Star Trek Into Darkness Review

When the Star Trek franchise was rebooted in 2009, many long time fans rejoiced. Gone were the stale plots built up from the previous series; it was time to revisit that universe with a fresh set of eyes, new ideas and possibilities, and a cast that could the characters all their own. With the first film laying the foundation, hopes were high that the sequel, Star Trek Into Darkness, would be even better. In the attempt to appease the fans and make a modern sci fi action movie, however, something got lost along the way.

****SPOILERS****

The movie opens with what can only be described as a sci-fi homage to Indiana Jones and the Raiders of the Lost Ark. Kirk is being chased through an alien jungle by a horde of angry natives. Seriously, the only difference is that the trees are red, the natives are covered in crusty white paint, and Kirk is wearing a shabby robe as disguise. He makes it a few hundred more yards before some gigantic saber-toothed bear…thing rears up in front of the camera. Like any good action hero, Kirk whips out his phaser and stuns the beast unconscious. The monster drops out of view, revealing an angry Dr. McCoy behind it.

“Damn it, man! That was our ride! You just stunned our ride!”

Wait, what?

This is the first of many instances in this move that demonstrate Kirk’s utter inability to think things through. It’s one thing to neutralize a wild animal in your way. But why would he willingly take out something so integral to his own mission? He’s the captain; shouldn’t he, of all people, be privy to the exact details of the plan? They went through the trouble of disguises and exit routes, so it’s not like they’re making this up on the fly. Did he just panic and forget his method of escape? Is he trigger happy? Or just plain stupid?

Judging by the rest of the mission, it’s leaning toward the latter. The objective is simple: lead the natives away from an erupting volcano while Spock, Uhura, and Sulu somehow neutralize the explosion. This involves hovering a shuttlecraft over the mountaintop, lowering an armored Spock on a tow cable, and detonating a “cold fusion device.” Things go awry when the shuttlecraft’s engines overheat, and Spock is dropped onto a rocky outcropping surrounded by lava. As the others ditch the craft, Kirk and McCoy jump off a seaside cliff and swim to the Enterprise hidden underwater. Now they have to somehow save Spock, detonate the device, and leave without being seen.

…Wow. So little of this plan makes sense, it’s kind of impressive. Firstly, why would they hide the Enterprise underwater? It’s a starship capable of planetary orbit; if they were worried about being seen (and it’s not like these natives have telescopes), they could’ve just drifted on the other side of the planet and designated a rendezvous. What’s the ship made of, anyway? Scotty implies that saltwater will potentially wreck it. Also, what’s the deal with the shuttlecraft? As an exploration vehicle, it’s designed to enter and exit alien atmospheres. That requires an incredibly high resistance to heat; reentry is far hotter than surface lava. On that note, why would they even send an away team in the first place? The ship has a transporter. All they had to do was set the cold fusion device on a timer, beam it to coordinates that account for gravity and timing, and let the thing detonate. Speaking of which, the “cold fusion device” is basically useless in this situation. Cold fusion refers to nuclear reactions that happen at room temperature, certainly nothing capable of stopping an active volcano.

But since this is a summer blockbuster action movie, everything works out okay. The Enterprise rises out of the water in an admittedly awesome shot, and they focus on getting Spock back on board. The problem is that by doing so, they’d be seen by the natives and directly violate Starfleet’s Prime Directive of non-interaction. Because stopping a volcano from exploding and drastically altering a planet’s geothermal system with advanced technology totally isn’t the same thing. They do know that just freezing the surface of a volcano doesn’t turn it dormant…right? Way to stave off the inevitable, guys. Whatever. Kirk predictably defies orders and Spock is beamed out at the last second. Uhura is noticeably angry that Spock (her apparent boyfriend in this alternate universe) was so willing to throw his life away. He’s more angry about the Prime Directive thing, but Kirk just shrugs it off. The crew triumphantly hightails it back to space, while the natives draw and worship an Enterprise-shaped symbol in the dirt. Kinda like Comic Con, but with less cosplayers.

After the title card, the scene shifts to a family in London. A mother and father visit their daughter at hospital; it’s implied that the little girl has some kind of terminal illness. Side note: the special effects in the background are pretty cool. Having anti-gravity gurneys in an otherwise realistic facility is a nice way of showing that this isn’t too far in the future. There’s a brief scene with the parents staring teary-eyed at the poor girl, something to which anyone with sick relatives can relate. What can you do for the dying? The answer comes from Benedict Cumberbatch, who walks up to the father with a swell of music and says that he can save the child. The guy asks who this mysterious man is, and of course there’s no answer for the sake of maintaining the drama. Most savvy viewers will immediately – and correctly – guess that he’s really Khan, but whatever. Why is someone so blatantly evil hanging around children’s hospital wings? Is the father so desperate that he’ll believe any random passerby proposing a cure?

Meanwhile, Kirk is having some PG-13 rated fun-time with a pair of alien cat girls. Apparently some traits never die, even if they are in an alternate reality. Side note: Kirk not only has a vintage record player, but he’s playing “Body Movin” by the Beastie Boys. I was in high school when the Hello Nasty album dropped, and this movie has now made me feel old. Lovely. Kirk and Spock get called to Starfleet HQ in San Francisco, apparently for a meeting with Admiral Pike. Kirk optimistically assumes they’ve been promoted for the fleet’s upcoming 5-year mission – a nice foreshadowing/call back to the original Star Trek series – but Spock is doubtful. Even if they’re brief, these glimpses of Starfleet are interesting; there are plenty of people in dress uniform, complete with military-style caps. It’s a good indication that Starfleet has recovered since the events of the last movie.

So has Pike, who’s traded his wheelchair for a cane and an immaculate office. He questions Kirk and Spock about the mission, but it’s obvious he’s not happy. Kirk apparently lied on his captain’s log and tried to cover up the ludicrous plan. Spock, being the responsible paragon of proper protocol, wrote his own report. If this was happening in the old Star Trek verse, the situation would probably be brushed over and forgotten, maybe with a threat of demotion. But this shows what would actually happen if a military captain pulled these kinds of shenanigans: He gets demoted and loses command of the Enterprise. That’s it. It’s amazing he didn’t get a court martial. Pike gives the kid a much-needed dressing down over his recklessness, irresponsibility, lack of humility, and inability to understand his shortcomings. Kirk points out that he was originally given the Enterprise for being such a maverick, but clearly doesn’t understand what being a leader is all about.

