The other day, I watched a Korean movie called Hi Five. It was directed by Kang Hyoung-chul

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who , if you're familiar with films like Sunny or Swing Kids, you'll know his style.

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What made me curious about this film was its rather unusual concept : there are five people who live ordinary lives, then suddenly gain strange powers after organ transplants. Their donor organs turn out to have supernatural abilities.

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I thought I was going to watch a typical superhero movie full of action...But it turned out to be completely different. This movie is more of a comedy mixed with drama , but it still has meaning.

⚡ The story is hilarious but relatable

So, the story is about five people whose lives are just so-so. Nothing special. Then they all need organ transplants due to their respective health conditions. After the surgery, they start experiencing strange things. Some can read people's minds , some suddenly become super strong and some can move objects just by thinking about it. ‎ ‎The funny thing is, instead of making their lives easier, these powers often complicate things. Imagine suddenly being able to hear other people's thoughts without a filter. It would be chaos, right ? That's what makes the movie exciting, because they have to learn to control their powers while still living their daily lives. ‎ ‎It's funny, but it also makes you think : if we were suddenly given superpowers, what would we do? Use them for good or for our own interests? ‎

🎭 The Cast is Solid All Around

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The cast is truly exceptional. There's Oh Jung-se , who plays a hardworking father. He gains superpowers but still struggles to make ends meet... His acting is very natural. ‎

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‎Then there's Park Jin-young from GOT7. His character is a bit stiff at first , but that's what makes him funny. He plays an innocent character with good intentions.

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‎Yoo Ah-in also stars in this film, playing a somewhat mysterious and intense character. Ra Mi-ran , as usual, plays a strong female character who cannot be underestimated. And Ahn Jae-hong, who is really good at lightening the mood. ‎ ‎The five of them aren't like the Avengers, who are super cool. Instead, they're like neighbors who suddenly gain powers and that's what makes the story feel closer to real life. ‎

‎ 💥 A Mix of Action, Comedy and Meaning !

What I like about this movie is that it's not just funny... It has a message. The greatest strength of humans is not physical strength or magical abilities, but the intention and courage to help others. This movie also teaches us that being a “hero” doesn't have to be done in a grand way. Sometimes, just helping one person around us means a lot.

The action scenes are exciting, but not as bombastic as Hollywood movies. The comedy is also spot on, making you laugh out loud in some scenes, but still delivering a message.

🎬 Personal Impressions After Watching

Honestly, this movie isn't perfect. Some parts are a bit messy and the pace is sometimes uneven... But for some reason, I still enjoyed watching it. Maybe because it's light but not shallow. After watching it, I thought : actually, we all have our own “powers.” Not in the form of superpowers or the ability to fly, but perhaps in the form of empathy, kindness, or small acts of courage that we do every day. ‎ ‎And in my opinion, that's more than enough. ‎

‎ ‎**⭐ Final Conclusion** ‎ ‎If I had to give it a rating , it would probably be 7/10. ‎ ‎It's a fun movie to watch when you want something light but still meaningful. Hi Five won't blow your mind like a big superhero movie , but that's what makes it unique. It builds a story from small things that are actually close to our lives. ‎

We don't need superpowers to be useful.
Just having a heart that cares—that's already extraordinary. ‎

A few days ago, a series was released on Apple DU Plus that I wanted to watch because I really liked the trailer, but I didn't get the time then. Finally, I have watched it. For now, only two episodes of it have been released. The name of this series is The Last Frontier, in which we get to see the story of many criminals who are being shifted from one place to another, packed inside a plane, over a snowy mountain or a snowy area.

But on the way, some malfunction happens inside the plane. There is a blast inside the plane, and the plane crashes right there in that snowy area. After that, those dangerous criminals start escaping from there, and how the police catch them or not, you have to see that in it. Initially, the trailer seemed interesting, but I thought this is a normal story. Just some criminals have escaped. What will you achieve by catching them, and what new thing will there be to see in it. But the story of the movie that seems to us in the trailer is very different from what is inside it.

Some very big things come to the fore when you watch. Even in the first episode, you get to see very intense things. Whether it is the plane crash scene, the fight there, people coming to investigate it. Those scenes. And when the mystery of the secret criminal unfolds, that also looks quite good. For now, both episodes are filled with a lot of intensity. Meaning, from start to end, both episodes are very intense, and the way things are going to happen ahead, it seems that yes, a lot of things will be seen here because all the criminals have escaped.

