Resurrection

DVD, Smallville S3 (Resurrection)

As an exciting action-packed episode of 'Smallville' this doesn't really work. The only excitement we get is the bomb moment, and that feels like a hastily drafted piece of pace to artificially make the surgery a bit more dangerous, as if they realised the story was a little slow and decided to throw in the idea of an otherwise stable teen suddenly turning into a potential suicide bomber. His demand wasn't even logical - if he blew up the bomb, he and his brother would both be killed!

The surgery on Jonathan, a further sign of the degradation his body suffered because of of Jor-El, was always going to work. They weren't going to kill of Mr. Kent in the middle of the season! So we're left with a mainly exposition episode, that moves the story along a bit, just not in a coherent, deft kind of way, but a heavy-handed forcing of things so we get to somewhere before the season ends. The writers should have taken a look at some of DS9's seasons for lessons in how to craft story arcs that play out satisfyingly and believably through other, standalone episodes, because here, you get a sense they don't have a lot of experience.

A high point was Pete's weekly blink-and-you'll-miss-it appearance, this time, arriving to keep Martha company during Jonathan's op, along with Lana. Only Chloe or Lex dropping by were missing, to complete the set up. That shows that while they can manipulate the emotions sometimes, often (certainly this season), the boxes you want ticked, aren't.

I wouldn't call it a bad episode, modern TV is too slick and high budget to let many of those get through, but I would call it an average one, solely in place to move us from A to B in the ongoing plots. That's not a crime, but it always is when the characters and potential of an episode aren't realised. See Season One's 'Reaper' for a much better life/death story, with real danger for characters, and more special effects. In fairness they're probably saving money at this point in the season. (Funny to see an actor called James Kirk in the opening post-title credits!).

**

Shuttlepod One

DVD, Enterprise S1 (Shuttlepod One)

I don't think this is the classic some people consider it, but it is a little jewel of originality in the first season, and something not often tried on the series, which preferred action to retrospection and this kind of character interaction, that was a preserve of the 24th century series'. A friendship begins, though I don't think it was touched on often, and was left in the dust by O'Brien/Bashir or Paris/Kim, in a similar vein. At least they tried.

There's quite a bit of humour, some interesting mentions (Superman being one, since 'Smallville' was its direct competition at the time!, and the fact Malcolm thinks science fiction is rubbish, for another!), I'm not sure but the 602 club might have been seen in Season Two.

The directing is amazing - to keep so many scenes visually interesting in such a cramped space, they must have loved the challenge, and certainly all involved rose to it. It's always fun to pair off a couple of characters and see them go at it, like bacteria in a petri dish, and they should have done this more often. An achievement considering the shuttlepod makes the Runabout and even the shuttles seem like a tennis court! I'm guessing the deleted scene where Trip tells a tale of taking Archer diving, was taken out for time because it was good otherwise.

***

Muse

DVD, Voyager S6 (Muse)

One to keep you watching. There are many little observations, a noteworthy guest cast, and sets just right, but there's also the introspective heart of the episode, the belief that you can influence someone with entertainment, for the better, something that 'Star Trek' is all about. It works on more than one level, with the basic crash plot; explaining away Starfleet presence; putting familiar future technology into historical terms to aid understanding; then there are the plays themselves, a fine art, that gives the episode a unique and satisfying quality; then the play within a play of the episode being about itself, the characters played with on stage, that makes us smile at the 'play' of the 'real' characters.

The narrative neatly dovetails into shipboard scenes by commenting on the characters and their traits, then showing them in reality. The playwright asks about Vulcans and we go to see Tuvok, going without sleep for days, to assist in the search operation. The funny in-joke of Janeway kissing Chakotay, is both amusing, but also tragic because it came so close to happening, and we see the pair interacting back on the ship, an unsaid distance between them (they really should have sorted that out before series end, as it's another loose thread never tidied up).

If there is a complaint, it is that Harry's trek through the mountains might have made for a dramatic scene or two, but then again, his appearance at the crashed Flyer is a high point of the episode as the music swells, and that might have been lost if we knew where he was. And talking of swells, the episode itself draws to a close on a crescendo of emotive storytelling, the playwright a good representative of Trek's own creative team, doing that kind of flourish at the end of a story as they have done many times. The jealousy of the girl (played nicely by Kellie Waymire - it's so nice to see her again, as I'd forgotten she'd been in this series), gave added depth, but the masterstroke of the old narrator, showing his skill was as valid as the younger generations, saving the play and their necks, was truly great.

John Schuck was a name I recognised (though he’s miscredited as ‘Jack’ Schuck in the ‘Voyager Companion') - I'm pretty sure he went on to play a Klingon in 'Enterprise', and Tony Amendola the good old Go'auld guy from Stargate SG-1 was in it, though with not that much to do. The whole set up with the old-fashioned play, the crash in the woods, the believable aliens, all added up to a very good episode, even if it did have almost the same title as a DS9 episode from a couple of years before this.

I always love it when they have a shuttle crashed on a planet as it makes the lighting, with natural shadows and such, so much of a dramatic change, and adds realism. There were funny moments with Tuvok's snoring (something no one could imagine, but with his days of work with no rest, he retained his Vulcan coolness!), and I liked that B'Elanna showed how much she's changed into a much more diplomatic person. In an early season she'd have lashed out as soon as the bonds were cut. And credit must go to the central guest star who carried the episode, with a realism you don't always get with guest aliens. A pleasure.

****

Captive Pursuit

DVD, DS9 S1 (Captive Pursuit)

I always enjoy this episode, because even if you know what's coming, the joy is in the watching of it. They could have made an exciting, more action-packed episode about an alien that arrives chased by others, and it might have been good, but what is more interesting is seeing O'Brien's and other characters reactions to this.

Tosk is a brainwave - completely alien, childlike in his understanding of others, completely honest, with no guile or falseness in him, bred for a single purpose. To be hunted. Tosk's inability to fit in, and the Chief's easygoing attitude towards him, make for humourous scenes. While we laugh at Tosk's strangeness, and O'Brien's efforts to help him understand, we never laugh at Tosk himself, for he projects, no he has, a quiet dignity, a nobility, that later we find is rooted in his absolute conviction and pride in who and what he is. Most people would like to be like Tosk. And on the purely visual side, Tosk is equally fascinating, the makeup of which Michael Westmore deservedly won an Emmy.

The body language, lack of personal space, and abilities such as leaping large distances and disappearing chameleon-like into any background, also add to the alien attractiveness of something new. It could be speculated that Tosk were a race used in the genetic creation of the Jem'Hadar, since they both have a reptilian body, and some of the same traits. Scott MacDonald isn't as prolific as some recurring guest actors, but he's appeared occasionally, and here he gives perhaps his best performance in bringing to life this alien through the heavy costume and full body makeup.

This is most certainly an O'Brien episode, with most of the others only supporting in minor roles (although Sisko and Odo's steadfast command of the Promenade at the hunter aliens breach is heroic, and Quark gets a few good lines such as commenting on how O'Brien's face gets a lot pinker than most humans when he's agitated - something that's funnier for being true!), and while we don't find out much concrete new details for him, we do get mention of him and his wife's troubles again. This is about the only continuing narrative from previous episodes (unless you count the wormhole spewing forth its first visitors from the Gamma Quadrant), and is another standalone.

Interesting to note would be how fast Odo's security office door gets replaced (and that's the second time it's been damaged, the other being from the angry mob in 'A Man Alone'). It's blown apart in one scene, yet it's back to normal shortly after! Also, it's not clear if the hunters that Tosk shot at the end were dead or stunned. Usually in Trek if you see someone slumped over with wisps of smoke curling up from their immobile form, they're dead, but that would be significantly harder to explain to Starfleet, than the problems Sisko already had - "Oh, we also got three killed" wouldn't go down well. It was left uncertain, but whether intentionally or not I can't decide.

And the effects were very good, with the beam that can reveal Tosk's disguised body, and harsh, white transporter effects. The ability to absorb phaser fire in their arms was impressive too. An advanced (in technological terms anyway), race that resembled their prey leading me to wonder if they had bred the Tosk from their own people. Perhaps an even darker and more disturbing follow up story could have been created? Finally, we hear that DS9 has about 300 people aboard, we see the holding cells for the first time - and it's a great idea to have a much larger area behind Odo's office, and gives the place a life beyond what you see, because you're constantly accepting that there are other rooms off of the sets we do see. And Odo does his shifting. So far he's been a bag, rat, trolley, chair and now painting, for those keeping track.

***

That Which Survives

DVD, Star Trek S3 (That Which Survives)

Here we have another episode which doesn't quite survive. On three points I found it not quite up to scratch: - most of the characters didn't seem quite themselves (and I was waiting for the twist), - there were several scenes which went on too long and were clearly filler material, and - the planet setting didn't work for this particular story.

On the characters, Mr. Spock seemed especially pedantic, Chekov was nowhere to be found (though remembered in namecheck), Kirk appeared distant, Bones was there, but not really there, and Sulu had lost his enthusiasm. Uhura didn't get much, but was nice in her part, and Scotty was his usual incredulous, but workaday brave self. It's a rare event these days to have Sulu on an away mission, but compare this to some of his early exploits, such as 'Shore Leave' or 'The Squire of Gothos' and he really seems to have changed. Perhaps it's sitting behind that desk for so long? No Chapel, but Dr. M'Benga makes a brief, but welcome reappearance.