Gee, I wonder what Kirk’s character arc is going to be.

This meeting scene is brief, but it’s one of the most underrated ones in the movie. While everyone else is acting like younger, hipper versions of the iconic characters, Bruce Greenwood’s take on Admiral Pike is the most believable. He captures the angry, aging father figure with just the right amount of energy and personality. Of course, the fact that he’s retaking command of the Enterprise (and taking Kirk back as his first officer?! Wow, so much for common sense!) means he’s going to die pretty soon. Mentor characters have a habit of being killed as a way kick-start the student’s character growth. It’s a narrative thing. Side note: the face-to-face argument gives the audience lingering shots of Chris Pine’s inhumanly bright blue eyes. Did the post-production crew think Kirk was secretly an alien?

Back in London, it’s established that Benedict Cumberbatch has magic blood. No, seriously. This is the plot point they’re going with. Apparently it has healing properties that completely disregard things like type or allergic reactions. Why, that’s just what the little girl needs! Dad hooks up the IV and watches his daughter’s stats return to normal. In exchange for this wonderful cure, he is tasked with blowing up the Starfleet building in which he works. He does this by dropping some kind of chemically-enhanced ring that explodes in water. The camera pulls back from the fiery destruction and settles on a snapshot of the little girl. It’s the way to remind the audience that this horrific act was done for her sake by a loving father. But why? After seeing his daughter healed, he could’ve easily contacted the authorities and had Mr. Magic Blood arrested for plotting terrorism. The magic blood could’ve made a temporary recovery; the girl could’ve keeled over the next day. Also, how did he think this was going to end for his daughter? Did he really believe the doctors were just going to let her walk out after a miraculous recovery? If anything, they’d keep her there for scientific study and discover a mutation in her blood…Growing up is not going to be fun for that kid.

Whatever. Starfleet’s been attacked, so Admiral Marcus (played by Peter Weller of RoboCop fame) calls for a meeting of all senior officers at HQ. En route, Kirk gives Spock a bitter talk about the whole honesty thing, and even calls it a backstabbing. He implies that Spock doesn’t understand that the two are friends, something that would actually make sense. In the original series, Kirk and Spock had known each other for years, and their relationship reflected that. In this alternate universe, they’ve only known each other since the events of the last movie. They were at each others’ throats – literally. Not surprising they still don’t work well together. The two part ways at the start of the meeting, believing they’re never going to see each other again. Yeah, like that’s going to happen.

Admiral RoboCop explains that the building in London was a Starfleet data archive. The father-turned-bomber conveniently sent a message (Seriously, why didn’t he just send the message without triggering the bomb?!) warning of what was going on. The mastermind is John Harrison, one of Starfleet’s top agents gone rogue. He’s commandeered a ship and gone into hiding, but apparently hasn’t left Earth. Kirk, of all people, makes an astute observation: Why would a terrorist target a data archive? Everything in there is public knowledge and has no tactical value. Also, why hasn’t he stolen a ship with warp capability and vanished into deep space? It’s almost like Harrison wants to stay close by…As everyone mulls this over, a small ship hovers outside the window and starts blasting everything.

Oh, so that’s why Harrison is still there.

The plan is simple: bomb the archive to get the Starfleet’s top brass in one room, then blow it to smithereens. It’s brutal, effective, and relies heavily on a complete lack of common sense. Is the audience supposed to think Starfleet is incompetent? They know Harrison is one of their top agents; why would they use the same protocol – which he would know – to set up an emergency meeting? Couldn’t they have chosen a new place to hold a conference? Also, why are they having this secret meeting in the upper floors of HQ, next to a massive window? They live in a world where flying vehicles with guns are normal. Anyone could hover nearby, take a phaser shot, or even read lips with a telescope! Why aren’t they in an underground bunker? How did Harrison even get close enough to the building? They know he’s commandeered a ship. Doesn’t it have trackers or anything on it? This is all happening mere hours after a terrorist attack; shouldn’t the airspace around Starfleet HQ be closely monitored? He should’ve been blasted to smithereens by security as soon as he opened fire.

But of course that doesn’t happen. The attack lasts just long enough for most of the senior officers to be gunned down, including Pike. (Called it!) He spends his final, agonizing moments cradled in Spock’s arms. Unlike certain characters in other Star Trek films, he does not die well; there’s blood flowing out his mouth, and his eyes are brimming with tears. Bizarrely, Spock takes the opportunity to do a Vulcan mind meld. Why? Does he have some kind of fascination with death? Was he trying to preserve Pike’s memory a la Wrath of Khan? Is he using it to better understand his own mortality? Shouldn’t he have been trying to get Pike to a doctor? Meanwhile, Kirk manages to destroy the ship’s engine , and he and Harrison have a brief stare-down before the villain teleports away. Kirk actually has a pretty sad moment when he realizes his mentor is dead. Then airspace security shows up.

In the meantime, Harrison reappears on some other planet, dons a stylish hoodie/trench coat, and vanishes into parts unknown. Scotty has a pretty good idea, though; when examining the wreckage of the ship, he comes across a “portable transwarp beaming device.” No, seriously. That’s the mouthful they’re going with. It conveniently displays its last programmed destination, the Klingon homeworld…Wait, what? Technology in this universe has not only advanced enough that people can carry their own personal transporter, but it lets them go to other planets too?! Why isn’t every ship in Starfleet equipped with these things? Doesn’t this undermine the entire point of building habitable starships? Why don’t they just send probes equipped with these things into deep space? Wouldn’t that save tons of money and resources? Boy, they sure could’ve used one during that  volcano mission…And if Harrison had such technology, why would he even need to get someone else to blow up the archive? Why attack the conference room directly?  He could’ve just teleported a bomb into the room. If he’s Starfleet’s top agent, I shudder to think what the red shirts are like.

Despite the Klingon planet being the space equivalent of North Korea, Kirk is determined to get revenge. Admiral RoboCop inexplicably gives him the Enterprise again – despite demoting him less than a day before – and assigns Spock as his first officer. Also, the building Harrison destroyed wasn’t an archive; it was a secret military research facility run by Starfleet’s clandestine Section 31. Ooh, Star Trek espionage sounds promising. They’ve even developed a long-range, untraceable photon torpedo! The mission is simple: Take all 72 of these bombs to Harrison’s location, blow everything up, and warp out before the Klingons figure out what happened…even though the Klingons would be able to read the Enterprise’s warp signature and trace it back to Earth. They don’t seem to realize that last part. You’ve got to wonder why the admiral chose to reinstate Spock, though; he’s a notorious stickler for rules, and I’m pretty sure the whole murder-from-a-distance-and-possibly-trigger-a-war plan isn’t Starfleet regulation. There’s no way he’d let that happen. It’s pretty obvious that there’s a bigger scheme going on – the lingering shot of the spaceship models in the admiral’s office is blatant foreshadowing – but everyone agrees to go along with it.

