The Battle

DVD, TNG S1 (The Battle)

A good mystery which uses the Ferengi much better than their debut did, mainly due to the fact they're not creeping around and bobbing up and down like monkeys! The first officer even becomes sympathetic. The story is a little uneven in places however, with odd moments such as Crusher needling Picard that she can give him orders, then later she meekly does what he says "under protest". What happened to her medical authority? And the biggest clunker must be Deanna being able to sense feelings from the Ferengi, yet it is established that Betazoids can't read the species.

The story keeps you interested as Picard gradually loses himself to the device, and as well as introducing us to some history for the Captain and his old ship, there are some effective sequences involving ghostly imaginings of the Stargazer's crew. I'm not sure if Starfleet wouldn't already have come up with a solution to the Picard Manoeuvre, so it seems odd that Data would be called upon to create one. Despite the mistakes there's some good drama and strong work from Patrick Stewart.

***

Desert Crossing

DVD, Enterprise S1 (Desert Crossing)

Style over substance is a pertinent phrase for this episode. It doesn't have the most conclusive ending, with Archer thinking maybe Zobral's cause was worth fighting for. And that's it. I suppose it's more about how they go about helping people and being prepared for all eventualities, but the message is faint. Really it's just an excuse to have Archer and his mate Trip have a bit of an adventure on a desert planet. And I like that. It could have been more, but it was fine as it was, with the over-zealous and forceful host of Zobral making things more interesting, and some nice desert shots, as well as the macho lacrosse-type game they play, adding some zest.

The story isn't as good as 'DS9's 'Armageddon Game', though they had similar ideas, mainly because there wasn't much tension built up in the enemy's hunt for the pair. Just as interesting was T'Pol confronting Zobral and getting him to work with them. There were also some nice CGI effects, and some good camera work, such as the revolving shot round the table as they eat in the hut.

***

Star Trek VI: The Undiscovered Country

DVD, Star Trek VI: The Undiscovered Country (1991) film

It was that rare fore-knowledge that this would be the defining ending for The Original Series, that imbues this film with something more than its detective/prison drama story. Unlike all the series' that followed it, the original never had a proper ending, so when they went into films it stood to reason that one day they would be too old (and cynically speaking, too expensive!) to keep going. Rather than push on through their old ages, into death, and seeing as new generations were coming up behind them and making 'Star Trek' successful in new ways, they decided it was time to bow out.

It isn't the last time we see most of the characters (only Uhura, and perhaps McCoy, have that distinction, although if we're talking timeline, he is still to be seen in 'TNG'), it is the last time we see them all together (not counting the revisited Tribbles episode on 'DS9'), in a final adventure. Whoever came up with the idea for the emotional signing off of the cast members, literally their signatures written on screen at the end, was a genius, because it is one of the most fitting ends you could have. The characters themselves have just signed off, and now the actors do it too. It ties the two realities together, and with the excellent score from Cliff Eidelmann, the film series goes out on a high.

The beginning of the film is a solid introduction, mainly for the revelation of Sulu's promotion to Captain of the Excelsior, with Janice Rand as comm officer. For years Takei lobbied for a Sulu series, but it sadly never happened. I think it would have been a great idea, though not at the expense of the ones they did come up with. After this, the film takes a long time to really get going. This is not a children's film, in the sense that weighty issues are discussed, indeed, discussion makes up a lot of the film. While some still hold to the 'odds and evens' rule of thumb - that the odd ones aren't as exciting and tend to be more thoughtful, and the evens are the action-packed films - this one is a slower, much more issue-driven story. There are action sequences, and due to the slower nature of other parts, they stand out even more starkly, especially shock moments such as the assassination of Gorkon.

The best films expand the universe, or give us something we've never seen before, and the loss of artificial gravity is one of those. CGI was taking off by this time of the early nineties, and the blood looks impressive even now. The whole debate over getting a lower rating by changing the blood to pink (!), seems strange, as I don't imagine it would be much different in a darker shade. I loved the idea that Klingons would have pink blood, and was disappointed when that was not continued (in the very next film, and certainly the series', they all bleed red), although it's easily explained away as having something to do with the atmosphere of the ship changing the hue, or something like that.

There are some good links to later Treks, with the most noticeable being Colonel Worf, the counsel for Kirk and McCoy, played by Michael Dorn, who was the popular Klingon of the same name on 'TNG'. Another link is difficult. Crewman Dax. 'DS9' would probably have been in early development at the time, but would they have suggested a Dax be included, as a possible previous host for the symbiont, which gets passed down through each new body? It was later proved incorrect regardless, as we know the symbiont was in a female body at this time in history, and since this Dax was an alien, very different from Trill it seems likely that they just happened to pick the same name, but it's fun to speculate.

It's good to see the other recurring characters from the film series, return. Sarek, though he isn't used that much, always seems such a regal and commanding screen presence. And Rand has her best role since the series. Only Chapel is missing, but at this point she had taken on a new role as Lwaxana Troi on 'TNG' and viewers would have identified her more with that role I suppose, which was probably why they didn't include her. There are also repeat performances from Brock Peters as Admiral Cartwright from Trek IV, and John Schuck as the Klingon Ambassador, also from that film. Rene Auberjonois, later famous for Odo on 'DS9', makes his Trek debut as the villainous Colonel West, who makes a different face for himself, much like Odo! The race first seen in Trek IV is seen again as the Federation President. It had previously been introduced on the bridge of the Saratoga, and adds some continuity to the background races, though I felt he looked too much like a Klingon which might have confused some people.

The music has a definite Russian flavour to it, tying into the current events of the time - the end of the Cold War between the Soviets and the West. I missed Jerry Goldsmith's Klingon theme, which I felt should always be used when the warrior race were involved. The music in general is much more militaristic, sweeping and threatening, and provides a suitable mood with the opening credits. The opening up of the Klingon people is at last shown - there are many different types, just as humans (at one point Kirk says 'everybody's human', which works in the story, and also on the other level of everyone is human because they're all actors), and this would be continued into the later episodes.

It's one of the most important films from a historical perspective as it shows how peace came between the implacable foes of the Federation and Klingons, which had been established in 'TNG' to set it firmly in the future. To retcon in such a momentous event into the original series timeline was a masterstroke and contributed important details. If you have the chance to show a historical event, then it's great to take that opportunity. And they certainly did. Kim Cattrall's Valeris is hard to trust, but maybe that's because I've seen the film so many times. I'm glad they didn't follow their original plan of having Saavik be the traitor!

The production design, the many cultural references, the moments for each character, all are woven together into a strong final outing for the original crew. But how does it rank compared with the other films? As strange as it seems, I think I would put V at the top, followed closely by II, this one, and III. Then the first one and lastly IV. Not how general opinion would rate them I know, but sometimes you have to go back and watch the film's in order, in close succession to get your own opinions of how they hold up now. And perhaps you'll find your preconceptions challenged too...