The police only got dead bodies in their hands. Very few living criminals have been caught by them. So the remaining criminals have different motives, and the actors taken there are big actors. Meaning, I am not saying all of them are big actors. But the few criminals on whom more focus is being given are big actors, and just by looking, it seems that yes, they are going to have some different story, and these people are going to do something bigger ahead. A lot of people live in the city.

There is not that much police, and about 100 criminals were being transported there. 23 died, after that many criminals are left. They are very dangerous. So there is a crisis in the entire city. And along with that, the one secret criminal is linked with a very big officer of a very big government agency, and he wants something from her. So meaning, the series can go quite well ahead. The way the series has been set up now, big things are expected to happen.

But let's see exactly how the series turns out. For now, I liked both episodes a lot. The production of the series is definitely quite good. Whether it is the plane scene, the plane blast scenes, or all the other scenes, everything looks very good to watch. But I noticed two things which do not come as a very big flaw, but still there is a bit of believability issue. The first thing is that when that criminal was not sick at all. He was not injured at all, so how is his treatment happening in the hospital.

You will say what I am talking about. I will not tell. You will watch the episode, after that you will understand yourself that this seemed an issue to me that if nothing happened to him, then how has his treatment been going on in the hospital for so many days. The second flaw I felt is the plane shown crashed there, it does not seem very realistic to me because as far as I have heard, I may be wrong in this. Fuel inside the plane is stored in the wings. But looking at its wings, it does not seem that there was space inside it to store fuel.

So I am going into very small things. But still, I told you these small flaws. Rest in the series, bloodshed, blood and violence, acting, every thing looks very good to watch. Every single thing, and for now, if you want, you can watch it with family too. For now, in these two episodes, nothing like that is seen. Rest, regarding this series, the final word is that it is a quite good series which can become much better ahead and it may turn out average too. But I don't think it will turn out bad.

With this, for now, I will rate both episodes of this series 7.5 out of 10, and if you liked it, then I will meet you in my next.

^^^^^^

When I saw the release of Bitch X Rich 2, I was so excited. Because I had waited long enough for the release. Bitch X Rich is a k-drama which had up to three directors, Min-Ji Young directed the first season. Lim Dae Woong and Park Hyung Won directed the second season.

The first season really got to me. I was so curious and waiting for the next season to come out, it made me want to take my hair out with the way it ended.

So when I heard season 2 was coming out, I already had high hopes. I wanted to feel that same excitement, that same suspense. The same “what is going to happen next” kind of feeling.

The second season was slower and didn’t have that much of a thrill like the first one, because let’s say maybe I already anticipated what was going to happen.

There’s Baek Je-na (played by Yeri of red velvet) who played her role really well as the cold-hearted heiress. From the very first episode, she was the face of the movie, she looked pretty much untouchable. But in the second season, I got to see more of her vulnerable human side.

Then Kim Hye-In who so wanted to belong in the first season and tried doing everything she could even after the humiliation. I really felt for her then. But she wasn’t trying to fit in anymore, she was just trying to be herself.

Both of them were pretty much enemies in the first season but they got closer in the second one.

They also introduced new faces, that also made the movie have a real flow, they were good-looking, of course K-dramas never misses their visuals.

If I’m being honest, season 2 didn’t give me that edgy feeling, the suspense. but season 2 had stronger emotions and feel to it.

I think the first season had a stronger plot, but both are good in their own way.

I’d give it a 4 out of 5. It really was worth watching. And honestly, if they release a season 3, I would watch it straight away. If you're a big k-drama fan, you should check it out.

It has finally happened. The Star Wars film not only underperformed but, judging by its commercial results, represented an undeniable and undisputed flop. That failure was quite significant, considering Disney, today’s most powerful global studio, had poured hundreds of millions of dollars into it, which cinema audiences failed to recoup. Such an outcome would have been unimaginable just a few years earlier, thanks to Star Wars being, perhaps not the longest-running, but undoubtedly the largest media franchise, having transformed over less than half a century into an institution of global popular culture with the most extensive and fanatical fanbase, which turned even the otherwise disappointing prequel trilogy into a major triumph. Solo’s failure, however, is not particularly surprising today. The greatest credit for this goes to The Last Jedi, the final film of the official trilogy, which represented the series’ most profound disappointment for fans and prompted many of them to become critics who would tear apart new Star Wars instalments with the fervour of recent religious converts. To this must naturally be added the now rather justified fears that George Lucas, creator of the original series, by selling the rights to Disney, had placed his magnum opus in the hands of a greedy yet soulless corporation that neither understands nor respects it, and which, in its ruthless pursuit of profit, is prepared to transform it beyond recognition. Among the symptoms of these “new” Star Wars films were plans for prequels or spin-offs dedicated to individual characters or minor events from the original trilogy. After the acclaimed Rogue One, it was time for Solo, focusing on Han Solo, likely the most popular character across the entire franchise, depicting his youthful years in a film simply titled Solo.

