Shattered

DVD, Smallville S3 (Shattered)

An uncomfortable episode and a sad one. It's not good to see Lana mashed up, Clark revealed to Lex, Lex crazily babbling, or... what a surprise, no Pete! At all. No wonder the guy left, he isn't in the series anymore! For it's faults you still watch it, and this was a better episode. It may not have been a positive experience, but at least it was an experience, the same couldn't really be said of the last few episodes which you could fall asleep in.

This one twists you up. It's a relief to find Lex' madness was all engineered as it gives some hope that we could go back to how things were to some degree. I should have expected he wasn't really insane from Lionel's blindness last season, but there you go. I didn't like the Morgan Edge side to it all, because it seemed like they couldn't afford to bring back the big name actor who played him before (and in fact they kill him off in the deleted scene on the DVD), which seemed a bit cheap. And would the guy have made a video with his new face? I should think he'd want to create a new identity after going through all that surgery.

There was enough to make for a watchable episode though, with Clark believing Lex, despite all the facts, and you come to sympathise with the poor guy (both of them, as Clark is left pretty down too). You get a reasonable hero moment with the car going into Clark, and the end scene is more haunting than anything else so far in S3...

Knowing what I do about Lionel from accidentally seeing bits of later episodes, that he's behind it isn't surprising, but it was sad that the lady that helped Lex through his 'illness' was working for him. Still not much humour or adrenaline, but at least it was marginally more engaging.

***

Terra Nova

DVD, Enterprise S1 (Terra Nova)

I remember being unimpressed with this when I first saw it, it seemed the weakest installment to that point. Now, while it is less innovative than the previous episodes, I don't think of it as being weak at all. I like all the shuttling back and forth from ship to shore, I actually like the make-up now, whereas before it seemed a bit stupid. It makes sense now, and though it's a lot less action-oriented than most this season, it has good roles for Reed, Travis and Phlox, where in later seasons they were very under-used.

I think the best scene is as the old woman sees Enterprise for the first time, wonder lighting her face.

It's fun spotting links to other series too, such as the old woman's son being played by a guy that was a Vedek on DS9, and Travis' mention of other unsolved mysteries at the end, including Amelia Earhart, which you'll know the answer to if you've watched Voyager. Also good is the pod's collapse into a tunnel - it's rare to see land based action from inside a craft, as it is seeing the inside of the tiny turbolift, though I miss the little lights moving to represent decks swooshing by!

***

Memorial

DVD, Voyager S6 (Memorial)

All that's missing is a scene where Naomi shows she understands Neelix' behaviour. Apart from that, this is a very impressive tale, told with vigour, sensitivity and superb scenes for some of the series' most under-used characters. This could almost have been a deliberate plan to use Kim, Chakotay and Neelix better, since they were a little forgotten this season. But here it almost makes up for this, with scenes more like to DS9 and it's heavily character-driven mould. The battle scenes too are reminiscent of that series.

It's the scenes where Paris and the other three are remembering those experiences together, and believing them, that are the most special, even more so than the reliving of the massacre. Kim in particular shows how affected he is by it all. And how often do we get moments of traditional away teams on Voyager where a full team beams down fully armed to explore? The location was brilliant too, the contrast between past and present effectively portrayed through the dark, tangled undergrowth and bright, park-like scenery. The CGI of the actual memorial was expertly done, you get to see the ship orbit a stunning planetscape, and there are some excellent moments where characters interact, such as Tom and B'Elanna.

The tight direction as ever from Alan Kroeker, and subtly militaristic music of Jerry Goldsmith act to lift it above the usual, and make you wish for more of this calibre.

*****

Bread and Circuses

DVD, Star Trek S2 (Bread and Circuses)

Another class act. I got the impression the director was deliberately trying to put his mark on this episode and do a few things that aren't often seen. Example: the teaser begins with all the bridge crew standing motionless, looking in one direction. At first you wonder if they've all been taken over, but it quickly transpires they're all watching Mr. Spock's analysis. Teaser isn't very exciting, but things pick up afterwards. Another rarity is the distant beam down, and having only Kirk, Spock and McCoy on the landing party. Very rare.

It's a solid and fascinating central premise: a parallel world (love the way they mention some Higgins' law or something, making it sound scientific and plausible!), where Roman civilization was not overthrown, but survives to the equivalent of the 20th Century, where modern developments service old ideas, such as gladiatorial contests as prime-time TV. Scarily, in real life you can almost imagine fights to the death coming in the not-too-distant future...

Where the Romans have survived so also has The Way. It was a nice touch to have Christianity still living on secretly as it did in Roman times, and the eventual reveal that the good people are not Sun-worshipers, but Son-worshipers. Though the Starfleet people don't necessarily share the belief (McCoy announces early on that they represent many religions), they do share in all men as brothers and living in peace and love. There's even redemption in the tale for Captain Merik, the villain, who gives Kirk the means to escape though it costs him his life. I wonder what changed his mind after living there for several years and allowing the weaker members of his crew to die in the arena.

