Basilisk

I've been playing Star Ocean the Second Story R since my fiancee bought it for me at Christmas.

The problem is that "drive less transit more" is only an option if you live where transit is viable. If they were simultaneously investing money (or even reinvesting the carbon tax into) into subsidies for transit systems, cycling improvements, walkable cities, and the like so that these alternatives are accessible to everyone then there would be at least a carrot to go along with that stick. But there's virtually no amount of tax that will ever make trading a 30 minute car ride for 2 hours on and off with multiple transfers with the bus a reasonable alternative. And there's no way to get more people into buses or trains that are crammed full to the point of skipping stops even if you could somehow convince people to make that trade.

I can't help but feel like if we didn't live in a capitalist hellscape, the increasing democratization of art would be unambiguously a good thing. I'd be more than happy to see "art as decoration" (as opposed to "art as a human means of expression") opened to being something shunted off to machines, if it weren't for the fact that this is a method that people currently use to make sure they have enough money to not starve to death in the cold. Advertising art of polar bears drinking Coke is nicer to look at than big block text saying "consume", but it's hardly a soulful expression of the human condition. Or maybe it is, which is even more depressing, but the ultimate apotheosis of this is pushing that sort of messaging to robots to make anyway.

Meanwhile, giving people who aren't necessarily "artistic" a vehicle to create art as a means of expressing themselves is also really neat, and in the hands of people who are artistic, it gives them a low-impact tool for pre-visualization, inspiration, and a new medium to experiment with. It also reduces barriers for people with disabilities to make art. I'd love to see artists training LLM systems on their own work as a way of sharing their "style" with the world — something which is difficult to justify in a world where your style is something that needs to be jealously protected against copyright infringement, which again comes down to needing to monetize your expression as a matter of survival.

I feel like in the best case it would have been a catastrophe that somehow manages to fall together in a way that actually works, and in the worst case it would have just been bad to the point of being offensively bad, appealing to neither regular filmgoers whole also pissing off established fans.

... But it also feels like giving a chainsaw to a bear: You know whatever's gonna happen you're not gonna like, but also you kinda want to do it just to see what it is.

I really enjoyed Starfleet Academy for the SNES. It wasn't particularly difficult or long, but there was enough interaction with your "crew" outside of space combat that it felt pretty well-rounded, especially for a SNES game.

Yeah, I spent a ton of time with that. It had a terrible memory leak, though, which made it unplayable slow after an hour or so. I was really hoping that Star Trek: Infinite would fill that void, but it's basically just Stellaris.

If that's the case, then the whole process is as wrong-headed as can be. You can only choose an alternative if a viable alternative exists. Transit isn't supported enough to be a universally practical option while electric vehicles are too expensive and have infrastructure requirements that can't necessarily be met by everyone. And speaking as someone who's tried cycling, well, Edmonton is making some big moves, but In Calgary? Maybe I'll give it a shot again when I get tired of living.

And none of that covers the fact that what is being paid at the pump as a surcharge to cover carbon taxes holds no relationship at all with what the oil companies are paying. It's being used as an excuse to bilk the consumer even further and to line the pockets of investors.

Tim Russ also showed up in Dragon Age: Origins, like it was a mini Voyager reunion.

In no particular order:

Steamrunner Miranda D'Deridex Magee Constitution

Hearing his experiences on Voyager, you really have to feel sorry for the guy. The higher-ups really seemed to have an axe to grind with him. It's kind of startling how you go from TNG where even now the cast gets together like family, to DS9 where it was like "It was a good job and the people I worked with were wonderful and professional and we produced something that we can be proud of," to Voyager, where the cast largely describes it as a cesspool of passive-aggressive resentment and largely only mended fences years later.

Trek actively gave opportunities to its actors in the TNG-VOY era to learn and try directing. The number of Main Cast actors who've got directing credits is pretty significant. The full list, along with the episodes they directed, is here: https://memory-alpha.fandom.com/wiki/Cast_members_who_directed

Of the TNG cast though, Jonathan Frakes, Levar Burton, Gates McFadden and Patrick Stewart all have at least one director's credit in the series. Michael Dorn would also later do some DS9 and ENT episodes.

The ENT mini-arc "explaining" the difference between Klingons "then" and "now" was absolutely unnecessary, but I do have to admit to finding it cute that the reason why Klingons became smooth-foreheaded instead of bumpy-foreheaded turned out to be a combination of all three of Bashir's guesses in that scene.