Star Trek:TOS – The Worst to Best Episodes

Overview

I wrote a little program that sorts episodes based on my opinion of each. Remember the old website “Hot or Not” – where you’d be shown the pictures of two people and asked which is hotter? The same idea here.

There are 79 episodes (78 if you consider the two-part “The Menagerie” as one) and the program asked me 400 questions to determine the order.

I broke them down into the four categories: Worst, Mediocre, Good, and Best. Let me know if you agree with my list.

The Worst

1. Catspaw – The crew of the Enterprise encounter two aliens from another galaxy with magical-seeming powers
2. Spocks Brain – an alien female beams aboard the Enterprise and after incapacitating the rest of the crew surgically removes Spocks brain. Captain Kirk and the crew have just hours to locate and restore it before Spocks body dies. The episode is widely regarded as the worst episode of the series.
3. The Tholian Web – Captain Kirk is caught between dimensions while the crew of the Enterprise works to retrieve him. All the while the Tholians are weaving a destructive energy web around the Enterprise.
4. Day of the Dove – an alien force drives the crew of the Enterprise into brutal conflict with the Klingons.
5. That Which Survives – the crew of the Enterprise visit an abandoned planet guarded by a mysterious woman.
6. The Omega Glory – Captain Kirk must find the cure to a deadly disease and put an end to another Starfleet captains cultural interference.”
7. The Cloud Minders – Captain Kirk races against time to acquire plague-fighting minerals from a world suffering from a grievous social class disparity.
8. A Taste of Armageddon – the crew of the Enterprise visits a planet engaged in a completely computer-simulated war with a neighboring planet but the casualties including the Enterprises crew are supposed to be real.
9. The Alternative Factor – the crew of the USS Enterprise encounters a “reality jumping” madman. It is the first Star Trek episode to deal with a parallel universe.
10. For the World Is Hollow and I Have Touched the Sky – the crew of the Enterprise rush to stop an asteroid from colliding with a Federation world but discover the asteroid is actually an inhabited ship.
11. Wink of an Eye – normally invisible time-accelerated aliens take over the Enterprise and attempt to abduct the crew for use as breeding stock.
12. The Paradise Syndrome – an alien device on a primitive planet erases Captain Kirks memory and he begins a new life with the planets indigenous people modeled on Native Americans.”
13. Whom Gods Destroy – Captain Kirk faces off with a deranged shape-shifting starship captain determined to control the universe.
14. The Apple – the crew of the Enterprise visits a planet whose inhabitants live only to serve a machine.

The Mediocre

1. Fridays Child – the crew of the Enterprise become entangled in a planets tribal power struggle. Adding to their difficulty is the presence of the Klingons and a woman (Julie Newmar) who does not want her unborn child.”
2. Turnabout Intruder – a woman switches bodies with Captain Kirk and then tries to take over command of the Enterprise.
3. The Lights of Zetar – strange incorporeal aliens threaten the Memory Alpha station and the Enterprise.
4. And the Children Shall Lead – the crew of the Enterprise find children with great powers at their disposal.
5. The Empath – while visiting a doomed planet the landing party is subjected to torturous experiments by powerful aliens.
6. The Way to Eden – the Enterprise is hijacked by a hippie-like group obsessed with finding a mythical paradise.
7. Elaan of Troyius – the Enterprise ferries a spoiled princess whose betrothal is hoped will bring peace to a star system at war.
8. Wolf in the Fold – a series of horrific murders of women on a world where such things never happen points to Mr. Scott as the prime suspect.
9. A Private Little War – the crew of the Enterprise discovers Klingon interference in the development of a formerly peaceful planet and joins them in what becomes an arms race.
10. The Mark of Gideon – a race of aliens from an overpopulated planet abduct Captain Kirk to solve their problem.
11. Where No Man Has Gone Before – after the Enterprise attempts to cross the Great Barrier at the edge of the galaxy two crew members develop powerful ESP abilities which threaten the safety of the crew.
12. What Are Little Girls Made Of? – Nurse Chapel searches for her long lost fiancé and uncovers his secret plan to create sophisticated androids for galactic conquest.
13. The Man Trap – the crew visit an outpost on planet M-113 to conduct routine medical exams on the residents only to be attacked by a shapeshifting alien who kills by extracting salt from the victims body.”
14. Requiem for Methuselah – the crew of the Enterprise encounters an immortal human.
15. Let That Be Your Last Battlefield – the Enterprise encounters two survivors of a war-torn planet each half black and half white each committed to destroying each other.
16. The Galileo Seven – First Officer Spock leads a scientific team from the Enterprise aboard the shuttlecraft Galileo on an ill-fated mission facing tough decisions when the shuttle crashes on a planet populated by aggressive giants.
17. The Immunity Syndrome – the crew of the Enterprise encounters an energy-draining space-dwelling organism.
18. Is There in Truth No Beauty? – the Enterprise travels with an alien ambassador whose appearance induces madness.
19. The Savage Curtain – aliens force Captain Kirk and First Officer Spock to join forces with beings who appear to be Abraham Lincoln and Surak to battle villains in a contest between good and evil.
20. Platos Stepchildren – the crew of the Enterprise encounter an ageless and sadistic race of humanoids with the power of telekinesis.”
21. By Any Other Name – beings from another galaxy commandeer the Enterprise in an attempt to return home.
22. Bread and Circuses – Captain Kirk and his companions are forced to fight in gladiatorial games on a planet resembling the Roman Empire but possessing mid-20th century Earth technology.

