Nicely done, and along with "New voyages" it's a great continuation! Fab to see James Cawley in the latest episode "Vigil" Check it out!
I like the growing characterisation, and think we have good replacements for the TV actors in a fan-produced piece. This show manages to capture the feel quite well, as they state on the ste, it has improved over the years with experience and I hope with some more experience, a strong script editor, and a pick-up in timing and CGI that HF will becoming more remarkable than it already truly is!
Good work to all concerned!
(I have a HUGE soft spot for Lefler & McFarland (GREAT acting), although I'm a bit tired of "Lefler's laws". ENOUGH already! Shelby's great (if a little uptight) and it's cool she got the ship. Commodore Ian's nice (like Fred Flintstone), but lacks the gritty edge of a commanding officer and does seem too pleased with himself. The Doc, Counselor, and Rawlins are right on the money in my eyes, as is the WONDERFUL Nechayev (what a beautiful accent - a REAL Russian! (Well, I'm guessing Rene hails from the Czech Rep.)
It gets my vote, and the CGI is kewl. Some of the greenscreen's obvious, but on a small budget whaddayagonndo?
Really glad I found it!
(OK, some of the acting isn't great but it's fan-made and is therefore allowed to be variable - sorry Cmm. Cole)
The gay material is layed on too thick (Graham Norton'd be embarrassed). Trek doesn't pay that much attention to hetero couples so why signpost gays with all the snogging? It's not necessary to showpiece someone's sexuality to this extent - I hope they tone it down & let Aster & Zen be people not tokens - I don't treat my gay friends any differently, They're just regular guys.
Musically it's a mixed bag. I can tell its all stock Trek OST stuff and works most of the time, but timing can fall flat now & then (the end of "Worst Fears Part 2" misses the crunch, and the edit. Love the fact they use the "Galaxy Quest" music!
I certainly can't wait for more!! Dazza
"Never give up, never surender!"
Viva les frontieres

I enjoy a good, slow-moving drama. Christmas In August, Chungking Express, Virgin Stripped Bare By Her Bachelors, The Way Home, Springtime in a Small Town, Hana bi, Eat Drink Man Woman, Dolls, In the Mood for Love, and Spring Summer Fall Winter Spring are all enjoyable films  just to name a few.
Unfortunately, there is a subset of films within the drama genre that attempt to ride the coattails of good films while providing nothing of interest themselves. These are what I call IAN films  "Incomprehensible Artistic Nonsense." Tsai Ming-liang is the king of this subgenre, and Vive L'Amour is his "masterpiece." In fact, this is the crème de la crème of crap-infested garbage under the guise of "art." People walk around in their apartments, drink water, stroll back and forth waiting for pay phones to become vacant, hang posters, staple papers together, go to the bathroom, eat, do pushups, have sex, slap at mosquitoes, etc. I'm not joking when I say that is an accurate synopsis of the entire film, which is the quintessential posterchild for pointless art-house trash. There is no plot, no storyline, no interesting or noteworthy events, no emotion, no meaningful dialogue, and most importantly  no drama.
The most eventful scene has two people "banging" on a bed with a person masturbating underneath the mattress  ironic that it's also totally tasteless and gratuitous. The relationship of the characters on the bed is practically non-existent. Tsai apparently didn't feel like communicating anything to the viewer regarding these people other than the obvious fact that they like to "bang." The person under the bed is just as one-dimensional and uninteresting. He likes to drink water, makeout with melons, and stroke himself. This is Tsai's idea of "character development." A truly misguided "entertainer" indeed.
Tsai's true contribution in Vive L'Amour is perhaps the most atrocious scene in art-house film history. He first shows the lead actress walk all the way from one end of a park to the other for 285 consecutive seconds, only to then show her cry hysterically  for absolutely no reason whatsoever  for another 356 consecutive seconds. The film then abruptly ends. No point. No entertainment. Just pure, concentrated torture inflicted on the viewer.
In an effort to beat a dead horse. The underlying theme of loneliness is mishandled so greatly that the only true feeling of this film is that of boredom. In fact, Kiyoshi Kurosawa provides a much better exposition on loneliness in his horror film Kairo. And guess what? It's actually INTERESTING! That film moved as slow as molasses in January, but there are better ways of addressing the concept of loneliness than the utter waste known as Vive L'Amour. Kairo is a perfect example of that.
Fans of cinema may thank Tsai Ming-liang for directing this film, as he has provided irrefutable evidence that art-house cinema can be just as poorly made as B-grade, made-for-television horror flicks. Art-house snobs have now officially lost their pedestal of self-righteousness. The quality level of your precious genre now overlaps films like Army of Darkness and  gasp!  Showgirls. How do you like them apples?