Harrison Ford, at seventy-five, was definitively too old to portray this role, and CGI technology was insufficiently advanced to “de-age” him convincingly. Thus, the part was entrusted to Ford’s forty-seven-years-younger counterpart, Alden Ehrenreich. The plot begins on Corellia, an industrial planet renowned for shipbuilding but whose dark streets are ruled by a criminal underworld often forcing even children into its service. Among them was the now-adult Solo, who decides to rob his employers and flee with his girlfriend Qi’ra (Emilia Clarke) to start a new life. He fails, however, and Qi’ra remains stranded on Corellia while Solo is forced to join the Imperial fleet as a pilot trainee. Three years later, expelled from the Academy for insubordination and reassigned to the infantry, he stumbles upon a gang of criminals led by Tobias Beckett (Woody Harrelson), who have assumed the identities of Imperial shock troopers intending to exploit them for a heist targeting coaxium, a legendary valuable spacecraft fuel. Solo joins them and meets a Wookiee named Chewbacca (Joonas Suotamo). The first heist attempt fails, leaving the gang in trouble since the entire operation was on behalf of Dryden Vos (Paul Bettany), head of the powerful criminal organisation Crimson Dawn. Vos, in whose company Solo is greatly surprised to find Qi’ra, agrees to an alternative plan: extracting unrefined and highly volatile coaxium from the planet Kessel and transporting it along a perilous asteroid route to a refinery on Savareen. For this, a spacecraft resembling the Millennium Falcon is required, owned by Lando Calrissian (Donald Glover).

Much like Rogue One, Solo had, months before its premiere, become the subject of alarming production difficulties. This included Disney producers uncomfortably enlisting a special acting coach for Ehrenreich, reportedly struggling intensely to capture Ford’s mannerisms. Worse still was the decision to dismiss directors Phil Lord and Christopher Miller from the set following fierce clashes with the screenwriting duo of Lawrence Kasdan (renowned for The Empire Strikes Back, the franchise’s finest film) and his son Jake. Ron Howard, a reliable Hollywood veteran, was brought in as a replacement and ultimately had to reshoot numerous scenes. All this boded poorly, and fears largely proved justified, though Solo is actually not as bad a film as its commercial failure or the bile fanatical Star Wars fans spill online might suggest.

The main issue with Solo, of course, lies in its very concept—the expectation that an audience devoted for decades to Harrison Ford’s incarnation of the character would accept it embodied by the young Ehrenreich, who, regardless of what anyone may refuse to admit, lacks Ford’s charm and charisma. Star Trek successfully weathered the transition to a younger cast because its foundation lay in the concept rather than an iconically cultural character. Solo could not overcome this hurdle from the outset and was doomed to become merely a curiosity—or a kind of fan film backed by hundreds of millions of dollars. The Kasdans’ screenwriting duo manages the ungrateful task of crafting an exciting story from apocryphal, casually mentioned details of Solo’s youth with some degree of competence, though not always successfully. Particularly disappointing is the explanation of how Han Solo acquired his name, and his character undergoes no convincing transformation from naive youth to charming antihero. On the other hand, Solo features several engaging action sequences, and its finale refreshingly avoids succumbing to unnecessary spectacle and CGI excess, offering the audience several intriguing plot twists. Unlike the pale performance of Ehrenreich, the rest of the cast proves lively enough to carry the film, breathing life into characters that might otherwise have been quickly forgotten—this applies both to Harrelson and Bettany, who delivers one of the franchise’s most impressive villains. Direction, however, remains problematic throughout much of the film, particularly regarding cinematography, which is frequently too dark.

