To be honest, If Wishes Were Horses really didn’t capture my imagination. Manufactured crises with deus ex machina endings just don’t cut it. Still, there are some redeeming qualities in the episode, one of which is watching Bashir try to explain to Jadzia Dax why his subconscious created a version of Dax that has the single goal of seducing him.
This is a different twist on a First Contact story. Some wormhole aliens tap into the subconscious minds of the inhabitants of DS9, and take on forms from their imagination. Some hand wavy techno-babble is used, but the main point is to enable a story which uses the power of imagination, something which Odo refers to as a waste of time.
It’s an interesting idea, but doesn’t really get developed enough. Instead of focusing on the idea of a first contact story, this is really a disaster of the week type of story. If you can’t yet tell, I’m not usually a fan of this type of story, unless it can offer something exceptional in the way of character development. Sadly, there is nothing really new or novel in this episode. Bashir’s infatuation with Dax is already well established, and nothing really interesting occurs.
A few weeks ago, I received an offer of employment from Google. I’ll be working in the Google Waterloo office, currently located in the Tannery building in downtown Kitchener. It’s a pretty cool office, which I’ve visited several times now for various interviews and meetings.
I’ve worked for small and medium-sized companies before, but before this, the largest company I’ve worked for was Research in Motion (since renamed to BlackBerry), although they’re not as big as they were at their zenith. Google will easily surpass that, but it seems that the culture is in many ways, more like some of the smaller companies that I’ve worked for.
Yesterday was the last day at my current job. While it’s sad to see it go, new opportunities await. Automation control software can be quite challenging, but there isn’t as much emphasis on user interface and user experience as I would like. Still, in the end, it’s a big change.
I’ve seen Disney’s latest film Frozen with my kids twice now, and I’m rather pleased with the progress they have made in presenting realistic female characters.
Disney doesn’t exactly have a history of being socially progressive. Most of their films, especially from the earlier days, are filled with racist caricatures.
Aside from Mickey Mouse, Disney’s most well-known films are their Disney princesses. Most of the early ones aren’t exactly independent women.
Snow White: She does housekeeping for a household of dwarves before falling into a coma, until some passing prince gives her a kiss.
Sleeping Beauty: Aurora sleeps through a large part of the movie, until some adventurous prince comes to rescue her.
Cinderella: A house slave, who meets a prince who can’t remember what she looks like, but has one of her shoes.
The Little Mermaid: Ariel literally changes who she is, giving up her precious voice in order to be closer to her prince.
Beauty and the Beast: Belle domesticates her prince, because we can’t have someone with beastly behaviour.
Aladdin: Most of the plot revolves around who Jasmine is allowed to marry.
Pocahontas: the colonization of the New World, where a romantic involvement is created between the historic figures of Pocahontas and John Smith.
Some of the more recent films are better, in particular Tangled and Brave. But even there, there are problems. In Brave, the main disagreement and inciting incident revolves around Merida’s choice in marriage. While she remains single, it is a primary source of conflict in the film.
With two young daughters, many of these films are problematic, not the least of which is their cultural influence. A few of these films I’ve never shown my kids, and probably won’t until they’re much older.
The latest Disney film, Frozen, really ups the game. While there are other important characters, the movie is really about the relationship between two sisters, Elsa and Anna.
After Storyteller, I was really glad to watch Progess. It’s a more nuanced plot that drives character development, particularly that of Major Kira, while also revealing more about how the Bajoran government works. Not really much in the way of story arc development, but it does speak to social changes.
Progress is always seen as some shining ideal, the great leap forward. New advances in engineering allow us to build great public works, such as hydroelectric dams, or as in this episode, geothermal devices to harness power from the molten core of one of Bajor’s moons, to generate power for large groups of people. With every dam, large lakes are formed, displacing people and animals upstream. In Progress, Bajoran refugees live on the moon’s surface, and must be displaced. Because the needs of the many outweigh the needs of the few, and all that jazz. Even if it means burning down their homes first.