****

Brief Candle

DVD, Stargate SG-1 (Brief Candle)

It continues to betray it's 'Star Trek' influences. This time it's The Ageing Episode. Maybe it would have been better to age one of the other cast as Jack had already been through prosthetics before ('The Broca Divide'). It's hardly 'Distant Voices', 'The Inner Light', etc, but it's okay and the makeup's not bad, though it's never possible to make the thinness and shrunkenness of real age. As usual, the old look is always so difficult to achieve because obviously the prosthetics have to add something to a face, they can't take away. Anderson does a pretty good job, but older voices tend to go deeper rather than higher. I'm nitpicking of course.

Funny to see them using floppy disks in their computers! And the good old hall is redressed once again - like the 'Star Trek' planet caves, they use it a little too often, and can't disguise it's shape, unlike the caves which were easier to fill in for different planets. It seemed unlikely that the Argosians would throw off all their traditions and beliefs, handed down from their parents, because Jack tells them something, but there are some good moments to be had, such as the embarrassment over the cake, and Daniel knowing how to give birth.

As pretty as the visuals are, there isn't a great story attached, although the message of making the most of each day as if we only had 100 to live, is a good one, though I doubt Jack will remember the lesson for long! It wasn't explained why General Hammond changed his mind and let them go back through the Stargate to help Jack, nor how whatever they did would cure the 'disease'. And at first, why couldn't Jack go back if the disease was only spread through 'physical contact'? It seemed to miss a proper explanation of things.

**

Blindfold

DVD, Starsky & Hutch S4 (Blindfold)

A bit lame that it was only temporary blindness. It would have been more dramatic that she’d have to get used to living life without sight, but became reconciled to it at the end instead of being able to see! And why would Pinky trust Huggy? If they’re all so on the level with news from the street, and it’s become common knowledge that Hug works for S&H, surely he wouldn’t trust him?

Kim Cattrall does well as Emily, but I think they should have pushed the emotional side of it more, as that music was heartbreaking and the very concept was typically crazy and very nice for Starsky. The shock of finding out Starsky was a cop could have been a much stronger scene if he was there or it happened at an inopportune moment. The action too - there could have been more of it. As it is it feels like an unfinished story, particularly as there's no real resolution to Emily and Starsky's 'romance', and you know she won't pop up next week. Usually they handle these things by letting them die or sending them away!

It had a typically fun end scene to make up for it, and it's a generally nice tale about friends helping each other, which degenerates into the usual rush to find the baddies. The guy that gets chucked against a car was very obviously a stunt man with a silly wig on! Hutch gets to do his trademark move of leaping off a car bonnet to apprehend his criminal early on, and when the bad guy shoots back at Starsky, and Emily gets shot, it's a strong moment. They still haven't quite got a handle on the new season, despite having some good ideas and some good execution, it isn't total.

**

Justice

DVD, TNG S1 (Justice)

What begins as a vist to an embarrassingly decadent people turns into something a lot more worthwhile, becoming a Prime Directive story. It's easy to sympathise with Wesley (although I'm sure some viewers would have been shouting "hand him over for execution!"), and his crewmates because the Edo are a pathetic race that have ridiculous rules and not much sense. Look at their police force, the 'mediators', for example. Their culture is one in which everyone runs everywhere, yet they carry around a poison needle that gives instant death, in a pouch near their skin! You can just imagine the mortality rate for the job. Oh dear, we lost another mediator today... he happened to trip over on his jog to the gardens...

So in a way you feel like Picard and company have every right to trample on their stupid laws, but at the same time there's a lot of discussion about proving themselves worthy to the powerful beings above the planet, who are just as bad, seeing as they allow the Edo to consider them a god! The ending falls short of what you'd expect. You watch something like 'Voyager's 'Prime Factors' and see the back and forth struggle for what we want, versus what we should do, but it seems Picard just decides to go against the directive, and there are no consequences! Of course he wasn't going to let Wesley be sacrificed, but you sort of expect a clever way round it instead of blatantly defying the law.

I mention 'Voyager' for a reason, because a young Josh Clark, who later played Lieutenant Carey in the series, is seen on the bridge and credited as 'Conn'. It's nice to imagine that it was in fact Carey. On the whole, the episode is a downer, but there is some good moral cogitating, Crusher's reaction to events is very realistic, and the alien shape over the planet looked pretty, though the good parts don't save it.

**

Take Me Out To The Holosuite

DVD, DS9 S7 (Take Me Out To The Holosuite)

I don't know much about baseball, don't even like the sport, but that doesn't matter a jot. Just as, no doubt, some would say that baseball isn't about a game, this episode isn't really about baseball. It's about the group of people on DS9, the Niners, who band together to help their Captain. That they lose at the end is faithful to Trek lore. After all, as Kasidy says, Vulcans are three times as strong as humans, and if they have such great reactions and speed as we know they do, how could a bunch of humans, Ferengi and other assorted oddments (no offence, Worf!), beat them without it seeming corny and unrealistic. Instead they win on a level a Vulcan couldn't understand, or at least could never admit to understanding. Because they win on an emotional level.

Sisko realises his mistake and gives Rom the chance he should have been given. The crew do their best, despite picking up the game in two weeks, and they enjoy their work as a team. After some pretty heavy stories to start the season off with, to have a comedy is the perfect antidote and brings some much needed colour and brightness to proceedings, both visually and literally. It always makes me laugh, Rom's waddling antics, Sisko's increasing obsession, Worf's battle cries... it's a happy diversion from the ever-looming background of war, and what's more, it continues the series' tradition for a unique take on Vulcans.

Solok is the height of arrogance, but in that inscrutable way we know so well. The Vulcans are bigger. The Vulcans are stronger. But theirs is an empty victory when the opposition enjoy the defeat as much as success. Attitude is all-important, and how the inexperienced crew rally round is a heartwarming joy. It was also an excuse to have some outdoor filming, and to bring some of the recurring characters back into the series - Rom, Leeta and Kasidy make their debut for the season, and of course Nog is almost a regular anyway. I should mention Odo also, who gets into the spirit like no one else, and sticks to the rules he's learned as only Odo could. A sheer delight.

****

Afterimage

DVD, DS9 S7 (Afterimage)

Not an easy watch. It's a pretty tricky situation for all concerned, having Ezri, who has the memories of their dear, departed friend. At first she seems to find some kind of solace in being around the station, but as things begin to turn, and she senses the anger from Worf, and the bitter words from Garak, it leaves her in a well of self-pity and identity crisis. But she finds a way to conquer herself, if you will, to take up her new career, though she feels she's not up to it, and try to carry on.

She's not the only one going through agitation, though. We learn of Garak's deep-seated shame at helping to fight against his own people, and Worf's confused thoughts on Dax. It certainly shows the pitfalls of the joined Trill way of life, like no other. So often we've had the good stuff; the wisdom, the confidence, the long line of lifetimes, but there is the rough that must be taken with the smooth. With her friends behind her she is given confidence (and it's so great how Sisko has taken to her and become like a mentor, while still acknowledging her as his mentor), and the desire to prove herself and not give in.