Especially Kirk, who poorly attempts to hide his revenge-fueled rage as they prep for the mission. Spock points out the lack of morality involved in killing someone without a trial, how it completely goes against protocol, and the needlessly risky idea of bombing a place home to a war-faring people. If only they had a portable transwarp beaming device…Kirk, of course, brushes all of this off. He’s too busy staring at Carol Wallace, an advanced weapons specialist assigned to the mission by the admiral himself. Carol Wallace…That name sounds familiar. Like Carol Marcus, Kirk’s love interest in the original timeline. But that means she’d have the same last name as the admiral. There’s no way those two could be connected, right? Right?

The mission prep hits a snag with Scotty’s recurring bouts of common sense. He’s refusing the shipment of those long-range torpedoes because he can’t scan their payload, and the contents are classified. He’s absolutely right, too. If you’re working with weapons, especially explosives, you need to know exactly how they work. Are the contents toxic? Does they have to be stored at a certain temperature? What is its fail-safe? What kind of fuel does it use? It’s kind of important. Considering that the ship’s warp core is essentially “a radioactive catastrophe waiting to happen,” Starfleet’s militarization, and his transwarp equation being weaponized, Scotty has legitimate concerns. Since Kirk is too revenge-focused to give him another choice, he promptly resigns and begs him not to use the weapons. Later, man. See you when the plot inevitably needs you again!

Forty minutes in, and we’re finally back on the Enterprise. I’m suddenly reminded of bridge’s ridiculous lighting scheme. It’s like going to an Apple Store, but even more blinding. I get J.J. Abrams has a thing for lens flares, but what kind of spaceship has lights that are positioned to shine directly in the crew’s eyes? After warping into space and replacing Scotty with Chekov (Seriously?) in engineering, Kirk announces his plan to the entire ship: He will take a landing party to the surface, arrest Harrison, and bring him back to face trial. Wow, looks like Spock’s impromptu ethics lesson paid off! So has his background check of Carol, which reveals that she’s the admiral’s daughter and boarded with false documents. Man, Starfleet really is inept; there have been two acts of terrorism in a week, and they just let anyone on without proper inspection? For all they know, she could be some kind of saboteur. They should keep her locked in the brig until they can find out her actual intentions…But due to plot purposes, Spock keeps her secret for no reason.

Speaking of sabotage, the warp drive breaks down 20 minutes away from their destination. Kirk, Spock, and Uhura (and two guys who will probably killed off-screen soon) take a shuttle to Harrison’s location in an otherwise deserted part of the planet. That leaves Sulu in charge, which is a cool nod to his counterpart in the original series. He’s tasked with broadcasting a message to Harrison, warning him to surrender or get wiped out by 72 missiles. “If you test me, you will fail.” Oh, how intimidating. Hey tough guy, how do you know Harrison can even hear you? Does he have a radio? How are you broadcasting this message? You do know the Klingons can probably pick up your transmissions, right? You’d change your tune if you had a few Birds of Prey aiming at you. Why are you even warning Harrison that you’re coming? You don’t know what other resources he has. You’re giving him time to come up with another escape, or even a counterattack! This is supposed to be a stealth mission, right?

Uhura’s priorities are a little skewed, too. She spends a good portion of the ride chewing out Spock over his stoic reaction to the whole near-death in the volcano thing. Because a lovers’ quarrel is exactly what we need in the middle of a high-stakes and possibly suicidal mission. He explains the difference between not caring and choosing to accept death on his own terms, which gives a lot of insight into Spock’s personality. Before anyone can ponder on it, however, the shuttlecraft is attacked by the Klingons. Wasn’t this area supposed to be abandoned? They try to hand wave it by saying it’s a random patrol, but how could they miss something like that? Don’t they have scanners? Maybe if they weren’t so distracted with the soap opera drama…Anyway, a big, loud chase scene ensues, resulting in them being caught and forced to deal with the Klingons face-to-face. Uhura tries negotiating, but gets nearly strangled to death.

They’re saved by Harrison’s grand, bloody entrance. He wastes little time in annihilating over a dozen Klingons in with a hail of lasers, blades, and explosions. The crew tries their best to fight as well – the entire scene has a first-person shooter vibe – but they’re completely outclassed by his brutal efficiency. There’s a reason he’s one of Starfleet’s best. He casually dismisses Spock despite being held at gunpoint, and surrenders after asking about Sulu’s torpedoes. Kirk takes the opportunity to use excessive force (several punches to the face) during the arrest, but it has no effect whatsoever; Harrison just stands there looking bored. It’s a demonstration of his physical prowess as well as his intellectual; unlike most battles, Kirk can’t brawl his way out of this one.

After notifying Starfleet, they put Harrison in the brig. This results in an unintentional homage to The Silence of the Lambs. A creepy, intelligent, and cultured killer trapped behind a wall of thick glass, while the heroes try to get information out of him? Yeah, Cumberbatch is channeling a sci-fi Hannibal Lecter. As McCoy takes his blood sample, he implies that he knows why the warp core is busted and offers his insight. Kirk angrily shuts him down at first, but eventually gets a set of space coordinates and the suggestion to open one of the torpedoes. It’s a start, but Harrison didn’t need to be so cryptic. Why not spell out what’s going on right then and keep the plot moving? …To bring Scotty back into the picture, of course. He’s busy getting hammered in San Francisco (sharp-eyed Bay Area viewers will note the club is at the end of Pier 3 near the Ferry Building), and takes a personal call from Kirk. Wait, what? Their communicators have a range that spans across planets?! How far apart are they? Scotty agrees to look into the Harrison’s mysterious coordinates and accepts the captain’s apology.

