Jump to content


  • Content count

  • Joined

Community Likes

7,946 Excellent

About Sandman

  • Rank

Recent Profile Visitors

6,267 profile views
  1. From "Bound," on why Trip might be resistant to the green Orion Slave Girls' pheromone-whammy: T'Pol: There's a long-held belief that when a Vulcan mates, there's a shared psychic bond. Trip: We didn't "mate." T'Pol: Uh-huh. I would never have guessed that of all the characters on this show, T'Pol would be the one to make me snorfle with laughter. ETA: I've enjoyed the show more and more as the fourth season has continued. (I'm putting off watching "These Are the Voyages..." because of the comments I've read about the final episode, here and elsewhere, but also because I'm not ready to leave the show yet. I thought "Demons" and "Terra Prime" were enjoyable episodes, although I did find the creation of little Elizabeth was something of a plothole. Nothing like purposely going to the trouble of surreptitiously creating a Vulcan-Human cloned hybrid who's as cute as the pointy-eared dickens to make people fear the dangers of interspecies collaboration! ("Wait, why are we listening to Evil Peter Weller, again? And why are we living on the moon?!") Peter Weller's just the go-to evil crazypants hypocrite of the ST multiverse, ain't he? Also also: did anyone else think the background music in the scene where Trip escapes his captors and starts looking for a way out of the complex sounded less like typical ST music cues and more like the Seventies schlock-glories of Space 1999? A little Moonbase Alpha mood music?
  2. I don't. At all. If this is the way A Million Little Rageballs is going, I'm out.
  3. S01.E04: Friday Night Dinner

    I haven't really noticed the actress's native accent, to be honest, but I'm happy to fanwank that her mother was French (and married to Dr. K, but I digress...)
  4. S04.E01: Be My Better Half

    I don't see the point of the Gwen Garrett character -- even bringing on a new executive-level hire doesn't make sense as a board decision when the hospital's been crying poor pretty consistently for most of the last season or two. The introduction of the character was entirely hamfisted: she was a passive aggressive glary-pants from the moment she met Goodwin, and the "stay out of my way!" escalation seems baseless. I feel certain that Heather Headley can do better than this, but it all feels very paint-by-numbers to me, especially since the show is already telegraphing that Sharon will eventually triumph thanks to the sheer native awesomeness at her disposal. (And I think Garrett's math is suspect: didn't Awesome Sharon say that the hospital was committing funds to match the private donations? That is, 50% of the required funding has been secured, not one quarter. Maybe the hospital budget is wonky because no one in the C-Suite can actually add?) But if Gwen Garett, COO, HBIC, wants to get rid of Stohl the Troll, I say let her. That guy gets on my last frickin' nerve. And I used to like Reese a lot: I think her character has more or less been assassinated over the last season, and now they're dumping her; it annoys me. It also makes me wonder if the writers had it in for DiPillo in some way. Oh, and there is nothing about Pop Rhodes ("Cornelius"? Seriously?) that is not creepy. It's too bad -- the most admirable, human-like thing Bekker ever did was to turn that skeeze down. Now I'm back to being annoyed by her.
  5. Could it be a flashback to Katherine's pregnancy?
  6. S01.E04: Friday Night Dinner

    I think we have seen Katherine's need to be in control -- obviously she feels that Eddie's not pulling his weight financially in their marriage ("Someone's got to pay the mortgage" is a classic passive aggressive move), and she clearly has enough compassion (and, y'know, is adult enough) not to take her anger at Delilah out on Sophie, but mostly I thought her comment about how Jon was still making sure she was included was weirdly tone-deaf; almost a slap in Regina's face, since it was Regina, and not Dear Sainted Jon, who was actually apologizing in that moment. I agree that Gina is holding Delilah accountable, without making Delilah and Eddie's affair all about her (which is what Gary is doing, though I see what it means for him). I think Delilah's dissatisfaction in her marriage was more than just "my partner's busy with work and has no time for me" -- her husband was so much invested in being there for everyone else -- and he pretty much tells her so, in so many words -- that Delilah ceased to be a priority for him at all. That's different order of problem, I think. (I think Jon's letter to her -- which Delilah still hasn't seen, thank you very much, Ashley! -- might actually have addressed this, which is adding to my impatience to see where this part of the plot is going. )
  7. Note that most often my out-there theories prove to be utter hogwash, but still. The lovely Ashley just makes me think "Hmmm..." I think this is probable. "Friday Night Dinner" definitely hinted at some cracks in the "everybody loves Jon" picture of perfection.
  8. My speculation is that what we've seen of Ashley's finding Jon will turn out to be an incomplete and inaccurate snapshot of the office balcony scene: they've flashed back to her running towards him, screaming a couple of times now, just often enough to make me suspicious. I think that will be the red herring. Ashley found the envelope addressed to Delilah and opened it. Why? She followed the instruction meant for Delilah to find the insurance documents hidden behind the picture in Jon's study, and she has yet to tell Delilah any of this, though Jon's note is the very thing Delilah is increasingly desperate to find. Why Ashley's continued silence? (The dry cleaning thing could just be sentimentality -- but I'm beginning to doubt it.) Long story short, wild-ass theory: Ashley shoved him off that balcony in a screaming rage.
  9. S01.E03: Save the Date

