His scathing 15 minute video on the flaws of the Prime Directive, ultimately calling it akin to refusing to save a baby from a burning car, and calling yourself a hero for it.
His theory during the "Dear Doctor" review of what happened to the two species that Archer and Phlox played God with: the Valakians who were dying came in contact with the Romulans who told them what the federation did to them and made them go through gene therapy to survie and wear protective suits to eventually become the Breen, the Menks were enslaved by the Ferengi, revolted and became the Pakleds. And to drive the knife in further, The Stinger consists of Sisko's infamous guilt-ridden confession for his shady actions in "In The Pale Moonlight" (which included being complicit in the deaths of two people in the name of saving the entire Alpha Quadrant) immediately followed by a cheerful Phlox claiming how he has a new found respect for Archer due to the whole genocide thing. Later on, he brings up their exact same arguments when discussing "A Night In Sickbay", pointing out their hypocrisy. Later still he claims that the reason Phlox never wrote up anti-Borg medical procedures (which would have been invaluable in episodes of TNG where they met the Borg for the first time) was because the Breen found and assassinated him before he could.
Even better is that in the Dominion War, the Breen joining the side of the Dominion nearly led to the Alpha Quadrant's defeat even after the addition of the Romulans to the war. So congratulations, Archer and Phlox, you cause genocide once and keep on doing it.
The extremely thorough look at the missing episodes of Doctor Who and how some of them were recovered over the last five decades.
His inspired response to the Fridge Logic of Voyager's plan to literally blow a hole in an event horizon by explaining how an event horizon is not a physical thing, but a mathematical representation of reality. It's not only funny as hell, but teaches viewers about the concept of event horizons in a way they will never forget.
The Wrath of Khan review, featuring numerous quotations from the books on Khan's shelf to explain how having only those books for reading material shaped his worldview. In the conclusion, he fully explains why he hates the argument that The Motion Picture was a better film than Khan because it's "more cerebral." "A story is not less cerebral just because it has action scenes. Otherwise you might as well argue that Henry V is less cerebral than Snow Dogs."
The Insurrection review including: detailing how the film is more interesting as a phenomenon (starting off well-received, but later being one of the worst films in the franchise); his discussion of just how beneficial the Ba'ku planet's rings are to the Federation and that this makes the Ba'ku greater villains than the Son'a by not offering it to help billions; and, perhaps most importantly, his plot idea of "The Family Argument", in which half the crew decides to help the Ba'ku, but the other half helps the Son'a.
To Dr. Pulaski, who "endeared" herself to fans in her very first episode.
To Lutan from "Code of Honor".
One for Lwaxana Troi in "Haven".
During that same episode, the one he gives Picard for acting like there was no nonviolent way to save the people of Haven, which he was so desperately hoping for, only to order Tasha to simply stop the Terellian ship with a tractor beam at the last minute.
He rips into Zhaan, from Farscape, in the episode "The Way We Weren't", bringing up that she doesn't really have a right to complain about Aeryn having shot the old Pilot of Moya years ago, when a) the reason that Zhaan is ON Moya- a former prison ship- is for killing a man in cold blood, and b) she, D'argo, and Rygel had worked together to cut off Pilot's arm (the current Pilot). And then when Zhann realizes she was wrong, he goes out of his way to point it out and praise the subtlety of the scene.
His discussion of Nero in the 2009 movie: By detailing his sympathetic characterization, tragedy, and overwhelming rage detailed in the prequel comics and novelization, Chuck concludes that Nero should have been the strongest movie villain since Khan. Instead, we get the film version, who he describes as "An emo with a trident."
"Darmok" from TNG:
Using the original (German) version of "99 Luftballons" in the "Darmok" review, a beautiful nod to the episode's story.
His follow-up video in which he discusses the Tamarian language, using Real Life examples to demonstrate why the concept of incomprehensible language made of mataphors is not as far-fetched as it might seem.
Narrating a scene from The Sandman to start out his review of The Man From Earth. Coupled with the use of Baba Yetu in montage near the end.