That leaves the torpedoes. With Scotty gone, Carol is the only person qualified to examine them. Kirk’s confused reaction to her being Admiral RoboCop’s daughter is funny, but it’s a reminder of how pointless the coverup was. Did Spock keep it a secret just to mess with Kirk? Shouldn’t they be more worried about the security breaches involved with someone using fake transcripts? They’re lucky she’s not evil; she’s here because she knows her father is pulling some kind of scheme. After her ridiculous and pointless fan service scene (seriously, who thought that was a good idea for Kirk to ogle while she stripped down?), she and McCoy start operating on a torpedo. Since this would be too boring on its own, the bomb somehow arms itself and activates a timed explosion. Carol fixes it with the good old pull-out-all-the-wires trick from every action movie ever, and it’s revealed there’s someone cryogenically stored inside. Harrison then drops the big reveal of the movie:

His true name is Khan! (Dun dun dun!)

For a second, I thought they’d put in a bolt of space-lightning for dramatic effect. It’s supposed to be some huge revelation, even though long time fans could’ve picked up on it long beforehand. It was so obvious, even the back of the DVD case spoils it. The only real reason to have Khan return is because he’s the most famous villain in the Star Trek lore; people are familiar with the name, so it instantly makes the film more interesting to the average viewer. He reveals that he and his 72 followers were genetically engineered to be superior to human beings in every way. They were condemned as war criminals and frozen over 300 years ago, but were found by Admiral RoboCop sometime between the two movies. Khan was revived alone and tasked with developing weapons technology, thus laying the foundation for the admiral’s dream of a militarized Starfleet. Kirk asks, “Why would a Starfleet admiral ask a 300 year-old frozen man for help?” That’s a very good question; no matter how intelligent someone is, it takes time to learn things. Going by the timeline, Khan would’ve needed to learn three centuries’ worth of technology and science – including the development of interstellar travel and warp engines – in less than one year. That’s like asking Benjamin Franklin to design the Large Hadron Collider! Are there really no better qualified tacticians in this continuity?!

Khan tries to gain sympathy with Kirk (and the audience) by pointing out their similarities: they’re both leaders who would do anything for their “families.” Only difference is, Kirk didn’t go on a murderous rampage when he lost someone. Admiral RoboCop clearly isn’t working with a full deck, either. Not only did he try to blackmail Khan by threatening to kill the other 72 crew, but he knowingly sent the Enterprise into enemy territory with a sabotaged warp core as well. All for the sake of kick-starting a war with the Klingons and getting rid of any evidence of the conspiracy. Using the long-range torpedoes with Khan’s crew inside was just the icing on the cake…even though it makes no sense whatsoever. If you’re a evil military mastermind and have six dozen pieces of evidence linking back to your scheme, why would you let someone else dispose of them?! Why did the admiral even bother giving the torpedoes to Kirk? He could’ve just cremated the bodies and then equipped the Enterprise. Did he seriously think they’d risk bombing the Klingons after the engine broke down?

Admiral RoboCop tries to make up for it by personally taking the USS Vengeance – an absolutely massive warship Khan designed – straight to the Enterprise in a last-ditch attempt at a cover-up. Boy, he sure could’ve used a portable transwarp beaming device right then. So much for being discreet. He chides Kirk for disobeying orders (I don’t know why he’s surprised, as Kirk is an established rule-breaker), and asks for the prisoner’s location. After both sides give up on the pretenses of this being a real mission, the admiral admits the truth and demands Khan be given up. They attempt to warp back to Earth, but the ship is gunned down a hail of phaser fire and explosions. Carol tries to talk her father out destroying the Enterprise, but is promptly teleported to the other ship. With death mere seconds away, Kirk frantically tries to surrender himself to spare the crew – a nice parallel with Khan – but is mocked and shut down. It’s at this point that Kirk finally realizes what being a leader is all about: taking responsibility for your choices. You can’t just go gallivanting through life without handling the consequences. With his pride finally crushed, he turns to apologize to his crew before being vaporized…

…Or at least that’s what would have happened, but Scotty snuck on board the Vengeance and temporarily shut it down. Yes, he went to Khan’s coordinates and found a huge warship at a secret base, and somehow infiltrated their security. How convenient. Couldn’t he have sabotaged the weapons down earlier? You know, before all the explosions and death? With both ships now adrift and incapable of fighting, Kirk decides to team up with Khan, jump over to the Vengeance in a spacesuit, and take it over from the inside. When Spock calls him out on his ridiculous plan, Kirk admits that he’s just making things up as he goes along and isn’t fit to command the Enterprise. It’s true on both counts, considering that they’re only the moon’s distance away from Earth. Why don’t they just call for help? Kirk used his personal communicator to phone Scotty from Klingon airspace. Also, why are there no other Starfleet vessels in this area? Did Admiral RoboCop somehow plan for this to happen and order everyone else on deep space missions before dealing with Kirk? There were two terrorist attacks against Starfleet within a week; if anything, there should be even more ships near Earth than usual.

Whatever. Scotty warns that the Vengeance will have weapons restored in three minutes, so time is of the essence. While the entire space jump scene is nonsensical, it provides some of the coolest-looking visuals in the movie. If you’ve ever seen any of the NASA space walks, you know how awesome they are. This version goes much, much faster, and the visor navigation displays have a nice Tron vibe. There’s even a bit of tension with Scotty temporarily getting caught by security (Finally!) and the entrance being wide enough for only a couple of people. Of all the potential teams to infiltrate a ship in Star Trek, would anyone expect Kirk, Scotty, and Khan to do the dirty work? They make it up to the bridge just as the Vengeance powers back up – the infiltration actually takes about nine minutes instead of three, but the audience is supposed to be too distracted to care – and hold Admiral RoboCop at phaser-point.

Kirk is savvy enough to have Khan stunned at this point, but apparently forgot that he’s capable of withstanding physical injuries. The villain plays possum just long enough for the admiral to babble some last-minute fanatical warmongering. With the dramatic tirade over, Khan jumps up, knocks out both Scotty and Kirk, breaks Carol’s leg, and crushes Admiral RoboCop’s skull like a melon. With full command over the deadliest starship in the area, he triumphantly contacts the Enterprise and demands Spock hand over the crew in the torpedoes. It’s kind of disappointing. In Wrath of Khan, there was a similar battle between two ships. But what made the original Khan so dangerous and awesome was his cunning; he nearly destroyed the Enterprise by using a smaller, less-equipped ship. This time, everyone knows he’s going to pull something, but he wins via superior firepower anyway. Oh sure, there’s a brief spoken battle of wits – Khan and Spock are the two smartest characters in this continuity – but Khan wins by virtue having the only ship that can actually function.