    I also want to know what the deal is with Ashley, the assistant everyone seems to love (Jon more than most, possibly). She's hiding a lot. Does that include an affair with Jon? Probably, but I have to say I hope not. Doubling up on the suicidal tendencies is one thing (and not necessarily a good thing); there'd better not be a million little affairs!
  10. S01.E01: Pilot

    The Night Shift does little else. Because war, I think. (Is The Night Shift even still on, or did someone come to his or her senses?) Oh. Yeah, thanks, but no. One Tragic Consequences was plenty.
  11. This isn't an especially high bar to clear, though, even given that the single adjective "grumpy" would appear adequate to delineate the entirety of the ambassador's personality. Poor Trip! It's like the old saying on Vulcan goes: "T'vesh ka' shkoyua avelet," or, roughly, "Damn, boy! Your future mother-in-law is a stone-cold hardass."
  12. It does seem we haven't learned much in the intervening years.
  13. S03.E01 Nine Bucks

    I thought about Kate's disapproving Mother after I posted; I can imagine her thinking Jack wasn't ever good enough for Kate.
  14. S03.E01 Nine Bucks

    I like the consistency in the way this relationship in particular is portrayed. When the family connections were introduced (as I recall) in the first season, Kevin's bond with these two seemed almost to be our entry into the family relationships that bind the "Us" together. Or maybe I should say that's where I first began to notice it. I thought at first that the girls were calling him "Uncle" Kevin out of affection, rather than because of a true family link. It seems that his relationship with his nieces was a big source of warmth and support for him, even when he was at his lowest points. And it's his scene with Annie and Tess, after all, that becomes the source of the show's title. l really liked that Beth recognizes the depth and genuineness of his connection with his nieces, and loves him for it. I thought their scene was a nice twist on what we've seen from Beth before; we know she can be fiercely protective of her family; it's clear this extends to her "bro-in-law" as well as Randall -- and for a similar need for protection, as least as Beth sees it. I love the balance of teasing and astuteness and tenderness in Beth, and I love the humour that Susan Kelechi Watson brings to this -- her timing is so sharp, it might be digital. And Randall does have the family self-involvement down -- but the show implicitly undercuts Deja's point that they have less in common than Randall believes, by giving her a mirror-image confrontation with her own bio-dad in the first episode of the third season. She's doing almost exactly what Randall did in the pilot, right down to the "I don't need you, bio dad!" portion of the festivities. (I love this damn show, I do; but having Randall tell her in this episode all about his own confrontation moved things from parallelism to ... I don't know, on-the-nose ... elism? We. Get. It. Dan. Yeesh.) Is Rebecca supposed to come from money? Or just more middle class than Jack's family? There seemed to be more of a "they come from two different worlds!" divide between them in the flashbacks than I remembered from the first season -- or maybe it's just that Not-Logan looked like a WASPy rich boy to me. (Still hate Logan Frickin' Hunsberger, in case anyone cares to know.) Speaking of people on other shows, what was with the Party of Five shout-outs? "This Is Us: We're Just Like Party of Five, but with more olds -- and dead people."?) I loved Party of Five, too (my first experience of online message boards came out of what we called "Our Beloved Po5,") but -- what was that? Wait -- nuns can all fly, right? (What?)
  15. Poor T'Pol -- hooked on a feeling.