Honestly this episode feels written by Sondheim fans more than anything, which is why all the G&S references were so odd to me lol. Definitely less focus on “fun” but I think all the lyrics were really clever and expressive and the way that all of the songs felt like they reinforced character work successfully was a feat even if none of them are particular “catchy” in that ear-worm way. Company is probably my favorite musical of all time but its pretty hard for me to hum you anything from that show

It doesn’t reflect well on her, but it does feel sort of…real, in a way that people can sometimes be shitty in real life. She’s tangled herself up emotionally for a long time with someone who for various reasons just isn’t going to be a good romantic partner for her, and there’s certainly a bit of catharsis in realizing “oh maybe I just can stop trying to make this work and stop feeling bad at how I can’t ever seem to make it work”. Because the whole Spock thing clearly has been making her miserable, because she loves him but somehow it seems impossible to turn that into a whole emotional relationship. Its just that immediately after that moment, if you really care, you still need to go check on the person you’re hurting. I really do hope they get a moment in the next episode to get some actual closure with each other.

What an absolute gosh darned delight that was. I love musicals but I tend to be pretty cynical about musical episode of TV shows, but I think that’s probably the best one I’ve ever seen? It helps that a. its still a coherent episode with a plot about the musical itself, b. its effectively paying off three or four different emotional character arcs we’ve already spent a lot of time with and c. the music is actually really well written both lyrically and compositionally

I’m not a vet and I don’t have PTSD but my girlfriend and I had some pretty similar issues to you with this episode. I think, thankfully, the episode doesn’t seem to expect us to think that M’benga was “right” at the end, or to be happy about what happened, and the final scene between him and Pike is critically important because I don’t think Pike is supposed to look foolish in that scene. Absent that, this episode would feel really gross to me.

As it is, really the only way I can work with this is knowing that the actual arc here is the enormous one that concludes with Star Trek VI, a movie that I feel only gets more radical with every year that passes and every rewatch I give it. Kirk’s realization that he has to let go of all the pain and anger in that movie and allow the world to move on and healing to begin is, when you get down to it, maybe the most optimistic and important message the franchise has ever really tried to express, and if this episode exists as a “middle chapter” between the war itself and that eventual endpoint…well…I can work with it as that middle chapter. But I still feel pretty crummy about it.

I cannot believe they had Boimler and Mariner move like physical cartoon characters and pulled it off that well, holy shit. We absolutely lost it when Boimler was tangled in the control panel

No its great. I love them bringing Sybok back so much. Its so stupid. Its the goofiest decision they could have possibly made and it embodies something I love about Star Trek, which is its refusal to throw away even the bad stuff. Every reminder that Star Trek V is canon keeps the franchise from getting too arrogant about itself.

Its such a good way to write their whole dynamic! That its only when he’s missing a part of himself that he feels emotionally accessible to her, but the part of him that’s gone is part of who she loves as well. Its good, “nail the fundamentals” tragic romantic shit!

They’re also doing a really good job of playing out the long arc of T’Pring and Spock having genuine affection for each other to the point where we’re actually kind of going to be on T’Pring’s side when she finally reaches the conclusion of “Man, fuck that guy”

​I absolutely love the Kerkhovians holy shit. They feel like they’ve fallen out of a slightly different genre of Sci Fi than Star Trek normally goes for, like something from a Revelation Space or a Culture novel.

That’s probably one of my favorite episodes of the series as a viewing experience, it was pretty entertaining. I don’t think I quite track…the message, though? In the span of about three minutes we get explicitly told that for Pike and Ortegas the memory loss could be revealing experience that identified the core of the self, while for their friend on the planet it was an obscuring experience that robbed him of things he didn’t know were important. You can explain away the difference with plot logic pretty easily, but thematically it’s a bit weird to juxtapose them right next to each other

Although it does remain very funny that they’re doing this much work to make us care about Sam Kirk, a character who’s fate is to die off screen to a brain parasite before the episode even starts. Sorry Sam.

I really really like Pelia as a character and a concept. I think its a very smart approach to immortality to have her be someone both used to and unresistant to change. The world happens. Time moves on. Over centuries kingdoms turn into empires turn into wastelands turn into spacefaring cooperatives and she’s not jaded nor stagnant, she just continues to grow and adapt and change as things change around her.

The more I think about this episode the more impressed I get. There’s so many small moments where they could have taken the easy, obvious choice and it would have been fine, and instead they were just a little more thoughtful and a little more creative and it shows.

