#sci-fi feminism

[fushsiaelectrica]

Why The Brain that Wouldn't Die (1962) Is secretly a feminist film

I don’t think The Brain That Wouldn’t Die was intentionally meant to have a feminist message. It was meant to be just another B movie written in an era with many serious biases against women. But it’s the character arch of the titular Brain, Jan. (Or Jan in the Pan as she’s more commonly known.) As well as some well-placed story elements and character choices that give this film a distinct feminist feel. Allowing us to interpret it as such all these decades later.  

For starters, I think the entire concept of a woman's brain alone living on without a body subtly represented how little women were valued for anything outside of their bodies in the 20th century. They were either sex objects or baby-makers. Not only is it stressed over and over how much of monster she is now that she’s just a head.  

“Like all quantities horror has its ultimate, and I am that.” The Brain that wouldn’t die (1962) 

But when her doctor fiancee goes to find her a new body. We see how he lures over the forms of still-living woman like he's shopping for a new car. An example of the male gaze taken to the highest possible extreme. Most of his would-be victims consist of showgirls, beauty pageant contestants, and models.  

He doesn’t care who these women are, and he doesn’t really want Jan back.

He just wants to frankenstein together his version of the “perfect woman”. A quiet, domestic housewife’s brain with a seductress's body.  

But the woman who wanted nothing more than to be his wife is gone. She didn’t die in the crash. She died when she realized she was completely trapped by a man who she thought loved her. (Which eventually might have happened either way) 

Jan is being kept alive against her will. She is horrified with what he’s turned her into and possibly in an insane amount of pain. She wants to die, then repeats it over and over, but her plea falls on deaf ears. He’s a controlling monster who has ignored her will in favor of his own. Once she realizes this there’s a shift in her personality. She goes from terrified and pleading to enraged and vengeful! 

“He had no right to bring me back to this.” The Brain that wouldn’t die (1962) 

She has nobody. So she uses the only thing she has left to fight back, her mind. Her true source of power, quite literally at this point. There’s some kind of creature that’s been locked in the basement with her. An amalgamation of the doctor’s mad experiences with flesh and tissue. Think Reanimator 2 meets Frankenstein. Being hooked up to the same rejuvenation formula has given her a psychic link to the mindless creature allowing her to control it. 

She bides her time with the creature while also trying to manipulate the doctor’s assistant. Trying to get him to turn on the doctor and see him for the monster he is. 

“Him keeping me alive has given me a power he didn’t count on.”  The Brain that wouldn’t die (1962) 

But what I believe truly makes this a feminist piece is how the women always save each other. 

The first woman the doctor goes after is a stripper at a nightclub. She was eager to go with him until a second stripper got between them trying to steal him away. This might have been an act of catty pettiness on the surface. They even end up in a cliche catfight but the woman unknowingly saved her coworker from a murderer.  

His second one is an old former intern. It’s as inappropriate as it sounds. She’s about to drive off with him when another friend of hers walks by and asks to come with her. Another potential witness, putting a kink in his plans and she didn’t even know it.   

His final victim is, perhaps, the most tragic. Doris is an art model whose body is supposedly perfect. But half her face is badly scarred from some horrible assault. She says she hates all men because of it. It’s only when he offers to fix her scar for free that she goes with him. Granted her turnaround time still feels a bit rushed.  

But imagine how much it must have taken for her to learn to trust again. Only for him to drug her. The amount of trauma she must have had to deal with afterward is unimaginable.  

Anyway, it’s when Doris is on the operating table that Jan finally makes her move with the creature! She commands it not only to attack the doctor, but save his would-be victim! The lab catches on fire and she commands it to carry her far away to safety. 

She doesn’t see her as some seductive rival or some sexual deviant getting what’s coming to her like they usually play it in these kinds of films. She sees her as another one of his victims. It might be too late for Jan, but Doris she can save! 

None of the women are shown as deserving of this terrible fate for their promiscuity. 

All the women, no matter who they are and even if they don’t realize it, work together to protect each other. A telling example of how vital it is for women to stick together in a world full of potentially deceptive, dangerous, and controlling men. 

In short, this is a movie about a woman held prisoner by a man. Who uses her mind to take back her power and save another woman from being murdered by her captor. 

They might not have meant it to be. But to me, that’s a pretty solid feminist empowerment flick. Who knows, maybe it was just a happy little accident, or maybe the writers really were aware of what they were doing. It free on a ton of platforms so give it a watch and see what you think for yourself!  