Quite an inspiring episode in it's ending, as Worf and she find a compromise, after O'Brien appeals to the Klingon. What would Jadzia want? In the end he chooses the honourable course, as we always knew he would, but it's a painful process getting there, and it's certainly not one to watch for a laugh. Garak, missing from the first couple of episodes has the chance to show himself, his claustrophobia resurging, much worse than his bouts at the Dominion prison camp in Season 5. I wonder why it took so long for Jake to notice how 'cute' Ezri was, since they went on a mission together before this. I suppose he was preoccupied with his Father then.

***

Prime Factors

DVD, Voyager S1 (Prime Factors)

Few episodes provide such an agonising watch as this. The huge dilemma for the Captain and crew is even worse than the events and choices that stranded them in the first place. At least then they had the satisfaction that they were helping the Ocampa, but here they are on the receiving end of their own Prime Directive. And it hurts. The episode is a bit slow to begin with and seems to be heading into the soon-to-be-established doomed Harry Kim romance category. Thankfully he's quick to put aside such notions when the possibility of the Sikarians space folding technology unfolds, and the narrative soon speeds off in a new direction entirely.

The agony of the episode comes from the great hopes certain characters feel, that they justify the means by the end, while going against better judgement and even Janeway's orders. We get to see their real selves when they begin to theorise, knowing the Captain won't go against Sikarian laws. Their wishful thinking, egged on by Seska, who really comes into her own as a mutinous, but sly and canny manipulator, leads them on. In the very next episode we'll discover why she of all the Maquis was so reluctant to settle in, but for now, we see that she has not integrated quite as well as she seemed to.

Her aquiescence has always been tempered by an easy slide back into the Maquis values, and this carrot dangling in front of her in the shape of the trajector is just enough to bring her personality to the fore, where perhaps she had buried it previously. B'Elanna accepts the blame, and she was the senior engineer, but it was at Seska and Carey's urging, that theory turns to active disobedience, and finally direct mutiny. But we see how far she's come in the bold decision to bring the truth to Janeway, a moment both proud for the character and so disappointing for her Captain. While Seska is happy to let blame lie hidden, Torres knows how much trust Janeway has placed in her and takes the responsibility.

From the crew's perspective you can equally see the extreme desire that motivated them, but Janeway has stuck to her guns, and it is this that keeps the ship together as later seen in contrast by the Equinox. Tuvok and Torres' chewing out is the first example of Janeway's heavy disappointment in the trust she places in her crew, and would not be the last. Before this her authority and discipline had been aimed outwards at aliens, but for the first time it turns inwards, and is a sad and powerful moment. The important moral messages of accepting responsibility for your actions, obeying the law and sticking to your principles are all reasons that turn this almost Risan tale into a much stronger and more meaningful event.

***

Lonely Among Us

DVD, TNG S1 (Lonely Among Us)

We get some good effects, a nice nebula-type backdrop, and some high-res aliens, as they might be described - detailed, full head makeup. They were interesting aliens, but I can't believe the Federation would be considering membership of two such bloodthirsty races, and especially not transport on the same vessel! It's the good old mystery entity coming aboard and taking people over, except the twist is that it was an accident and it just wants to return home. 'Just' meaning with Picard in tow, for no apparent reason.

Mr. O'Brien makes a strange appearance as a security guard - his career must have been all over the place! Poor Mr. Singh. It makes some of the senior staff look a bit callous, the way they have a laugh about things like Data pretending to be Sherlock Holmes, when the engineer's just died. I noticed there were some models of the original Enterprise and one of its shuttlecraft (possibly even the Galileo 7) in one room - it may have been Crusher's quarters, but it's not clear. Worf gets to throw some people around, and it's really not a bad episode all told, it just sags a bit in places, and they could have got more out of the body-hopping alien idea.

**

Fallen Hero

DVD, Enterprise S1 (Fallen Hero)

I didn't identify with V'Lar, and found her to be too expressive and emotional for a Vulcan. Perhaps it was her age or the long years in alien cultures, but she seemed a lot less Vulcan than we've come to expect, even from 'Enterprise'. As a story the suspense was kept up reasonably well, but wasn't actually such a big deal. Trusting Archer seemed to be the only stumbling block to the ambassador revealing the truth behind events, which didn't seem that logical. Plus the Mazarite's weren't the best designed aliens this season, and no detail of their species was uncovered. If it had cleverly been about a recognizable species, say the Bolians, it would have provided the hook, but as it was, they weren't great villains.

When Archer told Reed he was relying on him, I assumed he meant to have a team of security to greet the invading Mazarites and take them captive. When only two heavies came aboard with the enemy Captain it looked a bit easy to capture them. In the episode's defence, it had some good battle scenes, helped by the dramatic music that recalls 'Voyager', and the chase sequence was suitably tense. When the Vulcan ship descends like a great eagle to rescue the NX-01 it's a great moment and shows off the Vulcan ship design very well. There are also little links, such as Admiral Forrest, mention of Soval, and of course, Risa. However, the bulk of the episode was a mystery which didn't warrant such secrecy, which is where it fell down.

**

The Miser's Hoard

DVD, Dad's Army S9 (The Miser's Hoard)

A strange one, this. More like a parody in some ways, namely Frazer, who acts like a madman! There aren't quite as many laughs as the other episodes this season, with a lot of repeated gags from before. Fulton Mackay had played the Sergeant-Major or some high-ranking official tasked with testing the platoon in a previous episode, and plays a much more reserved, Dr. Watson type. Wilson looks increasingly worse, although LeMesurier manages to pull off a drunk scene. And we have the Vicar, Verger and Mr. Hodges along to join in the fun, but it does strike me as a particularly story-less story, with no resolution (apart from Frazer storming off to protect his money in a mad, crazy old man fit, when he's usually better with dark stories and atmosphere to build up).

**

Star Trek V: The Final Frontier

DVD, Star Trek V: The Final Frontier (1989) film

I'm going against popular opinion when I consider this one of the finest of the original crew's filmic adventures. 'Star Trek' is science fiction, and this is much more a sci-fi film than the previous entry in the series, yet it didn't do anywhere near as well as 'Star Trek IV'. My own thoughts are that expectations were based on that film's humour and concentration on witty lines, and a fast-moving plot. V is very different, being a thoughtful (though in actuality more action-packed than IV), mysterious odyssey full of imagery and legend, and completely different to the other films before it.