The Good

1. Arena – while pursuing a Gorn vessel for an apparently unprovoked attack on a Federation outpost Captain Kirk is forced by powerful entities to battle the opposing captain.
2. Return to Tomorrow – telepathic aliens take control of Captain Kirk Dr. Ann Mulhall (Diana Muldaur) and First Officer Spocks bodies in order to construct android hosts.
3. Obsession – Captain Kirk becomes obsessed with destroying a deadly cloud-like entity that killed a crew he was on in the past.
4. Who Mourns for Adonais? – the crew of the Enterprise are held captive by an alien who claims to be the Greek god Apollo.
5. The Squire of Gothos – the childish but powerful ruler of the planet Gothos captures the crew of the Enterprise for his own amusement.
6. The Conscience of the King – Captain Kirk crosses paths with an actor suspected of having been a mass-murdering dictator many years before.
7. I, Mudd – The crew of the Enterprise has a second encounter with the conman Harry Mudd (Roger C. Carmel) first seen in the Season One episode “Mudds Women”. Mudd is now the supreme ruler of a planet of androids who cater to his every whim.`
8. Mudd’s Women – the Enterprise pursues a vessel and rescues its occupants Harry Mudd an interstellar con man and the three mysteriously beautiful women he is transporting to become the wives of dilithium miners.”
9. Charlie X – the Enterprise picks up an unstable 17-year-old boy who spent 14 years alone on a deserted planet and lacks the training and restraint to handle his superhuman mental powers wisely.
10. Miri – the Enterprise discovers an exact duplicate of Earth where the only survivors of a deadly man-made plague are some of the planets children.”
11. Errand of Mercy – with a war with the Klingons declared Captain Kirk and his First Officer Mr. Spock attempt to sway the incomprehensibly placid population of a planet near the Klingon border to resist an invading military occupation.
12. The Corbomite Maneuver – the Enterprise encounters a massive and powerful alien starship and its unusual commander.
13. Assignment: Earth – engaged in “historical research” the USS Enterprise travels back through time to 1968 Earth where they encounter an interstellar agent planning to intervene in 20th-century events. Kirk and Spock are uncertain of his motives.
14. The Devil in the Dark – Captain Kirk and Spock face off with a deadly subterranean creature. They are called to investigate a mining facility on a planet and go on an away mission to the facility to try to resolve the issue.
15. Spectre of the Gun – having been found trespassing into Melkotian space Captain Kirk and members of his crew are sent to die in a re-enactment of the Gunfight at the O.K. Corral.
16. Operation — Annihilate! – the crew of the Enterprise must find a way to exterminate behavior-altering parasites that have taken over the bodies of residents of a Federation colony.
17. The Return of the Archons – the crew of the Enterprise visit a seemingly peaceful planet whose inhabitants are “of the Body” are controlled by an unseen ruler and enjoy a night of violence during “festival”.
18. The Gamesters of Triskelion – Captain Kirk and his companions are abducted into slavery and trained to fight as gladiators for the gambling entertainment of three disembodied beings.
19. Shore Leave – the crew of the Enterprise visits a bizarre planet where the fantasies of the landing party become reality.
20. Patterns of Force – the crew of the Enterprise tracks down a Federation observer on a planet dominated by a “Naziesque” regime.
21. Dagger of the Mind – the Enterprise visits a rehabilitation facility for the criminally insane where the chief doctor has been using a device which destroys the human mind.
22. The Enemy Within – while beaming up from planet Alpha 177 a transporter malfunction causes Captain Kirk to be split into two people one “good” but indecisive and ineffectual; the other “evil” impulsive and irrational.
23. The Ultimate Computer – the crew of the Enterprise race to disable a rogue computer in total control of the ship.
24. Court Martial – Captain Kirk stands trial on charges of criminal negligence after jettisoning a manned pod during an emergency.
25. Tomorrow Is Yesterday – the Enterprise is thrown back to Earth in the 1960s where the US Air Force detects it so the crew must find a way to correct the damage to the timeline.
26. All Our Yesterdays – Captain Kirk Spock and Dr. McCoy are trapped in two timeframes of another planets past.”
27. This Side of Paradise – the USS Enterprise visits a planet where the inhabitants are under the influence of strange plant life.
28. Journey to Babel – the Enterprise must transport dignitaries to a diplomatic conference.
29. The Naked Time – a strange intoxicating infection which lowers the crews inhibitions spreads throughout the Enterprise. As the madness spreads the entire ship is endangered.

