mrjosiahmuskrat
Joined Jun 2011
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mrjosiahmuskrat's rating
This may be the most poignant episode of Star Trek for 2024, other than the actual episodes where they literally go to 2024 in DS9 and Picard.
To see perfectly and clearly laid out the methods which the Church uses to censor and destroy knowledge and information which disagrees with their archaic superstitions is honestly horrifying.
From Galileo "claiming" the Earth orbits the sun to the exploration of sexuality and gender by modern science and philosophy, this kind of fear of losing control is exactly what leads billionaires and con-men to use religion.
A poorly educated public is a public which is easy to control.
Evolution is real.
Trust science.
Leave religion in the past where it belongs.
To see perfectly and clearly laid out the methods which the Church uses to censor and destroy knowledge and information which disagrees with their archaic superstitions is honestly horrifying.
From Galileo "claiming" the Earth orbits the sun to the exploration of sexuality and gender by modern science and philosophy, this kind of fear of losing control is exactly what leads billionaires and con-men to use religion.
A poorly educated public is a public which is easy to control.
Evolution is real.
Trust science.
Leave religion in the past where it belongs.
That's not very feminist!
So here's the thing about Clara and Moffitt...
It's pretty obvious that Steven Mofitt developed a huge infatuation with Jenna Coleman. She's a great actor, and started out as a great character.
This episode is such a classic episode of DW, with an engaging plot, characters, twists, and everything you could want.
And Moffit has Clara in the shortest skirt possible, being shot largely from floor-level.
I'm a straight man, so I don't mind it. But man, it feels so deliberate that the sexualizing of the character fully distracts from the story that could otherwise stand so entirely on its own as a timeless and classic episode of Who which could honestly take place with any Doctor and Companion.
So here's the thing about Clara and Moffitt...
It's pretty obvious that Steven Mofitt developed a huge infatuation with Jenna Coleman. She's a great actor, and started out as a great character.
This episode is such a classic episode of DW, with an engaging plot, characters, twists, and everything you could want.
And Moffit has Clara in the shortest skirt possible, being shot largely from floor-level.
I'm a straight man, so I don't mind it. But man, it feels so deliberate that the sexualizing of the character fully distracts from the story that could otherwise stand so entirely on its own as a timeless and classic episode of Who which could honestly take place with any Doctor and Companion.
This isn't just your average popcorn blockbuster. This is way, way worse.
From the opening shots of this planecrash of a film it is transparently clear that F. Gary Gray is more interested in making you remember his other, much better heist film, The Italian Job.
Ripping himself off, we jump from nearly a shot-for-shot recreation of the opening heist from The Italian Job into a series of situations so unbelievably contrived and cookie-cutter that you'll be stuck with an undying sense of Deju Vu as you watch recycled action and plot points from any of a dozen other films joylessly slapped onto a story so disjointed and uninteresting you'll find yourself begging for it to end.
Played by actors clearly filming with stand-ins and against CGI backgrounds more at home in a mid-2000's educational film than a multimillion dollar action film; characters with no motivation or personality mime their way through a by-the-numbers plane heist / hijacking which culminates in one of the least engaging finales you will ever see.
From the opening shots of this planecrash of a film it is transparently clear that F. Gary Gray is more interested in making you remember his other, much better heist film, The Italian Job.
Ripping himself off, we jump from nearly a shot-for-shot recreation of the opening heist from The Italian Job into a series of situations so unbelievably contrived and cookie-cutter that you'll be stuck with an undying sense of Deju Vu as you watch recycled action and plot points from any of a dozen other films joylessly slapped onto a story so disjointed and uninteresting you'll find yourself begging for it to end.
Played by actors clearly filming with stand-ins and against CGI backgrounds more at home in a mid-2000's educational film than a multimillion dollar action film; characters with no motivation or personality mime their way through a by-the-numbers plane heist / hijacking which culminates in one of the least engaging finales you will ever see.
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