The guest character of Lieutenant Rhada was an interesting case in point of the episode's feel (as Mr. Scott might say). She had all the lines Chekov would have got, and seemed somehow important, by continuing to be on camera whenever the bridge was featured. I was expecting her to turn out to be a member of the alien race, who was assisting Losira in some way, but it never happened. Also, did she have a mole on her forehead or was it supposed to be a Hindu thing? She had a vague Indian quality to her skin, but more like the Klingons, as if they wanted an Indian, but could only get a white woman and painted her up to look darker. The banter between Scotty and Spock was enjoyable as always, and we got to see a bit more of engineering, including a more traditional shaped crawlspace, as we've come to be used to in the modern series'.

The padding was another aspect that brought down the production a bit. While the shaking of the planet set looked amazing, and like something I'd never seen before, the place itself didn't live up to the creepiness of the story. They're supposed to be stranded in this inhospitable place, no food, no water, a vast space of deadness and rock, pursued by an alien woman that can appear at any moment, coming for one specific individual, to kill them. A personal killer, like the bullet with your name on it. Yet there is very little danger shown in the practical creation of it. The planet remains bright, and the camera never moves very far, so it feels like a small area, which it is. They could really have done with a real outdoor environment or a more extensive set, as they've done so successfully many time before. Perhaps the budget was biting at this halfway point of the series.

The scenes with Losira coming for a person was always quite good, especially when the victim was captivated by her beauty, if not entirely trusting. And I did like the moment near the end when they find three Losira's all coming for them! Effects were good, with Scotty's dangerous position to the blue energy in the crawlspace, phaser blasts, and the set shake. But another complaint is that the whole set up is not satisfyingly explained at the end. We get an explanation, but it throws up a lot of questions, and a limp ending was the result. There was a lot to like, but the core of the episode was lessened by the practical side of things. There is also the matter of warp 14.1, the highest ever recorded on the series I believe - another clear indicator of a completely different warp scale in this era. I don't remember ever seeing this episode before.

**

Wink of an Eye

DVD, Star Trek S3 (Wink of an Eye)

High concept, some great ideas, but some strange creative decisions and a few flaws. For a start, why would a crewmember who is doing tests on the water wash his hands in said water and even wipe it on his face or taste it? That's what causes Redshirt Compton to 'disappear'. And why didn't Kirk take the weapon off Deela earlier. I know he was wary of her scratch-death potential, but he's dealt with enough enemies to handle her effectively. I suppose he was trying to find out about the plan and the people.

The biggest question hangs over the ending. If Kirk and Spock had given the Scalosians the formula to return to normal speed, they wouldn't have needed to cause any more trouble, and their race wouldn't have to die off. The final shot on the viewscreen of Deela looking morose, was a bit confusing. Was it a mistake (Uhura's hand slipped apparently!), or was it a message somehow, and why if they couldn't see them the rest of the episode could they see them now?

The ending before that as Spock takes the time to carry out repairs all over the Enterprise, was more of the kind of thing I was expecting from the episode, using the concept to the full and logical extent. I was also expecting him to comment how easy it was to work without people getting in the way all the time, but instead he came out with a poor joke, saying the experience was 'accelerating'. That's a good parallel with the episode - you go in, find a clever idea, but then it doesn't use it to full potential. There were some flashes of brilliance - the phaser blast looked amazing and made me long for someone to fire again at some point, but although Spock had a phaser when he made the jump to acceleration he never used it. I expect it was an expensive and difficult effect to achieve, and generally the effects of the episode were to a high standard.

The slow motion scenes were effective, though I wished for more, and seeing a scene from both normal and accelerated time. Indeed, the attempt by Kirk to pass on knowledge of events by making a recording and then sticking it in a computer under Spock's nose, would have been a perfect moment to do such a thing. I thought they would have Spock hear a buzzing (Kirk), and then the disc would appear in the slot. Often things seemed to work out to lessen the impact of the story.

Where's Chekov? The other crewmembers aren't greatly used, although it was fun to see Scotty walking into the transporter room for half the episode! Things like that should have been higher up on the agenda, but instead the focus is on a faux-romance as Kirk tries to convince Deela he's accepted the situation. You can't expect too much from 60's effects, but they were so well done you just wanted more. The scenes with crew 'suspended' were pretty good, although Dr. McCoy must be in a faster time frame to everyone else because he tended to blink or move a little! And right at the beginning I noticed a redshirt who struck me immediately as one who wouldn't get killed! Why? Grey hair, that's why. He'd obviously survived a long time, and didn't plan on being caught out any time soon! Then again he looked a little worried so maybe he'd managed to avoid landing party duty in his long career until that day. He wasn't the one to die though!

**

Obsession

DVD, Smallville S3 (Obsession)

At first I thought it could be a good one. Lionel is there at last, after missing for a few episodes. And there's a good mysterious teaser leaving you wondering what will happen. Then the episode unfolded and it became very Season Two freak-of-the-week-ey, and this was one of those totally homicidal maniacs. What could be more creepy than an amoral obsessive that can beam into any place at any moment! Hence the title of the episode, though they subtly caused the viewer to associate the title with Adam after Lana finds his notes on her and Clark (she even uses the word), and at that point Alicia hasn't been unmasked.

But then things take a turn for the worse, and at the end of it, at the point Clark could have spoken to Lana and cleared everything up, he sticks to his guns and she walks away. Very Season Two! If only he would decide one way or the other, though I suppose the shock about Adam hadn't sunk in yet. In a way I suppose he should be proud that he kept to his decision and didn't leap in when Adam was gone, but it leaves the episode on a downer with Clark wondering if he'll always be alone!

The partial saving grace is Lionel and Adam's revelation of their experiment, though I'm not sure how that links to the Kryptonite experiments in cloning he was running with the little girl at the end of the second season. At first I wondered if this Alicia would turn out to be some sort of superhero confidant, recurring, but the episode wasn't that clever. It didn't really have amazing effects, but rather functional ones (and it didn't make sense that Alicia couldn't escape from the lead paint as it wasn't covering her whole body, and since it was touching her couldn't she just take it with her and still get away, and go and wash it off?).

Early on, you could guess Adam would turn out to be more than a simple love interest, but at least the cards are on the table now. The usual Season Three complaints arise again, that the other characters weren't featured much (Pete, not in an episode focused on himself, is once again demoted to one scene of corridor chat, as if last week's story never happened!), and Lana should surely know what it means to call in help from Lex like that. She must know Adam would be in big trouble, but fortunately it never comes down to that as Lex lost the trail. Thanks to his Father...

**

Shadows of P'Jem

DVD, Enterprise S1 (Shadows of P'Jem)

Tau Ceti accords, Starfleet Command (the Golden Gate bridge!), Shran, Coridan... A long list of good stuff for an episode that successfully continues an earlier plot, the first to do so directly. The guest casting is good, with Combs great as ever, Soval making another (if overly emotive!) appearance, Admiral Forrest too, and a slightly more restrained Vulcan Captain called Sopek, played by Gregory Itzin, who played a couple of roles on DS9, and I believe, went on to play another role in Season Four of this series.

T'Pol's position on Enterprise is finally called into question and when it comes down to it, after initially accepting the blame for P'Jem (from 'The Andorian Incident'), and the order to transfer, she comes to realise she is suited to the human ship, and agrees to stay. We also learn she's not the first Vulcan to work on a human ship, though they only lasted a few weeks (probably the smell!). A nice little rapport has developed between the two aliens on Enterprise; her and Phlox, who makes it clear she's considered part of the crew (I wanted to see the 'going away party'!).

There's a bit of humour with Archer and T'Pol ending up in a compromising and uncomfortable position when they try to escape the Coridan prison. I have to say though, I didn't recall the famous aliens (one of the founders of the Federation I think) being in the series this early - I had a vague recollection one turned up in one of the series' last episodes, but looked a whole lot more alien than these guys. No wonder I forgot as they look so boring here!

The action was well-handled with a chance to see Andorians working with Starfleet, and Vulcans with grenade launchers! One odd thing though is that Shran and his mate capture Trip and Reed, but have a load of help to do that, but then they say it's up to them to rescue the hostages. Assuming the others aren't Andorian (in which case where's Shran's ship and crew), they must be the Coridanite rebels he's friendly with, so why didn't they help with the rescue? The story furthers the ongoing dissatisfaction the Vulcans have with Starfleet and specifically Enterprise, as well as seemingly ending the arc with Shran (I love the fact he has to pay back Archer because he's losing sleep over it) - we see another facet of the blue-skins in their intense loyalty and belief in paying back favours. But I'm sure this isn't the last we've seen of them...

***

Live Fast and Prosper

DVD, Star Trek: Voyager S6 (Live Fast and Prosper)

A kind of comedy episode, or as close as the series comes. To begin with, once you get over the initial surprise of seeing impersonators of Janeway, Tuvok and Chakotay, the episode seemed okay, but nothing special, with some nice character scenes spattered throughout. It's only towards the end as bluffs and double-crosses mount that you see the true quality, and very clever it was too. Mix that with a side-story about Paris and Neelix, the worldly-wise pair, dealing with being conned (and trying to fox the Doc), with the fun portrayals of the aliens, some good-looking new alien faces, and the way Mobar develops a real fannish appreciation of Tuvok so that he always stays in character, and the episode adds up to a great time!

Mobar is funny when he finally meets Tuvok and gets a bit starstruck, and the suspicion between the aliens makes for a bit more drama. Most of the crew are part of the story, and it's nice to see Paris and Neelix working together, something I don't really recall since about Season Two, although that jealousy story was better than what they deal with here. Some of the DS9-like character tensions have been pretty much lost, and it's become much more like the happy TNG family, which I'm not sure is a good thing, in the balance. I was hovering between Dala's redemption and the fact she must have noticed Neelix' fairly prominent phaser, so it had me in circles for a while until she took the escape route... just as Janeway intended. I was also fooled by the Doc's disguise!