Spock isn’t out yet, though. While the others were busy with the Vengeance, he took the time to call Spock Prime and give Leonard Nimoy a cameo scene. He did this to get advice about Khan, even though he just assumes his alternate reality counterpart knows about the villain. It’s supposed to be a haunting callback to Wrath of Khan, but it’s kind of pointless. Spock Prime’s scene can be summarized as, “I’m not supposed to tell you anything that might alter your destiny, but Khan is a really dangerous guy.” No kidding. Presumably Spock Prime explains how Khan’s pride and vengeful nature makes him easy to manipulate and outwit, but those are insights the younger Spock could’ve realized on his own. Did we really need to drag the older, wiser Spock into the fray just to give a villain a little more credibility? Also, if you’re capable of contacting someone on a nearby planet, why are you not calling for help?!

Spock must have learned something, though. His plan is simple: Pretend to give into Khan’s demands, but take the frozen crew members out of the torpedoes first. Set the bombs to detonate, and watch the pretty fireworks of a huge space ship exploding. It’s actually a clever trick, and it’s much more interesting than the mindless battles in some of the other movies. The problem is the fact that Khan let it happen at all; he willingly teleports armed torpedoes onto the Vengeance without thinking it through. At first glance, it’s a way to demonstrate Khan’s flaws and overconfidence, but it doesn’t work. Before taking the bait, he spends a few seconds to scan the torpedoes. It would be befitting of his methodical and tactical nature, except that he doesn’t notice his crew has been removed. How did he miss that?! The entire point of the scan is to confirm the physical makeup, contents, or location of an item; do life signs not show up in cryogenics? The oversight is baffling.

Khan’s temporary triumph is admittedly awesome, though. After getting the torpedoes, he teleports Kirk, Scotty, and Carol back to the Enterprise. His taunt, “No ship should go down without her captain” is easily one of the best lines in the entire movie. He even dishes out ten more direct hits on the Enterprise before the torpedoes detonate. The crew doesn’t have time to celebrate, though; the ship took way too much damage and is now caught in Earth’s gravity. Sulu says that without shields, the ship will burn up in the reentry. If they don’t get the engines back up and running, they’ll crash in minutes! It’s an interesting dilemma, even if it isn’t scientifically possible. The battle took place near the Moon, and both ships lacked propulsion. Nor were they using momentum from coming out of warp; from that distance and lack of speed, it would’ve taken them months to drift to the planet. However, it gives Kirk just enough time to get a serious reality check. As he and Scotty race down to engineering, he gets to see the consequences of his actions: the Enterprise is being torn apart, his crew is dying, and there’s no chance of escape. Watching him trying to save someone from plummeting to their death – and failing – is gut-wrenching. Some of the scenes, like people running through a sideways-tumbling hallway, are some of the most nightmarish visuals in any Star Trek film.

Boy, they sure could’ve used a portable transwarp beaming device.

This doesn’t last long, unfortunately. Considering how much this move takes from Wrath of Khan, it’s not surprising that it’d reuse the ending as well. Kirk makes it down to engineering, goes directly into the housing of the warp core to fix it (apparently it involves a bunch of dropkicks from impractical angles), and gets a lethal dose of radiation. He gets it working just after the Enterprise falls through Earth’s cloud layer…Wait, didn’t Sulu say they’d burn up in reentry? They should’ve been a giant cinder by the time they reached that altitude! At least seeing the battered, broken Enterprise triumphantly rising was worth it. However, Kirk’s conversation with Spock and his death-by-radiation kind of spoil the mood. It’s sad watching Spock with a trembling voice and teary eyes. He just lost the closest thing to a friend. However, any tragedy is lost when he turns his head skyward and screams:

KHHHHHHHHAAAAAAAAAAAAN!

…Wow, I never thought I’d be laughing so hard at a Star Trek death scene. Did you really have to go there, screenwriters?! That scene was hammy enough in Wrath of Khan. Can’t you at least try to let this film stand on its own? Whatever. Turns out the Vengeance is also crashing back to Earth, and Khan aimed it straight for Starfleet HQ. Of course. He actually misses his target and destroys a huge chunk of San Francisco, and manages to jump to the ground with only a small face wound. Then a prolonged foot chase between he and Spock ensues. No, seriously. Because there’s no better way to end a blockbuster space action movie than a foot chase through San Francisco.

They end up fighting on top of a floating barge, and it seems promising in concept. Both Spock and Khan are gifted with extraordinary intelligence and physical strength…so they battle like a couple of drunken brawlers. It’s the Vulcan Nerve Pinch versus raw genetically-enhanced power! Khan actually has a few opportunities to kick Spock off the edge – the fall would’ve easily him – but tries to crush his head a la Admiral RoboCop. So much for being a master tactician. Uhura teleports in as a distraction and says they can use Khan’s blood to save Kirk. This gives Spock the reason not to succumb to vengeance – hence the big theme of the movie – and manages to haul Khan back to the Enterprise off-screen. Two weeks and a magical blood infusion from McCoy later, and Kirk wakes up in the hospital. Way to go, screenwriters. You’ve completely negated the tragedy of a main character dying, thus cheating your audience of any lasting emotional torque. Kirk was dead for less than ten minutes! Now that they’ve found a way to cure death, how are they going to handle mortality in the next movie? Rather than having Khan studied and the effects replicated, they put him back in a cryogenic tube and leave him in storage. What about a trial? Whatever. Skip forward a year, and the Enterprise has been rechristened and is embarking on her iconic 5-year mission. Cue credits and a classic Star Trek theme music remix.

…Well, that could’ve gone better.

It’s a shame. Star Trek Into Darkness has a lot going for it. The premise of Starfleet espionage and the issues of its militarization are interesting. Having an intelligent villain like Khan is great; it makes him more dangerous and fascinating. Kirk’s overall character arc is great; he starts as irresponsible braggart and gets a deadly, painful lesson in responsibility and leadership. From a narrative standpoint, however, the rest of the movie falls flat. Several characters didn’t get enough development, and there so many plot inconsistencies that it’s mind-boggling. There’s a fine line between paying homage to the original series, and using it as a crutch. Wrath of Khan was an amazing movie; Into Darkness should be able to stand on its own without it, but doesn’t. Don’t go in thinking like this is an old-school Star Trek film. If you just want sci-fi that’s more about flashy explosions and action, go for it. Otherwise, trek somewhere else.

