I think that it was an effective choice. If all the characters were speaking in Russian accents, there’s the possibility that audiences would feel as though “it can’t happen here”, i.e., that it was just a Soviet mishap, not a human one. The British accent made the characters relatable to a Western audience and made…

“I don’t understand the purpose of cutting the cars in half.”

Apparently, gasoline goes stale after a few years, so if that were the reason then it would be a smart touch. And come to think of it, I haven’t seen Darryl on the hog in a while.

Or maybe I’ve just been zoning out during the show, because of course I am.

“I’ve said it before, and I’ll say it again: What the hell is Discovery about?”

I answered this the last time you asked, but it never left the ‘pending’ pile, so I guess I won’t say it again. Your destiny is to live under the yoke of this eternal secret.

(1) because they can still tell when somebody is speaking another language. At this stage, Klingon gets piped through communicators, which we saw on the Klingon ship in that pre-break episode. So she has a communicator on her, but can hear him talking also. Also I do not think there’s a dialect filter, given the range…

As we saw in a pre-break episode, (4) is not true because of universal translators. The one scene between Voq et al. in this episode was an exception, and likely had to do with the fact that governors of the rebellion needed to be able to speak the language of their adversaries.

(3) is an interesting point, though. I…

“What is all this about?” It’s about imperfect people struggling to find a better world, a world full of optimism and discovery, when they are just on the brink of relapsing into (or being attacked by) fascist forces. The fascistic ‘other’ is represented, here, by the Klingons; the fascistic ‘self’ by the mirror…

Hottest hot take: the mythology episodes mostly worked when they had monsters in them. e.g., scary alien assassin dude.

Moffatt had quite a few amazing ideas, more than any single author has any right to have. But his scripts often suffered when he included too many ideas in a single outing: say, “The Wedding of River Song” or “A Good Man Goes to War”. He was at his very best when he let his characters breathe in an episode and could…

So what you’re saying is that people working in a company town are afraid of threatening the company. What a revelation! If only 2000 years of history and common sense could have warned us that people are afraid of things that have power over them.