What has happened to the Science Channel? I mean really. A channel that used to stand for class, education, distinction has gone so low as to promote a program about dudes blowing things up.
This is not meant to be racist, but I'm just describing the show and this genre. The distinguished Science Channel--why did they pick only white men, who don't appear qualified to educate porcupines, to have a show about blowing things up.
They do absolutely ridiculous things, they're laughing and having a good time over idiotic destruction and we're supposed to enjoy this as science?
Where are the real scientists, the search for serious discovery, the inclusiveness of all peoples, the scientific purpose of Science Channel programs? There are many other idiotic channels for this type of insipid show. But to carry it on the Science Channel--sad, sad, sad.
It's a shame what has happened to this show. It started as another Dan Schneider gem. Good sets, clever effects, marvelous music, funny stories and most importantly interesting characters. They chose the perfect kid to play Henry Hart. The episodes, "Henry Man Beast" and "The Elevator Kiss" are excellent examples of how the actor Jace Norman could use his full range of acting abilities to entertain the audience. He was supported brilliantly by the characters Charlotte, Jasper, Piper and Captain Mann. There were many super episodes, excluding a terrific salute to Star Trek.
But something happened...
I'm not sure, but I think the leaving of Dan Schneider had a big impact. The young Henry and his interaction with school, friends, parents, girl friends, villains, and Captain Mann are gone. It has turned into an ensemble show with no serious or entertaining topics. Everyone is talking over everyone else. Character growth has stopped and Captain Mann's brain-dead silliness has taken over.
This episode has been billed as part of the Final Season of Henry Danger. In truth, the beloved show ended long ago.
During the constant commercials for this show, they deliver a version of this line, "We bring the facts into focus." It's perhaps one of the most annoying and mundane lines in the history of television. On the ION channel there are quality detective/police shows like Law and Order, Special Victims and especially the terrific Chicago P.D. Those well-written intense shows makes this "detective show" seem like milk and cookies. With all of those other worthy shows, why would I want to see some washed up hockey player tell me that he brings the facts into focus? I have no idea why ION decided to produce this show. I have no idea why it's still on the air. I watched an episode and thought I had been transported back to the 1970s. With so many good shows on so many channels, why would anyone put money or time into this pitiful show?
I didn't know what to expect when I sat down to watch Roma. Yes, I knew Alfonso Cuaron is a talented Academy Award-winning director, but a black and white movie about a maid-I had my doubts. Well, let me tell you, this film is not for children or even the average teenager. It's not for dudes looking for a Marvel action movie, or those who love a romantic comedy. It's my guess, the best audience for this film are for those who like to be entertained by thinking, appreciate art, and are aware of two important points-this film is about the director's life while growing up. And that the title of the film, Roma, is the name of the neighborhood he lived in as a middle-class child in Mexico. That's all you need to know. From that point on you have to be patient and allow the director, who is in total control of the film, to tell you his story through vivid photography, terrific composition, detailed pacing, and touching performances. This is a small personal story told, at times, in an epic way. It's a film that if you look at it in pieces you might find yourself wondering why is the director giving so much time and focusing so much attention to the mundane. Then another sequence can be intense, another brutal. All along Mr. Cuaron is offering hints and nuances again through superb work with the camera and composition to fill in the gaps. Once you look at the film as a whole, you'll get the message. Now the core of the message has to be intellectually analyzed and absorbed-but that's the true entertainment of this brilliantly conceived film.
Jace Norman's newest film Bixler High Private Eye is a low budget simple production. However, for the first time in perhaps years, young Mr. Norman is allowed to act-and that performance carries the movie. Anyone who has watched Jace in the early episodes of HENRY DANGER can see that he has a lot of talent, comic timing, and even has a knack for physical comedy. However, lately on "Danger," the show is more silly than funny. His character Henry/Kid Danger doesn't really act anymore. He is engaged in far too much overlapping ridiculous dialogue with "Captain Mann." But in this film, he doesn't have to do things to get a laugh every 20 seconds. Jace is surrounded by a competent cast and a reasonably interesting story-he's even allowed to display a bit of drama. Right now Jace Norman is a teen idol, a heartthrob if they still use those terms. So he's allowed to look good, act cool, and attract the girl in the story. He does all of those things very well in Bixler High Private Eye.