The Best

1. The Deadly Years – strange radiation causes members of the crew of the Enterprise to age rapidly.
2. Metamorphosis – a shuttle crew from the USS Enterprise encounters a man out of history and his mysterious alien companion.
3. A Piece of the Action – The Enterprise visits a planet with an Earth-like 1920s gangster culture with Runyonesque dialog and costumes.
4. The Trouble with Tribbles – In this comic episode the starship Enterprise visits a space station that soon becomes overwhelmed by rapidly-reproducing small furry creatures called “tribbles”.
5. Amok Time – The episode features First Officer Spock returning to his homeworld for a brutal Vulcan wedding ritual. It is the only episode of The Original Series to depict scenes on the planet Vulcan.
6. Space Seed – the Enterprise crew encounter a sleeper ship holding selectively bred superpeople from Earths past. Their leader Khan Noonien Singh (Ricardo Montalbán) attempts to take control of the Enterprise.”
7. The Enterprise Incident – the crew of the Enterprise are on a secret mission to steal a Romulan cloaking device. A sub-plot is a romance of sorts between Spock and a Romulan commander.
8. Mirror Mirror – a transporter malfunction that swaps Captain Kirk and his companions with their evil counterparts from a parallel universe. In this “mirror universe” the Enterprise is a ship of the Terran Empire a conquering and murdering organization where officers are assassinated as punishment and as a means of promotion.
9. The Changeling – The crew of the USS Enterprise deals with a life-destroying space probe originally launched from Earth. The plot contains similarities to the later 1979 Star Trek film.[1]
10. Balance of Terror – the Enterprise battles a Romulan ship after investigating an unidentified assailant who methodically destroys the Federations outposts at the Neutral Zone.”
11. The Doomsday Machine – the starship Enterprise fights a powerful planet-killing machine from another galaxy.
12. The Menagerie – Spock abducts his former commander Christopher Pike locks the Enterprise on a course to the forbidden planet Talos IV and turns himself in for court-martial where he presents an elaborate story explaining his actions.
13. The City on the Edge of Forever – after a heavily medicated Doctor Leonard McCoy (DeForest Kelley) travels back in time and changes history, Captain Kirk (William Shatner) and Spock (Leonard Nimoy) follow him to correct the timeline. In doing so, Kirk falls in love with Edith Keeler (Joan Collins), but realizes that in order to save his future, he must allow her to die.’

On Awards Shows

 

Why Watch Bad Films

Every year, my writing partner on ReelHeroes.net, Dr. Scott Allison and I discuss the idea of reviewing films on the Golden Globes and Oscar nominations lists. Scott prefers to review movies he knows are going to be of high quality, whereas I like a sort of random draw – reviewing both bad and good movies. I find I learn more from a bad movie than a good movie. Scott’s position is pretty pragmatic – he just hates to spend money on bad films.

