#but for 2022 we had that interrogation scene which was still pretty. something

[deliciousmicroplastics]

The homoeroticism of it all....

[betweenthescarletmoon]

Things I realized upon second watch of the batman 2022: [S P O I L E R S]

- Edit: had to add that i somehow thought nirvana's something in the way was non-diegetic music. Then he TURNED IT DOWN, it was diegetic after all, how I missed the biggest emo evidence astounds me

- bats takes 17 secs to pick that last letter bc he's afraid of rats (thought it was only a christopher nolan thing) (yeah I outed myself as a pretty casual movie watcher, tho one gets to dream to be a movie buff)

- he does not actually change clothes in two secs. He just throws on a rlly oversized hoodie and a helmet and calls it a day moto ride

- eyes are bloodshot to all hell after nights and nights of hud contact lenses and kohl in/around them, and no sleep

- jaw twitched when nashton said his real name in arkham

- the beginning holds a parallel for the end bc the victims and those who didn't wish to be criminals feared him the same as the criminals. in the end there is still fear until he actually becomes a protector and not an avenger. That's only when they feel safe

- batman only speaks at length with gordon and selina, while bruce only speaks with alfred. He actually sounds kind of normal too. With others he's submerged in silence, or speaking in a graver voice

- bruce felt completely hurt and invalidated by riddler in that last interrogation scene, but paralyzed bc he thought riddler knew who he was. He was trapped in guilt UNTIL he realizes nashton doesn't know the most hated and most idolized people in his eyes are the same person. This therefore frees bats from that frightened state straight to fury. Because he's triggered. And so he snarls back all the bitterness that nashton directed at bruce (esp when nashton regretted that they couldn't get bruce, when alfred almost died in that incident instead), and was almost maliciously cruel. Trauma ain't pretty fellas. We just witnessed an emotional flashback and THEN a breakdown from nashton. Riddler was at least right in understanding that both are very broken with skewed senses of justice. The difference is bruce learns. Edward does not.

- Bruce was at the lowest point when selina contacts him. He decides to see her only because he seems to be allured to her or to care for her, against his better judgement/bitterness/distrust/jealousy/whatever he feels that makes him lash out at her that scene. Perhaps it was also the guilt of what happened to Alfred that caused him to project. But what dawned on me was that he melts like BUTTER under her touch as she asks him who he is, because he was so lonely, especially without Alfred, and because the legacy of his parents was being questioned and unraveled, which was tearing down his entire sense of meaning and identity. Add in the attraction and touch starvation and mental illness and insomnia, and you see a broken man trying not to break down at a loving touch. Fuck.

- bruce tells her to take care of herself bc shed been trying to convince him she can the entire movie, how did that not sink in

- all the parallels of orphans, from martha, to mitchell's son, to nashton, to selina, to bruce himself. I love how suffering is portrayed in all of them, always valid, always showcasing how something so horrid destroys or hollows people out, and how while privilege makes things easier (for mitchell and the waynes) it never, never erases the trauma. To invalidate that pain simply bc one is white or male or rich is so tone deaf. I love that they handled that while also portraying that the systemic oppression of the poor, the women, and the poc is very real and needs desperately to be fixed, since it only causes retraumatization and less opportunity to heal (look at how maria kyle, annika, and almost selina died, strangled, by the same man. Selina didn't have much chances but to stay in that horrid place, she needed the money.)

- bats and bruce both ask "do you know who I am? [...] I wanna see [insert mafia boss]". These bouncers rlly couldn't put two and two together

- I believe the shock impact of the shotgun hurt him a Lot even tho the armor is bulletproof. I sincerely wondered whether he was wounded the first time, whether the bullets can penetrate slightly or completely upon such pressure

- sunsets and sunrises are showcased when hope seems to be involved. A promise of a new day. A promise right before the darkest hour where fear abounds. Even after the flood, because he's there, helping however he can, we see the sunrise. And when he and selina kissed the first time in the sunset, it was a window of opportunity to end a kind of loneliness for him

- finally, the obvious: i somehow didn't notice the first time, but the way Bruce winces at sunlight like the vamp he is, and cringes a failed smile at the ppl that call for him right outside the funeral the moment he leaves his car. GREAT acting choices rob

[shirtlesssammy]

15x09: The Trap

The Road So Far:

PURGAYTORY

Now:

Sam and Eileen are trussed up at Chuck’s casino. (Sam, if you tried hard enough, you could slip those zip ties.) Chuck admits to Sam and Eileen that he’s been manipulating her this whole time to get close to Sam again. He couldn’t watch his favorite show and it was killing him (LOL, CATCH ME IN JUNE.) 