I wasn't handicapped by disappointment as this was one of the first Trek films I saw as a child, and the magic, the 'joy' as Shatner would describe, is still there, and makes up for any poor effects. In fact, the effects have improved with each film, and this is no different. Despite Director William Shatner's regret over the studio's lack of funds not allowing him to fully present his vision on screen, I think it does a superb job of creating the worlds and adventures you want in a film of this kind. The family theme, focusing mainly on the big three, of Kirk, Spock and McCoy, but also coming into the interactions between the other characters, adds so much depth to the story. They are three batchelors at a time of life when less time is ahead than behind, and they come to realise that they are all they need. They are a family. Kirk's line that he too, lost a brother, but was fortunate enough to get him back, hints at the film series' continuity without shoving it in your face, and many things about the production bear a subtle touch.

Not only do we get to see the characters again, doing what they should be, on the new Enterprise (which has a lot of teething problems, presumably it was rushed into completion), but we see them on shore leave, behaving as friends, and we even learn new things about some of them. Who would have thought, this late in the day that we'd get to see Spock's birth (down to the cute little pointy ears), and a young Sarek and Amanda. Or the revelation about the death of McCoy's Father. Or even that Spock had a half-brother? The best of 'Star Trek' is not only consolidating what has already been created (such as Klingons, Romulans, shuttlecraft), but using those pieces in new ways and expanding the known universe of the characters. Learning and seeing new things each time, that logically tie into established fact, furthers the sense of a continuing universe, a real place, where events are not dictated by the next action sequence.

In this film time is taken to show the characters at their best, as opposed to the last film, which often showed them struggling. All of them get good scenes, whether it be 'Captain' Chekov, Sulu's "first time" or Scotty... banging his head on a bulkhead. Okay, that last one still causes controversy, but I'd argue it's exactly the same humour as in IV, so you can't have it both ways. Another commendable aspect of the production is that we get to see more of the Enterprise-A. The tube-filled lower corridors of engineering (so maybe the masses of pipes in the eleventh film have a precedent after all?), the brig, complete with what could be the first ever on screen toilet (!), and in an exciting, but humourous sequence, the inside of a turbolift shaft, using Spocks anti-gravity boots to boost away from a collaborating Sulu.

The view of their legs dangling into frame above Sulu's head is an example of the brilliant direction Shatner brought to the project. Nimoy was a very good director, with a non-invasive style that didn't draw attention to the camera angles, but focused firmly on the story. Shatner manages to pull off very dramatic or awe-inspiring, or wondrous shots, while not making them seem florid or unnecessary, which is the mark of a strong director. The opening scenes as a shape gallops out of a sandstorm, contrasts so strongly with the stark, desert landscape and the dusty, hopeless mood created by the prospector. It's one of the best openings to any of the films.

The montage after the opening credits is another strong example. This shows the massive enhancement that Jerry Goldsmith's score brings to the film. After 'Star Trek IV' and its comedy brass accompaniment, as well as it suited that film, to have such a majestic and mysterious and nostalgic and evocative score is one of the absolute triumphs of this film. Because Goldsmith worked on the first film he remixes that classic score and also brings back the Klingon theme, noticeably missing from 'Star Trek III', while also creating new music to great effect.

You might think the Klingons have been overused, but although their presence is felt in all but 'Star Trek II', they only appeared briefly in the first film, and it was their empty ship that carried the Klingon banner in IV. Only III has been about them, and as they were always the most popular villains, it seems logical to include them as secondary villains, adding an extra layer to the plot.

An example of the subtlety of the story is that Nimbus III, where the three representatives of the Federation, Romulan and Klingon governments have been shipped off to. The Planet of Galactic Peace is, like Genesis, nothing but a folly, that shows humanity's (and the other races) failures. But the attempt may have contributed to later alliances, after all. And the most important message is that age or hopelessness are not the end. General Korrd feels he is only a useless old man, but he helps to save Kirk and brings back his self-respect. Maybe that planted a seed in Kirk too, something to balance against the Klingon's murder of his son. And acceptance is found between St. John Talbot and Caithlin Dar, from two such opposing races. Though these characters were only there to drive the plot, because of the films subtleties they have greater import than it seems.

The name 'The Final Frontier' helped the film to have a sense of closure, and finality. They didn't know if it would be the last one, but they were all getting older, and between this and the previous film, a new generation of actors had taken the 'Star Trek' mantle on themselves. If this had been the last, it would have felt right. The Captain and his friends, together, the Enterprise active, and life back to normal. But there were also the hints that Kirk wouldn't live forever, with his assertion that he knew he wouldn't die, early on in the film when he fell from the cliff, because his friends were with him. It seems to set up the ending when he thinks he is alone on the planet, the entity pursuing. But he never was alone. It was a portentous statement, furthering the legendary status of the Captain, and would prove true eventually.

Perhaps the evil entity was the only flaw in the film. It is made clear that this was not God as Sybok believed, which makes more sense in the Trek universe - an evil being, held captive on a planet at the Galaxy's centre, throws up all kinds of questions. What beings put it there, and why? That there is a Great Barrier at the centre of the Galaxy is consistent with previous episodes which had a similar barrier surrounding the Galaxy. When Sybok, his visions proved as delusions, the alien playing on his lifelong desires, realises his mistake he becomes a tragic hero, sacrificing himself to give the others time to escape. The wrestling with an evil mirror image of himself, created by the creature to mock him, is very reminiscent of Lazarus' eternal battle with his opposite from the original series episode 'The Alternative Factor'.

One thing the film has that others don't is cool stuff! Spock's anti-grav boots are what every boy would love, and the Klingon Captain's submarine-like weapons periscope and rotating chair looks so good! With the excuse of the transporter being damaged we also get to see the shuttlecraft, with the first ever shuttle re-entry to the ship to be filmed from the outside, with an exciting crashlanding! One of the few scenes that doesn't quite ring true is in everyone's reaction of awe to the planet they arrive on, as it seems just an ordinary desert planet like we've seen many a time before. Eden conjured up some kind of tropical paradise, but it makes sense from the story point of view, because the being Sybok thought was God, turned out not to be, so naturally this false Eden was the opposite of expectations. And it was still impressive with the tall rock formations and sun-bleached sky.

Why this film stands so small in the general review of the Trek film's pantheon, is hard to understand when all these things are considered. It contains some new things, some old. It brings the characters together like in the series, and provides awe and more importantly, joy. To me it represents great satisfaction and how the films should be made. And whether the Rock Creature should have made an appearance or not, it captures my imagination for sure.

****

The Gamesters of Triskelion

DVD, Starsky & Hutch S4 (The Game)

Definitely getting back to the old Season One and Two style of fun, witty dialogue, good integration of Dobey and Huggy, and an interesting and different story. It begins with an original plot which is good, but it was a concept that could have been done slightly better I feel (like the easy capture of baddie at end), but still has a lot going for it. It eventually slides into the old and obvious kind of resolution which stops the story from being a ‘good’ episode.

It’s close though, with a start that could have carried through the whole episode as Hutch fools Starsky, and as often is, it seems a little unlikely that he’d have fallen deadly ill just like that. Good to see Merl the Earl back again - though I think Merl is a different actor (I’m surprised Hutch took his car back there after last time!), but overall it’s still not quite there, but the general effort seems like proper S&H, with flashes of brilliance, like the funny ending.