As usual there are some well written scenes for the characters, perhaps the reason the series survives to this day - McCoy and Spock's usual feuding is boldly referenced, with McCoy even admitting he sometimes doesn't know if they're joking or not. This leads to a haunting scene as he questions whether Spock is not afraid to die because he finds it harder to live, controlling himself every moment, with the superb Vulcan theme. In the end they both share common concern for Kirk.

The only things that aren't working so well are the police with their white helmets, though I did like the idea that they carry both guns and swords. And I was expecting the slave that entertains Kirk was going to be one of the Children of the Son and that she would help them escape, so I was kind of waiting for that moment and it never came. And Sulu isn't there again.

Also worthy of note is the more serious adherence to the Prime Directive, perhaps the episode most consistently referencing it so far. And the satire on the series' own life and times - a gladiator shouts that they'll be in trouble if they don't make good ratings! Action, Concept, Character, this episode delivers 'em all.

***

Strange Justice

DVD, Starsky & Hutch S4 (Strange Justice)

A sad story, that shows what can happen when summary justice is, literally executed on those that may deserve it, but won’t get such a punishment in this life.

Slate was a great character and it’s a shame to see such a well drawn role used up in one episode as I could imagine the guy being a good regular.

One thing this series could improve on was having familiar people pop up from time to time, but it was made in a time when people would tune in for individual episodes rather than an arc, so who can blame them. And sometimes they do bring back a character. I felt sure the guy who played Marcellus Cobb had been in it before, in fact.

Good to see Huggy, and for once Captain Dobey gets in on the action. But it’s really a downer, showing such terrible behaviour on both sides of the law, without giving a deeper look at the psyches behind it. But it was a series that tended to lighter entertainment.

Another mixed message is in the form of one girl’s rail against the women as objects and violence in culture, leading to rape and such like, while Starsky and Hutch both are guilty of negative behaviour, (eg: on seeing Huggy’s girl they say ‘what’s ‘that'?’, or the way they treat the meter maid in this episode!), so the series isn’t really practicing what it preaches. To be fair it was one character’s view and they didn’t share it, having seen so many rape cases, but it does raise questions, so I suppose that’s good.

It also seemed a very professional episode somehow, and I love the way they always happen to be driving the wrong way when a call comes in on the radio. Right, now we have to spin round, narrowly missing honking vehicles and angry pedestrians, tyres screeching as we go! Unfortunately the episode is still fairly depressing and you don’t come out of it thinking well or happily.

**

The Trouble With Tribbles

DVD, Star Trek S2 (The Trouble With Tribbles)

Pretty much every scene has something to enjoy in it, whether Kirk taunting the Federation official Nilz Barris, Cyrano Jones' antics, or the regulars getting to further their characters. It's clear S2 was the breakout season, and this episode is probably the best of the bunch so far.

It's rare for everything to click, but here the direction is so assured, the actors at the top of their comic game, and there's fuzzy little creatures that purr. What more could you want? The first proper reintroduction of the Klingons for one, and Kirk emerging from a pile of Tribbles, and Scotty starting a bar room brawl with the Klingons... Even the station, usually where the series falls down as it's rare for a model to match the quality of the Enterprise, is impressive: in external shots it almost imperceptibly revolves.

The attention to detail improves the episode beyond standard fare - a brilliant shot of the station slowly growing larger as the ship approaches (and shrinking as it leaves at the end), the Enterprise seen from a window orbiting the station. And this is all before the added enjoyment of spotting things that play a part in a future episode of 'DS9', which gives a new level of appreciation to the viewing experience. Koloth makes his appearance, though reminiscent of his previous portrayal of the Squire of Gothos he still has a different quality. I think the more Klingon of them was his henchman Korax who gets to insult the guts out of the Enterprise and it's crew! Add to this a spy mystery, the crew finding Tribbles all over the ship, and the great brawl - even this simple fight gets an extra something as Cyrano Jones successfully attempts to carry a stolen drink amidst all the action, foiled only when the bartender returns and lifts it from his hands just as he's about to drink!

Every character, with the odd exception of Sulu who doesn't appear at all, get good scenes. Uhura coos over her Tribble, the cause of all the trouble, while Chekov attributes every invention to Mother Russia, and Spock gets to show off his knowledge. Kirk is at a rare loss for most of the episode, which makes a change, as he's falsely summoned, has to put up with Tribbles on his command chair and in his lunch, with the final injustice of being wiped out underneath the creatures.

It's difficult to decide what is the funniest moment. Is it Scotty's joy at being confined to quarters for fighting, as he can now catch up with his technical journals, Spock and McCoy's usual disagreements, or maybe Scotty's solution to the infestation. Whatever it is, you rarely have so much choice!

****

Derby

TV, Derby (2007) film

Okay, it's not a great film, and I really only tuned in to see John Schneider post-'Smallville', but it's a perfectly functional little tale about a boy whose parents die, and on moving to live with his Aunt and Uncle he wants to build a go-kart. Though his uncle forbids it, thinking it's a waste of the boy's time, he manages to convince the local Vietnam vet who used to be pretty good at racing, to help him build one.