Sailor Moon Crystal Episode 2: Ami – Sailor Mercury

Episode 2 opens with Class 2-5 at Juban Middle School. The entire room is filled with students, and each of them is gaping in wonder at the chalkboard. Every available inch of the board is covered in what appears to be Precalculus. It’s too blurry to see if all the equations are correct, but given who’s writing it out, I’m willing to believe it. It’s a short, silent girl with blue hair. She comes up to teacher’s desk to receive her graded test. The subtitles read, “Ami Mizuno, perfect.”

The scene changes to outside the school. Ami is slightly hunched over a book, twirling a pen as she works. We don’t see her face yet; she’s absorbed in her studies. Two male classmates saunter by as they leave soccer practice, gossiping obnoxiously about our newest main character. The pen stops mid-twirl the second Ami hears her name. The boys mention how she’s always studying, and that she’s rumored to have an IQ of 300. Since the highest measured IQ in real life is supposedly in the low 200s (a quick Google search offers no definitive answer), I’m taking that story with a grain of salt.

There’s no doubting Ami’s intelligence, though. There are plenty of visual cues in her design; those huge glasses, small frame, stiff posture, and the presence of a book are stereotypical enough to get the message across. There’s also her blue hair, which is such an overused trope that it’s easy to take for granted. Not only is it a reference to Ami’s latent powers – water is blue, after all – but her personality as well. Unlike temperamental redheads or energetic blondes, blue-haired characters are typically shy and introverted. Having cooler, calmer personalities allowed them to do more thinking and introspection. Characters like Ami (and Evangelion’s Rei Ayanami, among others) popularized the concept, though it certainly isn’t limited to anime. Take a closer look at Violet Parr in The Incredibles sometime. Or Spock, for that matter. The idea is much more common than you might think.

Ami demonstrates one more quality: loneliness. It’s not fun being the shy, smart one; people think you’re being arrogant and standoffish, but you’re just not used to social interaction. It kills self-confidence and drives you into further isolation. Everyone feels like that at some point, regardless of personality. The guys notice that she’s heard their gossip and leave, because an apology would require more maturity than they can muster. The damage is done, of course; the pained, bitter expression on Ami’s face sums it up perfectly. I’m still not a fan of the new series’ doll-like eye designs, but the animators manage to capture her sadness surprisingly well. Ami is on the verge of tearing up, but she never quite makes it that far. She regains her stoic façade long enough to observe Usagi and her posse chatting nearby.

After the opening theme, the scene shifts to a familiar castle in a snowstorm. Jadeite, the monster-summoning baddie from the first episode, is being chewed out for not getting the Legendary Silver Crystal. We’re finally given a good look at Queen Beryl, the main villain of the first arc. Her eyes are shrouded, but her pale skin gives her an almost corpse-like pallor. Her muscular arms, full lips, and mass of red hair suggest otherwise, though. But it’s her open hand that draws the most attention. The fingers are long and graceful, each topped by what looks like a razor-sharp nail. It could easily be mistaken for a claw, and that’s the point; Queen Beryl’s beauty hides something far more unnatural and dangerous. Or it could be an animation error, as the hand looks too large in proportion to the rest of her body. Either way, Jadeite doesn’t waste time with excuses. He states that he’s of the Four Kings of the Dark Kingdom, which is a double-whammy of foreshadowing and danger. Not only will there be more evil on the way, but the number four is associated with death in several Asian cultures. Jadeite summons another monster and tells it to find the Crystal. He does this despite knowing the existence of Sailor Moon, a bumbling heroine who killed his last creation single-handedly. You’d think he’d do the dirty work himself after that kind of embarrassment, but anime logic dictates otherwise.

Back at the Tsukino household, Usagi drops face-first onto her bed. She’s weary after a long school day. You’ve got to wonder what Luna is thinking; this whiny, pouty girl is destined to be a superhero? As far as we know, she hasn’t spent any time as Sailor Moon since the showdown in the previous episode. Judging by her reaction, she clearly has no interest in fighting again. Instead of lecturing Usagi about laziness and responsibility – she’d probably just tune it out – Luna gives a little exposition. The Evil (and that’s capitalized in the subtitles, without the Dark Kingdom specifically named) are “spirits that are not supposed to exist in this world.” It doesn’t really provide any insight into their nature or how and why they’re suddenly showing up in Tokyo. What exactly are they trying to accomplish? Are they supposed to be aliens? Creatures from another dimension? Can they be reasoned with? What are their weaknesses? Do they have to be killed? Even YuYu Hakusho explained this stuff better. Luna just tells her to find allies and save their princess. In a bout of not-so subtle foreshadowing, Usagi assumes Tuxedo Mask and Sailor V are on her side.

Luna has a better idea, though. As our heroine slumbers, the cat handles the real legwork. Apparently, she can open up some kind of pocket dimension that contains a staircase and a magical computer. You’ve got to wonder about a computer designed for cat paws; how does Luna get any work done on that thing? Also, is this how she’s able to find other Sailor Scouts? In the first episode, she states that the moon-shaped mark on her forehead is what helps her search. Does that mean the mark lets her access this pocket dimension? Or does she use both? Also, the data displayed includes name, photo, birthdate, astrological sign, age, and blood type. That’s really specific; if Luna knows all this, shouldn’t she be able to find where these people live and just wait for them to come home? And if she knows that information, then why does she explain things to Usagi in such a vague and roundabout way? It would be much easier to say, “Hey, there’s a girl nearby that we need to recruit. Her name is Ami. She’s at your school, and she looks like this. She always eats lunch alone, so meeting her in private shouldn’t be hard.”

The next morning at school, the latest tests results are up on the bulletin board. Ami, as usual, has a perfect score. Umino (yes, they haven’t forgotten him yet!) mentions that she’s attending the Crystal Seminar, a supposedly high-profile local study program. There’s also talk of her mother being a doctor, which is an early reference to Ami’s interest in earning of a medical degree. Someone makes an offhand remake about their star classmate’s lack of friends and, speak of the devil, Ami is shown standing alone at the end of the hallway. She stares at the crowd warily, but backs off. She’s barely off school grounds before she runs into Luna, who pounces from a tree and gets up close and personal. It’s a good thing Ami isn’t allergic and doesn’t scare easily. Usagi takes the opportunity (seriously, why didn’t Luna just tell her about the potential recruit?) to meet and befriend the other girl. Their hands touch for a second, and Ami gets a vision of Silver Millennium. If this were a more cynical anime, she’d probably panic, back away, and refuse to be anywhere near Usagi again.