There's one thing about the Henry Danger series that's really pretty good--they pay a lot of homage to classic movies and TV shows. They did an outstanding job with a vintage Star Trek episode a few years ago and they'll thrown a full effort into this show, RUBBER DUCK which is a salute to the Tom Cruise movie RISKY BUSINESS. They cleverly eliminated or replaced the profanity and sexuality of the original film. Even the title Rubber Duck is a funny substitution for a memorable phrase from the Cruise movie.
This episode is also the first time in a long time that they allowed their principal actors to act. Lately the show has bordered on just silly with Henry and Ray talking over each other's lines. But Henry (Jace Norman) was allowed to act and so was his buddy Jasper (Sean Ryan Fox). The normally goofy Jasper character was given the chance to be the bad boy and he did a fine job. Jace is just waiting to explode into some serious acting. Until then, I hope they give the young actors more to do than just being silly. This episode was well produced, well written, and well performed.
I first saw this show with my kids when it came on the Disney Channel in the afternoons. I would look at bits and pieces as dealt with my kids. I think Disney broadcasted one and half seasons of the show. I sort of liked it, but I just couldn't focus on it. Now, years later, with Netflix, I was searching for something to watch when I saw Mr. Young listed. I was surprised that there were three entire seasons of the show. I decided to watch a couple each night. It didn't take long to fall in love with the show. We live in a time in which tons of money is poured into programs. There is often too much production and to little character and substance. Mr. Young is a low budget show, but they know that; they circumvent the budget by giving you charm. And that charm is supplied by a wonderful ensemble of young actors. The lead, Mr. Young, portrayed by Brendan Meyer is just perfect for the part. He is supported by fine performers who have fun playing their parts. The stories are often silly, but the actors never lose focus and always take the absurd seriously. Near the end of the third season, the writers, producers, and actors knew that their show was coming to an end. Well, they went out with style. The last six episodes worked on the closure of storylines, poked fun at themselves all while giving the audience the best they could afford. I appreciated and enjoyed the simplicity, the honesty, the pure humor of Mr. Young far more than expensive overblown junk. To tell you the truth, I miss all those guys at Finnegan High School.
Since I have kids and have worked with young people, at times I follow their shows on Disney, Nickelodeon, etc. Some are just dreadful, others can make me laugh or at least keep me and my sons interested.
Henry Danger was that show for a good while.
There were many things that made the show interesting, but most importantly, Jace Norman was allowed to act as Henry Hart. Let me be clear, all the young actors are fine. I think the Henry/Charlotte friendship is precious. However Jace is a terrific actor with an excellent sense of timing. His performance in many episodes made them really special. They made a tribute to STAR TREK episode a year or so ago that is truly a classic. The effects and music all work well with Henry Danger.
He's older and is given less to do. His character has become snarky and in constant overlapping senseless dialogue exchanges with Captain Mann. And BTW, that's another problem. When it seemed they took their superhero jobs seriously, the show was much better. But when Capt Mann started bringing ice cream cones to a rescue or just being stupid, the theme of the show suffered. So with silly missions and Jace not allowed to show his acting muscles, the show, unfortunately, is going downhill.
There's little doubt in my mind that when Henry Danger finally reaches its end, Jace will be catapulted into stardom. The producers will be sorry they didn't use his talents better when they had him.
Stranger Things is the most refreshing piece of TV work that I have seen in a very long time. I'm a TV-aholic and an avid movie fan. Stranger Things has manage to combine the best of both mediums. First and foremost, The Duffer Brothers have given us a very good story. It's crafted well with a realistic but dark location. The photography is superb, that along with the production design creates a terrific canvas for the odd tale. The casting is absolutely perfect. Each actor, young and old, fits beautifully into their segment of this simple but multi-level story. The special effects are eerie, bold and effective. The music is minimal which plays well into the overall presentation. When I watch TV much of the time, I might be on my computer simultaneoulsy. I have managed over the years to do both pretty well at the same time. But when I'm watching Stranger Things, I turn the computer off. I find the show absolutely compelling and I don't want to miss a single frame.