Mark Rolston (from the occasional Trek episode) is the goal-focussed Dad of the boy's rival, who only cares about winning, but it's a pretty gentle tale. I didn't realise till quite a way into the film that it was set in the mid-seventies and I wondered what was going on with all the hairstyles (stop laughing, I know when the Vietnam war was, but, you know, it's difficult to tell people's ages and all that...).

The ending is never a mystery, but it's nice the way the boy brings the veteran back into the community, and fun to see Schneider as a different character. I suppose it's a bit weak in that it's neither very glitzy, nor earthy, and seems a bit basic. But it was fine.

**

Wrongs Darker Than Death or Night

DVD, DS9 S6 (Wrongs Darker Than Death or Night)

Even the lesser episodes this season seem to have something more. I kind of like the way they don't worry about the mechanics of how to get Kira back in time, whether it's right to do so, all the usual philosophising is dispensed with to get down to the story. And the other characters all get a little scene that doesn't feel tacked on, though they're just being given something to do. The best of these is Worf and Dax' part, continuing the theme of last week's episode. It also emphasises Kira's solitude and makes it easier to accept her going off at the drop of a hat (or the drop of a Gul's transmission), on a personal voyage of discovery.

There are several noteworthy moments to tick off on the great List Of Things To Be Seen On DS9 - Kira meeting herself as a child; Thomas Kopache back as a younger version of Taban, her Father, where before he'd played an older man on his deathbed; a younger Dukat before he went kerazy, and started ringing his closest enemy up in the middle of the night to pass on troubling information; and another visit to Terok Nor.

I got the feeling the guy from the resistance had been in it before as an older guy, but maybe he only looked similar? And the snooty Bajoran in charge of the comfort women reminded me of Damar.

I was thinking recently that Bajor had been put even more on a backseat to what it had become already this season, but at least we get an episode with Bajor featured, and it's especially nice to see the station orbiting the planet.

You could argue that the story ends a little unresolved, because clearly Meru is dead anyway, Dukat's out there somewhere (with nothing better to do than annoy people from afar), and the only change can be for Kira. I suppose she does realise that things weren't as simple as she always believed, and though she grows to be disgusted with her Mother, she realises she might not have survived without her decision and she didn't have the right to change that. But yes, it still feels a little as though the story hadn't come full circle, except to torture Kira with further connections to Dukat. It seems a little odd that he didn't divulge his connection to Meru when Kira and he searched for the missing Bajorans in 'Indiscretion', since it became clear then that Dukat was attached to one in particular. But when was Dukat ever sane, even before he went insane...

A good, solid, contained episode, with enough to enjoy and justify it's existence. And only DS9 could get away with a title like that!

***

Magnetic

DVD, Smallville S3 (Magnetic)

I keep expecting something special. Something that draws all the disparate pieces of broken 'Smallville' together. And I keep being thwarted. Because in my view, that's what the series has become: broken. Almost every episode so far this season has been a shadow of the kind of high-octane, deep friendship, accelerated but thoughtful stories of Seasons 1 and 2.

Exchange Lana for Chloe and it would have been 'Crush' from S1. Pete again(!) appears in about one scene. He's not important to the stories in general at all! The parents were not used well here, Lionel didn't even appear, and while you can chuckle knowingly at lines such as Martha and Clark's exchange about how he wishes her answers were 'yes or no' like the past; or Lana's easy acceptance of magnetic boy and comment that she would have been frightened before, that's about the extent of the fun to be had. And maybe, seeing another innocent locked up in the jail, in the proud tradition of Jonathan and Clark.

So they're showing things have changed. Yet they haven't really. Because the freaks-of-the-week still pop up, and that's fine, they're a piece of the series. But again, like 'Extinction' the action is mediocre, the situations are few and unimpressive. We're not shown things we haven't seen before, or that have improved on the early stories. Rather, this one seemed slow, drawn out, the characters sleepwalking, not for fault of the actors, but because they aren't given an exciting, full-bodied script, which makes you feel good, feel excited as you watch. You watch in mild interest as the lukewarm plots and arcs continue. Long gone are the days when Chloe, Clark and Pete sought out dangers together, or uncovered plots.

Lex, while he showed a sign of his former self, in his understanding of Lana's mistake, has gone slightly mad and has no more of the subtlety and sparkle in the eyes; Chloe says the same things, in a worried way each week; and Lana and Clark continue to wish they were a pair. Not even secretly anymore. Lana is frank about it. This episode was a soap. Even the fight at the end seemed half-hearted.

I can appreciate that writers are under a lot of pressure, and that it can be difficult to contine the early success of a series. And maybe my taste is too rigid, but you can't deny that the series has become watery. Other series' have managed to go from strength to strength. This feels like a seventh season, where most of the ideas have run out, and you're merely watching because you like to see the characters, rather than with the expectation of a good time. And they left it open for magnetic boy to return by putting him in a coma. Let's hope he doesn't.