The highly moving editing job on "The Parting of the Ways", comparing the Doctor's dilemma there with the one he'd faced in Genesis of the Daleks.
His "Unimatrix Zero" review is apparently the reason he started this review show. Why? Because this is where the physical evidence that Janeway is crazy is from.
Chuck: She's getting ASSIMLIATED ON PURPOSE! Yes, the process that frequently leaves you missing an eye or limb, that's plan A! That's how bad Janeway wants to have her little army. She's potentially mutilating herself for life, for the chance! And you guys laugh when I say she's crazy!" (as Janeway) "Find the biggest nastiest enemy ship we can find, attack it, board and I'll get assimilated. It's all part of my plan, Operation: I-Don't-Need-A-Reason-Just-Obey-Me. Yes sir, this is definitely the best plan I've ever-[A drone installs something into her skull]-rrrrrryday it's a gettin' closer, goin' faster than a roller coaster~
Going point for point between canon Janeway and his evil version in "Latent Image," and giving up when it turns out that canon Janeway actually had a more evil approach to the situation than the parody.
The "Tuvix Coda".
Calmly dissecting the controversies behind the production of "The City on the Edge of Forever". It's a loaded topic, but Chuck brings up the main talking points without any hysteria or anger, discussing among other things that Harlan Ellison has provided evidence for his position, while Gene Roddenberry spouted some pretty Blatant Lies about Ellison and the script when he was alive, and that the original script does have a couple of advantages over the final episode (though he still thinks they're both great).
Refusing to go any easier on Gargoyles just because it's a cartoon intended primarily for children, as that would be tantamount to admitting such a thing can't possibly have the same quality as adult-oriented entertainment. And because the show actually deserves that kind of attention.
In "Real Life" of VOY, his understated, absolutely dead serious lambasting of the mockery the episode makes of a horribly tragic situation, which Chuck came close to experiencing himself.
In his review for "The Bonding" from TNG he shows how Gene's vision for the future (and how he kept the writers in the "Roddenberry Box") is a complete fallacy as it tries to hide behind it. Specifically, how children are forced to repress their emotions from a loved one dying. In addition, he brings up a quote about how Gene essentially was crushing his writers with this rule and how all of them left at the end of the season just because they were tired of having their hands tied.
"Any emotion, petty or otherwise, is at the core of good drama and creates conflict between characters. But Gene didn't want conflict between characters. 'All the problems of mankind have been solved,' he said. 'Earth is a paradise. Now go write drama.'" — Michael Piller
The montage for the Grand Finale of Avatar: The Last Airbender . He gives Katara a pretty hard time throughout these videos, but toward the end reveals that it's not because he dislikes the character, but that it illustrates how easily her kind of personality could be twisted until she ended up like Hama.
The analysis of "Carbon Creek" according to how much it informs, inspires, and/or entertains, plus doing his research on the invention of velcro. There's a guy who's put some real thought into this.
In his review of the Rebuild of Evangelion, he calls out the adults for their rampant hypocrisy in how they deal with Shinji- from the fact that they won't step in to help him when he's getting beat up by a bully but fully expect him to jump in a giant robot and fight against a giant monster to save their lives, to telling him if he doesn't want to be there he can just leave and then forcing him to come back via armed guards, to simply showing how cruel it is to get mad at a 14 year old kid acting like a 14 year old kid. While he makes no bones about how he's not a fan of Shinji, it's refreshing to see someone stick up for the kid and criticize the other characters for how they treat him for a change.
In Evangelion review, stating how unnecessary Rei's nude scenes are and how they seem to add nothing to the plot, especially since she's supposed to be a 14 year old girl and it sort of creates a whole mess of unfortunate implications.
Taking "Up the Long Ladder" to task for the horrific Irish stereotyping which then gives way to an even more horrific moral about forcing people to be "breeding stock," to use the episode's own term.