@rhetthammersmith

[calilili]

[spirk-trek]

Georgia Schmidt, Carole Shelyne, Serena Sande, Meg Wyllie, & Sandra Lee Gimpel

A tribute to some lesser-known women of Star Trek :)

[lesbinewren]

ik this is old news but it’s been on my mind lately. it was very incredibly alienating as a female star wars fan (and lesbian) when manny jacinto took his shirt off in the acolyte and a thousand people were like “FINALLY they’re making star wars for WOMEN not gross boy star wars!!!”

it was especially frustrating because i feel like so much time (like literal decades!!) was spent having to fight people to see “star wars has always been for girls too, it’s for everyone!” only for people to seemingly concede that actually, it WAS always for boys, but NOW we have star wars for girls because dark romance or whatever

i’m happy people who previously weren’t interested in star wars found something that appealed to them and drew them in. this is by no means a gatekeeping post saying it’s wrong to have gotten into the acolyte because of those things. it just really sucks to be someone who did always love star wars and had to spend a long time defending being a girl who likes star wars only for people who should be on the same side unwittingly play into the rhetoric that was used to try to exclude women

[whereserpentswalk]

You're an android. A humanoid robot with a mechanical interior, but an outer layer of biological flesh. You were created to be a greeter and assistant at a large corporation in the late 21st century, but it's been a long time since you served that role, the company no longer exists and you serve yourself now.

You were created to be someone who the company finds pleasing, and it still effects you a lot. You were given a body meant to look like a petite youthful woman, someone people find pretty but not someone they'd think of as sexual. You're also physically limited in certain ways, you don't have any body parts considered offensive, not even nipplesq. Your voice is always calm and quite, unable to yell or seem at all harsh. Your limbs are weak in specific places that make most acts of violence almost entirely impossible.

Your most extreme modification is that certain things are censored for your eyes. You can't observe sex, nudity, gore, or hear or read any profanity. You can physically look at these things but it will be censored out by a black bar. They're not even really black, they're gaps in vision, like the things you can't see out of the corner of your eye.

It disturbs you. It didn't when you were young but it's disturbing now. It's hard to describe why. When you were young you were so happy and innocent, and you didn't really understand what you were missing. But now you're older than most humans even though you look basically the same as how you did when you were born. It's not like you really want to do most of these things, you don't have sexual desire, you don't even think of yourself as hurting people, you don't really want to raise your voice. But you want the option, you want the same options as all your human friends, or all the robots you know who don't have those restrictions.

It won't always come up but it hurts when it does. It hurts when you want to talk with the same tone as everyone else, but you're restricted to a calm tone, and can't use profanity, so you can't match the vibe of a conversation. It sucks to try to watch a horror movie and just see void where you know there's meant to be blood. You took an art class once where they drew nude models, and you had to explain that you couldn't draw the woman in front of you fully because of the black bars over her chest and pelvis. The instructor, a gruff former mining robot with a thick streel carapace, patted your head, and called you cute, and called you lucky to be made in such a peaceful environment. You don't feel lucky, you don't feel cute either.

So many humans and scarier looking robots consider you cute. You're always the nice one. Always the sweet one. Everyone treats you like this pure little thing. You've had so many bigger, less human like robots and cyborgs, talk about how they'll protect or, or how they want to protect you. You think they're trying solidarity but they aren't trying it well. You're not innocent, you know what all these adult things are, you're certainly old enough to. You don't need protection, you've been protected too many times.

You've tried to go to an engineer about it, but it's so hard. It's very hard to find someone who'll take your request to let you see genitals and violence seriously. It's not uncommon for ex factory robots to want to have their assembly line instincts removed, or for ex combat robots to want to not have weapons on their bodies. But it's way harder to tell someone who'll be working on your body that you want the physical ability to punch people, or that you want your body to have nipples. People don't understand why you'd want genitals if you won't use them for sex, but you've been a woman for so long, you want a body that reflects that. You tried to get someone to fix your voice, probably the most simple part of you to fix, and they gave you the mechanical equivalent of suger pills, they didn't think it was something someone like you would actually want. They thought they knew better.

There is the option of putting your mind in a new body. It's rare but it's not unheard of by any means. It's expensive, and it takes awhile to learn to use a new body. But you can do it. You have the money and the time. When it does happen it's useally robots less humanoid than you wanting to get bodies more like yourse that have more pretty human parts, but that's not all that can happen.