I think this season has been a rounded one for some of the characters that have been left behind in previous seasons, such as Neelix, so it's good to have him in these sorts of episode, though, as he talks of the way he used to be, I kind of wish he hadn't become quite as cuddly as he has. A small complaint, and this episode stands well, proving Voyager can carry comedy if they want to. Of note is Kaitlin Hopkins, who had previously played an even better showcase of her talents in the female Vorta Kilana in DS9's 'The Ship'. And it's rare for Voyager to have such an amazing title that references familiar Trek, but runs with it, suiting the mood of the episode perfectly!

****

Babel

DVD, DS9 S1 (Babel)

This is a good one to see if you don't know anything about the series, because it's a completely self-contained episode. On the other hand it doesn't really add anything to the ongoing story, and there isn't all that much to say about it! It's certainly good, with a traditional virus story that escalates into action for Odo, but mostly it's simply figuring out what to do and looking out to see who's going to utter a wrong word and be taken by aphasia! There is a certain level of tension developed by that, but I felt the reveal of the cause came too early and could have been manipulated to increase the stakes, a bit like 'Civil Defense' later did. To be fair they were still finding their feet at this point, so the addition of a TNG-type episode was probably needed for them to get it out of the way and prepare for more DS9-only stories that couldn't be done elsewhere.

On the good side all the main characters are included well. Initially it appears to be an O'Brien episode, showing the bad day he's having where everything breaks down, but if it had to be pinned down I would say it was more of an Odo/Quark-centric one. They always work so well together, and they had a lot of good lines, baiting and gloating between them. At the beginning Odo's enjoying Quark's bad business, but by the end he comes to rely on the Ferengi, a rare moment for the series, when the station is run by Quark!

My favourite line is about Rom, after Odo catches Quark illegally using a crew replicator (after disguising himself as a trolley which Quark foolishly pushes along!) - he knew Quark had lied that his brother had fixed the bar's replicators because 'Rom is an idiot' who 'couldn't fix a straw if it was bent!' Prophetic words indeed, and shows how little Rom reveals of himself to anyone... We find out the station's been there for eighteen years, which is good to know. But it's strange how little of substance there is to note about the episode, despite it being a good one. Dax and Kira show signs of a friendship, walking together along the Promenade, and Quark and Odo continue their odd couple antics, but it's a definite reset button episode, which for DS9 is a little unique.

***

Plato's Stepchildren

DVD, Star Trek S3 (Plato's Stepchildren)

Before seeing this I knew vague details such as the famous 'First Inter-Racial Kiss On TV', and there was a dwarf in it called Alexander, and it was about some Roman-like people, and they force the 'FI-RKOTV' out of Uhura and Kirk. That was all. I was expecting a rather poor episode from those elements, assuming it would merely be a worthy petri dish for Roddenberry-esque ideals. But it was much more!

The teaser was so quick I was left trying to catch up, as I wasn't paying full attention. I knew the huge shadow would be Alexander, but it was an effective way to introduce the best character of the episode. When I started to believe this might actually work out pretty good was during the sequence McCoy is healing Parmen, the ruler, and his hypo is magically pulled from his bag and self-injected into the patient by the power of Mind! No strings attached, this began to look like an interesting prospect, in the line of 'Star Wars' Jedi escapades. Twice there were disturbingly similar sequences (when Parmen brings the phaser to his hand as Kirk goes for it, like Han Solo and Darth Vader's meeting, and near the end as sinister laughter denotes the nearby gathering of baddies, like when Leia rescues Han and Jabba and his cronies reveal themselves from behind the curtain. Perhaps some influences for Mr. Lucas there?).

And it turned out to be so, only with more than that. You had the stomach-churning, heart-rending and systematic, sadistic torture, demeaning each character physically, metally and emotionally, and you had the slow realisation in Alexander that he is a person in his own right, something his 'masters' have denied him for being different to them. The shameful and debilitating abuse of their prisoners by the Platonians begins relatively harmlessly. McCoy is pushed away as Parmen erupts in fevered brain waves, sending heavy vases and items smashing through the air. That in itself was a very impressive effect because it looks real!

The landing party are quick to realise they may be forced to stay, and my only suggestion to improve the episode would be to heighten the tension at that point and make it seem like they might escape, only to be prevented at the last moment, although it is something that's been done before. The first sign of the aliens' amoral ways is when Kirk is forced to slap himself repeatedly, then when the three crewmates are pulled against their will into the presence of Parmen, for him to 'make amends', giving them all gifts (again, superb effects as these gifts fly through the air to the chosen recipient - the only time in the whole episode I thought I caught a glimmer from a string was over Spock's lyre).

But soon their will degenerates into antics that begin almost humourously, as Kirk and Spock are made to dance and recite rhyme. At this point you're kind of grinning, because it's funny, but gradually as their dignity is stripped away, each time the spectacle more bizarre, a horror that people could do this to others, unfolds. The most disturbing is when Spock has laughter forced out of him, followed by crying, and Kirk is made to act as a horse with Alexander on his back, neighing most ridiculously.

At this point, I would expect viewers to reach a decision. You're either going to say this is too much, it destroys the characters and makes them look completely stupid, or you'll realise the depths these people are willing to go, and look forward to Kirk's eventual defeat of them. You wonder what is going through Shatner's head as he performs these charades. Did he doubt what he was doing, or worry it may affect his career? If he did it doesn't show, because he puts all his might into what he does, making it believeable, though not palatable. The reason they give him these writhing moments so often is because he does them so well! He must have a degree in Writhology, from Writhe university. He could writhe papers on the subject! Suspension of disbelief is unnecessary, because it's acted so well, and the situation is so unique.

At the point when the solution is discovered, and Alexander reaches his important understanding that he is worth something, you wonder what else can be done, but the next plot points beam right in on time in the shape of Uhura and Chapel, a rare sight to see together. They don't even have the option to speak before they are gaping like fish and pulled off to change into Roman robes. I should have mentioned one of the most disturbing scenes. Spock is trying to compose himself, but even his body language is askew, as he admits he felt a rage against these beings. He gets up and crushes a metal cup. But his humiliation is not over.

He is forced into a kiss with poor Nurse Chapel. If you'd asked me what the probability of those two ever kissing on screen was, I would have said zero. Everyone knows the crush she's always had on him, and that makes it worse for her. She admits she's thought of such things before, and if the series was in the habit of picking up storylines and continuing them, it would be fascinating to see how they react after this humiliating encounter. Spock, as ever, does his best to be apologetic, but when things take a turn for the worse and weapons are put into the hands of Kirk and Spock, it looks like anything could happen. Thankfully this is when the power turns, and things begin to go Kirk's way.

The aliens are shamed when their power is used against them, but as the Captain surmises they'll soon be back to their wicked ways once the ship has left. At least the good Alexander, who drew strength from refusing their power, though he needed Kirk to restrain his sense of revenge, after living among such cruel people for so long, got to leave with the crew. They should have made him a regular!

The most well-known aspect of course, is the kiss between Kirk and Uhura. Nowadays we don't even think about it, but it was a milestone for racial equality and another string to Star Trek's bow. Other points of interest are a rare shot of the navigation stations occupied by neither Chekov nor Sulu (Mr. Hadley and another guy are sitting in). Scotty isn't in it much, but he was more a part of the last episode (I noticed various clips used in the old '30 years' trailer that the videos used to always begin with!). While the episode may not be to everyone's taste, it certainly provokes a reaction, and for that reason I would award it the rare accolade of 'classic'. Effects, acting, positive message, moments of madness, humour and drama. It's the ingredients all episodes should be made from!

****

All Good Things...

DVD, TNG S7 (All Good Things...)

Being in the position of 2009, knowing that Trek has changed beyond belief, and now seeing 'Star Trek Nemesis' as the final and definitive conclusion to the characters of 'The Next Generation', the ending on show here is a lot less final than it must have seemed at the time. Even then the first TNG film was to come out in the same year the series ended, so I don't think they ever really intended to make an ending to the series. It is set to continue, but with things learned, with a sense of family ingrained in every member, whatever was to come.

Well what came, came. And went. And now focus has moved full circle back to the cowboy diplomats of the original, and away from the thoughtful, language-driven, ideas-heavy series that followed it. I don't say which is right, both have their merits, but growing up in the nineties I suppose the 24th century Treks mean a bit more to me. Yet I first saw the original as a child, so I had the best of both worlds. I was more into what came after TNG, but I cannot avoid the fact that without its success no more spinoffs would have come into being and Trek would have died out.

But this is all beside the point, and these things can be debated in another place. The important thing is how well TNG closed out its TV adventures. As I say I was less attached to the characters, but I did become more interested in them, and maybe you have to put in the effort more to enjoy the series, but it does reward you with a great feeling of friendship and family, and that factor is evident here. That's the most important part of the episode, I believe - oh it's fun to see Q, and sad that he never got to plague Jean-Luc again, and his speech about the future and exploring new ideas was quite intriguing; the time-shifting, returning back to the maiden voyage of the 'D' and Tasha and O'Brien; seeing the future uniforms that all later series adhered to if they went into that time period of twenty-five years past the time we know; the way characters convincingly portrayed their past or future selves...

It all serves to provide a traditional end of series (what became traditional after this episode!), full of delights. But it isn't without fault. In today's action-obsessed, pace-driven narrative, there is little place for the kind of stories Trek did best, and what is found here. Technobabble does rule, thoughtful examination is needed, and even I who adore all this, especially when it's wrapped up in confusion for a specific character, felt that some kind of action would have been good in places, besides the short battle with a couple of Klingons (although the future 'D' did look so cool slicing upwards through them!). And I suppose it is a shame that in their last episode none of the existing characters except Picard experienced the events.