Watch out for the picture in the bad-guy's house. When Hutch goes there and takes the woman to find Ray, he knocks the picture askew. Well someone must have been in the house, because when she comes back the picture is straight again!

**

Shadows and Symbols

DVD, DS9 S7 (Shadows and Symbols)

Part two improves on part one by having three distinct stories, which all get resolution. There's the Sisko strand, in which he discovers an amazing revelation about himself, and gives the Prophets a chance to say that only he could do what he does. Kind of a good message for everyone, as it kind of says that each person is unique and can only be that person. The other strands are Worf and friends dangerous mission to blow up a sun, and Kira's standoff against the Romulans.

Ezri Dax gets a chance to shine, a paradox of personas, yet a tour de force for deBoer, as she flips through all kinds of emotions and thoughts, providing a lot of humour. More importantly, and it is incredible, but she also provides the bedrock security and support that Jadzia always did. Already, with only one full episode she establishes the uniqueness of a new Dax, yet one who has shared Sisko and the other's adventures through the past six years. Amazing. The best moment for her must be when she waltzes onto the station at the end, says "hi" to all her former friends (notice Worf stump off in disgust, the memory of his dead wife seemingly in tatters as a new person calls herself Dax - it must have been really hard on him), then looks around the Promenade wide-eyed, and turns to look at her friends, sees their confusion and smiles beautifully!

Just when you thought things couldn't get more interesting as one of them says, DS9 throws in quandaries anew. The blockade seemed a little easily fought off, merely Admiral Ross' decision to support it, but it seems churlish to complain about such a fine episode, which once again juggles so many, so well. Quark's addition to the Klingon mission is a delight, and he has to keep complaining and mouthing off simply to keep from disappearing under Klingon ritual and gruffness. It was a grand gesture when Worf apologises for calling Quark, Bashir and O'Brien unworthy of Jadzia, but only after a stern word from the General. It shows there could be trouble ahead, as Worf, more complex than most Klingons, as usual, takes thing harder or more seriously for longer than he perhaps should. His grief will not be helped by Dax' reappearance.

Sisko's will be, though. The two right away suit each other so well, and you can believe that this young, tiny little ensign has the memories of lifetimes. It is remarkable. The business on Tyree (named for the original series friend of Kirk's, I wonder?) was full of visual splendour, like some old cowboy film. And it's always a pleasure to see a new type of Starfleet attire - this time desert cloaks with department stripes fetchingly emblazoned on. The episode furthers the Trek universe in the visual department, and not only with the stunning desert-bound shots - there are some brilliant shots as the Bird of Prey escapes the Jem'Hadar ships, who get torn apart in the sun's blast as the Klingons achieve their mission. Hoorah!

And it's good to see the inside of a Bajoran ship for a change. In fact there are very few scenes that take place on the station at all, which is a rarity! And finally, mention should be made of the wonderful choice of bringing back Benny Russell (with Casey Biggs, usually Damar, playing Dr. Wykoff too - Jeffrey Combs had played more than one character in an episode before, but not this one), in a simple, but oh-so-right sequence, brought on by the Pah-wraiths. The episode fits so much in, but it does it logically and satisfyingly, two qualities the Vulcans, and the viewers, would be proud of.

****

Image In The Sand

DVD, DS9 S7 (Image In The Sand)

This is the perfect example of the kind of juggling act the writers had to perform in the latter seasons of the series. There were so many characters, so many recurring characters and so many plot threads that keeping track of it all, while giving each character something memorable was a work of magnitude! And they take the time to introduce at least one new recurring character in Cretak. Dukat is about the only important character missing, and if a criticism can be levelled, it's at the lack of good villain scenes - there's just enough exposure to touch base with Weyoun and Damar, and then it's mostly on the station's busy life and Sisko's detective work.

It's obviously brilliant to be back at Joseph Sisko's restaurant, as seen in Season Four, and very briefly at the end of last season, but we really get a good view of it. Knowing the story, I kept expecting the Pah-wraith follower to appear at any moment, and the attack is still ruthless and shocking. It injects some physical tension into what had been, up to that point, fairly laidback scenes, although they had a different kind of tension to them. When Sisko shakes his Dad it reminded me of when Joseph refused the blood test in Season Four - Brock Peters could do a great worried look!

There's something timeless about the restaurant and seeing three generations of a family there together is part of the special feeling this episode has. That's helped by the short moment when the new Dax is introduced, although the actual surprise was blown in the title sequence, for the few people that hadn't heard. The joy at having an old friend return, if in different guise, ends the episode and begins the season on a high.

It wasn't perfect however, there are so many plots carrying on that none are really satisfyingly brought to a conclusion. It feels like the opening to last season, where the wares are laid out, but we don't get a proper feel for the shape of things to come. Even so, there are many great scenes, and the dialogue, reintroduction of characters, and fill-in for the time that's passed, is carried off admirably! Vic gets to sing, Worf to emote, O'Brien reminisces about the glory days on the Enterprise, and Barclay's mishaps. Quark lends an unsympathetic ear, Kira is settling into her new rank of Colonel and new position as leader of the station. Religious divide has swept bajor, bringing the Pah-wraith cult to the mainstream, while battle is turning to the Dominion's advantage. And the firstfruits of the Prophets begin to come to light in the wake of a discovery as old as Benjamin Sisko himself.

There is much discussion and little actual plot, and this is not a traditional Trek story, but it brings the elements of DS9 together in the only way possible in a forty-five minute segment, and definitely leaves you wanting more! Immediately!

****

Emanations

DVD, Voyager S1 (Emanations)

You can often judge an episode's quality by how much you want to write about it, and this one, though provocative, doesn't give much literary inspiration. It's a Harry Kim story, a rarity, and I always liked that he goes to another dimension, and the asteroid, filled with the dead, is pretty effective in setting the tone. But instead of an action horror like 'Phage' it becomes, what seems like an episode debunking belief in life after death. There is the scene at the end which allows that their beliefs were true after all because some kind of energy leaves the bodies and becomes part of the rings, but the balance of the episode seems more to the 'rational' scientific side, than the alternative.

Tuvok was not included in the discussion, something which leaves the Vulcan viewpoint absent, although we learn Kes' people have a similar belief. Chakotay and B'Elanna, both types who would believe or whose cultures believe in the afterlife were also absent from any discussion. I suppose that was partly the point - it is Kim's dilemma, the youngest of the crew, who doesn't have any of these wise crewmates to help him. The nicest part of the story is in his plan to get back to Voyager which will help the Vhnori man who doesn't wish to die (though he was so skinny it's hard to believe Kim didn't get found out - "my dear, you've put on so much weight since I last saw you... and why aren't you speaking to me? It's the last time we'll speak!" - maybe they thought he was sulking because he still didn't really want to die!).