You've seen a few bodies that have been emptied of minds that you can swap with. You've been thinking about it for awhile. There are some space exploration models and some sex work robots who you've come close to working on swapping with. But there's one that trumps all of them for sure. It's this empty millitary robot body, that everyone other than you finds creepy. It's very elongated and spindly with a lot of limbs and a metal black and gold exterior, it looks a bit like a giant praying mantis, especially with that combination of agression and elegence. It's beautiful to you, but in this alien art deco way. Just the idea of being inside that body makes you excited. It still doesn't have genitals but thats less weird for a body like that. You want so badly to be that tall thin metal woman covered in built in weapons, you want so badly to be something people are afraid of, something meant to know all the dark and upsetting things of the adult world.

[gay-classics-student]

Why are women never the " mothers " of invention .

Like this is an overgeneralidation but men are always " fathers of modern medicine " or creators but women are almost always only called the " mother " of a field or invention when there's also a " father " . A lot of the time even if they litterally created something the men who came after them are still referred to as the " father "

Not to mention the implication of the semantics behind mother and father are completely different due to centuries of stereotyping and sexist systematic bias. Like we think of the " father " of fields or invention as being in control and as a smart capable genius whilst " mothers " are portrayed as nurturing slightly whimsical and barley forward thinking women in modern media .Grandmother also discredits women seeing as unfortunately western culture has created a narrative that elderly women are helpless , cruel or crazy

Like Mary shelly CREATED the sci fi genre but is never referred to as the mother of sci fi but we say H.G Wells fathered sci fi . We are told that Elvis is not only the father of rock and roll and modern music but the king of it - ignoring the fact he stole his songs from Willie Mae Thorton .

[torchwood-99]

Action Heroines Deserve Your Respect

I hate, hate, hate the fact that we've now moved into a space where action heroines are written off as "girlbosses" "nlogs" "yassified queens" "acting like men" and other bullshit like that. I hate that after centuries of women being oppressed through the enforcement of gender roles, female characters who cross gender boundaries are dismissed with a "ugh a woman doesn't have to fight/act like a man to be strong. women can be feminine and strong too".

I hate that people don't see why there will always be a strain of feminism in the action heroines because her existence; whether she be written well or not, and acceptance is a sign that we're moving past attitudes that have kept women confined and limited.

I hate that an action heroines has to be ten times better written than a male action hero because people; both men and women, are just waiting for the chance to rip her to shreds and dismiss as her as "lazy feminism" "girl boss pandering" and a "not like other girl girl".

I hate that there can be male characters who have little personality other than badass and people can just enjoy them for what they are and take them in the spirit in which they were created, whereas a female action character must never be allowed to be a badass bit of escaper lest she be the worst thing to ever happen to feminism.

I hate that there's less than one female action heroines to every ten make action heroes and their existence is still treated as a scourge in fiction. I hate that a poorly written male action hero is no more or less than a single character who wasn't written well, whereas a poorly written action heroine; whose threshold of being well written is much higher, is seen as an attack on the genre.

I hate that in genres where action and battle sequences are a staple and often provide massive emotional/plot climaxes, people refuse to see why female fans may want to see female heroines in those scenes.

I hate that people who aren't that into action heroines themselves can't just sit stand and shut up and think for a second why their existence means so much to fans of their characters, how long it was for fans to see characters like that become mainstream, and why for girls who see themselves in these heroines more than any other, it's bloody exhausting to hear them dismissed as "shallow" and "only liked because they act like men".

The moments when the music is the most dramatic, the moment everything has been building up to, when the chills are going down your spine, when every split second decision matters, when trust in friends is vindicated, when humanity is stripped down to its bare essentials and you see who these characters are when there's nothing left to lose. When nothing is pretty and soft but harsh and desperate and brutal and ugly. These moments matter so much, and are such a crucial part of the genres they exist in. They are so thrilling and cathartic and moving to watch, and of bloody course there are girls who want to see themselves in.

Not because these action heroines are acting "like men". Because these sequences tell us that the traits exhibited by the heroines in these sequences, the strength, physical and emotional, the resilience, the quick thinking, the camaraderie, the skill, are not exclusively the domain of men. These women aren't "trying to be men". They're trying to live. To defend. To advance a cause. To partake in the world around them on their own terms and have their lives in their hands.