This is the first Netflix show I've ever watched. Truthfully, I didn't know what to expect, but I assumed it would be of lower quality than network shows. To my surprise and delight, the production values are far superior to any network program. You can feel the thinking and sincere desire of the creators constantly as you watch.
I have to admit I love the young people in the show. Oh, the adults are excellent, but the four boys and the two girls are engaging and they are valid portrayals of young people. Dustin curses and without making jokes is absolutely hilarious, Luke gets angry but is loyal, Mike wants to lead and he leads well, Will is sweet and so vulnerable, Max (a girl) is all those things, and poor mysterious Eleven is so wounded inwardly that if and when she smiles, just for a second, your heart is warmed.
I have only one complaint about this show--there are so few episodes to view. Networks give you 22-24 shows per season. As of late 2017, after two seasons, there is only 17 of these brilliant productions. Now you don't want to rush the producers into creating more just to have more; you want them to maintain the quality. But guys, can't you at least give us 10 episodes per season?
Stranger things deserves every award out there for outstanding acting, writing, directing, photography and acting.
I hope it stays with us for a long time.
The sequels, that were really prequels, were junk.
Star Trek was great when it kept moving forward, when it started going backward in the story line it became junk too.
Jurassic World--you have a good original story, and now a sequel that truly goes forward in the story time line in great style.
Jurassic world is a terrific movie. It's loaded with tributes to the original film of more than 20 years ago. When you hear John William's majestic score, it paints beautiful images and moods in you. However, this story moves forward. And it does so in a tremendous production. All of the performers are excellent in their roles. Even the dinosaurs perform better. There is a human to dino sequence in this film that will bring most to tears. There are other creature to human relationships that are fascinating. And of course there are other meetings of the species that will terrify you.
As with most sequels, the formula is known before the opening credits even begin. There will be monsters, screaming, death and destruction. But how it's packaged is extremely entertaining.
I have seen so many films in my life that I, admittedly, am growing numb to them. But I found Jurassic World very watchable. Actually, it was so good, I've seen it quite a few times and I've enjoyed each experience.
To put it simply Ken Burns and Lynn Novick's Vietnam is a masterpiece.
Longer than Wagner's Ring cycle (and more dramatic) this 18-hour documentary, finally, explains the Vietnam nightmare comprehensively, fairly, visually, personally, majestically.
I was a teenager during much of the war. Vietnam was in my face from the time I was in 8th grade until I was out of college. It was always there simmering, occasionally boiling, usually tasteless during that part of my life. I had a high school buddy killed over there. I had other friends come back and tell of horrible and exciting things they witnessed and did there. I saw the new stories, the TV reports, the magazines, the radio news. I was flooded with information, but there was no singular narrative that could link it all together. The Presidents said one thing, our soldiers said another, news reporters another and our enemies something completely different.
What was the truth about that catastrophe?
Well, Ken Burns and Lynn Novick really did their homework.
After decades of mastering how to tell a long story through the documentary process, they used their collective knowledge (and you can tell a passion) to finally get to the bottom of Vietnam. But they professionally decided, as always, not to tell their story. No, they captured all the elements then aligned them, in a time- tested way, in which the truth finally comes through. Including many shameful truths I was never aware of.
I'm sure with all the footage from news networks, presidential libraries, international sources, enemy footage, and personal media— they had more material than ever to go through. Yet every segment of the eighteen hours seems essential. They tell the big story, the military story, the political story, the cultural stories, the generational story, the secret story, the personal stories and the follow up story—all brilliantly.