Sam and Chuck are connected and it needs to stop. Chuck pulls out a scalpel. And then utters the eight scariest words of a Supernatural fan: “All good things must come to an end.”

Meanwhile, in the bunker, the bickering exes continue on their line of bullshit. Cas is expertly making Borax bullets while Dean tries to reach Sam, with no luck. Dean’s worried that there’s something wrong.

Chuck wants to cut out whatever festers in Sam that won’t allow their wounds to heal. Eileen surreptitiously calls Dean. Chucks senses it and ends the call before it really gets going. Dean knows that they’re in trouble though and wants to save them. Cas calls Dean “stupid” (will the bickering ever end?!) and tells him they have to find the blossom in purgatory to trap Chuck.

Sam notices Chuck’s hesitancy to torture him and mocks him a bit. Um, maybe now’s not the best time to bring out Sam Fucking Winchester, okay buddy? Eileen joins in the mockery (#soulmates) and in retaliation, Chuck gets Eileen to do the scalpel digging for him. He likes to watch. The scalpel digging is very squishy. A+ work sound effects. 

Dean and Cas are in purgatory and there’s still very much a rift in their relationship. 

Dean wants to split up but Cas makes it clear that that also is a stupid idea. Dean brings up possibly running into Benny while there in Purgatory….and I just want to sit a little and think about that was practically Dean’s first thought. He thinks of Benny, and the friendship they had. I am sad. 

With a simple “C’mon”, Cas wins the argument and they start walking together. Something tracks them from the shadows. 

Eileen continues to be forced into digging into Sam’s wound. Through the pain, he tells her he knows it isn’t her that’s doing it. He’s bleeding out though and things aren’t looking good. Chuck sits back and plays on his guitar. What a nice douchey touch that is. 

Sam talks reason to Chuck, and while that pisses him off, he also heals Sam’s wound as much as he can. Chuck can’t understand how Sam can continue to be so defiant. He realizes that Sam still has hope --hope that Cas and Dean will save them, hope that they can still defeat God. 

*Coordinated Domestic Dispute to Draw Out the Monster Alert*

Dean notices a corpse that he swears he’s seen before. Cas tell him he’s wrong. He has an excellent sense of direction. Dean gets down to look closer at the body and the leviathan makes his move. Cas hand waves him away. They interrogate the leviathan. He tells them that there’s a blossom that grows from them after they die. Dean wants to end the monster right there but he tells them it takes months for the blossoms to appear. He knows a place. 

Before they get walking, Dean asks the Leviathan about Benny. BRB STILL CRYING. Benny’s famous --and he’s dead. (Cas’s concerned look to Dean as he hears the news will haunt me forever.) 

Chuck decides to take Sam on a Christmas Carol adventure into the future, and shows him what life will be like if they win. 

April 17, 2020

Sam and Eileen are looking up cases in the bunker. Dean’s “resting his eyes” in the corner chair. Cas shows up with beers for all. Things look pretty great. They all decide on movie night and popcorn. HUZZAH! 

Well, until Sam gets a call from Jody. Claire’s dead, from a hunt gone sideways. HURMPH. 

Back at the casino, Chuck tells Sam that’s just the beginning. He pulls out the time clock of doom.

In purgatory, Cas, Dean, and the other dude, are walking. Cas expresses his condolences about Benny. Their hostilities come roiling to the surface. Cas calls Dean out on not accepting his apology about Jack. Dean is pissy that Cas just walked away. The other dude, presumably, just wants one of them to shoot him with Borax.

January 6, 2021

In the burned out wasteland of the future, Sam and Dean drive. Things are going downhill fast. They’re not saving people. Cas is gone. (CaS Is GoNe) The monsters are winning. 

Once at the leviathan blossom site, Cas quickly realizes it’s a trap. The leviathan tells him that Eve wants a piece of Cas for killing the alphas and taking the leviathan. Others attack Dean.

He comes to later. The place is scorched and Cas is gone.