The episode would have been helped if all the Vhnori people we meet didn't seem objectionable or annoying. Petara was the worst, and the makeup, which usually doesn't make a difference, somehow accentuated their bad points. It's interesting that the wife who wanted her husband to die had quite a skull-like face, and of all the people of her race that we see, some of which are going to die, or have died, she is the most 'dead-looking'. At the very least we were treated to some attractive shots of Voyager flying over the rings, but in general the episode failed to excite, and seemed like a lost opportunity for the characters mentioned above to have a debate.

In the end Harry has to have the Captain suggest that the Vhnori's beliefs weren't wrong after all, rather than learning something for himself. And it was a shame Neelix wasn't in it, but maybe they felt his upbeat persona wouldn't work for such a downbeat episode. Jerry Hardin makes another of his Trek appearances (and last to that point, I believe), though he isn't given any great scenes. And I seem to have found a fair amount to write about the episode after all. That doesn't mean it was good, just that you can write a lot about episodes that have a lot of quality or very little, just not the mediocre ones!

**

Where No One Has Gone Before

DVD, TNG S1 (Where No One Has Gone Before)

A much-needed turnaround for Wesley is the main purpose of this story, that truly takes them where no human has gone before! Kosinski is one of the most objectionable members of Starfleet we've seen, in the tradition of the original series: anyone who comes aboard is generally a complete menace, mad, or simply annoying. At least he brings the mysterious Traveller with him. The effects of ultra-warp travel (or whatever name you want to call it, though 'sleigh-ride' doesn't work for me!), are pretty good for such an old episode, giving a strong perception of greater than warp speed.

The 'alien' music score brings to mind galaxies and benevolent power and so suits the scenes it features in that it improves them. And the Traveller, though such an unknown, brings an important message - that Wesley has great possibility to his life. And, at last, there is some kind of an acceptance of him on the ship, being given the rank of acting-Ensign, and access to the bridge is quite an important turning point and provides the episode with a satisfying conclusion. I don't pretend I ever liked Wesley - he was nothing like the believable Jake Sisko, and proved an annoyance on many occasions, but his early uses here were quite fun, and this seems like a logical step for the character.

The other thing to notice is that there's another engineer, where before it was a female. But Riker says he's 'one of our engineers' implying the ship has several. And the title is similar to that of an original series episode, also early in its first season (the first pilot in fact), substituting 'One' for 'Man'.

***

Vox Sola

DVD, Enterprise S1 (Vox Sola)

A happy ending, sweet violin music, and good-natured conversations between characters (such as Trip cheering Archer up by watching water polo with him, and T'Pol indirectly complimenting Hoshi at her lowest ebb), the episode will not be remembered for those reasons. It will forever be known as the one with the gunge creature, that wraps up the Captain and others in a white slimy web. Not to say the effects, both physical and CGI weren't well produced, but they looked quite different and the web material looked a bit too much like cling-film or plastic wrap (which it probably was).

The episode was ably directed by Roxann Dawson ('Voyager's B'Elanna Torres), and featured the first appearance by the Kreetassens, who would reappear in Season Two, again causing more trouble than they were worth. Vaughn Armstrong must have been kept busy in the first season of 'Enterprise'. He's already playing a recurring character in Admiral Forrest, he also played a Klingon, and I'm not sure he didn't have another role as well, and now he gets to be the lead Kreetassen too! The producers must have really liked him (or he charged a reasonable rate!). I think he was great as the Admiral, giving a stern, but reassuring face through to 'that' season (but we won't go into that now). But as good as he is, his voice is a little too distinctive, and while the elaborate designs of Michael Westmore expertly disguise any face, a voice comes through too well. So maybe this was one too many for the man, though I can't fault his performance.

Credit should be given for making sure everyone in the cast got a good scene, and there was even time for an ethical quandary when Phlox stands his ground in insisting that Reed doesn't harm the creature. It's the 'Star Trek' difference. The intentions were good, but this ensemble attitude wasn't a big success. It was down to the scenes being a bit forced or slow. Take Mayweather's conversation with the Kreetassen, or Reed testing out the forcefield. It's not that they aren't worth having, but they don't exhibit the fast and slick writing from the first half of the season. It's as if Berman and Braga were already becoming tired with these characters. There should have been a greater sense of urgency, and more character dialogue or revelations. T'Pol and Hoshi clearing the air was an example of the kind of thing that was needed more.

Creepy stories have been done a lot this season, so I can understand them not wanting to repeat themselves, but maybe they should have tried to recreate the tension of 'Voyager's 'Macroscosm', a similar tale where a creature or creatures begin to spread through the ship. There was no mystery here, and too soon it became a task for sitting at a computer screen to resolve the problem instead of the more hands-on style that this series promised would make it different to the other Trek's.

I'll admit this was one of the handful of episodes I never saw on original run, so I don't have the memories and attachment I do to the ones I've seen. But still, it shows a worrying step backward for a series that started so well. On the other hand, there's got to be some episodes in a season that don't live up to the others, and money tends to get tight towards the end of the season. So I give them the benefit of the doubt. Not sure why this should be the episode to get the DVD commentary, however.

**

Knights of Madness

DVD, Dad's Army S9 (Knights of Madness)

I must admit to being slightly disappointed when I saw this. It was an episode I'd never encountered on TV, and had only seen a picture of Mainwaring in knight's armour in a book on the series. So when I finally got to watch it on DVD I'd been waiting a long time to see it, and consequently it didn't seem as good as I'd expected. I think because usually the 'historicals' were funnier and had more of a story to them (such as 'The Two and a Half Feathers' or 'A Soldier's Farewell'), where this was just an excuse to have Hodges and the Captain battling each other on horseback. In retrospect that's a pretty good reason for seeing it, alone!

Again there's a bit of continuity when Fraser asks why the platoon can't perform their morris dance, which they had played out before. And we get the usual committee scene in the church hall with the Town Clerk, Vicar, Verger and Hodges (and Mrs. Yeatman, who gets a bit more to do this episode). There are some fun moments, like Pike's humiliation at having to dress up as a Squander Bug, and the two dragons attacking each other until the platoon's version triumphs and chases Hodges off the field! But I did get the feeling they might have done some more magnificent medieval runaround from the pictures I'd seen. Goes to show that it's best to watch things without preconception.

***

DVD, Star Trek IV: The Voyage Home (1986) film

Controversially this is one of my least favourite Trek films, somewhere around 'The Motion Picture', 'Star Trek Nemesis' and 'Star Trek XI'. All the Trek films have flaws, show me a film that doesn't, but it seems to me this one has more than most. In fact, the eleventh film, famous for going against the established tone of the series, and being extremely popular with the general film-going public, could have used this film as its template. And if they were going out there to make films that appealed to the lowest common denominator, and make a huge profit, which is pretty much what film-making is all about, then they succeeded. For these two were the most successful (give or take 'First Contact'), critically and commercially of all the films. But what's not to like? In my case, quite a lot.