The film is often saved by scenes or characters that unintentionally provoke laughter. An interesting detail is the Mimban battle sequence, whose atmosphere may remind some viewers of World War One. Nevertheless, the most striking aspect of Solo is undoubtedly the character of the socially engaged droid L3-37, who seizes every opportunity to voice dissent against the oppression of marginalised groups, whose revolutionary act inadvertently triggers a series of spectacular yet perilous events for the other characters. Some critics considered L3-37 a reflection of producer Kathleen Kennedy’s publicly stated efforts to align Star Wars with contemporary moral, political, and other standards of Hollywood’s salon left-wingers, but in reality, this character became a parody of everything nowadays encapsulated by the acronym SJW. That Solo will be remembered for its fanatical droid rather than its main character is one of many explanations for why the film failed and why the future of Star Wars seems far darker than anyone could have imagined just a few years earlier.

RATING: 5/10 (++)

(Note: The text in the original Croatian version is available here.)

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I was kind of surprised to have finished watching this series to look over at the reviews and found out that almost all professional reviewers of this series gave it very low marks.

[src](https://variety.com/wp-content/uploads/2025/08/Monster-Ed-Gein-2.png?w=819)

Despite being a fan of horror films for a very long time I had never heard of Ed Gein who apparently was the inspiration behind Psycho, The Texas Chainsaw Massacre and other films as well. Unlike those stories though, Ed Gein was a real person who did cut skin off of people and "wear them."

He was an unusual criminal in that he didn't see anything wrong with what he was doing and when busted by the police he didn't run, didn't fight, didn't do anything other than tell them exactly what had happened. Along the way though, he was a very violent person at times but also very kind in others. A true psychopath if you will.

The series does a pretty decent job showcasing this and how his relationship with his mother is what got it all started, or at least that is what the story would have us believe.

While Ed is a bit strange, he is polite and even generously helpful to other people in his small Wisconsin town. I think the idea here is that when someone would go missing, the last person that anyone would suspect is the mild-mannered farm boy who for the most part keeps to himself, is always very well-groomed, and will help people in need.

The fact that he shot people and dragged them off to his barn so that he could remove their body parts to wear as masks was something that of course is truly awful and difficult to understand the mind of a person that would do that. But to Gein, this was just a hobby and for whatever reason, it never registered to him that this is something that you definitely shouldn't do.

While I found the show to be very tense and entertaining, I guess I can understand why some of the critics would state that it was overly graphic and bordered on being a cheesy slasher gore flick rather than some sort of dramatic representation of a truly awful person. Towards the end of it they almost seem to romanticize his life and maybe that is what ticked off many of the professional critics.

Critics also stated that the number of side stories, such as how his life inspired many film-makers, were a distraction from the actual story of his life. Most of them would admit that they did enjoy that part of the series, but could have done without the extra stuff such as an entire episode where Alfred Hitchcock has more screentime than Ed Gein does.

As is often the case though, the critics and regular viewers differ quite a lot in their opines but overall it seems as though most people didn't enjoy this series nearly as much as I did.

perhaps I enjoyed it so much more than the average person because I had no idea that Ed Gein was a real person and I knew nothing of his existence or history. At one point I had to look up to make sure that this wasn't another "true story" the likes what the Coens did to me with the Fargo series.

But if we are looking at reviews it is worth noting that on IMDB this series has a 7.8 out of 10 so what gives? I know that both of these sites are rigged to some degree but this is the first time I have seen a discrepancy this high between the two big ones.

At first I was upset at Charlie Hunnam's portrayal of Ed Gein because his voice is so high pitched and difficult to hear that I had to turn on the subtitles, but then I later found out that this is actually how the real Ed Gein sounded, so I guess I can say, well done to you Charlie.

Critics claimed that the series was too long and I'm not going to argue with that. Like a lot of things that Netflix does, this thing was more than double the length that it actually needed to be. For me though this was actually fine because again, I had no idea about the man's life and to me it was kind of surprising the very high level of freedom that he had at the mental institution including having unsupervised access to things that definitely could be considered weapons such as scissors and not the plastic edged ones that you would let children use in elementary school either.

Should I watch it?

It depends. If you enjoyed the jeffrey Dahmer Story that was made by the same people I think you will like this one too. It does move a bit slower and just like the critics said, it focuses on the impact that Gein had on horror cinema culture a bit too much but I guess that was just a creative decision that didn't go over too well. If there is one way to piss off a self-absorbed movie-critic it would be to make definitive statements about the origin of cinema.