November 3, 2021

Sam’s prepping for another hunt. Dean’s giving up. Sam wants to know what’s up. “Ever since..,” he starts. Dean jumps into why he’s giving up. They’ve lost everyone. HE had to bury Cas in a ma’lak box. Bobby and Jody (and Sam) all have death wishes. Sam wants to go out swinging, like Butch and Sundance. “We lost, brother, we lost.” 

Our Sam can’t believe what he’s watching. 

Chuck swans into the scene. He claims he’s “just the messenger” benevolently sharing his knowledge of the future. Sam can’t believe that Dean would ever give up, but Chuck swears he’ll tell no lie, stick a needle in his eye. 

Dean stalks through the quiet woods, calling for Cas. He’s got just under a half hour left to reach the portal. In desperation, he pauses and centers himself. “Cas,” he begins to pray. “I hope you can hear me.” Dean calls Cas his best friend and apologizes for letting him go.

And then this show gently murders me because Dean looks around warily and, seeing that the coast is clear, kneels to finish his prayer. On one knee now, he cries as he unpacks the terrible anger which he’d turned against Cas. “When things go bad, it comes out and I can’t stop it. No matter how bad I want to.” (I’m with many other viewers when I point to childhood trauma and parental neglect and abuse as one source for that deep anger.)

For I am DEAD Science:

Further pushing me deep into the grave, Dean continues, “And I forgive you. OF COURSE I forgive you.” He apologizes and sends out a desperate wish that Cas will be able to hear his prayer - wherever he is. Dean wipes his eyes, sniffs, and pushes himself up with a quiet “Okay.” It’s time to move again.

Back to the future, Dean stews morosely at a table in the bunker when Sam enters with a bag slung over his shoulder. Sam’s going to take out the vamp nest - alone, if he has to. Dean shakes his head sadly, then drags himself off to go with Sam. “I guess I don’t have a choice, do I?” They head out, two broken down, hopelessly alone men. 

“It can’t end like this,” Sam insists. So Chuck has him flash forward in time again using the magic watch. 

It stops on December 9, 2022. End of the line! 

In Purgatory, Dean has just over two minutes left before the portal closes and there’s still no sign of--- WAIT WHAT’S BEHIND THAT TREE? 

“You made it,” Cas sighs in relief as he stands to greet Dean. Dean hauls Cas in for the T I G H T E S T hug. Very good content! I approve! They check in with each other. Cas reveals that he was being marched to go see Eve when he spotted a leviathan bloom. Cas dropped the monsters guarding him, and snagged the bloom which he adorably describes as “a little smooshed.” Dean validates Cas’s achievements! It is very soft! I am emotionally compromised! (I have watched this scene at least 10 times.)

Cas reveals that he heard Dean’s prayer. They exchange soulful, meaningful looks, and then head straight outta Purgatory. I look forward to your post-episode canoodling codas, everybody.

In the future, Sam and Dean barricade the door in a ratty old hotel. They’re being hunted by……….JODY AND AU BOBBY! (Jobby? Body? Ugh, both of those are terrible.) Current Sam watches in horror as his future counterpart (and brother) fang out. They’re both vampires now! Oooo. Awkward. 

There’s a fierce fight. Dean chews Jody’s throat clean outta her body, hissing like an angry cat the whole time. It would be awful if there weren’t so many funny memes of hissy Jensen floating around right now.

Sam wakes from Chuck’s vision which was A LOT. Chuck apologizes for the terrible ending. (All these ending narratives in this season are the result of 15 years of exhausted writers room shit talking, right?) Chuck reveals a couple of things. 1) He “powered down” Eileen in a closet while he’s talking to Sam which is just….GROSS. And 2) The heroic and free ending which Sam aspires towards is actually awful. Is dying as monsters really worth locking up Chuck? 

Safely back in the bunker, Cas and Dean prepare the spell with the leviathan bloom. Dean pauses, questioning Cas’s choice to take on the Mark trapping Chuck. Cas insists that Dean can’t take on the Mark again, and that the only choice is for Cas to take on that burden. Dean agrees, remarkably not insisting on damaging himself this time, and the spell is completed. It all gets sucked up into a sphere. Since Cas will contain the Mark, Dean or Sam will have to destroy it (thus sealing Cas’s fate along with Chuck’s).

In the casino, Sam shouts at Chuck. “We will beat you. I will make it better!” Chuck sneers at Sam, and accuses him of playing fast and loose with the laws of nature and magic. There’s a whole lot the Winchesters can’t know about the universe, Chuck insists. Only he - God - can grasp it all. As one, the Supernatural audience collectively fake-coughs, “Billie!”