If I had to be critical about anything, well, maybe it's a bit too long. They methodically look at each year of the war. By the time you get to Nixon, you feel like you've seen enough of the jungles, the treachery of the enemy, the American firepower, the same futility many times before. Oh, there's always a new fact, or a different person interviewed who shares their view and pain. But truthfully, after a while, I found myself a little restless.
But, perhaps that tedium is part of the deep thinking, the intelligence behind this monumental documentary. The war was long, painful tedious, and it morphed into different entities as it dragged on. You could read that in a book, someone can tell you, but through ten nights you can almost feel the weight, the plague of that awful mess.
I'm convinced this Vietnam documentary will be and should be a course in schools; an essential opus of study and discovery for one of the most complicated, expensive and divisive periods of our history.
What an intergalactic mess, Please make it not so.
I am a devotee to Star Trek. I love it, I've watched every episode from each production many times over.
During those decades of watching, you build an affinity to the theme and vision of the overall story, the structure, the characters, the forward movement—to boldly go where you haven't gone before. So why in the heck, has Star Trek put on the brakes of going forward and has started going backward with the wonderful universe they have created.
The TV show Enterprise, the three new movies and now Star Trek Discovery, all have gone backward in time. And all lack the freshness, the adventure, the unknown of the other shows.
Can you imagine if lived was like that?
My family had the old black wall wired phone when I was going up. We graduated to a modular phone with color, then wireless phones, cells and now smart phones. Would anybody like to back to those old obsolete phones?
So, why is a sci-f- show created to give us a positive glimpse of the future, constantly going backward?
OK that's bad enough, but the new ST Discovery doesn't even feel like a trek show. While Spock was brilliant and courageous, their science officer is a coward. Kirk and Spock, Picard and Ryker, Sisko and Kira, Janeway and Chakotay were tight. In just the first episode of Discovery you have the first officer committing mutiny. The Klingons look like a cross between turtles and large pieces of liver. They can barely move with all the make-up and bulky costumes. Overall if you take away the trek badges and emblems and I wouldn't have any idea what the show was about.
The sets and effects are terrific, as they should be with 2017 technology. However, they are used in a vehicle that bears no resemblance to the Star Trek I have loved for a half century. Why work so hard to build a great story structure, then ignore it.
And of course, the final insult, showing one episode on regular TV then hiding the rest of them on the Internet. Some say the show has a "cinematic look." Yeah, a cinematic look that's doomed to laptops. It's quite clear that CBS is not interested in making true Star Trek, it's interested in making millions of dollars and it's using trek to establish that money base.
Overall, I think Gene Roddenberry would be turning in his grave over this money-making contraption they call Star Trek Discovery.
Let me start right away by saying my 5 stars are solely based on the special effects. The sets and special effects are quite good. The photography is done by Marvin Rush, a Star Trek veteran. I'm not surprised since one of the executive producers was connected to Star Trek. That connection is the only reason I have watched this show. If Star Trek had kept making shows about going forward into the future instead of foolishly going backwards in the time line, those new shows would have Orville's look in the sense of visuals.
The Orville is not Star Trek. NOT AT ALL.
The scripting is Seth McFarlane rubbish. His first problem is that he thinks he's funny. He's not. He takes what he thinks is funny and bathes a sci fi vehicle with it. The story is so poorly written and so poorly conceived, it's hard for me to even understand what I'm watching to review it. Sometimes it reminds me of a Disney Channel show, then it feels like an episode of Seinfeld or Friends. It also has a feel of a college filmmaker's project. At the same time you can tell that FOX poured a lot of money into this.
What a shame to live in 2017 with the capability of so much technology to use in production, that Hollywood producers can't produce one really good science fiction. I loved Star Trek, but they have decided to go backward and to make shows that can't be seen by the majority of the people. The Sci fi channel make stories that are just old cop shows put in space settings. And now here's the Orville.
I guess I'll sum it up by saying that watching Orville is like having your dream house mansion made. You drive up the long driveway and see the structure of a beautiful three story structure. It looks like it's going to be good until you get close and realize that the three stooges are working on the house.