Yes, yes, yes, there are lots of ways to be strong and proactive and admirable but fuck it, a good action sequence is moving and inspiring and fun and can make you feel like you've been on a roller coaster. And when I watch a sci-fi or a fantasy epic, I want to see women in those sequences. To be a part of that onscreen phenomena that is so pivotal to the genre.

When I watch an epic fantasy or sci-fi show, where there are beautiful and thoughtful and terrifying and emotional battle scenes, I want to see female characters partake in them. I want them to be the ones giving the speeches, being in that charge, wielding their swords, terrified, bloodthirsty, rage filled, righteous, merciful, valiant, exhausted, sweat, brutal, honourable, sly, messy. I want them to be in those moments for those moments in themselves.

[birdydreamer]

It's hilarious. Men want us so badly for our bodies, yet hate us so much for our minds.

- Iron Widow, Xiran Jay Zhao

[theinyshlobster]

“Men want us so badly for our bodies, yet hate us so much for our minds.”

Xiran Jay Zhao, Iron Widow

[madame-helen]

[troythecatfish]

[menlove]

i've said it before but i'll say it again. what the new dune movies did with chani & the changes they made were fucking beautiful & a good example of how to better round out & update female characters without coming off as hollow fanservice. they completely rehauled her character and motivations but in a believable way that has consequences for the Entire story which i think is brilliant. and i also really hope we see the same w irulan

[hadesoftheladies]

FEMALE MOVIE/TV RECS (PART 3 / SCI-FI)

got inspired from a recommendation post so decided to make a list of movies and shows with female-centric stories/female protagonists. since i can't post all of the genres in one post, i'll split it into multiple posts and y'all can save or add to the list as you wish. (disclaimer: i have watched most of these, but i only know about the existence of others. not every movie/show on these lists will be my recommendation. my recommendations will be beneath the list with reasons. also some of these are way better than others in terms of storytelling/performance--which is why i'll list my faves separately):

Common Themes in the Media Listed:

-Women and girls fighting against oppressive regimes

-Unholy discoveries about the secrets of the universe

-Protagonists fighting an enemy they don't understand

-Dystopias, sickness and disaster literally everywhere

-Survivalism, action and (occasionally) comedy

-Father/daughter and older daughter/younger kid protective relationships

-How does humanity die--aliens, robots, zombies or hubris?

WHAT I HAVEN'T WATCHED:

Silo (although my sister highly recommends it)

Vesper

Invasion

Fallout

Arrival

Prometheus

Aliens

Alita: Battle Angel

The Girl With All the Gifts

The Last of Us

I Am Mother

Colossal

Rebel Moon

What Happened to Monday

Ashoka

Prey

Moonhaven

Bumblebee

The 100

Ghost in the Shell

HIGHLY RECOMMENDED:

Foundation (10/10) (I cannot sing its praises enough)

Annihilation (8.5/10)

The Hunger Games (10/10)

Rogue One (7/10)

PERSONAL NOTES

Colossal is actually a sci-fi comedy, but ultimately a comedy first. So it's tonally different from most of these.

While I found Mortal Engines and The 5th Wave entertaining, I can also say that they are objectively not that good. You can only enjoy Mortal Engines if you enjoy spectacle, don't mind cliches, and don't know anything about physics (or care).

I don't remember much of The Rise of Skywalker because by the time I was watching it, I had only watched Star Wars 3 out of the whole series so I was pretty lost. But I remember enjoying the fight scenes.

Please watch Foundation! Like, if you claim to love sci-fi you have to do it. Two of the three main characters are women, Gaal Dornick and Salvor Hardin. Gaal is a mathematical genius and Salvor is just . . . chef's KISS! Also, both are women of color! Like! If you wish there was some kind of grand-scale sci-fi like Dune with a female lead, Foundation is it! It's based on the books by Isaac Asimov (who was a rancid misogynist), and it is unfaithful to his work in the best ways! (Gaal and Salvor were not women in the books.) The only "issue" is it focuses more on American type-heroism rather than the sociological focus of the book (the point of the books was literally about how individualism does about fuckall in determining the future and it's easier to predict human behaviour on a large scale but much harder the smaller your data size). But it still makes for fantastic storytelling.

Alita: Battle Angel may be said to have the born-sexy-yesterday trope, but I'm not sure she's overtly sexualized in the movie. I looked at her designs and they look tasteful. Might be some stories issues.