Michael Rosenbaum seemed a bit coldy to me, so maybe his performance was affected by that? Can anyone give me hope that it gets better? That it's worth watching?

**

I, Mudd

DVD, Star Trek S2 (I, Mudd)

Harry Mudd's involved, so you know it's going to be a bit crazy... And it was too! Really made me laugh when some of the crew were pretending to be illogical to confuse the androids by dancing to invisible music, doing the opposite of what they're told, and generally behaving in a way that you never normally see the restrained and serious crew behave in. Scotty's terrible acting was spectacular and it's so good to see the main characters being a group together, like in the films.

Harry is as fun as his first appearance, and for the series, rare to have a character recur. I believe he would have come back in Season Three, but I think he died before then, but I'm not certain.

***

Three Films To Rule Them All

DVD, The Lord of The Rings Extended Edition, (2001-2003) films

Not something I would want to do very often (or ever again!), but to be able to say you've watched 'The Fellowship of The Ring', 'The Two Towers' and 'The Return of The King' in one go, not to say the extended versions of those films which adds about two hours to the running time, is quite an achievement. Or a foolhardy confession. Either way, it's done, and it won't be repeated. My eyes have just about recovered now...

TFOTR: *****
TTT: ****
TROTK: *****

The Deadly Years

DVD, Star Trek S2 (The Deadly Years)

While the idea is a good one, the execution isn't quite as good as some of the recent episodes. The age make-up worked better for some than others - Spock's subtle shadow and greying, at one end, McCoy's transformation into 'old country doctor' mode at the other. Scotty was perhaps most effective as he only sat around looking sad and tired. Kirk's didn't work so well, as he looked too young. It made it seem like you only need a few wrinkles and a bit of grey in your hair and you'll no longer remember anything or move faster than a snail. So the simplicity of it made it a bit less effective.

The opening moments were very good, with the shock tactic of Chekov wandering into a dark building to be faced with a withered corpse. But it was a moment near the end that almost made me jump out of my skin: they're talking on the ship, then suddenly it cuts to a shot of the ship with a loud burst of music that is quite unexpected and bizarre!

I will say that it was a good one for the ensemble, with all characters getting lines, Chekov especially has settled in very well, and feels like he's always been on board. It's heartening to have Nurse Chapel in the background, making the life of the ship more real. One character I didn't like was Dr. Janet, a former girlfriend of Kirk, who serves no purpose to the story. At least the usual route of having an authority figure aboard who questions the captain, upsets the crew, and jeopardises the safety and sanity of everyone around, was not taken, with the likeable Commodore Stoker's only crime being to risk war by taking a shortcut through the neutral zone, to get Kirk and co. to the starbase. I can only assume he panicked; as Kirk tells him at the end, a starbase doesn't have anything a starship doesn't. But he did instigate the series' second appearance of the Romulans, and a link back to 'The Corbomite Maneuver' as Kirk uses the same bluff to escape, so he can't be all bad. We also find out Kirk is 34, and Vulcans live a lot longer.

The cure was a little easily arrived at, with instant results, too - So it had these little problems, along with the propensity to repeat things, and have a lot of talky scenes which are saying the same thing. A little like the old people in it.

**

Relic

DVD, Smallville S3 (Relic)

"Doesn't make sense," says old man Dexter near the end, and that describes the episode as a whole rather well! It's in turns convoluted and tenuous, but we should be used to stories that are a bit unbelievable, yet all this stuff magically appearing and slotting into place is a lot to accept at once. I don't know the story of Superman and the various origins and history of characters, but I wonder if they're making larger leaps away from the traditional mythos than seems right, when the final intimation is that Clark was sent to the Kents, because Jor-El knew what a jolly good chap Hiram was. It certainly throws up all kinds of possibilities, but is a bit hard to take.

The visions of the past are fun, and a mainstay of sci-fi. It's a surprise it's taken them so long to do something like this. The scenes in the past were well shot in age-o-vision, but the most interesting part of that story was the various ancestors showing their faces: Hiram Kent, Lachlan Luthor and Lana's Aunt, as well as later-to-be-crooked-Mayor Tate (seems more likely he'd be suspicious of Clark since he looked so much like Jor-El, and would be a danger now, so I'm guessing Clark didn't run this scheme past his parents!).

A lot was happening, but it no longer had the fast-paced stylishness and sheen of invention (the only bits you could tag with that were the cave icon opening up (another gripe: I thought the caves were hidden, so how did Jor-El and Hiram get in there?), and Clark's Matrix bullet-dodge) that used to be common on the series. In one sense it's great that they should slow down and fill out some history, though the heavy-handed parallel to the way Clark and Lana are behaving around each other at the moment makes you want to shout out that they should just be friends and get on with the series!