While reviewing the Gargoyles four parter "City of Stone," he notes that he has a problem in how to deal with a certain piece of Foreshadowing given how some viewers may not have seen the show and shouldn't have the reveal spoiled. So he simply notes that somewhere in the review is a hint toward the reveal and leaves it at that. Said hint being his mention of how Puck had previously shown the ability to be seen however he wanted... like he does in "City of Stone" by showing himself as Owen turned to stone.
The clue is much simpler: the first word of each video: "Owen", "Is", "Puck". There's no way that was an accident.
His positively BRUTAL critique of the DS9 episode "Paradise" and the character Alexis, who may in fact be one of the most evil characters ever seen in any piece of Star Trek media. It really is quite a thing to behold.
The analysis of nostalgia movies, also called the returns of old favourites presented before the review proper in his look at Red Dwarf: Back To Earth, complete with ideas why these are so popular, yet polarizing at the same time. According to SF Debris, there are three types of nostalgia films: objectively good ones, then those that deserve two viewings, and finally those that are flawed, but have the eternal flame nostalgia, representing another possible return of your favourite franchise, which doubles as a really sweet heartwarming moment.
His review of The Matrix, a highly thoughtful essay on the power of the human brain.
He comes up with a great idea for how the Reset Button on "Year of Hell" could still have resulted in lasting consequences: just one room on the ship didn't get the temporal shielding down in time...and Harry Kim was inside. Suddenly the guy they were going to kill off for being too boring has an exciting new role as "a scarred survivor of the war that never was."
His Hogfather review once again uses Baba Yetu to awesome effect, this time using it to close out Death's big monologue from Reaper Man.
At the end of Hogfather review, he gives his heartwarming speech about Terry Pratchett and the legacy he's leaving behind.
Reviewing the Doctor Who episode "The End of the World" on the Mayan Apocalypse Day.
Reviewing the episode "Father's Day" on Father's Day.
This one's just plain freaky: due to delays caused by his looking for an episode fitting the request of focusing on a bad character but still being worth a perfect score, he ended up reviewing "Timeless," an episode set fifteen years after the season it was part of, exactly fifteen years after it aired.
In his "Skin of Evil" review, coming up with TWO separate scenarios to handle Tasha Yar's death that are far more emotional and meaningful than the way she was initially killed off.
For delivering a thorough and devastating rebuttal to Tarrlok's Not So Different claims to Korra.
Explaining why is it right for the avatar to have spirit-bending and wrong for Amon to do it.
Brings up the argument that benders are favored over non-benders in the Avatar world, and points out that that's not true. In the original series, of the leaders of the four nations, not counting air nomads since they were composed only of airbenders, two of them were non-benders. In Legend of Korra, we also saw in the flashbacks that Sokka, a non-bender, was once the representative of the Water Tribe in Republic City.
The opening to his 5th Anniversary Clip Show, which is his own rendition of "The World is Awesome" from the Discovery Channel.
Simply, the opening of his 5th Anniversary review - "Emanations," the first review he put up on his YouTube channel - features his typical theme ... before turning into a hyper-strung montage of his various Voyager reviews, set to "Highway to Hell".
Verbally dissecting the character of Wonder Woman in the failed 2011 pilot, pointing out how exactly she has failed as a character. Going so far as to explain that the only way her character could work would be to act as a sort of Knight Templar antagonist for the actual Wonder Woman. He starts the review by regretting taking it on, as it's not really fair to mock an unfinished product. He's changed his tune by the end of the first act, declaring that no matter what would have been improved in the final version, there is no saving this story.
His calling out of the whale probe in Star Trek IV. He points that saying it's "intelligent" and "not hostile" is pure nonsense. As the thing nearly kills all life on Earth, by BOILING THE OCEANS WHERE THE WHALES LIVE, he points out that really, it's either too dumb to know what it's doing, or it is hostile. He goes on to destroy the arguments of people who defend the whale probe, pointing out that it's callous destruction of life on Earth and everything around it as it travels personifies the absolute worst traits of humanity.
