Of course they won’t get into the intriguing ramifications of the Dolores copies thinking, “Wait, I’m the real Dolores...what is this bullshit and why am I expendable suddenly?” (since they each have continuous consciousness and memories that insist to them subjectively that they’re “really” her).

They didn’t have the money for that so they skipped it. “We can show all the ships, at least...provided that they’re all the same!” “Okay, do that. Then they’ll leave.”

Praxis wasn’t the Klingon homeworld (in Star Trek VI) — it was their remote “primary energy production facility.” They were doing a Chernobyl story, with “Chancellor Gorcon” as Gorbachev.

Man, I love those guys. I’ve been refreshing their channel on YouTube every few hours, breathlessly awaiting their final review.

Honestly, the one thing I liked about Coppelius was how it upheld the 60-year-old Trek tradition of how a “planet” is always just a single town square.

Because it’s fucking relevant how familiar you are with Trek, if you’re going to critique this — that’s the main armature of its success or failure.

And another thing (as long as I’m venting my cumulative 10-week-long frustration): say what you want about The Rise of Skywalker (I actually loved it, as did my hard-core Star Wars fan buddies; although that’s another conversation and I don’t want to burn out any meager goodwill I’ve got here) but it continued the…

Assuming you’re not being facetious: No, that came out of nowhere.

Right — except that O’Brien won’t behave like O’Brien; he’ll act like Colm Meany kicking back for a reunion pint with Patrick Stewart.

All of Agnes’ little jokes and etc. were just so awful. I haven’t watched Discovery but I get the sense that the practice of filling Trek with contemporary slang like “Really?” and “So is thing a thing now?” and etc. comes from there.

Can you point to anything -- a plot element; a line of dialogue; a theme -- that’s identifiably Chabon-like, or even literary or novelistic in any way? If the episodes didn’t have title sequences, could you pick out which ones he wrote?

Can we all agree that “Oh my God, Michael Chabon” turned out to be a big washout?

OT, but when he says “This is my hour!” to Eowyn, it’s so great, because he senses that this is a very important moment in his story...and he’s right. Just not the one he thought it was.

A morally-ambiguous protagonist in a string of episodic adventures, loosely tied together.

Agreed; that was incredibly clumsy. Thanks for pointing it out — the actors somehow finessed it along so I didn’t quite notice (and Jeri Ryan was being so charismatic that I was basically buying anything they showed). But it makes no sense.

I’m old-school Star Wars (saw the original in the theaters in ’77 etc.) and I absolutely adore this movie, and I can back it up with arguments and all. My Star Wars fan friends — some my age; some decades younger — all agree. I just don’t understand where all the hate is coming from.

It’s just fun to be back in the Trek universe; to be in the time period following TNG and the TNG movies (which Trek has been allergic to for decades for some reason) and to see these actors again. It triggers a deep Pavlovian pleasure response that interferes with our critical faculties. (I’m going through the same…

The “elephant in the room” with all Star Trek AI stories — the fundamental problem they’ll never solve — is the mess they created in the second season of TNG, in “Elementary, My Dear Data.” That was the first time the Non-Player-Characters in the holodeck became legitimately sentient.

It’s like how every member of Biff Tannen’s family is just him again.

I appreciate the joke but that’s not what V’Ger was up to.