Light: Oh yeah, the proof for the viewers that I'm very smart.
Sachiko: (reading test scores) Oh my, you're very smart!
Light: Yeah well, I'm going to go to my room and stare at a book.
Sachiko: Good. That's what smart people do!
"We are assured, again and again, that she had a remarkably original mind, that she was a genius, and 'conscious of her originality,' and she was fortunate enough to have a lover who was also a genius and a man of 'most original mind.'"
"Give a man a reputation as an early Riser and He can sleep until noon."
"Fleming is an artist. A Sculptor. H.H. conforms to that immutable law of bad fiction which requires the sensitive hero to practice the one art his creator knows nothing about."
—Gore Vidal, "The Art and Arts of E. Howard Hunt"
"Alex & Emma is a movie about a guy who has to write a novel in thirty days in order to collect the money from his publisher to pay two gamblers who will otherwise kill him. So he hires a stenographer to take dictation, and they fall in love. But the thing is, it’s a bad novel. Very bad. Every time the author started dictating, I was struck anew by how bad it was—so bad it’s not even good romance fiction. I guess I didn’t expect him to write The Gambler by Dostoyevsky—although, come to think of it, Dostoyevsky dictated The Gambler in thirty days to pay off a gambling debt, and fell in love with his stenographer."
Cmr. Riker: (describing Okona) He's a man who lives by his own rules. He does what he does by choice. His choice.
Chuck: Where the hell did THAT come from? The casting sheet?...'Cos I got two words for ya, pal: Citation needed.
— SFDebris, "The Outrageous Okona"
"Picard asks Troi for her opinion, and in the most shameless example of Informed Attributes I think I've ever seen, Troi outlines, describes, and explains the entire character of Okona for us. "His emotions suggest he's mischievous, irreverent, and somewhat brazen! The word that seems to best describe him is 'rogue'." This! Is! How you will feel about this character! Live it, love it, learn it! Okona: The Freshmaker! Keep in mind, none of this will turn out to be true about Okona."
Mike: "You have a superior intellect. So build us a super-ship and a whole bunch of super-missiles." And Khan says, "OK, I'll do that in exchange for waking up my crew" And then they agree. But Khan, obviously, thinks that they're actually going to do that. His superior intellect, y'know, doesn't warrant him the ability to realize the Admiral probably will double-cross him... Khan isn't very smart.
Rich: To be fair, Khan's not very smart in The Wrath of Khan, either.... In the original "Space Seed", Kirk just beats Khan up at the end. He takes a club and he just starts hitting Khan.
"Vic Small secretly thinks his own son is an idiot and would much rather have the more intelligent and competent Triple H take over the family business when he’s gone. You know, maybe I’ll stop being so critical of this movie; after all, for his first shot at ghostwriting a screenplay, this is pretty good for Hunter."
"Neil McDonough is so unbelievably wimpy-looking; He played Bruce Banner in the 1996 Hulk series remake and a red-shirt in Star Trek, two characters who were specifically meant to convey the idea of 'easily defeated wimp'...He's meant to be the ultimate unarmed combatant and the only people he punches in the entire movie are a chained-up secretary and an unborn fetus. This is actually smart since he appears to have mistakenly received all his martial arts training from a sign-language instructor. They use every trick they can to make him look threatening, from perspective shots to (I wish I was kidding) playing an actual tiger sound effect every time he does anything, but it's still about as threatening as a cuddle party."
"You can just tell she's having a hard time believing Curtis is half the sexual dynamo he claims to be."
"The movie is about psychotic convict Michael (Mickey Rourke) who is about to go to trial for murder. ...The script tries to paint Michael as some mad genius killer and his lawyer (Kelly Lynch) is some smooth femme fatale. Michael’s brilliant plan involves kidnapping a family for SEVERAL DAYS and hoping no one notices this. This almost reaches the level of a British farce the number of people that show up and the larger this kidnapping plot goes on. First it is just the wife, then the husband (Anthony Hopkins) shows up, then the son, then the daughter, then the boyfriend of the daughter, then the water heater repairman, then the real estate agent! No I am not kidding! Then we have the brilliant lawyer who can supposedly fool everyone. That is until the cops decide to follow her until she leads them to Michael. And this is not subtle following either. They are following her in cars with lights and sirens and a plane overhead and she is still so rock stupid as to call Michael and continue to the house!"
David: We cut to Paris, where Lois Lane gets out of a cab telling the driver “Mercy, mercy.” It’s amazing how Lois Lane is portrayed as being such a great reporter, other than her lack of a) ability to spell and b) world knowledge and/or cultural sensitivity.
Chris: Also her complete shock at the fact that it’s a hydrogen bomb. Did Perry just not tell her what she was going to France to cover? Because it would be kind of hilarious if he didn’t.
“Lois, I need you to go to Paris.”
“Sure, Perry, what’s the story?”
“Oh, you’ll find out.”
Chris: Lois is on the phone with the VRA — which I thought was the Vigilante Registration Act, but I guess is now the Vigilante Registration Agency? — and they’re not telling her anything. Later, she claims that she’s been “going all Erin Brockovich” on the government, but since nobody who writes for Smallville has ever heard of “show, don’t tell,” we only see her sitting around the farmhouse on hold with the government. Thus, Lois Lane: Investigative Journalist, becomes the first character of the episode to be completely chucked under the bus.
David: It would have been great if we saw Lois and she was just like, the most un-curious person ever. Like, meteor showers happen and someone gets shot in front of her face, and she’s like “eh.” and keeps eating popcorn and watching TV.
"Her growth to a DCU superhero is forced. The fact that she is still a superhero and still out there with powers also bothers me. I just do not think this character deserves that kind of send off. If any of the main characters is going to come out of this show as a DCU superhero than it should have been Chloe. She is the character that earned it. They never showed us why Lana was so great and why Lana deserved to be a Superhero. Sure they 'told' us more than once but that never matched what they actually showed us. What I saw was a stuck up, deceptive, manipulative witch who's opinion of herself was way above and beyond what the reality they showed us was. That is usually okay. Characters like that can work in a story. The problem was everyone else on the show shared Lana's delusions of grandeur and that is what killed this story. It was just hard to watch. Period. And even harder to watch her ride off into the sunset as a Superhero like that."
"Before the episode started, per usual, they show the preview for the show you're about to see, which I think is pretty redundant. But it made me realize something about the subliminal, and the way that when we, as human beings, are constantly bombarded by the television with what is and what isn't, the truth can become blurred, and we can lose objectivity. Notable historic examples are the non-existent connection between Saddam Hussein and 9-11, and on a more human level, it affects how we view a character when not watching with a critical eye. Look, for instance, into the subliminal of the following, and tell me if I'm wrong:
Lana, in the preview before the show, is shown when they say the line, 'Even the strongest mind.'. And when she is shown on screen, she is always shown with good lighting, in beauty, and with a dialogue pacing, mise en scene, and blocking to indicate that she is a great person, a particular entity of value. Like, say, a leader.
...There's something wrong with that on a very basic level, and it's hard to reconcile just by saying, 'Hey, Lana's hot!"
"You can keep telling us how (he) is this musician whose work speaks to the truth of the human soul, but dammit, we can't hear that!"
"In case you haven't noticed, John is even worse at psychiatry than Trilby is at stealing. Spoiler alert: There is not a single instance in the entire series of a protagonist actually demonstrating a skill we're supposed to believe they have."