Instead, she’s merely flustered and gets talked into playing at the arcade. We’re treated to the familiar images of the Sailor V video game, as well as Usagi’s feeble attempts at playing it. Once Ami gets behind the controls, however, it becomes apparent that academics aren’t her only forte. Her fast reactions, pattern recognition, and knack for strategy let her dominate a game she’s never played. This is a clever way to demonstrate the difference between Usagi and Ami. The former doesn’t bother with planning, and is easily distracted and overwhelmed by emotions. The latter approaches combat in terms of tactics and analytics; she understands all the tools and powers she possesses, the limitations of her foes, and the necessity of precision over raw power. For the first time, Ami cracks a smile and allows herself have fun. She plays well enough to win a special pen, prompting Usagi to shake the arcade cabinet until it spits out a second one. Because vandalism for the sake of jealousy is totally heroic. The girls become friendly enough to be on a first-name basis, but Ami realizes she’s running late for the Crystal Seminar and leaves.

The seminar is just as ominous and dehumanizing as you’d expect. Drab, gray cubicles seemingly stretch on forever. The overhead fluorescents are off, leaving only the computer screens as the only light sources. Mouse clicks and keystrokes break the deathly silence. Then there’s the instructor, whose shadowy visage and narrowed eyes mark her as the episode’s monster in disguise. She gives Ami a Crystal Disk, promising that it’ll help her achieve her doctoral ambitions. It’s worth noting that the object in question is actually a CD; along with the flat-screened desktops, this is the first direct evidence that the series is set in the current time. Ami starts the program and is hypnotized within seconds. Apparently, the monsters in this show have the same modus operandi: enchant an everyday object, gain control over people, and build an army to search for the Legendary Silver Crystal. Fair enough, but why would they need to use a special CD to spread the spell? Is the magic limited to small objects? Why not infiltrate a major ISP or social media platform and distribute it from the source? It’d certainly reach more people. If the goal is to create an army of brainwashed humans, then why bother with just the brightest students? Wouldn’t the removal of their free will hamper their judgment and supposed intellectual superiority?

It’s certainly done something to Ami. She looks fine – she’s even smiling as she uses her new pen at the library the next day – but that changes as soon as Usagi offers an afterschool ice cream outing. There’s a flashback to the evil instructor lecturing her about studying, and her eyes glaze over in a surprisingly creepy animation. She shuffles away in an obvious zombie-like stupor, leaving Usagi to wonder what happened. She notices the Crystal Disk on the desk (you’d think Ami wouldn’t be so careless regardless if she’s brainwashed), and takes it home. On the way, she notices the instructor handing out Crystal Seminar pamphlets at the train station. Ami is apparently so into the program, she’s allowed them to use her likeness for the advertisements. Rather than using the paper to learn more about the seminar, she crumples it up and throws it over her shoulder…and right into Mamoru’s face. Gee, where have we seen that before? Is this going to be a once-an-episode kind of thing? He’s still wearing his impractical tux and sunglasses, too! He’s understandably miffed about being treated like a trash can, but he’s focused on something more important: the fact that Luna can talk. Usagi grabs the cat and frantically runs away, yet Mamoru doesn’t bother chasing them. He just stands there and stares. Why? If you were confronted with a talking animal, would you just let it get away? Maybe he didn’t want to mess up his suit.

Usagi makes it home and tries to figure out what the Crystal Disk really is. She pops it into what looks like a pink Samsung laptop (hooray for more technology updates), only to find it looks like a normal study and quiz program. Unsurprisingly, Usagi knows none of the answers. Instead, she just types randomly…and it cracks the code. Seriously, she button mashes (much to Luna’s incredulity) until the hypnotic message starts playing through the speakers. What kind of evil spell is this? Who designs a brainwashing program that can be defeated through randomness and sheer stupidity? What happens when someone at the seminar gets too many questions wrong? Do they accidentally activate the message before they’re hypnotized? That’d be pretty awkward. Is the instructor banking on the students getting perfect scores to become fully entranced? Also, Usagi seems to be completely immune to its effects. Is that due to her super powers, or did she just break the program that badly? Whatever, Ami needs to be rescued.

Getting inside the Crystal Seminar is trickier than it looks, however. Since there are armed guards at the entrance, Usagi needs a disguise. Apparently, the pen she “won” at the arcade is imbued with the power to change her appearance. Now, is it the pen itself that has the magic, or could any object be enchanted to do the same? Also, does it just change clothes, or can it alter bodily features as well? It’s not explained. Usagi decides to change herself into a doctor, even though it wouldn’t make sense to do so. When you have the ability to change into any outfit you can imagine, why would you choose something so out of place? Usagi tells the guards there’s a medical emergency in the building, and they let her go in. Wouldn’t that just raise the alarm that something bad is happening, thus alerting the rest of the security team? Also, this is supposed to be a place for people to study; she could’ve just pretended to be a newly-recruited student and walked right in. Depending on the extent of the transformation power, she could’ve posed as the evil instructor and done some reconnaissance. But hey, Usagi looks cute in the nurse’s outfit, so the fans probably won’t complain.

Meanwhile, Ami has gotten worse. Her eyes have this sickly green shade, and she doesn’t notice how much the instructor is pressuring her. When she is demanded to solve the questions faster, she can barely murmur an apology. Apparently, Ami is so intelligent that the evildoers plan to use her to conquer Japan. Though it raises the question of how effective a brainwashed strategist could be. The instructor notices Ami’s special pen, causing the poor girl to look up from the monitor and remember Usagi’s words. When the pen is flung across the room, she actually gets up from her chair to retrieve it. That’s telling of how much Ami values it; her newfound friendship and fond memories are enough to (at least partially) break the spell! Amazing what a little humanity can do. If that’s all it takes to overcome the brainwashing, the monster’s plan would’ve fallen apart before long. Ami briefly struggles to get away, and gets a well-timed assist from Luna. Usagi pretends to be a doctor and confronts the instructor, though she only succeeds in making her angry.

Knowing that the jig is up, the instructor drops the disguise and assumes her true, monstrous form. She’s not as scary as the first – there are no fangs or corpse-like flesh – but the gigantic claws and green skin tone are still intimidating. That goes double for the dozens of paper sheets she can telekinetically throw around the room. To her credit, Usagi doesn’t completely panic; she briefly hesitates to transform in Ami’s presence, and then does so anyway. Sailor Moon bravely stands up to the monster, yells at her for hurting Ami…and frantically dives for cover against the monster’s deadly paper barrage. She even tries her ultrasonic crying attack, but the enemy is immune to it for some unspecified reason. Our heroine gets hit head-on by a torrent of paper and gets pinned to a wall. The monster doesn’t waste time; she busts out her claws and goes straight for the kill, prompting Ami to finally kick the brainwashing spell and trigger her latent super powers.