But the good outweighs the bad (and the Evolution goop stuff), providing a heartfelt and poignant series of connections between people. Stewart's performance was especially strong, and on his bedrock shoulders the whole episode stood. He was superbly irascible, tenacious and impatient, just the way you might imagine him turning out, though 'Nemesis' admittedly shows a much more mellowed and comfortable Picard - but then that was only a few years after this episode (maybe ten), and he still has time to grow into that old man!

It does feel strange to see Worf and Deanna so close, and it's not really ever explained in the films how she returned to her love for Riker. I suppose with the disruption of the 'D's destruction, and Worf's leaving for new places, pulled them apart? Tasha, though unable to disguise a slightly less fresh face, is wonderful to have back, and O'Brien shows that his posting on DS9 was not the last time Picard saw him (I always felt he should have made an appearance in one of the films, but being a feature film star in his own right, the pay would probably have been too much for a small cameo to be worked in just for the sake of it). Q works best when he's providing clues from a position of power, rather than using people as an excuse to show off, and he has one of his best, if relatively short appearances here. And lastly, I didn't realise Geordi's 'First Contact' eyes originated here! That was a nice little gag.

****

Day of The Dove

DVD, Star Trek S3 (Day of The Dove)

When the Klingons are involved you always expect something good, and this is no exception. The first appearance of female Klingons, and probably their red transporter beam, and one more ship to see. I think Kirk should have kept that, to give to Federation scientists for evaluation. But that might have been an act of war, and according to Kang, war isn't currently an official state between them, as he threatens that Kirk's actions will provoke war and Kirk does the same.

Still no mention of the Organians and their powers of stopping combat, it seems that the Klingons pick a fight with anyone in the area, rather than worrying about policy and such. They differ with later variants in that regard, but at least we know that they are more human than later ones. The women have this trait even more, if Mara is anything to go by, as she is pretty subdued and quiet. This may be something to do with her scientist leanings, so she could be an anomaly. Kang obviously saw something in her, as he married her, and he seems a man with pretty good judgment compared to some of his race. A very good Klingon he made here, commanding, fighting, knowing when to listen to reason (eventually) and showing his strength by allowing his mind to be changed. They should bring him back...

There isn't a whole lot to read into the episode, it's much more an out-and-out actioner, but there are undertones of learning to live with other races. One of the best scenes is when Spock begins to lose control as Scotty heaps slurs on him and his people, and grabs him, ready to beat his head in, only stopped by Kirk (using two arms to stop his one!), before reason and logic return. McCoy has a similarly powerful performance, as does Scotty, as both rant about the Klingons. Chekov gets another chance to scream in torture, and goes AWOL to fight them. When he was saying about his brother I was a bit confused, wondering why I didn't remember that fact, but thankfully I wasn't being affected by the creature, it was a fabrication!

The creature was well integrated into the visuals and felt like it was moving, and the red glow as it's power increased was an effective visual. The effects were used very well, from that creature to the destruction of the Klingon vessel, you get a real sense that these things have moved on, incrementally, and it would be interesting to see how they would have progressed if the series had continued into the seventies. Something else I wondered about was the fate of the Klingons aboard the Enterprise at the end - presumably they would have been set on neutral territory or handed over to one of their ships with the uneasy truce.

Funny when Kang jovially slaps Kirk at the end and he almost topples over! Another joy of the episode (beside having Klingons and getting to see more of the ship), was that the majority of the characters get well used, with only Uhura missing out on any action. She almost looks sad at one point when they leave her on the bridge (the powered down life support lighting made for a more contrasted picture, one I wouldn't have minded them using all the time). The only real disappointment is the equation: Sulu + swords + Klingons running round the ship = no fencing action for Sulu. He had a sword in his hand, he was given command of Engineering at one point, but we never get to see him use it! Unbelievable, and a huge missed opportunity. Apart from that oversight it had most things, with only an occasional slow middle scene to lose the pace. Season Three continues to be strong.

***

Velocity

DVD, Smallville S3 (Velocity)

That ending seemed so much more realistic than we're used to. I'm not sure if that's a good thing or not. I was fully expecting for Clark to break into a grin and for the scene to end with them shooting hoops in that typical 'Smallville' feelgood ending. It's happened before, but it didn't happen this time. In a way it's a brave decision, but in another it further shows not how far the series has come, but how different. A bit like when Clark tells Pete he's not special, only different. The first two seaons felt special. This feels... different.

I can't complain about a Pete episode though. At the beginning when Clark sees his friend get out of the offending car I wasn't sure if it was shock at seeing him in that situation or surprise at seeing him in the episode at all! Because, facing facts, Pete's character was lost a long time ago. Clark says he's taken Pete for granted, well I say the writers have taken Sam Jones III for granted, and long ago lost the sense that he was in any way essential to the series. Even Mrs. Kent gets more scenes than him. It's a really sad thing, but it's something that happens with a long-running series. There's usually one character that is surplus to requirements, that is lost amid the other character's storylines and becomes a mere hint of the creation they once were. You can argue when it happened, how it may have been the death-knell to let Pete in on Clark's secret, or later, but the fact is, whether he was in on it or not, he still wouldn't have been used effectively.

And so we get a Pete episode, and he's acting so out of character that I was waiting for the Kryptonite twist, but it turns out Pete's simply been feeling lower in self-esteem. This doesn't scan with what we know of him, how he always got the girls and had fun, how he was friendly with everyone, and was always first up for the adventure. That's not the only thing I didn't like about this episode. There are shady messages and a lack of consequences that is both disturbing and yet it isn't something new. Usually the baddie gets killed, we should be used to it. Only this time it's a direct result of Clark, and the baddie is simply a crooked guy rather than a meteorite monster. Yet no one gets in trouble for it? And Jonathan's talk about grey areas seemed very much against what the character has always been about. And Lex' smug approval of Clark's actions, though never spoken are pretty obvious. It's like Clark has taken a step closer to his way of living.

It shows how far Lex has dropped that we take it for granted that he'll bully and cajole people to do what he wants as in the case of the Doctor who treated Adam (and you knew he was going to turn out far from normal, it was inevitable, though at least it gives his story some purpose), but now he does it completely without guilt. You're no longer quite sure exactly what he's doing. Before it was simply a case of curiosity over Clark, now things have become a bit more complex. A shame then that Lionel wasn't in it again, but Lex does enough for the both of them. It still feels strange that Chloe kind of reports to Lex, and again moments are lost where it could have been Clark, Pete and Chloe banding together. I suppose it reflects their growing up, and things never remain the same.

The heart attack was a bit of a letdown, when you wonder what it could be at the end of the previous episode affecting Jonathan, but is a clear sign of the consequences Jor-El spoke of. So it ends on a sour note, many of the characters aren't quite comfortable to watch, and the effects weren't spectacular... but it still feels like a good episode. Plotlines are beginning to constrict around the characters like snakes and the future looks bleak, but the ongoing stories are undeniably intriguing, and, at least in some scenes, there's a feeling of pleasantness and familiarity. Much has changed, but unfortunately there is still much that will.

***

Sleeping Dogs

DVD, Enterprise S1 (Sleeping Dogs)

It's taken three encounters, but Archer has at last begun to realise you have to treat the Klingons on their own terms. By the end of the episode he's ready to bluff the weakened, but angry shipful by threatening them till they go away! It's always good to have the Klingons aboard (though not literally!), and as I've said before, you can't beat a creep round a dark, mostly empty ship. There are always striking visuals, with the torchlight and atmosphere, and they nailed the Klingon side of things too - the terrible smell, clunky design and throbbing under the deck plates.

I supposed the only fault is that nothing much happens, it's not about anything, or a straight up actioner, or character-driven drama, but it has a bit of most things, and the interest comes from the atmosphere and the view of a Klingon ship, right down to live Targ's in the galley! It is also very nice to see Hoshi fight down the urge to avoid her fears and face danger head on, in true Starfleet fashion. The only bit I didn't like was the Vulcan mysticism. Can you imagine Spock twiddling some crewmates hand to make them feel better?!

I was so glad the cold Reed had didn't become the inevitable solution to the episode, as it so often does in sci-fi, and was merely a side story, maybe even a decoy in case you guessed where things were going. A rounded episode, though you'd have thought Mayweather would have been selected to pilot the shuttlepod. At least we got an example of Klingon Warrior spirit as the captured female takes on several security and a couple of phaser blasts to be subdued!

And Vaughan Armstrong, the ever-versatile, must be mentioned. He who usually plays Admiral Forrest - I saw his name and that's what I expected, but he turned up as the Klingon Captain. A brave move as he's so associated with the Admiral role on this series, but he pulled it off convincingly (not being a stranger to multiple roles, to say the least!).

***

Good Shepherd

DVD, Voyager S6 (Good Shepherd)

Some really nice effects in this episode. It begins with a shot unlike any we've really had the opportunity to see before, as the technology wasn't up to it, but we get to see a zoom from the ship in wide shot, right up and into the ready room window where Janeway is standing! We also get another shot like this, but out of the junction room window and away from the ship. These two effects sum up the episode in a way, because the Captain and all the regular 'heroes' of Starfleet are up top on the bridge, while some lesser crewmen have fallen through the cracks a little and wallow in the bowels of the ship, avoiding what they can of other people and situations that most officers would want to be a part of.

It's another take on episodes like 'Lower Decks' in TNG and 'Learning Curve' from Season One. You can identify with these people - the prickly, brainbox that doesn't want to interact with his crewmates; the hypochondriac, too afraid of unknown germs to ever go on an away mission; and the insecure, inexperienced Bajoran whose brain is wired differently. None of them feel part of Voyager, and this episode gives the Captain a chance to connect with these 'standed sheep'. I love the integration of the Biblical parable of the lost sheep, and how the shepherd left the rest of his flock solely to rescue this one. And it's heartening to see Janeway do the same.