I think everyone should know what the Golden Globes and Oscars are really about. They’re not necessarily the best films – just the films that industry insiders think are good. This doesn’t mean that you, the viewing audience, will enjoy them. It’s just that their peers think they did a good job.

Golden Globes

In particular, the Golden Globes are awarded by the 93 members of the Hollywood Foreign Press Association. Consider this for a moment. There is an entire awards show that influences the purchase of tickets by the viewing public by a very small number of people.

Do *you* really want to go to a movie because 93 photographers and journalists from 55 different countries liked it? In my estimation, that’s a lot of power for a very small pool of individuals about whom I know next to nothing and may not even have the same cultural sensitivities that I have.

Academy Awards

The Oscars, on the other hand, are awards given by peers of the artists creating the films – as many as 8,000 members. One thing you may not know is that to qualify for an Oscar in 2018, the film had to be released in a certain number of theaters (in Los Angelas, CA)  before December 31, 2018. And, the Academy tends to favor films released near the end of the year. So, very often, Oscar-worthy films are not released until December, and then only in limited release.

The Oscar nominations are announced in late January with the ceremony about one month later in late February. This means that many of the films and artists nominated are for films most of us never saw in theaters.

The voters are grouped in branches or divisions. The actors number about 1300 members and are the strongest influence on the award. The voting is highly political and often sentimental. So, if an actor or director happens to be unpopular among their peers, they may not get up-voted – despite having created great art. Likewise, an actor who has contributed a long life of excellent work, but has never won an Oscar, could be voted an award despite a lackluster performance – just out of sympathy.

Also, the studios will spend millions of dollars sending gifts and advertising to the voters to influence their vote. Very often, the film that most successfully courts Academy members with pre-release copies of the film and bling can win – despite the public never really having seen the film.

So, just because a film wins a Golden Globe or an Oscar doesn’t necessarily mean that *you* will enjoy it. In fact, there’s a good chance that you won’t. Because the films aren’t graded on their entertainment value for a mass audience, but on an elite cast of players’ opinion of the artistic merit of the cast and crew of the film.

Rotten Tomatoes

In my humble opinion, if you want to know if a film is any good, or if you’ll enjoy it, check out two metrics that I look at. The first is box office performance. Generally speaking, if a film tanks at the box office, there’s a very good reason for it. Secondly, I find RottenTomatoes.com is a great reflection of how an audience responds to a film.

Rotten Tomatoes has two ratings. The first number is an aggregation of what professional film critics think of the film. That may not be useful to you. Like the professionals of the Golden Globe and Oscars, critics often look for things a mass audience doesn’t care about. The second number is based on audience members who saw the film and either up-voted or down-voted the movie.

I find this second number very telling. For example, Adam Sandler movies are often panned by the critics because the quality is very low and critics don’t appreciate sophomoric humor. However, the audience scores will be significantly higher – because Adam Sandler knows his audience and he plays to that crowd.

Recommendations

So, if you want to determine if a film as going to be entertaining, especially if you have tastes that swing wide from critics’ views, check out the Rotten Tomatoes scores. And after you’ve watched the film, check out our review at ReelHeroes.net where we review films based on the quality of the heroic elements of the film. See if you agree with us and let us know what you think.

Not Just Hump Day

To most people Wednesday equals Hump Day.  They have made it halfway through their work week and the weekend is just around the corner. They are one step closer to Friday. But, not Agile Writers members. To us, Wednesdays mean that we can leave our working lives for two hours and enter the world of writing. Which for most is usually a solitary event, with just you and your computer, but this one night a week you are joined by others. And every week you leave with a little more knowledge to take home and help hone your craft.

Last week, July 27^th, Agile Writers were lucky to have Richmond Writers organizer, Joe Erhardt, as our guest editor. Every month two members courageously offers up ten pages of their working manuscript to be thoroughly dissected. The pages are then put on the screen, red ink and all, for the entire group to see. I promise you, it’s not as scary as it sounds. Everyone leaves with valuable knowledge. Not just those whose pages were put on the chopping block. Each month you get to see, first hand, what editors are really looking and how to stay out of the rejection pile.  Our session with Joe Erhardt was no exception.