It seems incredible that Lionel Luthor's Dad happened to be a crook, met up with Clark's Dad, Jor-El, who was just visiting Earth, while Lana's aunt fell in love with the guy... Other dissatisfaction I felt was in Chloe and Pete yet again being present only to provide a sounding board for Clark. And the whole other storyline opened up about Lionel's parents being murdered - don't believe a word of it - he's such a lying toad, he's putting the grief on. Seems likely he had something to do with it, and maybe Lex suspects that too? Somehow, most of the episodes of this season so far have left me unsatisfied - either there's action without good story, or story without the blend that we came to expect in S1 and 2. I'm sure it will improve...

**

Unexpected

DVD, Enterprise S1 (Unexpected)

A lot of firsts in this one. First appearance of Randy Oglesby on the series, pre-Degra, first holodeck, first view of a Klingon Battlecruiser, first man pregnant... The last being something Trip would rather forget! But that's what makes the episode. Sure, it's an old sci-fi concept, but as the first episode to be played for comedy it does a fine job.

The series continues to go out of it's way to provide different experiences never seen on Trek, and Trip's trip aboard the Xyrillian ship is one that makes that definition. It's not as simple as beaming over to similar corridors, he goes through a disconcerting process as he acclimatises to their environment, senses impaired, and a truly organic ship, where food grows on the walls and grass on the floors! It's quite radical compared to most episodes identikit ship corridors. (The time he had to spend with the Klingons in that little decon tube would have made a good scene!).

You would have thought though, that with the aliens experience of other species visiting their ship, they would have come across Trip's problem before... In places the episode is hilarious, with Trip trying to keep his pregnancy quiet, while acting like a mother, not to mention Archer and T'Pol's grilling when he's first diagnosed - Archer is barely restraining his bemusement.

We find out a few facts too: Trip has been in Starfleet for twelve years, and eight of those Archer's known him. And the Klingons consider their debt to Archer repaid now. First contact didn't go too bad, but post-contact has not been a bed of roses with the Klingons.

There's a funny deleted scene on the DVD, where Malcolm is trying to get Trip's help with the sensors, while the engineer is about to throw up. 

The series continues it's high production values and variety of story, and the strong start is, so far, maintained.

***

Virtuoso

DVD, Voyager S6 (Virtuoso)

Pathos and humour - you can be assured of both when an episode focuses on the Doctor. What begins as a study in fame, becomes a study of friendship, as the Doctor finds out who his real friends are. It seems the Doctor feels his wish to be accepted as an equal has still not come to pass, when Janeway is so reluctant to let him leave to be a performer. That's because the Doctor has grown so much in his short life, and it's often thanks to the Captain and crew of Voyager, that he has come so far, yet he doesn't realise that it's not as simple as being handed over like a piece of technology, the very thing he is protesting about, and it becomes apparent that the Qomar only want him because of what he is, rather than who he is.

As has happened before, the Doctor's self-delusion and large ego bring him into conflict with the crew. Except this time it's because he's their friend, and he's too eager to leave those friendships behind to pursue the adoration of a species they've only just met. It's always painful for the Doctor to see he's wrong, mainly because though he is treated as an equal he feels slightly superior to those around him. He allows a bit of tedium and a lot of buttering up from the aliens to make him leave his home. Yet the crew won't stand in his way, though he leaves with nary a heartfelt goodbye to any of them, bar Seven. It's only the slap in the face of Tincoo, who he thought loved him, with the creation of a superior version of himself, to make his mistake clear.

Though the crew could gloat and some perhaps in fun, did, Seven surprises him with a deep show of her own attachment. He realises he is appreciated on Voyager after all.

Of course the setting up for a fall is what the viewer is relishing, and what he must go through to swallow his pride and go back to Voyager, but at the core, it's about the emptiness of fame and hero worship, in a not so subtle look at the phenomenon, becoming almost self-referential in places, with the fan mail and holopad signings! It's also the closest an episode has come to being a musical, with the Doc performing various styles with typically flawless vocals.

They must have cleaned out the short actor stakes with so many people. Different stature helps to sell another race, like the reverse with the Hirogen, and their taste in mathematical sounds rather than emotion or skill contributes even more to their alienness. Perhaps his most embarrassing extravagance, and all the more enjoyable for it, is when he sings with a miniature version of himself!

Fame is fleeting, but real friendship is forever.

****

Never Too Old

DVD, Dad's Army S9 (Never Too Old)

A lovely end to the series, not full of cutting humour and perfectly delivered lines, but like the men they were based on, good, jolly amateurs, doing it to the last. That’s not to say they’re amateurish, Captain Mainwaring, I didn’t mean that, no sir. No I meant in the best possible way sir.

All the familiar jokes and situations were used, with perhaps more meaning this time as it was the last: Godfrey has his sister there, and talks of the Farmer's wife Mrs. Prentiss; Frazer tells a wild tale, Wilson makes a speech about Mrs. Pike; Captain Mainwaring gets into embarassing situations; Pike is a stupid boy; and Jones marries his sweetheart at last. Even the Warden's last insults are said in a softer way.

And on top of getting to see most of the recurring characters again, we’re treated to an extra five minutes running time, in which the little band of brave home guards are together for the last time we’ll see them, and toast the rest of the Home Guard in Great Britain, and in so doing the real ones of history. No better way to end.