Chuck prompts Sam to reflect further on the visions. Was the worst thing truly the way the Winchesters died, and all their friends were decimated? Or was there something even WORSE which befell the world after Chuck got trapped? In horror, Sam realizes that monsters were taking over the world. Chuck affirms this conclusion. Without him in it, the world descends into evil. (Somewhere, on a wholesome farm, Garth is asking, “Hey, who are you calling evil?��)

While we’re all trying to unpack this latest revelation, Dean and Cas break into the casino. They free Sam from his chair. Eileen, still puppeted by Chuck, comes in swinging but Cas tackles her away. 

Dean punches Chuck. Chuck punches Dean. While they’re exchanging blows, Cas rolls the bespelled ball over to Sam to smash and trap Chuck when….

Sam falls to his knees. He can’t do it. He can’t trap Chuck knowing what he knows about the future. The ball rolls out of his fingers. 

Suddenly, light flashes in Chuck’s shoulder. The Equalizer wound in both of them is healed at last! All it took is for Sam to...lose hope. FROWNY FACE! Chuck crushes the sphere and destroys the spell. That’s two anti-God weapons down and how many to go in the next ten episodes? 

Dean confronts Chuck and he is 800% bluster at this point, cosmos bless him. He insists that Chuck won’t kill their motley band. Chuck wants his ending too much for that. After all, the “drafts” Sam saw in his visions--

Chuck interrupts that thought. All the “visions” Sam had were Chuck’s memories of other, actual worlds where Sam and Dean made those awful choices and destroyed each other. That move, in Chuck’s mind, is inevitable. “Just like you, they didn’t think they’d do it, either.”

Dean growls. “No. Not THIS Sam and not THIS Dean. So you go back to Earth II and play with your other toys. Because you will never get what you want.”

“We’ll see,” Chuck says, rather ominously, and poofs out.

Back at the bunker, Sam and Eileen bid farewell. Eileen’s been puppeted back to life and romance...and she’s not sure what’s real. (Where have I heard THAT before?) She needs to head off on her own for a bit.

Sam kisses her so sweetly. “Now that was real.” She caresses his face lovingly before walking out. (I firmly believe we’ll see her again - next time on her own terms!) 

A shaken Sam makes his way to the kitchen where Dean and Cas are decompressing.

Sam brings up the botched Chuck trap, and tells them he believes Chuck showed him the true future. Dean accepts Sam’s choice, and his calm acceptance is a balm to my fucking soul. What’s next? “We find another way,” Dean says.

Cut to Jack in the Empty. He’s taking in the non-sights when Billie appears. “It’s time,” she says, and Boris and I throw a giant party!!!

I Don’t Know Why I Get So Quotey:

I hate missing my favorite show!

Come on, Eileen

Stop being so stupid!

Chuck, you dick

“Okay let’s split up.” “WHAT?!”

You still think you’re the hero of this story. You still think you can win

The Dean who raised me, he’d never give up no matter how bad things got

I should’ve stopped you. You’re my best friend but I just let you go, ‘cause it was easier than admitting I was wrong

Sorry, kid. It’s a crappy ending. You and your brother deserve better. 

We know about your galaxy brain idea. How you think this story is gonna go

Want to read more? Check out our Recap Archive! 

[aion-rsa]

Star Trek: Ranking the Stories Set in the Present Day

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So the new Star Trek: Picard trailer has dropped and among the big plot twists it revealed are the fact that Picard & Co are going to be travelling back to Earth, circa 2022 AD. We’re looking forward to exciting scenes of people from the 24th century being unable to drive cars (despite the pretty lengthy car chase we saw in the last episode of Star Trek: Lower Decks), Q and Picard sparring again, and wondering how Guinan fits into all this. My personal theory is that after her adventures with Picard and Mark Twain in the 19th century, Guinan decided to stick around on Earth, eventually posing as an actor called Whoopi Goldberg.

This is far from the first time Star Trek has travelled back to the present day – even if “present day” is pretty broad for the 55-year-old franchise. We have no way of knowing why the series keeps returning to this setting that doesn’t need the manufacture of any new props, sets or costumes, but it seems like a good time to look at when Star Trek has done this before and ask “Who wore it better?”