Let me start by saying that if it wasn't for screen time with Cameron Boyce and his energetic dancing, the Descendants 2 would be rather mediocre.
At times I felt like I was watching something from the 1960s. OH, the production and sets are large and impressive. The music is Disneyish, which means it's like milky Broadway stuff.
Kenny Ortega, the director, is very good about choreography, inventiveness, and getting the best out of his young cast. But I find the story and plot with sword fighting, leering eyes, over acting, underacting, predictable acting, rather tired.
To be fare, this stuff is for kids. And I imagine there were a lot of kids watching and I hope they were all pleased.
But as for fresh and heart warming, I haven't seen that since the very first High School Musical.
Now, of course, it wouldn't be Disney unless there was some sort of talking animal in it. Well, they did well with the talking dog. He was far more interesting than most of the human actors.
Now, back to Cameron Boyce. Because of my kid's love of the Disney show JESSIE I happened to see Cameron dance since he was a child. He's was very good, and now as a young adult, he's clearly better than anyone else in the Descendant movie. So why is he often put in the back of the bunch during those Descendant production numbers?
So, if you're an adult, you will probably not care too much for Descendants 2. If you're between 6-10, you will probably enjoy it. If you're a Cameron Boyce fan, the glimpses you see of him, you'll note that he shines above the rest.
OK, I tried to like this show because it is a Dick Wolff production. But he's made a mistake with this show like he did during his last years with the original LAW and ORDER.
And the problem is with casting.
His shows are based upon us, the viewer, believing and engaging the characters in the stories. If we don't buy into them it takes away from the message. Criminal Intent's senior female detective was excellent and very believable. The female cop during the final years of LAW and ORDER was totally unbelievable and it seriously weakened the show.
Now with the Chicago series of shows, he's doing it again with weak or phony female characters. On this show Chicago Justice there is an aged while female detective that's trying to be the baddest cop in Chicago. Chicago, a city constantly in the headlines with gang crime and multiple murders weekly, well all we have to believe is this one white woman is smarter and better than the other cops in Chicago. I don't even know why she's tracking down bad guys. She ruins the show for me, and since her segment takes the first 30 minutes, I usually turn the channel once I see her unrealistic character try to solve Chicago's problems.
The legal part of the show does not have the intensity of the other LAW and ORDER legal segments. You have the handsome super smart white prosecutor working with the always angry senior prosecutor. It's tiresome.
I like Chicago PD and the Chicago Fire show. They both have weaknesses, but they're much stronger and far more watchable than this show.
Jasper gets the girl instead of Henry...and we finally meet Drill Finger
Henry Danger is a fun show and it's well produced by someone who understands comedy. This show is a great example of their clever formula. Terrific young performers, good assist by adults, funny effects, effective stunts and a story that's slightly ridiculous but in a comedic way.
The young cast is growing wonderfully older. Henry was a very cute kid with superb comic timing. He has grown into a handsome teen, who's a bit snarky, but that's common for teens. He still uses physical comedy, has great timing, and enjoys his roll. He is terrifically supported by the character Charlotte. Together they present a wonderful almost unique TV team. The tall blond hot guy who is best friends with a beautiful and smart black girl. I love their relationship.
Capt Mann, Swoz, and Jasper are just perfect.
This episode with old folks, fight scenes, and teen romance is a delight and one of their best.
Pretty location, pretty kids, too much location, too many kids.
I watched the show until the point I couldn't take it. It's not funny, it's not serious, the key relationship is between a girl and a horse, and I don't believe it for a second. I believed Timmy and Lassie, I believed The Lone Ranger and his horse, I believe the rabbit and the Thundermans. But I don't buy this one at all. The show is also loaded with clichéd characters. The snotty girl, the head mistress who seems to hate every human and loves only the institution, the charming cool boy (Johnny Grey). There are a lot of little stories, and they all seem not to matter.The show as a whole is not going anywhere. While watching it, I'm constantly looking at the clock to see when it's over.