The new Sailor Mercury transformation hasn’t changed much from the 1992 version. By no means is it as extravagant as Sailor Moon’s, but it has its own charm. Mercury’s power is water-based, and the sequence has a distinct skating theme. After waving her pen around and spouting CGI liquid, Mercury glides around with the grace of a figure skater. She does a quick spin, enveloping herself in water and sending a ripple through the floor. After a few lingering shots of her costume and the formation of her tiara, Sailor Mercury is ready for combat. Her phrase, “Douse yourself in water and repent” and accompanying pose are way more intimidating than Sailor Moon’s antics. Rather than attack directly, Mercury fills the room in fog to disorient the monster. I used to dislike Ami’s lack of a direct attack, but I appreciate now. Keeping enemies confused and leaving them wide open is a much smarter tactic than trying to overwhelm them with sheer power. Especially when you don’t know the extent of their capabilities. Unfortunately, Sailor Moon isn’t ready for the finishing blow; she’s still trapped against the wall, requiring Tuxedo Mask to swoop in the nick of time and carry her to safety. One Tiara Boomerang later, and the day is saved. Tuxedo Mask vanishes (thankfully without doing his silly parkour from the previous episode), and Jadeite is revealed to be observing the scene nearby.

As the sun sets over Tokyo, Usagi and Ami walk home and chat about what happened. If Jadeite were a competent villain, he’d attack them right there and then. Or at least follow them to find out their civilian identities. He should certainly know who Ami is, given how much time she spent under the evil spell. The girls probably don’t even realize they’re being watched. Instead, they talk about how the pen Ami won from the arcade turned out to be her transformation trinket. Apparently that was Luna’s plan, even though it makes no sense. Luna already knew Ami was a potential recruit; why did she go through the process of planting a magical object inside an arcade game? Does that mean whoever beats the game is Scout material? Why didn’t she just give Ami the pen in the first place? Whatever, Usagi and Ami are best friends now. They walk off into the city, happily planning their next move. In a candlelit shrine nearby, a young woman scowls into the darkness.

Gee, I wonder who that could be.

Thus ends the second episode of Sailor Moon Crystal. Though it primarily serves as Ami/Sailor Mercury’s introduction, it was done in an interesting way. Now that I’m older, I appreciate the subtle ways in which the characters are conveyed; when a show can explain so much about its cast with minimal exposition, you know they’re doing it right. Unlike Usagi, Ami is a more realistic take on the pressures of being a young, intelligent student. The subtext is rife with commentary on the high standards and expectations of the Japanese school system, though the extent of Ami’s character development is still unknown. Hopefully the next episode will keep the momentum going.

Daily Prompt: Love to Love You, Or: Curiosity Won’t Kill This Cat

Hey, folks. Today’s Daily Prompt focuses on love. Specifically, what you love most about yourself and your favorite person. This one is kind of tricky for a couple of reasons. I’m hardly social, so I don’t have a favorite person. I’m also prone to deep, dark bouts of cynicism and self-criticism; catch me in a bad mood and I’ll really show you to difference between misanthropy and existential nihilism. It’s not pretty, trust me. The whole “love thyself” thing has always seemed weird to me. I mean, I understand its purpose and its inherently therapeutic nature, but putting it into practice is much more difficult.

My knee-jerk reaction to the prompt is to say intelligence. I love being the Sherlock/chessmaster/philosophical/scientific/bookworm type. And I absolutely love women who can engage me both intellectually and creatively. The best relationships involve teaching and learning from each other. Even on my own, there’s so much potential to be had with it.  I can devour books with reckless abandon. I can pick up languages with ease. I can pick up details and read people with a glance.

…Sounds narcissistic, doesn’t it? See, that’s the problem a lot of folks have with intelligence. For some reason, being smart is associated with arrogance, vanity, self-centeredness, etc. Sherlock Holmes is one of my favorite fictional characters ever, but he’d probably be a really aggravating roommate or coworker. Seriously, go read A Study In Scarlet. Dr. Watson is a skilled surgeon and war veteran, but he quickly realizes just how weird his new friend is. Look at the titular character from the House television series. The man is absolutely brilliant, yet he thinks it gives him free reign to be an unrepentant (most of the time) misanthrope. His ego and vices prevent him from reaching his full potential. Even Batman, Lex Luthor, and Doctor Doom, three of the most intelligent characters ever put to ink, are held back by their respective obsessions. The same goes with Kira and L from Death Note. Spock doesn’t lack emotions just so he can play off the better-balanced Kirk; it’s because his character arc is all about developing his humanity.

You don’t even need to look into fiction to see something similar. You probably know someone (or maybe it’s you!) that has a huge library of classics. Maybe they acquired the books for their studies. Maybe they like reading stuff in the original languages. I know someone that proudly displays his Russian edition of War and Peace on his top shelf. He’s never actually read it; he just likes telling people that he could read it. See the difference? I’ve read War and Peace, but my copy is tucked safely down in storage. It would take up way too much room on my shelf. It’s also too heavy to be a practical traveling companion. I own the entirety of Proust’s In Search of Lost Time, but it’s all crammed into a section of my closet because I don’t have anywhere else to put it.

…Going on a tangent. Sorry.

The point is that intellect alone is not what makes it appealing. It’s the way such a personality is cultivated that makes the difference. Intelligence not just for its own sake, but the hows and whys as well. Which brings me back to the prompt and my answer: the favorite aspect of myself is my curiosity. I don’t study stuff just because I want to look smarter than everyone else. You don’t have to be a show-off for people to know how brilliant you supposedly are. I study stuff because I want to know how everything works. It doesn’t matter what it is; if it catches my eye and looks interesting, I will try to learn everything I can about it. Questions lead to knowledge and skills, which lead to more perspective, experience, and furthering potential. That insatiable need to seek is a quality I wish more people had. I need to explore, to get lost, and find my way. I can’t just take reality as it is; I want to understand every last detail. And maybe, just maybe, I’ll learn something about myself along the way.

What do you love about yourself, and why? Think about it.