I liked it, but the gore factor is definitely there and there are some very shocking and gross moments in it as well. This is definitely not something you want to watch with the kiddos because it is of a very depraved sexual nature as well.

I found it entertaining and informative although I can kind of agree with the critics that the "side missions" detract from the real story here which should be the actual life of the actual person in question. Perhaps it is because not a great deal is actually known about Ed Gein that they decided to go this route.

I say give it a shot (if you are an adult) and let the first couple of episodes make that choice for you.

Cover image edited in canva; the image was taken from the following source

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• IMDB: https://www.imdb.com/title/tt19244304/
• Platform: HBO MAX

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Hello everyone, friends of Hive and the @TheAnimeRealm community, @suisver here with a new post for the channel. I'd like to tell you that today, Monday, I treated myself to an anime movie, and I want to share my impressions and experience watching this film, which left me feeling a little melancholic. I'll tell you why.

I've been a fan of the Chainsaw Man series since it premiered in 2022, and I haven't missed a single episode. In fact, I've read the manga and am waiting for the animated version of the second season. A few months ago, I found out that the movie would be premiering here in Valencia at the Cine Unidos in Metrópolis, and I couldn't wait to go see it. So, somehow, I scraped together some extra money, and today, Monday, I took advantage of the half-price ticket and went to see Chainsaw Man - the Movie: Reze's Arc (2025).

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I was very excited. I went to the theater alone, ready to enjoy watching one of my favorite series. I can tell you it was worth it. I loved the characters, the story, the special effects, the battles, and most of all, I loved the story between the two characters: Denji, the chainsaw man, and Reze, a girl who works at a cafe and whom he meets while taking shelter from the rain in a phone booth. I loved how they met, and I'm not sure, but I think it was love at first sight for both of them.

Denji is a character who, despite being a boy with the heart of a chainsaw demon and a demon hunter, gave me the impression of being very sensitive and seeking affection; that's why, when he meets Reze, he falls hopelessly in love with her. From the moment they meet, twists and turns begin to happen in the story, as it turns out the entire plot is filled with deceit, betrayal, and disappointment, which will lead to great and exciting battles.

Although Denji feels betrayed and deceived, he still harbored feelings of love for Reze. But it turns out that other evil characters wouldn't let love and sentimentality triumph and took action to prevent the fate of these two characters from changing forever. The ending left me with a very painful sadness, even though I had already read the manga and watched the first season of the anime series. Still, I was impressed by the ending. If you're a fan of the Chainsaw Man series, you have to see this movie. I assure you, it won't disappoint you.

Official trailer with subtitles

Finally, I have to say that the movie impressed me with the combination of emotions explored throughout the plot. It's a feeling of emotion, love, sweetness, deception, betrayal, forgiveness, and the fatality of fate. Without a doubt, a wonderful movie that leaves you wanting more.

Thank you, friends, for joining me on this wonderful moviegoing experience watching one of my favorite anime. See you soon. Bye.

Google Translate Screenshots of the movie theater entrance taken on my iPhone Separator

SPANISH

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Hola a todos, amigos de Hive y comunidad de @TheAnimeRealm aquí @suisver con un nuevo post para el canal. Les cuento que hoy lunes me di el gusto de ir al cine a ver una anime y quiero compartir mis impresiones y mi experiencia viendo esta pelicula que me dejó un poco melancólico y ya les cuento el porqué.

Soy un fan de la serie Chainsaw Man desde que se estrenó la serie en el 2022 y no me he perdido ninguno de sus capítulos, de hecho me he leído el manga y estoy esperando la animación de la segunda temporada. Hace unos meses me enteré que se estrenaría la película aquí en Valencia en el Cine Unidos de Metrópolis y no aguantaba las ganas de ir a verla. Así que cómo pude reuní un dinero extra y hoy lunes aproveché la entrada a mitad de precio y me fui a ver Chainsaw Man - la película: Arco de Reze (2025).

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Estaba muy emocionado, me fui solo al cine e iba dispuesto a disfrutar y ver una de mis series favoritas. Les puedo decir que valió la pena, me encantaron los personajes, la historia, los efectos especiales, las batallas que se libraban y sobre todo me encantó la historia entre los dos personaje Denji, el motosierra y Reze una chica que trabaja en una cafetería y a la cual conoce cuando se estaba refugiando de la lluvia en una cabina telefónica. A mi me encantó cómo se conocieron y no estoy seguro pero creo que fue por parte de ambos amor a primera vista.