One of the most important things Joe said was to “write for the reader.” Although, I had heard this before I think it’s important enough to hear again. Many times as a writer you get caught up in the world you are creating and the message you are trying to get out that you forget this simple piece of advice. You are focused on you, and not the one that will be the buying your book. One thing I noticed about Joe is that he actually edits for the reader. All the while he is explaining the red ink throughout the pages he makes statements such as, “This will be easier for the reader,” “The reader would like/love this,” or “I think this would be confusing for the reader.” He edits and makes suggestions with the reader in mind.

Here are a few more things I learned from Joe:

• Don’t write “off of.” Simply writing off is enough. For example, He jumped off of the cliff. Should be written-he jumped off the cliff.
• Using the simple past –ed version of a word is more forceful than –ing. Use he rolled instead of he was rolling.
• Using “as if” waters down whatever follows. Ask yourself if that phrase is really needed or wanted.
• Try to avoid using “due to.” Unless it is being said by a character in dialogue.
• Do Not have too many blank spaces if it’s not indicating a scene break. An editor may think you do not know what you are doing and you will be in the rejection pile.
• Don’t say something is “unusual.” Describe it!
• “Adverbs are cockroaches that need to be stomped on!” This was Joe’s response when asked by a fellow member what he thought about adverbs.

Of course, Joe Erhardt gifted the group with more knowledge than I can write here but I will leave you with this: If you can make readers care about your characters and their situations, it DOES NOT MATTER if what you are writing has been done before.

An Audience of One

I have heard two competing pieces of advice about considering your audience when writing a novel.

One: define your audience. Be specific. You have to know who you’re addressing in order to create a cohesive work.

Two: don’t worry about who you’re writing to. In fact, try to forget that you have any desire to publish the book and have it read by others. If you write primarily out of that desire to be published, you will compromise your creativity. Just write. Concentrate on writing one day at a time. Write something that you can feel good about. Your audience will appear if you’ve done your job well.

Maybe it’s just my peacemaker personality, but I happen to think there is a way to link these two apparently opposing prescriptions.

What if you define your readership and then you try to forget all about them and just write?

I know, that sounds impossible.

I do think it’s important to define who you are writing to. It’s one of the first tasks we undertake in Agile Writers. We have to decide what gender and age bracket we think our readers are in. For me, it turns out that I should have taken this a step further before beginning to write. I needed to define who my audience is in terms of what they know about the subject matter of my book.

I am writing in large part about a religious experience that is outside of the norm for most Americans. So, somewhere in the middle of my first draft I realized that I needed to make a choice about my audience. Was I writing to that small (but growing) population who has experienced many of the contexts my protagonist finds herself exploring? Or am I writing to a general audience who will quite possibly have no information about the subject other than what I tell them?

This matters. Not knowing the answer to this question has stopped me in my tracks at a few junctures in the writing process. I have asked myself the following maddening questions (and others!): Am I explaining too much or too little here? Do I need a glossary of terms? Should I just stick to the English translations of these terms? Is this of interest to my reader? Is it relevant? Am I accidentally writing a textbook within a novel?

Well, that depends—who am I talking to?

Trying to answer the question of “who am I talking to?” inevitably sends my mind down the track of wondering what the most marketable answer to that question might be. Do I embrace a very small niche market? Or do I aim for broader appeal?

What is important to me, though, is not that I am absolutely sure that I have chosen the right audience for my book. What is important to me is that I am able to write the book. And thinking too much about marketing seems premature when I don’t actually have a book to be marketed yet.

So I took a stab at identifying my audience and answering some of those haunting questions, if only so that the questioning voices would quiet down long enough for me to get back to the real work—writing a novel.

I cannot write for an eventual publisher, reader, agent, or anyone else. If I am going to write something authentic, then my audience is one—me. I have to write to satisfy myself. Then I have to let others be the ones to tell me if my book is relatable or too obscure. I can make guesses, but I will never truly inhabit another’s context and so I don’t know exactly what my audience wants.

I only know what I want.

And I want to keep writing.

Quiet the Chatter of Your Mind

Here at Agile Writers, we have a mantra “Constantly Move Forward.”

There are so many ways to get stuck. A novel is a long project. A snafu at any juncture can derail the whole venture.

We explored one common obstacle to the writing process this week in our weekly “Craft of Writing” installment.