****

Change of Mirror Rosetta

I've always enjoyed 'DS9', ever since watching it on BBC2 in the late 90's and collecting the videos. I've been watching it in order since 2003 and enjoying it as much, if not more than ever. As a teen I loved all the action and spectacle, but as I grew older it was the characters themselves, the intricate nature of so many arcs and understanding the cerebral side and the depth of it. If you've never watched it you're missing out - it is probably the most relevant Trek series of all, even now, with it's focus on religion, terrorism and war. It's best watched from beginning to end like a great novel of 'Lord of The Rings' proportions. To begin with it could be seen as difficult to get into, but if you persevere it's worth it!

DVD, Deep Space Nine S6 (Change of Heart)

Such a strong link. It's rare to see a husband and wife portrayed so loyally on TV. That Worf risked all to save Jadzia is a very potent example of the characterisation of DS9 (though you could argue the result at the end where Sisko tells them they won't be on missions alone again should have been protocol anyway). That the sour-faced, serious Worf is brave and true is no news, but his humour is taken to a new level, changed by being married to the most fun person on the station. There are a lot of laughs to be had, before we get to the serious part, not only from the newly-wed banter and love between the two main characters, but in the subplot of Bashir taking on Quark at Tongo. The Ferengi's tactic of talking wistfully about Jadzia (and effectively linking it to the main story), works wonders on the unsuspecting Bashir. But it's O'Brien and Bashir's double-act that's always enjoyable to see in action. When O'Brien tries to convince his friend to take on Quark, he doesn't agree for the challenge, nor for the money (wonder where they got the six bars of latinum since humans don't have money...), but only accepts when O'Brien tells him to imagine Quark's face when he's beaten!

There are a lot of links to other Trek, such as mentions of Vulcan's Forge, Andor (both later seen in 'Enterprise'), and Worf's human brother Nikolai. And it's Bashir's famous spy holoprogram that he's prevented from playing when O'Brien ropes him into learning Tongo when he pops round. You can imagine a couple of guys doing all that (poor old O'Brien is effortlessly beaten, leading to his suggestion of Bashir playing Quark). Everything is so well woven into the story there's nothing to take you out of it. Even the amusing B-story is finished before the bulk of the action - the music changes to a more serious tone, and we know we're in for a dangerous mission.

The asteroid sequence highlights how far CGI moved on during the series with an impressively rendered action sequence, more akin to 'Star Wars', yet played with humour.

The jungle is very well done, convincing as a real habitat, though it was actually created on the stage. I'd say it's even more realistic than 'The Apple'.

The spy Worf fails to meet came across as unpleasant and irritable, succeeding in making us care little for what happens to him, making Worf's decision easier to accept. When Jadzia is injured, it seems certain she would have died if Worf had not returned prematurely, and it's such a sad precursor to her eventual fate. At least the couple have made the most of their short life together, and they fit perfectly. A nice parallel is O'Brien's confiding in Bashir how much he misses his family, and the war theme continues to be a strong part of the narrative, without overshadowing the characters or pushing the creativity into a corner.

Somehow the writers continued to improve and enhance and bind the series' ongoing arcs together, logically progressing, but still coming up with new and pleasing combinations and ideas.

****

DVD, Star Trek S2 (Mirror, Mirror)

Mirror Kirk became Captain by assassinating Captain Pike. We'll soon know how the real Kirk made it in the new film, but you can be sure it wasn't that way!

The Mirror Universe was small in this episode, the creators not realising they would influence episodes thirty to forty years later, but though the story is contained mostly on the ship, there's still a hint of this wider universe, with the Empire in control, death and suspicion lurking in every corridor, and a possible future destruction of the Empire that would prove true, but not in the way you'd expect...

Seeing this now is a little bit 'done that, seen that' because it's such a well-known episode and such a popular and recurring sci-fi concept: the ultimate What If? Yet I still jumped as Kirk receives an unexpected punch to the jaw exiting a turbolift!

It would have been interesting to have seen more of the Mirror versions of the landing party, and our crew's realisation of what had happened. But there are no complaints as to the ensemble nature of the cast - comradeship seen most in Scotty's heartfelt "Jim!" when Kirk plans to stay behind so he can send the others back. Uhura gets a lot to do (having recovered from her memory loss two episodes ago), integral to the discovery of information leading to their escape, as well as getting in on the 4 v 1 royal rumble with Spock (an exciting sequence let down only by the obvious stunt men in long shots which look almost nothing like the characters they're doubling - ironic in an episode about doubles!). Scotty continues to function as a key crewmember, but once again gets chucked across a room in as many episodes! Sulu and Chekov are both notable in their evil, power-hungry roles. Even Kyle gets to be punished with the 'agoniser' that all crew wear, and seems to be a whinier, weaker version. Only McCoy doesn't seem as involved as usual. They should have shown what unpleasant schemes his counterpart had in sickbay to emphasise his cruelty.