In one sense you can complain that in this future people aren't supposed to be like this, and this is certainly true of most characters we see, but there will always be those of us who feel insecure, who make mistakes regularly, or who reject company, and it's a delight to see these damaged souls brought out a little bit from that by a caring Captain. The effects are strong (especially the creature inside Telfer and the beautiful planet rings), but it is the heart of the episode, the scenes where Janeway gets to know her charges, that are best. It's criminal that they never brought them back, but perhaps they felt their story was complete, and that, though they may continue to perform less than their colleagues, they will at least have learned something, and realised that the Captain values them. And that is perhaps the most important thing to learn.

****

A Man Alone

DVD, DS9 S1 (A Man Alone)

Strikes me as being a little raw still. The episode was the first filmed after the pilot, so that accounts for it a little, but some of the characters aren't completely comfortable with their situation and maybe that's the actors, or it's intentional, but I think it works for this situation. They are new. They are uncertain of their jobs here. They are waiting for something, almost.

The impression is that no aliens have yet come through from the Gamma Quadrant, that however, the station has become a hub as aliens of our side clamour for a 'piece' of the Wormhole and the opportunities it may bring. Ships have gone through, though strangely not the Runabouts so far (except the initial discovery), including a Vulcan ship! So the place is somewhat unsettled, and in flux, not aware of what regular life will become.

I would say the teaser doesn't quite live up to the rest of the episode, because I always feel a teaser should set up the story and leave us wanting to know what's going to happen next. Some teasers are better than others, and this was a fine introductory scene between Dax and Bashir as he continues to 'pursue' her in his puppy-like way. It just doesn't lead to the rest of the episode. I thought it began with Ibudan's murder, but that came a fair bit later. That might have made a more punchy open.

Life on DS9 is different to a starship, and this idea is supported by Keiko O'Brien's first appearance, unhappy with the living conditions and lack of a focused community, especially concerning the children. It's brilliant to see her, and she gets more to do than her husband. He always knows what to say... not! Trying to give a career woman help wasn't the best way to go, but you've got to feel sorry for him. The multi-leveled bar is a very realistic space, as Odo and Quark see and overhear people, and later Dax and Sisko do the same. I was expecting the gag about Quark's ears being finely attuned to sound, but that never came. Little Molly too, makes her debut. I reckon she wasn't told what was in the present Miles gives his wife, because she looks so fascinated by it, and excited when it's revealed as a shiny bell!

The series still has a long way to go before it slips into its own skin. Like the people and the place, it is unsure, but full of potential. Watching it from my perspective of knowing the butterfly this larvae is to become, makes every scene an interest. Take the Odo/Quark scenes. It's early days yet (as with the pilot when they had their  banter), but already Quark is teasing and sparring with the constable, and even half admits to others that he is the closest the changeling has to a friend. Not only does he stick up for him, but also offers to assist in the investigation, proving that he really does have an acceptance of Odo that others don't. When Odo suggests he could join the Ferengi's organisation, you wonder if it was a jest or, from the way he frowns at Quark's assumption of humour, and grabs the PADD out of his hand, a half-meant idea. If he was out of the job he would need something to do, but he's not thinking straight.

Zayra, the man who incites others against Odo is an interesting one. Did Ibudan employ him to do this or were they old pals? And what happened to the clone that was grown in Bashir's House of Horrors? I think they mentioned he was settling down to a life on Bajor, but his existence is a Trek episode in itself. How developed was he, and how much did he retain of Ibudan's personality, and did he feel regret for his counterparts actions? All these would have made ripe pickings for a sequel!

There are really four storylines - the Ibudan murder, Odo hounded, Bashir and Dax, and the Keiko/school thing. Maybe too much to squeeze in, but they needed to ground some of the characters that hadn't had a proper chance to shine, such as Dax, although she still seems a little aloof. And we get to see how Jake has been spending his time, and the first stage of an epic friendship between him and Nog! Their mischief is a perfect example of their age, and the flea-like critters colour-changing their victims skin was a funny idea, well presented. Rom, too, is introduced, but as I mentioned the rawness, he is one that feels very different to what he became, at this point still trying hard to be a gruff, unfinished Ferengi.

The other characters get more interaction time, and we get to see a more relaxed side of Sisko, and the social side is still being ironed out. Kira doesn't feature much, but she was the focus of the previous episode, so that's fair. A good example of a DS9 story, with a kind of space opera, station community, with little of the action adventure we're used to. But these are the building blocks upon which greatness is built. The conflict so far has come to them, and the busy-ness of the station has not given time for boredom to set in. If anything they don't have enough time to fit all that they want to in. This will change as the season settles down, and the characters are more established.

While the action is minimal, the story is good - I knew Ibudan was his own murderer, but I didn't twig who the old guy with the beard was. That moment was the best visual, because he looked completely different. I thought they'd explain it away as cosmetic surgery, but when Odo rips the face off it was so clever. I'm still not sure if it was another actor or not! And whenever the camera focuses in on a lone baddie which Odo is looking for, you immediately start looking around to see what he's going to be! A fun pastime.

***

For The World Is Hollow And I Have Touched The Sky

DVD, Star Trek S3 (For The World Is Hollow And I Have Touched The Sky)

I'm all ready to start hating these episodes, what with the bad reputation Season Three has. I'm not saying it won't go wrong before the end, but so far I'd say the episodes have been on a par with both previous seasons. Somehow, you just can't fail to enjoy these characters! Another great science fiction concept is given a Trek try out, this time a generational, asteroid-bound society, believing itself to be on a planet. If there's a fault it would be reusing the footage from the earlier 'The Paradise Syndrome', and maybe the lack of the other characters, although Chapel's brief scenes are strong, especially at the beginning where for once you see her arguing. Chapel never argues with McCoy, except this time it's about his life.

Good start, but this was another of those I remembered from childhood as being dull, dull, dull. This was most likely because all the significant action occurs near the start, and the rest is mostly talk. How people can accuse the original of being all action, and TNG as being all talk, I don't know. This is a clear example of something Roddenberry built on to create TNG: a bit of proper romance, not a fleeting kiss, and onto the next planet, McCoy practically gets married and intends to spend his life on, or in, the asteroid.

Natira was a very good character. Believable as an, at first, imperious ruler, and then a wife-to-be, and a defender of a confused and damaged faith. She is obviously a good judge of character as she immediately senses something different in the doctor. Unless she simply prefers blokes that don't fight all that well! I was wrong, there was something else wrong. We haven't seen such awful millinery since 'A Taste of Armageddon' and these were worse. The only attire that looked expensive was Nat's own wardrobe.

The story was slow, but carried by such real performances it never felt boring. Perhaps modern film-makers should take note? There were enough little pieces (such as the Old Man) to keep your attention piqued, and the thing with McCoy felt so final and was played so convincingly that you could believe they were about to write him out if you didn't know any better! It made a pleasing change to have him the focus and getting the girl, etc, while Spock and Kirk did the rest.

The heating elements in the Oracle chamber were a brilliant idea - I've seen rooms filling with gas or crushing together with spikes, but this seemed a fresh idea and used the excellent set design well, making it more than form, but function too, and the visual effect was unique. I also liked the computer room behind the Oracle monolith (although that extreme heat wasn't going to do the equpment much good, was it?). I suppose the parting of Natira and McCoy was a little easy, but I was glad she wasn't killed off as seemed likely, but duty was what kept them on separate paths. Nice of Kirk to give McCoy the chance to see them when they got to their destination, and one thread that should have become a sequel episode.

A minor niggle was that the asteroid was supposed to be on collision course with a planet that it would hit in 300-odd days. Yet the planet they were supposed to be making for, and once Spock had corrected the navigation, were heading for, was also in 300-odd days range. Either I misheard or someone misunderstood somewhere along the script line. But another pretty good episode. Where now thy reputation Season Three?

***

Terminator Salvation

cinema, Terminator Salvation (film, 2009)

I suppose it does what it sets out to do, which is to continue the Terminator storyline. I'm not sure the third film deserved or needed to continue, but it's here, the fourth in the series. This and number three kind of lost what made the first two films so good (okay, I haven't actually seen the first one, but if it's anything like the tense chase of 'Judgement Day', it was great), and written themselves into a corner. Because the interest, for me at least, was in the mission to protect a future leader in real world settings, from futuristic, unstoppable forces, with the kind of manufactured cool that 'The Matrix' oozed with. You can argue those films were an amalgamation of sci-fi ideas seen before, but they stylishly melded together to produce a trilogy of good, but not great story/action/characters.

The only character in the Terminator films that had that kind of appeal was Schwartzenegger's cyborg, and even he became a bit of a figure of fun, trotting out his catchphrases, and doing more of an 'old Arnold is back one last time' thing. The other characters, including John Connor have always seemed merely ciphers to action, and I never believed this man was so special he would one day unite humans to battle the machines as he supposedly will/does. They've softened that aspect a bit, making him just a soldier, a leader of a group rather than all forces, but he still doesn't have the depth that even Neo (a relatively flimsy action persona) imbued. You don't really like him, or care that much whether he lives or dies. Perhaps they should have brought back the actors who played Connors and his future wife, but it may not have made much difference. The only character that held much interest was Marcus White, the con turned human/cyborg, who doesn't know what he is. While he does tend to overdo, or underplay the anger and anguish at what's happened to him, he at least elicits some sympathy as Connor's men hunt him down.

There were moments of the film that were comfortably entertaining, such as long sequences where Marcus escapes from Connor, or the escape from the 'motorbike' cyborgs. Put simply they might as well have stuck to the escape formula, because, while the other stuff (big bangs, a bit of plot and not much else), is stimulating at the cinema with its rumbling booms and flashing visuals, it doen't make for a rewatchable experience. But this is one of those blockbusters, the ones you just go to enjoy and pretty much forget about until the next one comes along and you try and remember what happened.