Denji es un personaje que a pesar de ser un chico con corazón de demonio motosierra y cazar demonios, me ha dado la impresión de ser muy sensible y estaba buscando afecto; por eso al conocer a Reze se enamora de ella irremediablemente. A partir del momento que se conocen empiezan a suceder giros en la historia porque resulta que toda la trama se llena de engaños, traiciones y desiluciones, lo que ocasionará grandes y emocionantes batallas.

A pesar de que Denji se siente traicionado y engañado, todavía dentro de él había sentimientos de amor hacia Reze. Pero resulta que otros personajes malvados no dejarían que triunfara el amor y los sentimentalismos e hicieron acciones para evitar que el destino de estos dos personajes cambiara para siempre. El final me dejó con una tristeza a flor de piel muy dolorosa a pesar de que ya me habíai leído el manga y visto la primera temporada de la serie de anime. Aún así me impresionó el final. Si eres amante de la serie Chainsaw Man esta película tienes que verla te aseguro que no te decepcionará.

Tráiler oficial subtitulado

Por último tengo que decir que la película me dejó impresionado por la combinación de sentimientos que se exploran a lo largo de la trama, es una sensación de emoción, amor, dulzura, engaño, traición, perdón y la fatalidad del destino. Sin duda alguna una maravillosa película que te deja con ganas de seguir viendo más.

Gracias amigos por acompañarme en esta hermosa experiencia en el cine viendo uno de mis anime favoritos. Nos vemos pronto, chao, chao.

Google traductor Capturas de la entrada del cine tomadas por mi Iphone Separador

[//]:# (!worldmappin 10.18444 lat -67.97448 long My experience at the cinema watching Chainsaw Man - the movie: Reze's Arc (2025). @suisver d3scr)

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The Icarus Factor (S02E14)

Airdate: April 24th 1989

Written by: David Assael & Robert L. McCollough Directed by: Robert Iscove

Running Time: 45 minutes

Star Trek: The Next Generation, in its ambitious seven-year voyage, possessed the narrative luxury afforded to long-running episodic science fiction: the capacity to occasionally step away from the relentless pressure of universe-threatening crises or high-stakes ethical dilemmas. Episodes could, theoretically, embrace a quieter, more introspective "slice of life" approach, focusing on intricate worldbuilding or deep character exposition for the crew of the USS Enterprise-D. Such deviations, when executed with skill, could enrich the series' tapestry, demonstrating that life aboard a starship, even one exploring strange new worlds, was also composed of mundane transfers, personal reckonings, and the quiet hum of routine. Season 2’s The Icarus Factor (Episode 14) explicitly positions itself within this category, promising a character-driven exploration of familial discord. Yet, tragically, it represents not a successful experiment in quiet storytelling, but a profound misfire; the creators swung so wildly away from the series' established strengths that they landed not in nuanced drama, but in the barren, dramatically inert territory of uninspired soap opera, utterly devoid of compelling action, genuine pathos, or even the saving grace of wit.

The plot ostensibly hinges on Commander William Riker receiving a pivotal career opportunity: command of the USS Aries, tasked with pioneering exploration in the Vega-Omicron sector. Before accepting, he must consult with a civilian advisor assigned to the mission. This advisor, arriving at Starbase Montgomery, is revealed to be none other than Kyle Riker (Mitchell Ryan), Will’s estranged father, from whom he has been completely cut off for nearly fifteen years. Kyle, seemingly remorseful, attempts a tentative reconciliation, burdened by the weight of past failures as a parent. However, this fragile overture is complicated by the revelation that Kyle once shared a passionate romantic entanglement with the Enterprise's Chief Medical Officer, Dr. Katherine Pulaski. Will, harbouring deep resentment, initially rebuffs his father’s advances. Their simmering tension culminates in a ritualistic Anbo-jytsu match – a Riker family tradition where Kyle historically dominated. Mid-fight, Kyle confesses to cheating in their past contests, a moment of vulnerability that finally cracks Will’s defences, leading to a swift, almost bewilderingly abrupt reconciliation. Kyle departs, and despite Captain Picard’s strong encouragement to seize command of the Aries, Will elects to remain as First Officer aboard the Enterprise. Concurrently, Worf grapples with the tenth anniversary of his Klingon Rite of Ascension, feeling isolated without his people; Geordi, Data, and friends provide holodeck reconstruction of the ritual to honour him.