They could have just had Pelia push a secret button to reveal her stash of alien tech, and that probably would have been fine. Instead they show her as this woman who’s very smart and obviously immortal but otherwise…just a person living through history, which is so much better. Imagining the 250 years between the present and when she’s one of the most famous engineers in the fleet is fun.

They could have had the Romulan agent just be a cold, ruthless assassin from the future who’s here to get the job done, and that would have been fine. Instead she’s this slightly unhinged woman, trapped out of time, stuck undercover on an alien world for thirty years on a mission that she’s not sure exists anymore and I love the way she starts losing it at the end, that she just wants to kill this kid and be done with it.

They could have cast Khan as a hot 20 something available in the Toronto area and had him to a Ricardo Montalbán impression and give us a tense standoff, and I would have been annoyed at that, but it probably would have been fine. Instead they show us an actual child, and remind is that Khan was a horrifying monster, but he was created by a world with monsters of its own, monsters who built a child in a laboratory and raised him in a basement, and suddenly its a piece of implied context made explicit that I didn’t even know I wanted.

And of course they could have just had Kirk agree to fix the timeline because its the right thing to do, or because he loves La`an, or because…honestly, because the plot has to happen, this is something that so many stories would just gloss over to keep the story moving. And instead we get one line, “Sam’s alive?” and my heart jumped to my throat a little bit and immediately we understand why he’s willing to go through with this.

I’m really really impressed with the writers on this episode.

Also it feels kind of significant that they finally dropped the word socialist on screen to describe the Federation? They’ve always danced around it before, but I’m glad they finally made it explicit, even in an off hand way. It helps make the Federation feel less “magical” and more like something that people who existed in history, connected to both the past and the future, had to actually build

It’s almost a throwaway line but I’m pretty sure she implies 21st century Romulans are interfering with Earth independently, and she’s running a parallel mission?

Okay there was a lot that worked for me in that episode. The amazing decision to have Pelia knowing nothing about engineering to being a veteran warp core engineer in 200 years. Going for child Khan and really leaning into the fucked up reality that these children were science experiments kept locked in basements for the first time in the franchise? The reminder that Toronto is actually pretty damn photogenic when it’s not shot on a CW budget.

And you know what? Paul Wesley doesn’t have Kirks voice, and the script still doesn’t quite sound right, but he’s got the Kirk delivery really nailed. He doesn’t sound like Shatner, but he sounds like Kirk

What you think “enhancement” means now is very different from what people might have said “enhancement” meant in the 60s which is very different from what they thought “enhancement” would have been in the 20s and is very different from what we might think it means in the 2050s. Homosexuality used to be a mental disorder, and it would have been an enhancement to “cure” it. There would have even been gay people who would have voluntarily taken that cure because of the distress society subjected them to, there are records of patients coming to medical professionals looking for treatment. I like the alternate solution to that problem we’re currently making progress towards, in which we accept and support that there are diverse ways for people to exist, and I do not trust that we have correctly figured out what things about human being are currently “wrong” and which things can be “improved”

Which is insane. Its not my biggest problem with this episode but the revelation that the Federation has had like…violent pogroms against augments with children being arrested and what sounds like ghettos is incredibly bad? Its presented as an example of how “unfairly” augments have been treated, but that’s not unfair treatment, that’s borderline genocidal. It puts a way darker spin on the Federation than I think the writers were intending, like I don’t think even DS9 in its attempts to deconstruct utopia ever implied anything half as monstrous.

The danger is in what gets defined as a “defect”. I think we’d all be comfortable fixing congenital heart failure before birth, and I (hopefully) assume we’d all be very uncomfortable with “fixing autism”. There’s a big blurry area between those two things, and I think Trek has largely correctly tended on the conservative side.

But I like how this theory ties the timeline together in a way that makes a bit more sense, because the “risk of another Khan” is not, at this point, the most interesting problem with gene editing in Star Trek to me

The danger of letting parents choose modifications they think will serve their children in life is exactly what Bashir expresses in DS9: it gives parents, and society more generally, the power to determine what’s acceptably “normal” and flatten out anything that deviates. Geordi similarly expresses at least twice that he doesn’t want normal vision, that his blindness is not a defect that needs fixing and what’s utopian about the Federation he lives in is that his difference is accommodated and supported.

I’ve always really appreciated Star Trek’s hardline stance on this, because its a moral problem that I feel we’ve lost a little bit of sight of and is going to emerge again in the next few decades in real life. I think you could make a case for the Ilyrian environmental adaptation being different, but to do that you would have to explicitly place it against the real arguments against gene editing and work through them, and this episode went in a different direction.