His X-Files reviews are simply made of win. They seem exceptionally well-researched, pointing out relevant issues and making interesting analogies between the show's world and Real Life. And they are as hilarious and snarky as anything else SF Debris does. That is a job well done.
Some way, some how, he got two completely independent requests to review Puella Magi Madoka Magica on the exact same day. As if that wasn't weird enough, both also contained the specific request that he do separate reviews for every episode rather than just an overview.
Coming up with a brilliant alternate ending to Star Trek: Into Darkness: Khan gets away with all the Augments, Spock mindmelds with Kirk, and Kirk is left in stasis. Then, the next film will be searching for Khan and his new army, Kirk will become a phantom in Spock's mind acting as both an adviser and a nuisance, while the entire Enterprise crew must combine their wits, skills, and generally everything they've got in order to defeat Khan's army and bring him back alive to save their captain. Tell us that is not awesome.
His rant against the "It's only a kid's show" excuse while reviewing "Fear Her", especially the writer saying that it "wasn't meant" for older fans as his defense when there was such a huge backlash to it.
"The difference between an indomitable hero and a tragic victim is the same as the difference between a magical girl and a witch: one has hope, the other, despair. This can be seen as a tragedy, a further sign of darkness, that Homura is forever suffering for a friend who does not remember what she has done for her—the sacrifices that she has made—who has even looked upon her aghast at what she is. But it isn't tragedy, because Homura has never stopped having hope. Her task is not a chore that is to be endured, it is the purest form of love that which is given to another, and with all that one has, knowing that it receives nothing in return. And yet, the basis of that love is not a delusion, but upon emotions that would be reciprocated because in another time, they were. And the absence of them now is not a sign that they did not matter; despite Homura's claims that she's not human anymore, she still does what an emotionless, inhuman being like Kyubey could never comprehend: she fights a losing battle forever and ever for someone she loves, and no pain is too great to ever make her stop fighting."
Followed by a montage were he shows many dialogues whose meaning changes after The Reveal.
While reviewing "Cold Front," he laments all the potential wasted in the Temporal Cold War story, imagining an ending for it built on the fact that none of the previous Trek series had ever mentioned Archer or any of his crew despite the huge role they played in the Federation's early days. What if to finally win the war they had to take an action that would wipe all memory of them from time, making them heroes that no one would ever know about except the out-of-universe audience?
The pop culture-based synopsis of World War II in "The Killing Game." You're caught between laughing your head off and staring in awe. Now with its own video.
During the "Fair Haven" review, he gives a long and devastating takedown of how the "Voyager" writers seemed to have completely skirted past a message about the possibilities of escapism and an audience's emotional identification with simulated entertainment it knows isn't real... on a sci-fi show in a veteran, fandom-heavy franchise.
The review was accompanied by a long, detailed examination of the franchise's portrayal of holograms, and how "alive" they can be considered. Which starts off by noting that in "Fair Haven" the portrayal of the titular holographic town as being real enough to be worth risking the whole ship to save conflicts rather badly with Janeway adjusting one of the residents to be a suitable romantic partner, which includes deleting his wife entirely.
His entire video on Doctor Who's cancellation. Especially how he explains how Colin Baker had a role in it unintentionally.
Chuck: The reason Doctor Who was cancelled... (displays picture of the Sixth Doctor's outfit) wasthis.
Saying of an interview with Michael Grade that it feels like the audition for the villain in an Adam Sandler film.
His transformation of the titular character of "Jetrel" in Voyager from flat to three-dimensional, and the issues of the episode from black-and-white to highly nuanced, simply by adding a one-minute scene to the episode.
Ripping apart the subplot of Torchwood: Miracle Day where a guy who rapes and kills little girls is able to get a sizable fanbase. This gets him to call the main story about death ceasing to exist "the believable plot." Going into details about us culturally, he brings up that we assign considerable weight to sex crimes, possibly more than he should, along with violence against children, and the idea that Oswald Danes could get a fanbase in universe is ludicrous because of it. He points out that even getting out of prison through Loophole Abuse regarding having served his sentence was absurd given how it essentially has the prison warden caving into threats of appeal that Oswald was almost certainly lose.
