moral offensiveness while still being a woeful hour of television.

Tried it, and still moderated. Maybe it's the length or something, but surely when it says comments are awaiting moderation someone around here could be empowered to actually moderate.

Trying again. Maybe I'm triggering censors, so *=a, obviously:

My usual Ferengi episode rule: Fraternal Relations / Capitalism good. Maternal relations / sexism bad.

I'd say one thing that does hurt Valiant is that it goes to the "OMG Red Squad are the eeeeeeeeevilz" well a bit too quickly, with "Jake can't talk to the crew about home and must be forbidden from speaking to them! The captain's watching Jake! And he's secretly on drugs! And they arrest him and hold him in the…

DS9, finding continuity and recurring characters even in the smallest parts. Voyager, not finding any even though THEY'RE ALL TRAPPED ON THE SAME DAMN SHIP.

Boo at Nudisqus blocking comments again. I guess talking about rape in the context of rape culture trips its censorship circuits. Where art thou, Moderators?

Satan wanna be starting something, Satan got to be starting something…

I love how the ending of Valiant completely flips everything on its head. The Star Trek II 'getting ready for battle' montage, the technobabble research, the 'just one chance at this!' shot, none of them work. The action sequence is sharp in its effects and its muscular vengeance after it goes south for the Valiant. …

What makes this episode cross the line from cringeworthy awfulness like “The Muse” or “Let He Who Is Without Sin…” into something downright repulsive though are the sexual politics of the affair, starting with the opening and closing scene that sets the tone. It’s supposed to be funny, and it’s not. It’s creepy. It’s…

That Chief Collins, perhaps the least martial, most child-like and down to earth member of the crew we saw still believes in Waters at the end is just as dark as the slaughter that preceded it.

It really is a great use of Jake, positioning him perfectly as the skeptic in all of this and as someone who consciously chose to avoid Starfleet, looks out for self preservation above all else, and making use of his status as a civilian skeptical of the military lifestyle. There's also a bit of the contrast of making…

One thing I love about Valiant that Zack gets is that the Valiant crew, even if not the best actual actors, still fit the roles perfectly because of their age—they're so young you can see the actors' hesitancy playing these roles echoing the fact that the characters themselves are acting, trying to play at being…

What makes this episode cross the line from cringeworthy awfulness like “The Muse” or “Let He Who Is Without Sin…” into something downright repulsive though are the sexual politics of the affair, starting with the opening and closing scene that sets the tone. It’s supposed to be funny, and it’s not. It’s creepy. It’s…

Next time, on Mad Space Nine…