Quotes: Recycled Script

"You'd go to the producer or the story editor and say something like, 'How about a ghost who's an aardvark and he's been haunting ant farms?'

The producer or story editor would consult a list of all the episodes produced to date, and there was about a 95% chance he'd look up from it and say, 'Did it in Season Four' or whatever season it had been in. Sometimes, they'd say, 'Did it in Seasons Two, Four, Five and I have one in the works right now, same idea.'"

Scrappy Days

"I have next to nothing positive to say about this story. It is an ugly train wreck at virtually every level... the entire idea of a sequel to The Curse of Peladon is moronic. I'm reminded of the anecdote of Jack Kirby being told by an artist working on one of his old creations that the artist was determined to do the comic 'in the Jack Kirby style,' and Kirby later commenting that the Jack Kirby style is to create something new. Even worse is the fact that not only did they decide to remake the story (and with virtually the same plot), they decided to make it at 2/3 speed by turning it into a six-parter this time around."
Phil Sandifer on Doctor Who, "The Monster of Peladon"

"As others have commented before, Endgame is a mash up of several old Voyager episodes; a dangerous mission into Borg territory (Dark Frontier), matured characters coming back from the future to change the past (Timeless) and most importantly of all Janeway’s terrible choice to have to get her crew home or stop an enemy from exploiting technology (Caretaker). The fake Janeway infiltrating the enemy was handled in The Thaw and the pregnancy during jeopardy was done to much better effect in Deadlock (along with the duel Janeways). There’s nothing here that we haven’t seen before done better... How a show can be so hampered by the weariness of its writers baffles me, there is just so little here to get excited about as we chalk up one Voyager cliché after another.
Doc Oho on Star Trek: Voyager, "Endgame"

"So you'd have to be a total asshole not to see the obvious parallels between Nemesis and The Wrath of Khan. And I'm not mentioning this to say they ripped off that plot or anything, but what they did do was rip off that plot. [...] So, we have two homosexual villains who both spent a long time in an undesirable place. Eventually they both get their own ship, a loyal crew, and the ability to escape and continue on with their lives. However, they both give into their own crazy revenge, mess around with the Captains of the Enterprise, and fuck themselves over in the most horrible way. Eventually everyone ends up in a space battle in a nebular where communication is disrupted, as is their ability to shoot accurately at each other. Then the second-most important character in Star Trek sacrifices themselves so that a doomsday device doesn't kill the crew of the Enterprise. There is even a scene where both captains talk to the bad guys as distraction, while they secretly prepare an alternate attack."

"Even if you really love Toy Story 3 it's important to recognize that what you really love is Toy Story 2, because Toy Story 3 is an exact fucking carbon copy. If you don't know what I'm talking about, let me just list of the similarities real quick: Open up the movie with a large scale action sequence that is later reveal to be an exaggeration of a game being played by other characters. Introduce ideas and images reflecting change, and ultimately the idea that toys don't last forever. Unwanted toys are then gathered and a mistake is made, in where one or more main characters end up where the unwanted toys are supposed to be. Toys get placed in new environment meeting new characters, where one of them is a plump and seemingly kind toy with a deep voice and a cane; this toy is later revealed to be an antagonist filled by the traumatisation of feeling unloved and unwanted, taking their anger out on others. The seeming inviting toy tempts the main characters to stay with promises of being loved for generations and getting repairs where need. A delusional, factory-setting Buzz Lightyear locks up one or more of the protagonists. Overexposured flashback-sequences of characters new to the series being abandoned out in the countryside by their previous owners. Protagonists enter a large-scale industrial contraption wherein the antagonist is disposed of in the process. The antagonist is then ultimately left to the care of an owner with no care for their well-being.