6. Assignment: Earth

This episode would prove to be a particularly tricky one for nearly every single time travel episode that has come since, in that it shows time travel for the Federation is so easy and routine that the Enterprise can just nip back to the Cold War to see why we never Great Filtered ourselves out of existence. Unfortunately, in this episode Kirk and Spock don’t get to see much of 20th century Earth, or indeed do much of anything.

‘Assignment: Earth’ was conceived as a backdoor pilot for a new series about Gary Seven, a human bred and raised by aliens to act as a secret agent on Earth and protect us from our own capacity for self-destruction. This means Kirk and Spock’s role is little more than to sit around and say “Wow, this looks like a great idea for a television show!”

Still, I can’t help but wonder about a Star Trek franchise in the parallel universe where its first spin-off was a spy show set in 1968.

5. Carpenter Street

This episode of Star Trek: Enterprise stands out because it is perhaps the only episode on this list where they decided the present day should be filmed any differently from the space future. The lighting, the camera work, the whole episode feels much more like Angel, or a cop show from the period than the Star Trek style that had been uniformly adopted since The Next Generation.

Usually when Star Trek comes back to our time it is to take us on ‘a romp’, where people point out Starfleet uniforms look like pyjamas and the crew go around misunderstanding pop culture references. This, however, feels like Star Trek invading a much grittier show.

Unfortunately, you can tell that this is a network science fiction show trying to show how adult and gritty it is, because within the first ten minutes of the episode we see a sex worker abducted. Maybe one day science fiction shows will find a way to show that they are proper grown-ups without a drive-by or disposable sex worker character appearing in the first ten minutes, but ‘Carpenter Street’ is not that show.

The other thing Star Trek’s forays into our century do is emphasise how far humanity has come, or still has to travel. This is where ‘Carpenter Street’ really falls down. Because this was Enterprise’s dark, post-9/11 Xindi storyline, we see Archer literally beat information out of someone – not for the first time in this season. It’s a scene that highlights everything that’s wrong with this version of Star Trek.

It’s also the bringer of bad news, as at one point T’Pol asks about fossil fuels to be told that “It’s not until 2061 that…”

The sentence is left incomplete, but that sounds like bad news for our 2050 emissions targets.

4. Tomorrow is Yesterday

This is Star Trek’s first trip back to the 20th century, and it sets the rules for so much that comes later. Agonising about changing the future, having modern day characters remark on how silly everything is, Star Trek characters being taken prisoner and taking the piss out of their interrogators. The formula is refined in many ways from here on, but the ingredients are established here.

It also establishes, as ‘Assignment: Earth’ later confirms, that any ordinary warp-capable ship can perform a manoeuvre to travel forward or backward in time at will, a plot device most of the Star Trek canon has heroically stuck its fingers in its ears and shut its eyes to avoid.

The main reason this entry doesn’t rank higher is that the action is almost entirely confined to US military bases, denying us the fun of seeing our favourite Starfleet officers wandering around our day-to-day world as if it’s the Planet of the Week.

Read more

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3. Future’s End

This Star Trek: Voyager two-parter, on the other hand, gives us that in spades. It knows what the fans want and it is here to give you a big steaming bowl of it. Neelix and Kes watching daytime soaps? Check. Tuvok having to ensure he wears a beanie at all times? Check. Paris getting his 20th century history and slang hilariously wrong? Check. An oddly jarring turn by a young, pre-comedy stardom Sarah Silverman? Okay, maybe you weren’t asking for that, but check!

It even throws us some subtle continuity porn to argue over. In Sarah Silverman’s office we see a model of the launch configuration of a DY-100 class ship- the ship used by Khan Noonien Singh to escape justice following the Eugenics Wars that were supposed to happen in the mid-nineties.

This is more than just an Easter egg (unlike, we’re assuming, the Talosian action figure on Sarah Silverman’s desk). Over the course of the episode we learn that the entire microprocess revolution that created the world we know and love was the result of stolen 29th century tech.

Does this mean history was changed? That all Star Trek following this episode takes place in a divergent timeline where the Eugenics Wars never happened? This has some fascinating connotations that we will touch upon later in the article, and which I will explain to you at length after precisely one and a half pints.

The episode does have its weak points however – Voyager being seen on national television never seems to go anywhere, and neither does the whole subplot where Chakotay and Torres end up prisoner in a survivalist compound for a bit.

