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While IMDB users are not representative of the wider population, I find it interesting to see that they've soured on Season 4 episodes so far.

Kate Mulgrew acts her best Janeway with the cast from Frasier.

No indication a recording will be made available, just the livestream for anyone who can’t attend in person.

In TNG, the lower the level of something the higher in intensity it was (a Level One Diagnostic was more intensive than a Level Four). In the 32nd century, the opposite seemed to be the case, as Reno talks about a Level-10 diagnostic in SFA: “Rubincon”. SNW seems to be taking the latter approach as well. This episode is not the first time we’ve seen people turned into puppets - in LD: “Kayshon, His Eyes Open”, Cerritos security chief Kayshon was turned into an (albeit inanimate) puppet by an energy beam. Fans might also remember the Angel episode “Smile Time”, a parody sequence in Stargate SG-1’s “200” and an imaginary sequence in Community’s “Advanced Documentary Filmmaking”.

The stardate is 3019.4. Enterprise is patrolling Rizonian space (first mention) on her way to Vulcan. Space piracy is indeed extant in Star Trek, with various species and factions engaging in piratical or privateering activities, notably the Orions (TAS: “The Pirates of Orion”), the Ferengi (TNG: “Rascals”) and the Breen (DS9: “To the Death”).

Spock and Scotty discuss longer-range transportation. Spock says 27,000 km is 2,000 km further than any transport achieved. By the 24th century, transporter ranges on the Galaxy-class could reach up to 40,000 km (TNG Tech Manual). To be honest, 27,000 km seems a bit short, since Earth geosynchronous orbit is 35,786 km. This might be a “Sci-Fi Writers Have No Sense of Scale” trope issue.

That Scotty is working on increasing transport ranges references Star Trek (2009), where the Kelvin timeline Scotty is working on transwarp transportation to allow transmission across interstellar distances. Prime Spock helped him with this, giving him the necessary equations his Prime counterpart had already solved. 
 While chanting the mantra, “Logic is the rhythm of your katra,” (katra being roughly the Vulcan equivalent of the soul, ST III), Spock hears echoes from SNW: “The Griffin Incident”.

Kal Rekk, a day of “atonement, solitude and silence” was first mentioned in VOY: “Meld”.

T’Pring’s suspicion of “hijinks” refers to her two previous trips to Enterprise, one which resulted in a body swap (SNW: “Spock Amok”) and another which had Spock turned physically human (SNW: “Charades”). Specifically, in “Spock Amok” while in Spock’s body she says she does not like hijinks.

When Spock turns to see the puppet T’Pring, the music echoes bits of the soundtrack to TOS: “Amok Time”, the episode that introduced her and Vulcan.

April is actually less nonplussed about the situation that would be expected. But then again, as Janeway said in VOY: “Deadlock”, “We’re Starfleet officers. Weird is part of the job.”

La’An has been concerned since SNW: “Four and a Half Vulcans” that her Augment heritage is asserting itself.

Orion interceptors first appeared in ENT: “Borderland” and are playable Tier 6 ships in Star Trek Online.

This is the second time in the series that someone has captured Enterprise, the previous time being Captain Angel in SNW: “The Serene Squall”. To paraphrase Oscar Wilde: to lose a ship once may be regarded as a misfortune; to lose it twice looks like carelessness.

While the stereotype of the submissive Orion slave girl is prevalent in popular culture, it is true that Orion women control the males via the use of pheromones (ENT: “Bound”). Another matriarchal society was seen in TNG: “Angel One”.

Spock “touching hands” with Pike while separated through glass and Pike saying, “The needs of the many…” echoes Spock and Kirk’s scene at the end of ST II when Spock dies. The full phrase - a Vulcan aphorism - is, “The needs of the many outweigh the needs of the few, or the one.” Kirk, naturally, disagrees, sacrificing his ship and career to save Spock in ST III because “The needs of the one outweighed the needs of the many.”

Wait, how did Pike get back into the ship (and that room) if none of them can operate doors and they couldn’t even get out of the room? This is answered at the…

::: spoiler Logline A transporter malfunction turns most of the crew into puppets while Spock fights to reclaim the ship. :::

Written by: Henry Alonso Myers & Dana Horgan

Directed by: Jordan Canning

Article is in Portuguese. This was literally the most popular person at STLV this year.

Brief Star Trek mention if you don't want to read the whole (lengthy) thing.

DEADLINE: What is your plan for the Star Trek franchise? It is at crossroads with Strange New Worlds and Starfleet Academy ending and no new series greenlit. If I heard you correctly, you said that something is coming. Yes?