Periodically, we choose a book about the craft of writing to wade through as a group. Individual members volunteer to read, digest, and present a chapter to the larger group every week. We are currently nearing the end of Anne Lamott’s Bird by Bird. This week’s chapter, “Radio Station KFKD,” dealt with the kinds of “static” found in writers’ heads. Lamott says that “as writers we have very noisy heads” (I’d modify that to say “as people”–but maybe it’s more problematic for writers/creatives than others?). She breaks down the internal chatter into two categories: positive and negative.

You might think that the positive internal chatter (about how special, gifted, talented, brilliant and wonderful we are) would be helpful and encouraging. Actually, Lamott says (and I wholeheartedly agree) that both the positive and the negative internal chatter are equally detrimental to the act of writing. Obviously, dwelling on our doubts, mistakes, and past failures can cripple our capacity to do creative work of any kind, including writing.

Lamott says we need to quiet our minds. We need to find ways to tone down all of the chatter–positive and negative–flooding our internal radio waves. When we are quiet, we can dip into the world of our story. We can hear the characters clearly. We can intuit what they will do next. We can write from an unobstructed and attuned space within us.

But, how do we quiet the chatter?

For me, that’s where Agile Writers comes in. My own Inner Critic got installed a long time ago. She knows what to say to stop me in my tracks. For years, I couldn’t even allow myself to write anything that was important to me because I was certain I would fail and make a fool of myself. The chatter in my brain sounded something like this:

“You’re a talented writer. If only you had the time to write…”

“Who do you think you are? You’re not a writer. You’re a wannabe.”

“If you write something, and by some fluke it gets published, everyone you know will read it and laugh at you.”

“You’re so selfish. Writing is something that people can do who don’t have families and careers and people depending on them.”

Over the last year, these voices have been slowly silenced by other voices. There is something so powerful about sitting in a room surrounded by people who are brave enough and humble enough to show up with their dream, the same dream you have–the dream to write–and act on it, week after week.

I got in my car after my first Agile Writers meeting, where everyone had applauded me just for showing up (as we do all new attendees), and tears came to my eyes. And I thought, maybe I can do this. Maybe with the support of the people in that room, I can really take a stab at this dream of writing.

I know I’m not alone in this. The support and accountability of a community of writers is a valuable antidote to the chatter in our own minds. Weekly progress check-ins at Agile Writers force us to keep one foot in the world of our novels-in-progress at all times. The support and honest assessments of our critique partners keep us grounded in a more comprehensive assessment of our work. The structure of the Eight Stages of Agile Writer Novels give us a map, so that when the “static” of doubt or self-aggrandizement comes, we know how to keep going, how to take the next small step and keep moving forward.

Accountability and Motivation

I was recently talk­ing to one of my Agile Writers about why the work­shop is so suc­cess­ful. In the last 3 years we’ve invited over 100 peo­ple to our group. In that same time we’ve com­pleted over 20 first draft nov­els. That’s about a 20% suc­cess rate. For most any writ­ers group, that is a pretty high percentage.

To what do we owe this suc­cess? Part of it is the plan­ning that we do. The Agile Storyboard is an impor­tant first step to under­stand­ing your story and your char­ac­ters before you get started.

But just as impor­tant is the way we do cri­tique. Each writer is assigned two cri­tique part­ners. The three writ­ers will work together for the full six months they will be writ­ing their books.

This cre­ates a sense of account­abil­ity. You know that there are two peo­ple wait­ing to receive your work each week. So you have to get your writ­ing done by Sunday night to email to your part­ners. That’s the motivation.

Likewise your part­ners are send­ing their work to you. You feel a sense of respon­si­bil­ity to cri­tique their work by the fol­low­ing Wednesday night.

This also breeds a strong sense of cama­raderie among the cri­tique part­ners. It’s a coop­er­a­tive arrange­ment. Everyone is work­ing together toward a com­mon goal. Your cri­tique part­ners are your friends and they’re giv­ing you great advice. And so, you want to give them your best advice as well.

We write about 10 pages a week for cri­tique (double-spaced, about 2500 words). This is about the right amount so that every­one gets cri­tiqued in an hour’s time. It’s also the right amount to cre­ate a 250-page novel in 6 months. Which is our ulti­mate goal.

How are you man­ag­ing cri­tique in your group? How does it work? Do you have the same cri­tique part­ners each week or do you get some­one com­ing cold into the mid­dle of your story? What do you think are some of the advan­tages to your way and how does it com­pare to what we’re doing? Leave your com­ments below!