It doesn't quite ring true when, after Spock is smashed over the head with a skull, that McCoy needs to save his life, when we've seen him go through much worse in the previous episode (being shot by a plant and zapped by lightning) - I suppose the injuries could have been internal, though you'd think the injury would be to the head which seems to be ignored!

The design impact has less effect when the clever new uniforms and altered design are so well known. Still, they are impressive and I especally liked the 'dagger through Earth' logo (but did it need to show only the American continent... sorry, is that pedantic?).

You could argue that Kirk comes to the parallel universe theory a bit quickly, but then again these possibilities are probably drummed into them at the academy. The only niggle is that it sounds like the Mirror crew vanished from our universe when Kirk and co. reappeared which makes no sense - I thought they had to put them back on the transporter.

There is one touching scene where Marlena begs to come to Kirk's universe, but is refused, and it's nice that we get to meet the 'real' Marlena at the end.

***

DVD, Smallville S2 (Rosetta)

I might as well start with the end. I'm talking about that hilarious appeal from Tom Welling and Christopher Reeve. I don't remember that on broadcast, but it was a brilliant cap to a very good episode. It's more poignant than ever with Reeve's death a year or two after this. A fitting tribute to him and the old Superman films that many of us think are the definitive versions, and that this series is often linked to. That it should be he that gives his blessing to the series and brings the turning point, the important information of Clark's origins, is fitting, as is the subtle musical tribute to the Superman theme.

I was surprised they never explained the title, though Lex mentions Rosetta Stone (it was a key that once deciphered opened the way to interpretations of other Egyptian records).

There are things not to like: Dr. Waldon is a bit annoying; it's disappointing that Clark doesn't just trust his parents as Martha didn't trust the family last week with the key, and Chloe and Lana's ongoing troubles. But all these things are smartly tidied away by the end: Waldon is flung coma-wards; Clark has some solid comfort, understanding and belief from his parents; and the early argument between Lana and Chloe leads to a really warm-hearted scene where Chloe apologises to Lana for reacting so badly when Lana looked at her private files on Clark. She finds Lana packing, because she feels she can't stay there any more, and explains that she doesn't have to leave for an argument. Lana doesn't feel as if she completely belongs anywhere, and Chloe goes on to admit she's decided her family tree should be about the people that are actually there for her, namely her friends. She's put Lana's name in the 'sister' box.

Lex looks bad, sadly, everyone is hiding stuff from someone, but it's all eclipsed by the revelations (for Clark anyway). Once again Lex seems to possess all the answers, but doesn't understand them or know how to put them together, and at the same time he's under attack from his Father (who doesn't appear again), has Clark on one side, not telling him something, while on the other, Waldon was planning to remove some of the cave without consulting him. His frustration is understandable, and though his words about finding the secrets the catatonic Waldon has, seem ominous he still cares about Clark and shows his good side, worrying about the teen's blackouts.

The direction is very good, with the teaser seemingly Clark flying, though we never know if it was for real or a dream. And the effects are top-notch, with the key finally going into the cave wall, and the ship. So much happens it's a lot to take in, and that's without the previous arcs of Lionel, Martha's pregnancy and Dr. Helen's knowledge of Clark!

Clark now knows where he's from, why he's here, but not what he will do. But Jonathan knows whatever it is, it will be right. There's also a glimpse of the way the series used to be, at the beginning where Pete, Clark, Chloe and Lana are all talking and joking together. And the Kent family are a secure unit again. Things are looking up. If only all episodes could be like this!

****

DVD, Star Trek S2 (The Apple)

I came to this not expecting much, but was pleasantly surprised. From the start it seemed different, with a lot of people beaming down to an impressive planet set. With so many redshirts I felt sure some would survive! They died in various ways, some quite shocking, such as the rock exploding, so they were there only to take the falls as usual, but the numbers were still impressive. The set was impressive, giving a good feel of a planet, and people travelling, with the village, wild area and Vaal's mountain. It seemed a very colourful episode too, with orange natives, red skies, greenery all around, and even their uniforms seemed more vivid for some reason.

The story seemed a little unsure of itself: on one hand it said it was better for people not to depend on machines, while Kirk and co. do this all the time. On the other, the Adam and Eve analogy was clever (cultural references to real life tend to enhance a drama by giving points of reference to viewers), though it was an inverse, with 'serpent' Vaal, trying to keep the people from things rather than encouraging them to disobey, and the eden being a deadly habitation rather than ideal, for them to be cast out of. Like Adam and Eve they were oblivious to some things, but unlike them they didn't have the perfect life of paradise. It could be argued both ways about whether Kirk's actions were justified, because he certainly must have been breaking the Prime Directive, but I think they were, because he couldn't escape from the planet and had no choice. Vaal was no benevolent being, but a slave-driver in control of everything they did - the most shocking part the way their leader, Akuta, calmly told them how to kill their guests, with no anger or malice, it was simply a task! Surprisingly Vaal didn't get a chance to speak, so it must have been an inferior creation compared with, for example, Landru in 'The Return of The Archons' and makes you wonder who built it and why.