I like Nicklelodeon, I believe they try to put the best product out their for their young and family viewers, HENRY DANGER, GAME SHAKERS, THE THUNDERMANS,they're all great fun. But this monstrosity, well, I guess no network is perfect.
It took a while before I decided to watch this show. I'm not big on video games. So a show about video games was not an exciting thought for me. Nevertheless, I decided to watch it. I was surprised, delightfully surprised. I have subsequently watched every episode. My reaction--it's another brilliant piece of work from Dan Schneider. The key to the show is the superb casting. Similar to HENRY DANGER, another Dan Schneider hit program, which benefits from great casting, Game Shakers has a terrific mix of actors who relate and interact extremely well with each other. The young actors are all special. The girl character "Babe" is a combination of cute and sparky. The boy, Hudson, is obviously handsome, but he also has terrific comic timing--he exudes a sort of joy. But the magic of the show comes from veteran Kel Mitchell. It was a genius move on Mr. Schneider's part to get Kel to play the over-the-top role of "Double G" a big super ego celebrity rap singer. He gets the best out of his young co-stars, he adds multiple levels of comic energy to every scene. The ensemble of the four kid and the three adults makes for a very entertaining show. Ultimately, the show is not about video games, it's about how those seven characters engage their weekly problem and overcome it with a great amount of fun for the viewer.
There are MANY things the producers of these new Star Trek films don't understand about the nature of Star Trek. They don't understand what made it enduring. They don't understand the heart of the show. They don't understand what hooked the original viewers.
It would take pages for me to explain how this franchise is just so totally off base. But I'll just stress one point.
The reason this film didn't do well is because the producers don't understand that the viewers, and especially trekkers, do not want to pay money to see the Federation defeated and particularly not to see the Enterprise destroyed. Nevertheless, in every one of the new films the bold and powerful starship Enterprise is beaten up or destroyed.
Each and every time.
One of the best and most loved of the original Treks is the episode BALANCE OF TERROR. The Enterprise with Kirk dueling it out with a tough Romulan ship. There were plenty of opportunities for us to see the characters interact and grow. But also importantly, the Enterprise-- our ship--was able to face up to the enemy. It took some blows, but it gave as good as it got. Ultimately Kirk and his crew bested the Romulans.
Episodes like that made us happy and proud of the Enterprise. It's much like Han's ship in STAR WARS, or even the ship and crew in FORBIDDEN PLANET, those ships and crews had to fight, but they won.
Look at our favorite real ships in history--The USS Constitution "Old Ironsides," The Monitor, the air craft carriers Intrepid, Hornet and Enterprise. They are revered because they were not destroyed in Battle. Rather, they and their crews fought hard and won.
The most loved Treks-- BALANCE OF TERROR, THE CORBOMITE MANEUVER, THE WRATH OF KHAN, THE JOURNEY TO BABEL, all (and in truth many others like them) had the Enterprise engaged in battle, took some hits, but won out.
Now with that 50 year history of Trek, and more than 225 years of American history of adoring our victors, the producers of This movie and the other new trek movies have decided that destroying the Enterprise is more entertaining.
Well, you got away with it in the first film.
You Barely got away with it in the second.
But this third film, it all caught up you.
There are so many other things wrong with these movies--Kirk as a reactionary kid, who won't sit in the captain's seat for 5 minutes; the interior of the Enterprise, at times, looks like a beverage factory; the precise language of the old Enterprise has been replaced with kiddie language. Every time I hear the captain yell, "punch it." I just want to scream.
50 years of history, more than 700 episodes, and you basically throw it all out--and for what? Warmed up cartoon dialogue, and plots that would embarrass first year film students.
I would say the dialogue and story lines of this show is for the three- year-old. But I would be insulting three-year-old kids. There is no excuse for the ridiculously silly dialogue of this show. I believe this program is linked to the other Disney show JESSIE. It has the same corny infantile scripting. In JESSIE, the character Jessie had some of the worse dialogue in the history of Disney. Cartoon squirrels had more meaningful and funnier lines. But this show has gone to a new lower level. It must take the writers 10 minutes to produce these scripts. If I were forced to say something positive, I would compliment the sets. They OK.