The people I went to see it with didn't like the ending, which left no suspense as to what happens next, unlike say, 'The Dark Knight' which leaves you waiting for the next installment. I wasn't underwhelmed seeing this, but I enjoyed the 'Star Trek' film more. While that didn't do what you were expecting, it at least had a lot more colour. They were both action for action's sake films, but Trek has more potential. (At least Anton Yelchin had a proper role in this instead of the parody he performed in that). And the Borg were a lot scarier than these robo-creatures that were either the Terminators we are used to seeing, and that were exciting and new back in 1992 or whenever the second one came out, or sub-Matrix types.

Nothing really happened that was unexpected, and I suppose that's fine. The type of film you just watch for a bit of fun, and as I say while it was never awe-inspiring, and ended a bit limply, it's a film to watch and forget. Plus, it didn't feel like a Terminator film until Schwartzenegger appeared (although I'm told it was just a CGI man; looked pretty close, apart from being a bit plastic-ey), and I thought maybe it would be the end of Connor, remembering the last film where the Terminator admits he killed Connor in the future. For a good way through I was wondering if the half-human Marcus would turn into the familiar Terminator that goes back in time, but that wouldn't have made any sense really, even if he did look vaguely similar in the face.

If they do more of these, I'm not really sure what I want from it. I suppose the kind of tension and characters that matter as in the first and second, with action that isn't in shaky-cam as all films are these days - a move back to the precision of the 'Mission: Impossible' and 'Matrix' films is what I'd like. Futuristic war films and apocalypses have been done to death. But like the money men probably reckon, there's teenagers that haven't seen so many films and don't recognise the cliches they're seeing, so there's always an audience. So it's a shame we live to see such things, as they are always going to appeal to the lowest common denominator. And I went to see it anyway, so they won. But Terminator as a brand now carries no expectations, we no longer expect greatness. Let's hope the next one gives us some to exceed.

**

The Tholian Web

DVD, Star Trek S3 (The Tholian Web)

It promised much, but only partially delivered. The teaser is one of the better ones. There's nothing so creepy, and easy to achieve budget-wise, as an empty ship. And one filled with Starfleet corpses that have killed each other takes it up another level. Having Chekov along was a nice touch (and a visual link to Star Trek II) - he had a good go of it this time, getting to act crazy, sending Spock reeling and attacking Sulu, not to mention screaming on a medical bed!

The beautiful effects of this episode begin with the green-tinged shimmering of the unstable Defiant, and continue with the phasing appearance of people and equipment. If there's something worse than a ship full of dead officers that killed each other, it's being on one that's about to disappear. I remembered this as a child as being a rather boring episode, and I was partially right; there are a lot of slow conversations. I also thought Mr. Spock was there on the bridge seeing Kirk disappear in front of his eyes... In between the slow moments are some good scenes, especially for the other players. Season Three in general has given each a bit more, since the last few episodes of S2 began to focus almost exclusively on the big three (or even two).

Uhura had a good scene where she thinks she may be going mad, seeing the phasing Kirk in her mirror - an apt visual, considering the results of the 'Enterprise' two-parter that deals with what happened to the Defiant! Knowing of those episodes with their Tholian views, makes this one even more interesting. The Defiant's vanishing is not a major plot point here, it's Kirk that really matters, and the ship's importance, get this, fades as the episode draws on! But it is good to know that almost forty years apart they could link two series', two stories so cleverly without ruining continuity (mark that JJ Abrams!).

The real mystery is why the Tholians took so long to make a comeback. Okay they were mentioned now and again, but they were so enigmatic and completely fascinating from their appearance and ships, that it's safe to say there was never another race similar. Just when you thought things couldn't get any worse for newly-minted Captain Spock, along come their arrow-shaped ships to weave a web.

There are some logic problems (perhaps greater than those facing Spock!) in this story, starting with the role reversal of Spock and McCoy. Usually it's the doc who decries abandoning someone, but this time he urges Spock to save the ship, while the Vulcan would most often take the logical approach of the needs of the many, yet seems reticent to assume the worst, and command. It makes me wonder if he had a touch of the Riker syndrome - serving on this ship under this Captain fulfils him so much he doesn't wish for any other way.

The memorial service is very brief, but very dignified and befitting the good Captain. Scotty's order to attention and short personal thoughts of the available crewmembers is very realistic. What isn't so real is the lack of tension. They had so many great opportunities, and there were moments, but they were sparing. You can argue that it makes a situation more tense when you don't know who's going to pop next and start attacking you, and this worked great with McCoy's orderly (director Senensky using the same wide-angle lense technique from 'Is There In Truth No Beauty?') going for him, or the other moments of random outburst. But despite these events you never get a sense of rising tension that was evident in such episodes as 'Balance of Terror'. Events happen, people talk, and by the end everything falls into place comfortably (we skip through the web, Checkov's gonna be fine, we just need to pick up the Captain and we're done). The pay off to Kirk's return is very mild.

I like the humourous ending, and the bond between the three it implies through their talk, but you can imagine one of the modern series would milk the Captain's return from death, to... pardon it, death. And you even have Scotty making a bit of a joke as McCoy gives out the antidote, asking if it goes with scotch, and grabbing the flask, when a few moments before he said he only had twenty minutes to perform important tasks! Tension is sacrificed for humour, leaving the episode disjointed.

For all that it is a special episode, with effects worthy of the Emmy it won, a new race, new ship, good scenes every few minutes, and a true ensemble feel. Yes, the pace lags, and some scenes were unnecessary, and the space suits look like typical silver sci-fi garb (I love them, they look somehow real, and dramatic!), but ultimately it stands as a good episode all told, made even more special by the 'Enterprise' tribute.

***

Dear Doctor

DVD, Enterprise S1 (Dear Doctor)

Cosy. That's a suitable word that sums up the style of this episode, if not the content. There are nice little scenes set at night with campfires burning, or in empty rooms in the early hours. I love that kind of thing! The music by David Bell is superb, evoking the kind of scores that worked so well on Voyager, with a kind of knowing, but comforting sound.

Giving Phlox the limelight is another plus, with the voiceover style a rare event on Trek, giving the episode a distinct feel of its own. Another plus is the continuity stuff with reference to the Ferengi (you shudder to think what they did on the planet - probably sold them some defective medicine), Jeremy Lucas (who I believe we later meet in Season Four, though played by a different actor), and of course Crewman Cutler, the likeable recurring character from 'Strange New World'. Sadly this is her final appearance I believe, as she died in the following years. They set up the friendship between her and Phlox (another in a long line of things they never paid off!), and she was generally charming (and I'd have loved for her to recur more often), but I didn't feel it was appropriate for her to pursue the Doctor, even when she knew he was married. It made her look cheap. I would have been in favour of a nice ongoing friendship between them though.

Phlox gets to have some good 'connecting' moments with several people, particularly Hoshi who he is in the process of teaching his language to. T'Pol and he share a conversation, and the Captain has words (not the first time a commanding officer has disagreed with a doc!). The crux of the matter is a typical Prime Directive story, with Archer even namechecking this as something that will no doubt be formulated one day, but I didn't feel the story went quite deep enough to make a solid go of it.

I never like the way Trek characters assume evolution is scientific fact (it's actally theory, unproved), but that isn't my main problem. The story wants to be both a 'Phlox's Day' episode, and an examination of the kind of problems later crews faced in the philosophical department. It doesn't go one way or the other quite enough, and with only 42 minutes neither is satisfactorily explored. The Phlox side of it gets better treatment, but at the expense of getting to know these (frankly dull) couple of races. At the end they decide not to give them the tech or knowledge to ensure survival and the alien doc just calmly accepts their decision.

The alien characters aren't built into people, they are merely there, so that when the damning decision not to help them as much as they could is reached we don't care as much as we should. I have to say I like it when a character is focused on, and on this series it tended to be less often than the others, but it does feel a disjointed affair and so not the kind of satisfying, feelgood whole that it should be.

**

Past Prologue

DVD, DS9 S1 (Past Prologue)

I noticed it was fluently directed, going from one scene to the next comfortably, and well paced. It showed a lot of promise, but the elements were perhaps a little raw and undeveloped. Certainly not a dumb story; a complexity carried on from the pilot evident, with issues about terrorism and who is your enemy.

The main importance, apart from being the first proper episode, is Garak's introduction, someone who was destined for great things, and a detailed past and existence that many Trek regulars never got on other series', plus a presence on the station to add some spice. Bashir's nervousness and uncertainty at meeting this Cardassian clothier is very well played, and while the English doctor comes across as a bit jittery for a Starfleet officer it works so well, with so much nuance to the performance, like the plant that gets in his way as he tries to relax, or the way he looks at the suit in the mirror. He is comedic, but believable, and excited and full of life, but as yet without a direction that's sure and steady (as opposed to Sisko, who seems a lot more assured this episode), apart from his medical role of course. At this point he could go in any direction. I love the fact that even at this early stage you can tell O'Brien thinks he's an idiot!

Some characters are used more than others (Quark and Jake's presence is missed by their complete absence - you wonder what Jake is up to, running round the station), with Jadzia and O'Brien the bit parts (though once again the Chief gets to display his knowledge about the cultures central to DS9 and further his logical position there, by advising Sisko on Cardassian atrocities as he advised him last time on Bajoran women).

Kira shines, and it is her episode, as she comes to terms with divided loyalty, but sees the way forward to Bajor's best interests, though it be with Federation assistance. That she comes to a realisation of the need for Sisko, but is still left sad about her former colleague, makes the story much more realistic, and the commander's presence encourages her she did the right thing, as she knows she did. When they walk off together at the end it is a symbolic gesture that shows they have reached some common ground. They both want the best for Bajor's future.