I like to think more advice was given for their new lives than is shown at the end, where we fade from Kirk talking to them to the Enterprise.

The fight was good, and was different in that they had the female Yeoman in on the action too (and looking like a natural!). The many natives were further evidence that money had been spent on this one, perhaps the reason both Sulu and Uhura are absent. It's left to Mr. Kyle to take Sulu's position, while Scott gets to be in command again.

It was funny seeing a young David Soul, almost ten years before 'Starsky & Hutch', and you could just about make him out under the wig and warpaint!

Kirk throws an aside out that is easily missed, but has great ramifications: he tells Scotty if they can't get away, they should ditch the engines and detach the upper part, long before the words saucer separation became common!

The ending about Spock looking devil-like was probably a playful jab at the people that had written in complaining the character looked too satanic. It is funny, but you have to remember that prosthetics weren't a regular thing for people as they are now, so even the ears and eyebrows must have seemed far out at the time. The only niggle with the episode is the way the drama is defused occasionally by humour. When Spock recovers from attack by flower, Kirk playfully scolds him about leaping in front of the deadly plant. If they'd milked these moments I think it would have boosted the episode to classic status. Saying that, there is a steady build-up to to Kirk's soul-searching, a rare view of him uncertain and blaming himself. It starts out slow with the first death (they still say how nice the place seems to a bemused ship-bound Scott, making him seem a bit callous), and with attacks on Spock and the others Kirk gets more agitated - a personal connection with one of the guards, whose father helped him get into the academy. It's these little touches that lift it above an average episode.

***

Fever and Cordura

I originally lost interest in 'Smallville' during it's second season, when it became the teen soap I feared it would be, before I started watching S1. I eventually stopped watching after the first couple of S3 episodes, but on re-viewing the second, knowing it wasn't cosy S1, I've enjoyed it a lot!


DVD, Smallville S2 (Fever)

Will Doc Helen Bryce (one of my least favourite characters) tell Lex the Kent secret; will Martha really have a baby; will Lana and Clark get together or will we have to wait till Chloe dies of old age? That last part is a real drag - we know from the comics that Lana is Clark's girlfriend at some point, and this trio of testy teens is hard work. I miss the chirpy, cheerful Chloe and the lovely, oblivious Lana, and Clark bumbling along.

It seemed a much more solid episode, and reminded me of my favourite British TV series 'BUGS' in three key scenes: when the virus squad take over the farm with vehicles and people in suits striding around; when Jonathan breaks into the militaristic grounds of the virus control facility, and the subsequent chase; and when Lex gives Helen a box and she opens it to find a key inside (Channing gives Ros the same in S3 - in both cases you're meant to think it's a proposal) I mention this because I think of 'Smallville' as something of a successor, with it's all-out explosive action, likeable characters and penchant for bright colours. And for the fact that Al Gough and Miles Millar were writers on 'BUGS'!

Chloe's scene with Clark is very affecting, as she completely opens up, and is rewarded with a kick in the teeth when he mumbles the name Lana in his sleep! All the characters (except Lionel who doesn't appear) get used well, particularly Pete, in the scene when he surprises everyone by being the driver of the truck all those military types are chasing. I remembered it was him just before they forced the truck to stop. And the story sets up the trust thing with Dr. Bryce, and whether she will betray them or not, not to mention Lex' method of getting Martha's medical records. But though you know he'll have an ulterior motive, you still get the impression that he has the Kent's best interests at heart in many ways. At the same time he has curiosity about the cure... The episode even has a great teaser with a stunning shot of the jug o' juice falling towards camera and smashing in slow-mo.

It's flagged up that Clark's abilities aren't everything early on, in a light scene where Jonathan says they're no match for a simple washer to stop a tap leaking, which is a hint that Clark isn't invincible, and Martha's illness is beyond his power, much like the experience with Ryan earlier in the season. The way Martha's death is shot is effectively shocking, beyond the mere fact. When you know she's pregnant it makes the season even more fascinating, and again it was in 'Ryan' that this is hinted at, but only for those in the know, when Ryan guesses her 'secret'. It was also nice to dispense with a niggly bit of plot about Martha hiding the key from Clark so he can't find out about his origins and leave her.

Was that Steadman band famous? I don't know much about music but I've certainly never heard of them.

***


TV, They Came To Cordura (1959) film

This sounded fairly interesting, and as I like old as well as new films, I gave it a go. Apart from the impressive battle sequence, the first hour was quite tedious, but it was in the second hour that it came alive as the small group breaks down and human nature is revealed in it's ugliness and nobility. It's a study of cowardice and bravery, showing that we all have the capabilities for both, and the way the disgraced leader keeps the group together, depite the danger they could kill him at any moment, redeems him and the film.

*** (In case you're wondering why I keep putting three stars after my thoughts, it's actually my rating system: 1* is poor, 2** denotes the average, 3*** is enjoyable and solid, 4**** is very good indeed, and 5***** is excellence!)