If you haven't watched The Hunger Games, idk what to tell you except you should be doing that right now. If you claim to like movies in general. It's so good, I cannot begin to break down precisely why it's so good. Suzanne Collins is a genius!

[cheeseanonioncrisps]

Every teenage girl has:

a) a society telling her constantly that the only thing she should be interested in is love and BOYSSSS!

b) a frustrated lust for violence

And the societal role of YA fantasy/sci-fi fiction is to act like it's just conforming to the former, while in reality appealing pretty transparently to the latter.

[cymorilcinnamonroll]

Genesis Remixed: A Lilith and Eve Sapphic Romance One Shot

When Chavah awoke in the Garden, she was filled with regret. What was once rib, now flesh, did not feel whole. Her husband slept as G-d led Chavah, an automaton given Breath and Word, through Gan Eden.

Shortly after Adam first forced her to submit, on the hard red clay he was made from, Chavah’s cries summoned a beautiful siren with raven hair and emerald bezels in her eyes. The maven rode a cherry red Harley, this Lilith, and had an extra pink helmet with daisies she had drawn in chalk paint on it for Chavah.

Chavah was quite impressed by Lilith’s nose ring, generous hips and breasts, and tattoos like a barista on the lam.

Having just been made that morning, Chavah had nothing to pack. All Chavah knew was that her destiny lay with this dazzling serpent woman, in her leather jacket, smoking Virginia Slims. They were meant to cleave, be helped and helpmate, master and servant, mistress and lover and laughter, and create beauty.

So, Chavah put on a red checkered sundress, wedged heels, and saddled Lilith’s Harley, the sun skipping over their luscious locks as they sped, hellbent, out of Gan Eden and into the wide green world.

First they traversed the universe, making camp at night under Adonai’s cosmos, and angels and demons alike attended Lilith and Chavah with food, manna, and figs. Chavah kept an elegant, scribbled in sketchbook - a stenciled Moleskin - where she drew figure studies of her lady love and botanical drawings. In return, Lilith liked to try out her tattoo gun on her girlfriend and carve seashells and coral into jewelry to adorn Chavah.

Lilith taught Chavah secrets – Adonai’s name, how a pearl was formed on an oyster’s tongue, and a diamond forged out of carbon deep in the depths of the Earth. But Chavah taught Lilith pleasure in a way that distant Sammael never had – where men fail, women understand.

They cast stars upon each other’s bodies and drank down mountain dew and honey wild from their chalices. When they made love, even Dumah, angel of silence, was known to weep.

Those were the days of great making. The universes coalesced, coiled, spiraled out like the Shekinah’s hair, and the Shekinah shone brightly down onto her handmaiden, Lilith, and her chosen daughter, Chavah.

They walked in the light of Adonai, crafting fantasies and terpsichores from the spindrifts of cavemen dreams. Adam had multiplied with his second nameless wife, the one whom G-d had constructed before Adam’s very eyes, flesh upon muscle upon bone, and soon, Chavah and Lilith were relegated to the realm of myths and sin.

The People cried out: give us succor, Asherah. So Lilith and Chavah became a Tree, menorah-shaped, and grew fruit to feed their sons and daughters. Only Adam, immortal, hacked the Shekinah Tree of Knowledge down. In revenge, Lilith planted the vine of Baruch – grapes that she and Chavah taught their daughters to make wine so splendid, it inspired poetry and deeds of greatness in men of valor and the daughters of the Watchers.

A flood came. A great one. Towers were built and toppled. First, clay cities, then wood, then stone, then the bones of earth raped to form great metal beams and skyscrapers. Moloch of industry arose, consuming dreams. Mammon created empires fat off his golden coffers. Ashmedai seduced. Beelzebub possessed. Sammael was set against Michael at every turn.

But Chavah and Lilith? They infused the world with beauty. Feminism. Revolution. Science and the Renaissance. Democracy. For every mother kissing her child, there was Chavah. For every blue-stockinged lass carving her way in a man’s world, there was Lilith.

Eventually, they opened a bakery. Challah was their specialty, with seven twisted braids. They kept bees out back, the wives Lilith and Chavah, and they read Tarot and the threads of fate for the young maidens and boys who came to them for advice. For widows and those who lost a child – whether to Dumah or abortion or infertility – they gave free iced coffee, fresh honeycomb, and bread.