From the start I found the whole prologue sequence, not very good. It tells you lots and fills in the blanks, but was it necessary? It doesn't provide the film with an exciting start, and in fact it takes a long time to get going. It may be nitpicking, but I found the titles a bit lacklustre too, with their static starfield and names fading in and out, one by one. It was not dynmaic, and after we've seen three-dimensional starfields in the previous films, or, even in the original TV series, stars that fly by, it seems like a step backward. The title beaming in was very good, however.

Early on I began to notice things that simply didn't make sense. They've been on Vulcan three months, waiting as the ship is repaired. Why didn't Starfleet send a ship, any kind would have done, to bring these renegades home for trial? In the spacedock we see ships that aren't doing anything. It surely wouldn't take too long to nip over to Vulcan. And do the Vulcans not have ships of their own? Of course they do. Then why weren't they able to spare a single one, yet were happy to have a crew of Vulcans repair the Klingon ship. The Federation wants Kirk and crew back, and the Vulcans are part of that Federation so it seems bizarre that a simple trip to Earth could not be arranged.

I will say that the Klingon ship looks great from the outside, as they seem to walk around a full-size creation. Impressive. What's less impressive is that the inside looks quite different to what we saw in 'Star Trek III', the bridge especially looking more like the bridge of the Enterprise. Would the Vulcans and Scotty really spend so much time on the aethetics or would they make haste on repairs to the engines, etc. You can always come up with an explanation to explain it away, but it doesn't make sense, and there are a lot of moments like that in the film. Take their funny mishaps on Earth, 1980s. Some of it is really very funny, some of it makes the Starfleet people seem like idiots.

Chekov isn't so stupid to think that he wouldn't get arrested for asking about 'Nuclear Wessels'. Incidentally, why didn't he get arrested? It's funnier when you know that the people they asked were genuine people, as they filmed the scene from a distance for real reactions! But Scotty not knowing that Edinburgh was thousands of miles from San Francisco, saying millions instead, having fun with the timeline by giving that guy the formula for transparent aluminium (which again makes no sense - Gillian says the whales will be flown out by 747, so if they can build a container for the whales in the 20th century why do they need to give that formula away, except for comedic value).

They've always made it clear that the timeline should not be interfered with in any meaningful way, such as when Kirk let Edith Keeler die in the original series episode, yet now they can do whatever they like, as long as it's funny! It appeals to the masses, but it doesn't make much sense if you've watched the series, and it's frustrating. I sound like a killjoy that takes it all too seriously, but when you consider that the series is well known for creating these rules and sticking to them, it seems like a betrayal of the coherence and continuity.

On the other side of the coin, yes, I think it was still a good film, and it is charming and funny, but they never followed up with what the probe actually was/wanted/etc, or whether Kirk met Gillian again, or what consequences for her now nonexistent descendants there would be. It's annoying not to be given some kind of explanation. Are they saying that whales were once clever enough to build a space probe? Or that aliens made contact? It's all a bit crazy. I also didn't like some of the directing choices Nimoy made this time. The time travel sequence was fine, I can understand the heads, but did they really need the dummy that sploshes into some water? Lose the dummy.

I have to mention the score, which also loses the amazing and mysterious James Horner score from the previous two films, and the exciting, adventure-filled turn from the first, by Jerry Goldsmith. Instead we have Leonard Rosenmann having a bash, and it sounds like any old American family film, and is much more comedic with brass bands and silliness. Which feels odd for Trek, but not for the film. It's always fun to see the characters again, and as much as there are things I don't like, there are lots that I do. I just like it less than most 'Star Trek' films, that's all.

***

The Last Outpost

DVD, TNG S1 (The Last Outpost)

Worf's early disgust at apparent capture by the Ferengi is the most appropriate reaction in the episode. They were set up to be these great, dangerous villains, right from the pilot, but they turn out to be ADD-suffering trolls. Maybe it wasn't the best decision to show the Ferengi makeup so close on the huge viewscreen, as it looks less real. There are points when you almost applaud the episode for trying to do some good things, such as the effects. Although the 3D computer displays look out of place since we don't really see them in later episodes, they are most impressive, as is the appearance of Portal, and some of the effects on the planet. But that can't save a story which spends most of its time going nowhere fast.

Even moments of humour such as Data getting his fingers caught in a Chinese finger puzzle are out of place, and certain emotions seemed forced, such as LaForge's excitement in engineering. Interesting that it's he Picard sends down, especially as there's no engineer in the episode, which also feels strange. No getting around it, this is bad 'Star Trek'. It's not wholly the fault of the Ferengi, but they play their part in being ridiculous in a serious episode. The Ferengi would later become superb comedy characters, and Armin Shimerman whose Trek debut was here as the leader of the alien landing party, would go on to create, in my opinion, the most fascinating, enjoyable and all-around best character ever, in Quark. But even he can't save this first impression of the race as wacky clowns.

The crisis on the Enterprise is also a factor in leaving the episode low on suspense. They are supposedly dying, but there are so few scenes on the ship at that point that no connection is established with the viewer. Beverly's decision to go to the bridge and die next to Picard is also very strange, especially when she'd previously mentioned Wesley. So she was going to let him die alone or something? There's a nice motherly attitude. She chooses to die on the bridge with 'Jean' as she calls him, instead.

There were a few little worthwhile pieces, such as Worf attacking two of the Ferengi and Data holding one, dangling, aloft. And the talk Riker has with Portal, too. But the episode was too drawn out getting to the planet, and then the most important part; the loss of power on the ship and Portal testing Riker (he asks him a question about something he'd been discussing not long before and then becomes instant friends when he knows the answer... tough test), were truncated. The writing was a bit sloppy, the Ferengi are weak villains, and they still needed to find the characters a bit more.

**

Discomania

DVD, Starsky & Hutch S4 (Discomania)

I imagine this episode was used to cash in on the Disco fever of the late 70s, around the time of 'Saturday Night Fever', to get the teens interested and more publicity for the beginning of the season. A slight improvement on the general mood of Season Three, mainly by bringing back some of the humour that was missing, having an interesting villain, to be pitied (though not too much), and a different setting. Interesting from a historical perspective to see all that disco stuff, though too much time was spent on it. Some serious editing was required!

Not quite the ideal season opener, but in those days these things weren’t as well planned, but it was a fun ending tag. Improvements would be to have Huggy back as he would have been ideal for the disco, and to have some proper action, and a villain that seems more dangerous. Relatively light-hearted, but too much focus on the visuals. Not sure about the moustache or the fourth variation on the theme music! Nice continuity that Dobey mentions his wife, Edith. Not an awful start to the season, but could do better.

**

In The Hands of The Prophets

DVD, DS9 S1 (In The Hands of The Prophets)

Introducing Vedeks Winn and Bareil was like the last pieces of what would become the series' destiny, and especially the second and third seasons. They both come off strongly. One in the good camp, and right away, Winn in the bad. She even admits at this early stage that she wanted to look in the eyes of her gods, and was roundly punished by Opaka. But like Dukat, there would be much more to her than simple evil (or even complex evil as she displays here).