WISEMAN: Well, it’s one of the reasons why Chris is here as the resident number one fan of the Star Trek franchise. And there’s so many people in this building, by the way, that are. It is our goal and it is our job to figure out what the next bounce of Star Trek is. We’re talking to a lot of writers, we are leaning on CBS Studios, and it is imperative that we figure out what the next iteration is in this franchise because it’s just too important. We also are in touch with Paramount Pictures, they have a Star Trek movie that’s in development.

The title refers to the black-and-white aesthetic of the episode. Chiaroscuro is an artistic technique that uses strong lights and darks (chiaro, bright and oscuro, dark) to create contrasts, so as to give a starker, more dramatic and sometimes three-dimensional feel to the two-dimensional image. A notable user was Leonardo Da Vinci, whose hologram has made a number of appearances in Star Trek (VOY: “Scorpion, Part 1”).

The stardate is 2122.4. The system shown on screen is Mat’Aar, its first appearance in lore. The technobabble explanation for the black-and-white look is the “infrared blackbody spectra” from the Mat’Aaran star whose radiation affects how people see colour.

The last time the Klingons and the Federation were in open conflict was during the Klingon War of 2257-2258, some 5-6 years ago from SNW’s present day. Since then, the two powers have enjoyed an uneasy peace, which will once again erupt into open conflict a few years from now in 2266-67 (TOS: “Errand of Mercy”).

With Una on the mission is Uhura and M’Benga. The latter served in the Klingon War as a special forces operative code-named “The Ghost” (SNW: “Under the Cloak of War”).

Una’s fondness for rules is why the crew nicknamed her “Where Fun Goes to Die” (SNW: “Spock Amok”).

The art deco architecture and fashion of Mat’Aar XII, coupled with the black-and-white motif and plot are designed to evoke a 1940s film noir atmosphere, with the Klingon occupation, resistance and collaborators reminiscent of other films of the era like 1942’s Casablanca.

M’Benga’s reference to Una pretending to be someone she’s not refers to her years hiding her Illyrian heritage (SNW: “Ad Astra Per Aspera”).

Uhura quotes partially from Casablanca, “Of all the gin-joints in all the towns in all the world… she walks into mine.”

La’An’s transformation into a Vulcan took place in SNW: “Four and a Half Vulcans”, where she began to exhibit aggressive and paranoid traits more commonly associated with Romulan culture. Some of it was chalked up to her Augment heritage.

The legendary Commander Kor was first played by the inimitable John Colicos in “Errand of Mercy”, who subsequently reprised the role in DS9: “Blood Oath”, “The Sword of Kahless” and “Once More Unto the Breach”. As M’Benga notes, Kor is a member of the House of Kor, part of the Klingon Imperial Family (“Once More Unto the Breach”), which traces its descent from Kahless the Unforgettable, founder of Klingon civilization (TOS: “The Savage Curtain”). He is played here by actor Demore Barnes who, like Colicos, is Canadian.

The machine the resistance woman refers to is the Klingon mind scanner (“Errand of Mercy”), also known as a mind sifter or mind ripper, which scans a subject’s thoughts but sometimes destructively. M’Benga alludes to the idea that in a vast universe, we will eventually run into our own doppelgängers. This is the kind of excuse that TOS came up with to explain the number of Earth-like civilizations Enteprise ran into by citing “Hodgkin’s Law of Parallel Planetary Development” (TOS: “Bread and Circuses”).

M’Benga refers to the Borgia plant, which is similar to the nightshade plant and common to Class M plants (TOS: “The Man Trap”). The Borgias were a powerful Renaissance family that were reputed to use poison to eliminate their rivals.

Kor is shown as a ridge-headed Klingon, unlike his depiction in TOS but in line with how he is portrayed in DS9. The whole Klingon ridges thing is a rabbit hole I really don’t have space to get into right now, but I’m sure someone will bring it up elsewhere in a thread.

Kor’s claim that serving the Empire is the noblest honour reminds me of the concept of kuve, or “servitor” species in the seminal TOS novel The Final Reflection which, although rendered non-canon by events, heavily influenced the depiction of Klingons as a sophisticated warrior culture. In the novel, the Klingons’ position is also that there is no shame in being conquered and rendere…

::: spoiler Logline Una is mistaken for a resistance leader and drawn into a struggle against Klingon occupation. :::

Written by: Skylar Ojeda & Dana Horgan

Directed by: Meera Menon

https://memory-alpha.fandom.com/wiki/Daniel_Davis

Sharing some photos from the convention.

FWIW, what might have been but probably never really, etc.

One of the highlights of STLV for me this year. Got a NX-01 assignment patch tattoo at Count’s Tattoo (at the Rio) in honor of my late grandfather.

FWIW. I'm not really wild about their chances. This show of all shows is the one Paramount really didn't want on their plate.

Are the Maquis doing the right thing?