The final summation of what a grotesque mistake the entire character of Oswald Danes was. As note above, he brings up how throughout the entire review how absurd the reasons for pushing Oswald into the plot were, and while he states he gets the idea of Torchwood being forced to team up with a monster, Owsald is so evil he doesn't why the kept around so much when after all the screen time, all the show does with him is continue to emphasize how horrible and insufferable he is.
His criticism of Miracle Day's ending and how it failed to deliver on both the show's main mysteries:
The Reveal about the miracle. Over half way through the series, the only leads we get on the source of the miracle beyond something called "The Blessing", which points is just and word could be called anything proves it by calling it "The Walrus Tusk." And that in the end, The Reveal is that the miracle was caused by a giant crack in the Earth that somehow controls the lifespans of every human, even though we have no idea where it came from or it even does that. Ten episodes and The Reveal is something we know "it's this thing there that does stuff and don't know a damn thing about, but how doesn't look cool the way it sucks in rocks sideways." Even the reasoning for how the crack was found doesn't make any sense.
Calling out the series attempt at Sequel Bait with the season failure at resovling the conspiracy plot, revealed everything was a "trial run" for "plan B". He admits the Three Families not being finished after two people were killed in the finale is perfectly reasonably, but this attempted hook only brings up they were only a vaguely defined group of villains that justified the show's plot devices without actually revealing anything about them, and leaving it shows how little the series accomplished.
For "Fury" he comes up with a far more moving and meaningful reason for Kes to turn on the Voyager crew, rather than the episode's "Screw it, she's just crazy."
His follow-up to his review of TNG's "First Contact" (the episode, not the movie), exploring the philosophical and psychological consequences that would come from making contact with any extraterrestrial species that may exist.
In "Shades of Gray", discussing at least two different Clip Show scenarios which would have been more worthwhile than what we got.
His calling out Janeway for her hypocrisy in "Equinox," comparing her treatment and judgment of Captain Ransom to how she would be judged and treated if found by the Enterprise-E and Picard.
The mental image of Lauren Faust leaving Friendship is Magic by flying into the sunset on a pegasus.
His full analysis of the Cosmic Retcon in Day of the Doctor, and revealing why he thinks it was not only a good decision, but reinforcing of the show's point, and a great example of how to do one correctly, unlike One More Day: The Doctor saving Galifrey when he has the chance is the Doctor being the Doctor, the man who will do everything in his power to avoid hurting innocents, and closing out the era of the Sole Survivor of the Time Lords by finding the best redemption possible.
Also, setting the three Doctor's entrance to Aerosmith's "Walk This Way" Badass.
In "These Are The Voyages...", Chuck's proposal for a storyline that would've used a 24th century Trek POV without pushing ENT into the background: Have Riker, an Admiral by this time, turn to Archer and his crew for inspiration from archived footage, not a holorecreation, of one of their missions, as he is preparing for a similar mission.
His review of the original Godzilla film. He brings up that film itself is more than just a good monster movie, it's analogy for advancements of science that led to the nuclear and hydrogen bomb. Scientists who worked on such projects don't do so because they hope to build weapons, they do so because their work makes scientific achievements that advance the quality of human life, the development of new weapons is, sadly, a consequence of that. He brings up that Godzilla serves as a perfect metaphor that consequence, he's every big as destructive and humans can only prepare for him and deal with the consequences.
The episode-long rant about "Peak Performance," where the guest character whose arrogance we're supposed to be irritated by pales in comparison to how the Enterprise crew are at their absolute Roddenberry future utopia smuggest throughout the whole thing, not to mention poking holes in their continuing insistence that Starfleet isn't a military organization, when it truly is.
His complete evisceration of the insulting manner in which Doctor Who's "Love and Monsters" portrays fandom.