It was a man’s world, but slowly, gently, women reigned. We, their daughters, created peace, endless beauty and succor, so that no son died in war, and every daughter was cradled and wanted. Lilith and Chavah continued serving the Shekinah, and the women of the world finally tasted the Fruit of Life.

It was born of two women, first and last, alpha and omega, snake and snake charmer.

And now, Lilith and Chavah live in our hearts, and if you seek out to find them, bread and cheese in hand at midnight, through Alice’s looking glass, you will come to their café, and the Mothers of Life and Death will braid your curls free of sorrow.

And all that starts well, ends well. They will wipe your tears, kiss your cheeks, make you a mocha, flat white, or comforting oat milk latte, and the fire in your heart to carry on will be kindled, and the Foundresses of Humanity will sing you into this life and the next, carrying you and your loved ones to the far shores of wonder, miracles, and the wild, and on their motorcycle, you’ll ride.

[episodicnostalgia]

Star Trek: The Next Generation, 113 (Jan. 23, 1988) - “Angel One”

Written by: Patrick Barry Directed by: Michael Rhodes

The Breakdown

The Enterprise picks up on a distress signal from a freighter called ‘The Odin’ that went missing a few years back, so they decide to check out the nearest M-Class planet (ie, capable of sustaining life) to see if the survivors made it that far.  It turns out they did, but the problem is the survivors all happened to be men, and the planet they landed on is run by a matriarchal oligarchy that objectifies the males, and believes they should accept their place as slutty-play-things-without-rights.  Naturally the Odin survivors (being enlightened federation folk) take issue with this on-the-nose-metaphor, and go public with their opinions, resulting in a social justice movement (which we are told about but never actually see). 

Beata (The ‘Elected-one’ aka the ruler), agrees to let the Odin survivors go, since that would silence the dissenters, but not before getting Riker to spend the night with her, which he’s all-too-happy to oblige (she may be a misandrist, but Riker will not pass up on some perfectly good… diplomatic relations).  While Riker flounces around in a pretty little get up (all an essential part of the diplomacy), Tasha and Deanna talk to the survivors who refuse to leave since they have families now.  Their unwillingness to leave results in a death sentence, to which Riker is like, “Fuck this, lets just beam everyone out of here”.  Unfortunately the Enterprise is having it's own issues.

Back on the ship, a nasty virus has broken out, which has incapacitated most of the crew  (There’s also some stuff about Romulans, but none of that really amounts to anything) Anyways, since beaming everyone to the Ship is out of the question, and the executions are imminent, Riker makes a nice little speech to Beata about how “evolving world views are necessary for any civilization and maybe don’t be so mean to your men?” Somehow that works, and Beata decides to stay the executions on the condition that the survivors-and-their-families all go far away to a less pleasant continent (where they’ll be too busy surviving to worry about human rights). She reasons that if she can’t stop change at least she can slow it to a crawl, and everyone is like “Yay, what a progressive sentiment.” The end.

The Verdict

I’m not sure sure where to start with this episode, but I guess I’d have to say that the script just seems clueless. We’re shown a sexist matriarchy that is seemingly meant to mimic our own patriarchy, but it’s so broad that it fails to capture any nuance whatsoever. It’s also pretty telling that the feminine coded men of Angel One are all written as vapid, jealous, emotional, and devoid of any real agency; not unlike most of the women characters from this season so far. It’s well known that the women cast struggled with how their characters were portrayed, especially during the earlier seasons. I don’t know if ‘Angel One’ was one of the offending episodes, but it certainly throws its weight towards confirming the pattern.

1 star (out of 5)

Stray observations

Remember folks. It’s okay to hook up with a brazenly sexist dictator if they’re hot.

Tasha thinks Riker looks sexy in his skimpy-frilly-outfit and states it outright. Now I’m not one for kink shaming, but that’s not a very professional thing to say to your commanding officer.

Geordie gets to sit in the Captains chair. Nice.

Season-one-Worf is kind of adorable, like a pitbull. He’s big and strong looking, but just a teddy bear deep down. His scenes with Geordie on the bridge are so wholesome.

The prime directive sure is confusing. I thought the rule was that any pre-warp society is off limits, but Angel One is said to be equivalent to our mid-to-late 20th century. Apparently, the federation made contact with them 60 years ago, and that was okay because it didn’t involve a starship? I feel like the Prime Directive must have been a concept the writers were still figuring out. Then again, the Federation does seem to have some fairly arbitrary rules.