As we’ve already mentioned, there’s also a lot of agonising about how Voyager will get to the present, when we already know that they just need to whip around the sun at warp speed and boom, the series is over.

Oh, and this is an extremely minor gripe, but Janeway tells us she has no idea what her ancestors were doing in this time period – despite subjecting us to the tedium of her story in ‘Millennium Gate’ which was set only four years after this.

2. Past Tense

This episode might be considered a cheat, since at time of broadcast it was technically set in the future. However, since it (along with Irish Reunification) is supposed to take place three years on from now, I think we can say it counts.

This Deep Space Nine story is decidedly not ‘a romp’. Yes people make fun of the characters’ clothes, and Kira and O’Brien’s jaunts through history raise a smile, but more than all but a select number of Star Trek stories, this is about just how far our reality is from the hoped-for future of Star Trek.

Bashir lands some lines that hit quite a bit heavier now than they did in the nineties, from “The 21st century is not one of my strong points – too depressing” to the plaintive “How could they have let things get so bad?” at the story’s conclusion.

And while it is set over twenty years in the future from the perspective of the broadcast date, it wasn’t far off. Stories evocative of the sanctuary districts are easy to find, and as writer Robert Hewitt Wolfe says, “We weren’t being predictive. We were just looking out our windows in the ’90s.”

Only two things really mark this episode out as an anachronism. One, the technology looks painfully 90s – our technology looks far closer to the 24th century than the bulky monitors seen everywhere in this. But then again, this episode was broadcast prior to ‘Future’s End’, so maybe Henry Starling hadn’t kickstarted the microprocessor revolution in this timeline yet.

The other, far grimmer element to have dated is the idea that one innocent black person being shot by police could be enough to cause the sea change this episode says it does.

1. Star Trek IV: The Voyage Home

There wasn’t ever really going to be any debate over this, was there? Star Trek IV: The Voyage Home is hands down the one to beat if you’re writing Star Trek characters travelling to the present day. The film itself was something of a departure for the franchise. Rather than Robert Wise’s epic, sombre, proper science fiction in The Motion Picture, or the bombastic action of Nicholas Meyer’s Wrath of Khan, The Voyage Home was helmed by a director who would be best known for the cult comedy, Three Men & a Baby.

This 20th century feels far more inhabited than other portrayals, with screen time being given over to casual conversations between bin men, and workplace arguments independent of the former Enterprise crew.

Of course, by now the crew of 1701-no-bloody-A-B-C-or-D should be old hands at Earth in the 20th century. This is their fourth trip here, not counting planets-that-mysteriously-resemble-Earth-in-the-20th-century.

But these fish are never more out of water than they are in this film, and the results are charming. Kirk explaining swearing to Spock, Kirk observing people “still use money”, Chekov standing in the middle of the street asking for directions to the “Nuclear Wessels”, Scotty’s “Hello Computer!” and Kirk Thatcher getting nerve-pinched for listening to his own music on a ghetto blaster. Plus countless more zingers, sight gags and throwaway lines that I’m still finding new ones of after many, many re-watches.

And the cast are clearly having the time of their lives. Shatner’s comic talent was always on display, but in this movie he is really allowed to cut it fully loose giving reaction shots that make you feel bad about every time you mocked his acting.

But no matter how silly it gets, this film knows, more than any other, the point of sending Star Trek characters into the modern day. It is to show us the difference between our ideal selves and where we are – and it does it no less starkly than ‘Past Tense’. With a light comic touch, Kirk and co. encounter capitalism, the spectre of nuclear war, and most of all, the devastating environmental impact we’re having. Even if we reach the ideal Star Trek future, this film says, we could still lose things we can’t replace along the way.

Star Trek: Picard is going to have to work hard if it wants to walk in its footsteps.

Honourable Mentions

While not taking place in the present day, it’d be remiss of this article not to mention ‘City on the Edge of Forever’, which refined ‘Tomorrow is Yesterday’s formula and is just one of the all-out best Star Trek series ever, and ‘Little Green Men’, which twists the usual Starfleet-in-the-20th-century formula by having the Ferengi arrive in the 20th century and find humans far more brutal, greedy and stupid than even they suspected.

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Also, I don’t want to alarm you, but by the end of this decade we’ll be closer to the events of Star Trek: First Contact than we are to the release of Star Trek: First Contact.

The post Star Trek: Ranking the Stories Set in the Present Day appeared first on Den of Geek.

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