The Odo and Kira scene is another very successful character-building moment, where Kira comes to seek advice from her old friend or colleague, but can't quite bring herself to admit it, while Odo keenly notices her reticence and comes right out with it. There's no romantic sense at all, and if he loves her this early he certainly doesn't show it. I think he simply respects her and she is someone he accepts as a person, knows her past and maybe appreciates her as a strong force on the station. She gets to be a bit more vulnerable instead of the all-shouting all-angry version from the pilot. Her appearance is more suited to her being in this episode too. All around she comes off a lot better, and a more rounded person, and that's partly thanks to the Constable.

Garak is at his most craziest, with a slightly 'Darth Vader in A New Hope' style - what I mean by that is that his characteristics are more to the fore than later appearances. I don't mean he overacts, just is less contained than we become used to. But Season One is a time for introductions. The ironing out can begin later when things are more fully established. He certainly brings a new angle to the station and highlights the series' unique situation that couldn't easily be replicated in the ship-bound series'.

The only complaint I could level would be that the Duras sisters aren't fleshed out, but simply there. They aren't really a key feature, more of a backdrop or link in the chain, and I was so sure Quark was the one dealing with them! The appearance is better than their final shot on TNG's Season Seven though (especially with our first bit of Klingon dialogue in the series!). The promenade hasn't yet been shown in its best light yet, the pieces not quite in context, so you're still not aware where things are, such as Garak's shop for example. A reasonable start, most interesting on first viewing I would wager, but not yet firing all it's got. (Note the insertion of the wormhole into the title sequence, now that we know about it!).

**

The Empath

DVD, Star Trek S3 (The Empath)

A tough one to call, this. Is it a strong, abstract, conceptual, moral and stylised set of pieces, with a satisfying look at the Trek triumvirate? Or is it a slow, boring, not terribly logical, money-saving situation that excludes the other characters? A bit of both really.

An interesting teaser sets the story off on a tangent which is discarded as soon as the episode proper begins. Thrown into a strange, black place, with indeterminate shape or size, they meet a mute alien, McCoy insists they call 'Gem' (because they can't call her 'hey, you'). Other aliens, the Vians (pronounced Vy-ans, not Vee-ans as I always supposed), turn up, and proceeds become a bit 'The Cage'/'The Menagerie', although it's actually the alien woman who's on trial this time, or to be precise her whole planet. When we get to understand the motives and reasoning behind all the events, the story shows a few cracks, but up to that point we're left, as our people are, in a confusing place.

Stuff happens: Kirk, then Bones get tortured, Gem heals them by taking their pain (shades of Sybok perhaps?) physically to herself, which in turn does her damage. The huge set-like... set, is one of the elements of the episode which half makes you wonder if it's great, half, that it's a cost-saving device. The abstract nature of it, and the surreal way it is shot with lights on the main objects or people, make it unique. But it still feels a bit like a construct. But it is a construct strictly, made by the aliens...

The guys they were originally searching for appear in tubes, dead in the positions they were taken in, an example of what our Starfleet heroes may become. By the way, it's never explained how all that dust accumulated in the research station - could have been an unstable area, so rocks fell on it, thus creating dust... but that doesn't explain the huge cobwebs!

I think the torture scenes were what got the episode banned from BBC TV on original showing, but it's not frightening these days. More disturbing by far is McCoy's weak state afterwards. The makeup is good, with the effects of wounding to face or wrist disappearing and appearing from one face to the other. The idea was great, but the subjects moved too much which lessened the illusion somewhat. The music as Gem performs these acts of self-sacrifice is touching and is part of the episodes best moments.

Unfortunately, though the three main characters come across so well, continuing their great friendship and working relationship, including a nice moment when McCoy compliments Spock on his bedside manner as he lies dying, you know, as soon as you see the three beam down that it will be to the detriment of the other characters. This proves so, with Uhura and Chekov not even appearing. Onboard the ship, when Scotty says they'll just have to sit back and relax, waiting for the planet to become accessible again, I hoped for a scene where he and Sulu go off to the rec room for a game or a talk, or perhaps with Chekov. But they aren't permitted such a character-building scene, where one could easily have been included, and perhaps the pace would have been picked up with less time for the slow conversations beneath the planet.

The ending, too, is unsatisfying seeing as the aliens are convinced by a few words from Kirk, and we assume make the decision to save Gem's people. The quandary (ignoring the illogical way they use to decide - inflicting pain on some, to make a choice of which race to save?), isn't really explored, except from Gem's angle, of overcoming fear to sacrifice herself willingly. A very good story in itself, but not mined to full potential. Couldn't the Enterprise do something to help the other planet? And the aliens just float off, and we dissolve back to the bridge for a quick laugh (even though I loved Scotty quoting the Biblical parable of the pearl of great price!).

The resolution is a bit weak for the subject matter. I could see this with a bigger budget as a film, with perhaps more emphasis on the mystery and experiments, eventually leading to the huge, world-spanning dilemma, with the fates of two peoples in the balance and brought to the fore. The potential was there, and some of it came through, but I would have to say this was one of the episodes that failed more than succeeded. But only just - I thought it boring as a child, but it wasn't as bad as I remembered.

**

Is There In Truth No Beauty?

DVD, Star Trek S3 (Is There In Truth No Beauty?)

What a genuine surprise. I didn't expect to see any episode this season with such a level of depth and so many great moments! There are almost too many things going on to remember them all. You have big ideas, action, very strong direction and enjoyable character moments! Wow. To begin with I was a little confused, as Dr. Jones seems to have very little context. It could be that I wasn't paying close enough attention, but it took a while for me to realise she was not Vulcan, not alien, but human, who'd been born with telepathy (presumably some alien DNA in her ancestry gave her this ability - Betazoid crossed my mind for some reason, when I knew they weren't introduced until TNG!), and lived on Vulcan for much of her life. She moves and acts very Vulcan-like, in a very strong guest appearance.

The first thought of the episode was not about Jones, but concerning the Medusan. What a good concept to introduce tension. An alien that cannot be looked at or it will induce insanity to death, even though it is benevolent. This was emphasised by all but Spock, even the heroic Captain, having to leave the transporter room, and evacuate the corridors! I guessed the only way they could pull off such an idea would be by leaving it hidden. That also increases tension. The effect of the box opening was very cleverly an intense visual on the eyes, as if even the glow from this thing feels hard to stand. A real achievement.

The dinner scene is one of those great scenes, with familiar characters dressed to the nines (Scotty incorporates a kilt into his dress uniform!), adding class to the production values. I thought to begin with Jones was already mad when she looks at the Medusan unshielded. Maybe her telepathy gave her an ability to appear normal, I thought. When she sees someone think of murder I considered it could be herself in a kind of split personality (especially with her surprising jealousy of Spock), who was going to murder. The only other suspect had to be Marvick (must say it was quite a thrill to have someone involved in the design of the Enterprise on board!), but I also posited that someone could be walking past outside. That sequence was a joy to watch, with all the good humour, camaraderie and sophisticated writing blending so well. The scene with Marvick in Jones' quarters seemed quite a rare moment, as we don't often see scenes with only guest characters talking.

I have to mention the directing. It wasn't a fresh director (Ralph Senensky), but it sure felt like it! It seemed like a new guy had come in, enthused and excited about the characters and possibilities of their situation, and transferred all that onto the screen. The wide angle views are so rare on this series (and we even got a view of the bridge from the turbolift, a view we never see!), and the shots as if it's through a person's eyes enhanced the intended mood so much. The organ-like sinister theme helped, and it was so good to have a new theme that was so effective. Marvick was well acted, his crazy, love-stricken persona transferring to a fear-stricken insanity, a bit like Dr. Van Gelder in 'Dagger of The Mind'.

The fight was impressive (though you'd have thought Scotty would have noticed the mad look in his eyes and not handed over engine control - I loved the earlier matey-ness between them, and it struck me that this is one of the things missing from the series. DS9 has Bashir and O'Brien, Voyager, Paris and Kim. Maybe Sulu or Chekov could have had a similar rapport with Scotty). It was ironic Marvick died on the ship he helped design. I noticed Mr. Leslie as one of the security guards who goes with Kirk, stomping towards camera, and Mr. Hadley gets a faceful of fist from mad Marvick.

The episode deals with love, with disability, with the nature of beauty and ugliness, more eloquently than I can express here. Dr. Jones is a fully rounded character that is turned by Kirk's powerful words of truth. She is the rose who has thorns indeed. Such strong metaphor, and so many strong moments, such as Spock's mind meld with Kolos the Medusan. He gets to see and feel differently, laughing, almost teasing Uhura (maybe this was the only episode JJ Abrams saw before making Star Trek XI?), and then loses it in a surge of madness, presented so well in the weird camera views. I could go on (I didn't expect the blindness surprise and that dress/ sensor web, was so good), but I can only say this was a very satisfying episode, doing so much that you want to see, and wrapping it up nicely. I feel it is good enough to be called a classic!

****

Hereafter

DVD, Smallville S3 (Hereafter)

Well what was that all about? I'm not talking about the episode, but the shocking and mysterious cliffhanger. I don't expect something like that, plonk in the middle of the season! The episode itself was a good one, successfully harking back to what made the Season One/Two stories good. A good, layered freak-of-the-week, a sympathetic villain, and quite a lot going on.