This show continues to be a mess. The history and title of the show indicates that those 5 "elite" young people are supposed to be so much better than the school of Bionic and super heroes that spawned them.
They are not.
They are jealous of each other, vindictive, lazy, and just plain stupid.
The show is also blind to diversity. They are all white kids. They show no special talents or abilities. There is no humor or adventure about the show.
I fail to understand even he purpose of the show. They don't do anything that requires any sort above average abilities.
And when they went on a mission, they carried over-sized gym bags that they never used and had no purpose.
I'm not a big fan of love stories. I only like two--"UNTAMED HEART" and "MEET JOE BLACK." They are on opposite ends of the spectrum in the sense of story and production. UNTAMED HEART is a relatively low budget movie shot in a way to make it feel real. It was filmed in a real middle-class neighborhood and the characters were lower middle class. It was an absolutely sweet story. MEET JOE BLACK is all about extreme wealth, very beautiful powerful people, and the whole story is a fantasy. In both films, the couple in love project innocence and are compelling to watch. In a interview, Brad Pitt said that his mother wanted to see him a movie in which he looked good. Well, he never looked better. The girl is just as lovely and charming as any film character created for the screen. The only way to watch this film is just to buy into it and enjoy each frame. If you analyzed the story seriously, it's full of holes. So don't ruin your experience. Just listen to the beautiful score, engage the credible performances, embrace the classically simple but effective directing, and as with any good love story worth it's salt, bring a box of Kleenex.
I'm giving this episode of Henry Danger a 10. I rarely give out the highest score to any show, but this episode has earned it. Oh, it's not because of the comedy, it's because of the total effort in making it.
For many viewers, especially young viewers, they won't realize that this episode is based upon a Star Trek TV episode originally aired on TV October 6, 1967 titled: Mirror, Mirror. Mr. Schneider and his team have brilliantly translated that classic episode to what will be a classic Henry Danger episode.
From Henry's cut sleeve shirt to Jasper's treachery, the mysterious storm, Piper's almost extinction, to locking the "bad" Henry and Charlotte in a force field cell, are all clever translations of the original Trek story. And there are dozens of other salutes they've masterfully executed in the show.
All Trekkers and Trekkies would be proud of this episode. But let's give some credit to the cast. It's my guess that the young ones had to be shown the original Trek to get an idea of what they were imitating. Nevertheless, they executed their "parallel universe" roles expertly. Jace Norman is a superbly talented young man. He reminds me of Leonardo DiCaprio's early TV efforts on Growing Pains. You could tell, even as a teenager, Leonardo had dynamics. Jace has a thousand faces, excellent timing and diction. His co-star, Riele Downs, is charming and is the perfect partner for Jace's Henry Hart. Those two are funny all the time, but in this episode they are just dazzling. The adult cast got into their parts extremely well too.
I also give credit to the production team. For them to "reverse" all the sets, improvise costumes, use just the right editing and special effects and graphics displayed great creativity. Later this year Star Trek will celebrate its 50th Anniversary. This Henry Danger episode is certainly one of the best gifts to all the trek faithful, and a really good episode for all the young Henry Danger fans.
Max and Shred is definitely a show for kids. At times I can barely watch it. Nevertheless, there are some good points to the show. Max (Jonny Gray) is the type of teenager you just might like. He's cool and gets along with everyone. Shred/Alvin (Jake Goodman) in reality is about four years younger than Jonny Gray, however he handles himself as the nerdy character very well. Those two guys carry the show. The program definitely takes a drop when we're switched to the secondary story usually with the parents. They're not funny or even interesting. If the producers had modeled the show more like Disney XD's ZEKE AND LUTHER in which the parents were never seen, the chances for a more entertaining program would have existed. I like MAX AND SHRED, however, I don't love it. But I want to. Let's hope the producers adjust the show accordingly.