On paper, the script by David Assael and Robert L. McCollough attempts a worthy goal: grounding TNG in relatable human (and Klingon) experience. It posits that Starfleet life isn't solely about photon torpedoes and alien negotiations; it’s also about personnel transfers, unresolved family baggage, and cultural milestones celebrated in solitude. This focus on the "banal" could have been a strength, showcasing the series' depth beyond its sci-fi trappings. The problem lies not in the intent to depict everyday life, but in the execution of the chosen everyday drama. Will Riker’s profound, decade-and-a-half-long estrangement from his father is clumsily, almost insultingly, interwoven with his career dilemma. The script fails utterly to establish a credible internal struggle for Will regarding the Aries command. Is the Enterprise truly a "more prominent ship"? Undoubtedly, but the script never articulates why staying is the right choice for him beyond vague loyalty. The arguments Picard offers are perfunctory, and Riker’s ultimate decision feels entirely preordained by the show’s structure – Jonathan Frakes was far too central to the cast for his departure to be viable long-term, rendering the entire command dilemma a hollow narrative cul-de-sac from the outset. Furthermore, the contrivance of Kyle Riker, of all people in the vast Federation, being Pulaski’s former lover is a credibility-stretching coincidence that feels far more implausible than any warp-core breach or temporal anomaly the series regularly dealt with. It reeks of lazy plotting, sacrificing believability for a cheap, unearned emotional complication.

The resolution of the central father-son conflict is equally unconvincing and dramatically unsatisfying. Their decades of bitterness are supposedly dissolved not through meaningful dialogue or a gradual rebuilding of trust, but via a confession of cheating during a laughably staged martial arts contest. The Anbo-jytsu sequence, intended as a moment of high tension and symbolic significance, instead resembles a poorly choreographed parody of American Gladiators – all padding, awkward stances, and a distinct lack of martial authenticity. It transforms a potentially powerful cathartic moment into unintentional comedy, undermining the gravity the scene desperately needed. Mitchell Ryan, a formidable actor capable of immense presence (as evidenced by his iconic role as General McAllister in Lethal Weapon), is utterly wasted. His Kyle Riker oscillates between gruff regret and sudden, unearned warmth without sufficient psychological grounding, leaving his character feeling shallow and his redemption unearned. The reconciliation feels imposed by the script’s need for a tidy ending, devoid of the messy, hard-won catharsis such a rift would realistically demand.

The Worf subplot, while technically proficient in its depiction of Klingon ritual and the crew’s earnest effort, suffers from being pure, uninspired filler. It lacks thematic connection to the main plot beyond a superficial "characters have personal issues" parallel. Geordi and Data’s holodeck reconstruction, though visually interesting, feels like an obligatory nod to Worf’s culture rather than a meaningful exploration of his isolation or Klingon identity, ultimately adding little substance to the episode’s core failure.

Consequently, The Icarus Factor stands as a notable misstep in TNG's otherwise robust early development. It is rarely cited among the series’ memorable or beloved episodes, its reputation tarnished by its fundamental dramatic shortcomings. Even within the production itself, opinions were starkly divided, reflecting the episode’s inherent flaws. Jonathan Frakes, naturally, appreciated the rare deep dive into Riker’s backstory. Conversely, Sir Patrick Stewart reportedly expressed significant displeasure upon initially reading the script, intuitively recognising its weak foundation. Director Robert Iscove later publicly blamed Gene Roddenberry’s influence claiming it prevented him from injecting the necessary raw emotion and complexity the story required, leaving it stranded in tepid melodrama. This internal conflict underscores the episode’s core problem: it aspired to emotional depth but was crippled by poor plotting, unconvincing character motivations, and a resolution that felt less like earned drama and more like a hastily scribbled script note demanding "fix family issue here."

While TNG was right to explore quieter character moments, The Icarus Factor proves that merely avoiding phasers and planet-killers is insufficient. True character drama demands compelling internal conflicts, believable motivations, and resolutions earned through genuine struggle – not contrived coincidences, perfunctory martial arts confessions, or career dilemmas rendered meaningless by the show’s own structural realities.

RATING: 4/10 (+)

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