My only complaints are the superspeed Clark uses to save the coach, which happened in front of everyone, yet they didn't seem to notice. That stretched credibility too far, within the series' established constraints, where usually he can't do anything like that if people are watching. The other thing was the lack of the older generation; Lionel, Jonathan and Martha. If Jonathan had been more central to the episode his shock ending might have made more connection. As it was it was purely a surprise. Pete again doesn't appear much. It seems there simply isn't room for him among so many others. When he does appear it does feel like an old S1 or S2, with the gang discussing a freak-o-t-w.

As usual with S3 they don't band together to solve the mystery. In this case it didn't matter - I was just glad everyone was getting on fine. Which was a very great relief indeed! Adam showed up again (ergh), but at least this time he was a meaningful part of the story. As the events unfolded I wondered if he'd gone off the rails and kidnapped Lana (forgetting the Dad had heard Lana and friend talking about his daughter earlier). Then I began to wonder if his secret was something to do with the army, amd maybe he'd been a soldier with Whitney. Perhaps he'd been near when he died and Whits had asked him to take care of Lana? Now I just don't know.

There was a pleasingly smooth opening, the central concept that the guy could see people's deaths made you want to see what would happen (unlike some superpowers this season, like the vocal chord one!). The episode had an air of upbeat and positive feeling, when often in this season it's been a drag. People moaning and feeling and worrying. For once it was the new guy who had the problem. And the cliffhanger makes me want to turn over to the next disc right away!

***

Terminator 3: Rise of The Machines

TV, Terminator 3: Rise of The Machines (film, 2003)

I saw this at the cinema after seeing T2 not long before. I remember enjoying it at the time and thought it was pretty good. Maybe I'm too old to be impressed by special effects or maybe effects have moved on so much since then that already the action sequences feel just above functional, never quite reaching the peak of excitement. Too much swearing for a 12 too.

Kristanna Loken (she of 'being in an episode of 'Voyager'' fame), was okay. Arnie was the main reason to watch. He gave us some humour and did the ageing return thing well. But the other characters weren't all that engaging or felt like future freedom fighters. In a way it made me less excited about the soon to be released fourth film, as it had lost the tension of number two and become a typical action film. These days we want more depth I suppose.

**

Emissary

DVD, DS9 S1 (Emissary)

I didn't realise how much foreknowledge was needed to follow so much of the plot and characters in this pilot episode! 'Voyager' starts off so much more coherently, with an easing in of each new person and the story encompasses action, meeting new races, all in the usual Trek way. DS9 is not quite as successful, but, as the series became known for it, starts as it means to go on, with a complex political, religious and conceptual backdrop, with a much more personal story for the central figure of Sisko. I feel 'Caretaker', the pilot for 'Voyager' is more successful in its introduction of Trek ideas and conventions, but 'Emissary' sets up so much more, and with hindsight, more satisfyingly works up the pieces that are introduced, whereas 'Voyager' and later, 'Enterprise' tended to lose sight of it's origins and set-up.

After watching the recent 'Star Trek XI' film, it's surprising how similar the teaser is to this - a main character loses someone dear in a big battle, and an evacuation, with a really powerfully emotive and punchy beginning! I wonder if that part of the film was inspired by this?

The characters are introduced in various ways, and like the series that came after, it's a patchwork, with events not necessarily coming neatly together. Perhaps the biggest arrival for regular viewers is O'Brien, moving from the Enterprise. His scenes wistfully having a last look round his beloved ship are very well played, as is Picard's appearance to give him a send off from the transporter pad. As always with a new Trek, a character from a previous version is on hand to provide continuity. Picard does this nicely, and makes it 'bigger' than any passing the baton sequence before or since (with the exception of Spock in STXI), with both Picard and the Enterprise, and Locutus of Borg.

The episode is probably twice as good when you've seen the entire series, and to see how so much came from scenes in this episode is a delight. It's brilliant that Kai Opaka knows Sisko is the Emissary even though he doesn't, and viewers that have only seen this episode don't either! Very little is explained from just seeing this episode in fact.

One problem was a technical thing, which you don't expect on Trek - in Sisko and Picard's first scene the dialogue plays with a muffled rustle underneath each line, which is barely noticeable, but annoying. Apart from this, I only felt the sets weren't shot as well as we're used to in other episodes, but maybe they are simply different angles that feel strange, as they experimented to see what worked. It gives scenes more energy sometimes, but doesn't always present them in the best views. Then again, this allows the station to unfold on screen like a beautiful piece of origami in subsequent episodes. The sets and effects themselves are still impressive today.

Perhaps Sisko's hardest job was to explain things to such a different race as the wormhole aliens. Explaining Life, Time and the Universe As We Know It, is nothing compared to the rules of baseball!

And I noticed the level of detail poured into this pilot: there's no wormhole in the credits, just in case viewers hadn't heard what the series was all about! They wouldn't bother these days as people would probably know the events of the whole season by the time they watched it... Perhaps the title music wasn't as good? It feel like heresy to say so, but maybe I've got so used to the 4-7 theme, the older one seems odd. I always used to prefer the older version as it sounds more remote, frontier-like and sad, but also with intent to explore, to build and to protect. Perhaps it takes time to get used to hearing the old version again?

In all, the second best Trek pilot, on a par with 'Broken Bow', though it was made about nine years before!

*****

Dial M For Murder

TV, Dial M For Murder (film,1954)

It's Hitchcock. I had heard of it, but knew very little apart from the title and that it was about a guy who wants his wife dead. I expected it to be a bit suspenseful, but at the same time I expected it not to be much good for some reason. It actually was a good film, with a surprisingly real violence level that doesn't fob off the viewer with a less believeable sequence of attack.

I wondered what the rest of the film would be about after the murder or murder attempt, but the first part certainly kept the tension of not knowing if the murder would succeed. The second part held tension of a different kind - wondering if the real events would be discovered or not. To begin with you do feel a little uncertain as to who you should be wanting to succeed. There's a certain amount of hoping the murder comes off, but gradually the cold, calculating evil of the husband loses all sympathy.

The inspector was a very good character and the story keeps you watching to the end. It could teach a few recent blockbusters ('Star Trek XI' among them) how to make a coherent narrative. I suspected quite early that the key would literally be the key to the plot, though I had no idea how or why. I was proved correct in that. Pleasantly surprised would best descibe my reaction to the film. And where does Hitchcock appear this time? In the reunion photograph.

***

Spock's Brain

DVD, Star Trek S3 (Spock's Brain)

Generally regarded as the worst episode of Star Trek ever. I don't recall seeing this before, so perhaps I blocked the memory out, but actually, expecting absolutely ridiculous, boring and stupid moments throughout I was surprised to discover that the episode is pretty good. I can see where people have problems with it (namely the bizarre sight of Spock's brainless body being remote controlled, and the operation to restore the absent organ). It was like Voyager's 'Phage', but not exciting or horrific in any way.

What worked? Sulu in the command chair - so now we know what happens if Scotty's not there to take charge. Or Spock. Or Kirk. The cast feels more like an ensemble, a welcome trend that has returned this season. The idea that this woman and her people were completely different and childlike most of the time until the 'Teacher' went over their heads, and for three hours they were completely knowledgeable. Voyager's pilot was another possibly influenced by this episode, in that it was about a race dependent on machines, living underground, and needing a new 'controller' to replace the old one. Then again, it's probably a sci-fi staple.

It wasn't the crazy remote control Spock that made me think less of the episode, it was the planetside scenes. When they said the inhabitants were huge I was expecting the type of ogres from 'Galileo Seven', but these were pretty much the same size as the crew. The planet set, for some reason, felt smaller and less realistic than ever before. I completely forgot this was a glacial environment as the crew beam down in nothing but standard uniform, when you'd expect suits or furs. There wasn't a lot of ice or snow, their breath never showed, and the illusion was very much lost in this sequence. However, the design improved as soon as they began descending into the planet, with the lift action very realistic (and McCoy's line about calling Chekov to send down his stomach!).

The technology of this planet did look more advanced (I even noticed an M5 set of blinkies working!), and rather than make the episode less believable, Spock's voice speaking via communicator was logical. His brain was connected to the whole system, so it's obvious he would have access to the communications too, and be able to 'ring' up Kirk. It put a smile on my face as Spock found his predicament, as he would, fascinating. He is the best person to have been put in the situation, not least because of that superior Vulcan brain, but also because he would adapt most comfortably to the situation. Can you imagine Scotty? "Captain, you mean I'll never be able to drink Scotch again? Ye'll have ta shut me doon!"

While the conflict on the surface promised a good knees-up, and didn't deliver, we at least got a fight in the underground meeting room (I must mention here that I liked the wooly hats of the guards) - Scotty gets chucked about, bringing back memories of Season Two! Aah, those balmy days. Now we're into barmy days, but if you can accept most things from the series, why not a knowledge that permits brain transfusion? Perhaps there were even advanced tools that were assisting McCoy, so that he could knit bone and skin together afterwards, and a device that made the hair grow back immediately. If so, Picard wants some!

But barmy bits there were. Spock giving Bones oral direction while being operated on, and that line by the main lady. Yes, you know the one. It's sublimely ridiculous: "Brain and brain. What is brain?" I also saw reference to Star Trek II with the talk of sacrificing one to serve the many's needs. Perhaps this supposed worst episode has influenced Trek more than people care to remember?

There was a familiar gaffe on the bridge with Hadley in Chekov's seat, before the Russian is seen in the following shot. And I think Kirk called orders for Spock and then changed it to Scott when they first beam down. It was dramatically different to see Kirk speaking to Spock on his communicator with the Vulcan's motionless body in frame, and helped sell the separation.

I was expecting to laugh at this, but I found I laughed with it, and accepted the bizarre aspects. It could have been because I already knew the episode's plot point, so I was mentally prepared. But I have to admit I also really liked Voyager's 'Threshold'. Am I allowed to say that?

***