Many things about DS9 make the series as relevant, if not more so, than the time of its original broadcast in the 90s. Here we see the modern conflicts between science and religion, the rise of exremism, that promotes assassination and fear, while the leaders remain safe, and confuse their pupils to take the dangerous path, such as suicide bombers. Neela definitely falls into this category, willing, if sadly, to sacrifice her life, to carry out the mission. Can it really be true that she would be executed though? It seems to me that with the Federation looking disapprovingly over Bajor's shoulder they wouldn't do such a thing, but it could be that it was all part of Winn's rhetoric.

I found myself thinking both ways during the early conflict. In our society it is right to teach both science and belief, whereas we often hear that teaching creationism shouldn't happen in our schools. But as Keiko or Sisko say, it's better not to shield knowledge from people, and it's much better that the various views are discussed. In Keiko's defence, she was willing to teach science and creation, but not solely the viewpoint of the Prophets. Perhaps the escalation of events would have been cleared up if she'd agreed to teach what Bajorans believe as well, but it's a fine line being walked. Suffice to say I wasn't entirely on her side.

In any event it turns out that her agenda was far less concerned with station school policy than with making sure Bareil could be drawn out of his monastery! The sequence where Bareil comes to the station (and I have a little chuckle when I see Morn get caught up in the crowd of Bajorans rushing to greet him, and then gets pulled along by that crowd, even getting a greeting from the mobbed Vedek - he probably didn't have a clue who this famous guy was!), is probably the most exciting sequence of events in the season. O'Brien and Dax are frantically trying to work out the code, while on the promenade Bareil addresses the people, and Neela strides forward in slow-mo. Sisko's alerted, he shouts as Bareil is shocked, standing still, and the commander launches himself at the assassin, pushing her to the floor! Super Sisko! He gets to show he's made of the same material as those other famous Captains of Trek past.

Neela was introduced last episode, but she still comes across a little too easily as the suspicious 'new' character, which is what the writers were trying to avoid. Her scene was too brief in 'Duet' to keep her in memory, and she was supposed to have been in a third episode before that, but another character called Anara was O'Brien's assistant then. Anara would have become the assassin, but was unavailable, so Neela was created instead. So instead, Anara has a nice, happy career, and Neela goes down. The writer's pen truly is mightier than the sword (or phaser)!

Keiko gets to appear without daughter Molly for a change, and shows her career mettle - the school's grown since we first saw it, though Nog's still missing. Presumably Rom was serious when he told Nog he couldn't go to school. Once again Bajor is shown in the best light it can be, with lush location shooting for Bareil's introduction. I like the slow build up to the climax. Like 'Way of The Warrior', only on a smaller scale, it shows what the series can do. And Director David Livingston got his crowd scene as he always wanted!

In casting terms the episode pretty much sums up the season: Dax and Bashir aren't in it much; Jake has a few scenes; O'Brien carries the episode; and Odo is integral. Sisko is probably the character that needed more stories focused on him. After the first one, he played important roles in most episodes, but it wasn't until this one that he takes control. And Dax. Poor Dax. She was the least developed of the season, for no good reason. Quark was the only one to buck the trend, being in only one scene this episode, but featuring a lot over all in the season.

A first season is a time of discovery and tentative exploration. Many of the characters were developed, many of the recurring characters were introduced, and gradually it managed to find it's own style away from The Next Generation, after following some of that series' conventions at first. The second half held the best episodes, and it ended on a high. It was a great first season, and this was a strong episode to finish on. (Even though it doesn't have a cliffhanger!)

****

Code of Honor

DVD, TNG S1 (Code of Honor)

The rather heavy-handed punching home of the message of the Prime Directive and the embarrassing way Picard and his officers have to almost beg Riker to let him go down to the planet are two examples of the negative differences of the series compared to the original. It seems quite ridiculous now, after such things were integrated into the ongoing adventures later. Can you imagine Picard in the films being refused to beam down by Riker? Or Sisko taking that kind of talk from Kira?

Thankfully some of the good things about the original are also on show. The lavish alien sets, and exotic persona's give the episode some spice, and the exciting battle for Yar at the end recalls the kind of challenge Kirk would have been forced into. There are also good scenes between some characters, particularly ones featuring Data, such as his attempt to tell a joke to Geordi. It's also funny how Picard reacts to Beverly's putting a word in for Wesley, and the subsequent allowance onto the bridge of the young man. Not to mention how he's hiding in the turbolift to begin with! A much better episode than the last one.

***

Detained

DVD, Enterprise S1 (Detained)

This was better than I remembered it. Originally I didn't like it very much because I felt it humanised the Suliban and took too much of their sting away too early, but seeing as the Suliban didn't have as much development and background, and even influence on the series as expected, though they were set up as being the main adversary, it was a pleasure just to have some focus on the species (but perhaps the episode helped them to be used less because of those reasons?).

The main draw was supposed to be having Dean Stockwell, Scott Bakula's co-star on 'Quantum Leap' as a guest, allowing the two to act together for the first time in years, and I imagine they had some fun, but Grat isn't a terribly deep or interesting character, certainly Stockwell was worthy of something better. He makes the best of it however, and the real spotlight is on the plight of innocent Suliban who aren't members of the Cabal involved in the Temporal Cold War. Admit it, when you saw the teaser you assumed they were baddies, and that is the point of the episode, made and shown after the September 11th attacks, and clearly drawing parallels with modern society, because all Muslim's, or even all those of Eastern appearance were treated with suspicion after those events.

Another plus is putting Travis and the Captain together, although I think they should have made more of the underlying feeling that Travis sees Archer as a hero, which isn't explored. I was as surprised as Travis to see Malcolm as a Suliban, and the escape was exciting, with some really nice CGI shots as the shuttlepod sweeps over the compound. Even Grat's face as Archer doesn't smack him one is a sight to see!

The main Suliban whom Archer befriends was the best role in the episode, and ably created a sympathy for their situation. I also felt it was ambitious in the number of Suliban extras they had - enough to make the prison seem a good size. And Christopher Shea, the secondary Suliban who doesn't trust the humans, at first, had played Keevan the Vorta on 'DS9'.

***

The Naked Now

DVD, TNG S1 (The Naked Now)

Not as good as the original. If you're going to do a remake of a plot and go as far as calling it a similar name, it had better be an improvement. Maybe it was too early in the season for an episode about characters being out of character - we hadn't had enough of a chance to see what they're like normally, yet we're plunged straight into drunk behaviour. It certainly would have made a bigger impact coming at season's end.

The effects sometimes weren't really good enough, especially after the fairly impressive pilot, and I'd have thought ships of the Grissom's type from 'Star Trek III' would have been phased out long ago, but the Tsiolkovsky clearly resembles it. Troi's new look is certainly not as appealing, being so severe, although she didn't have to be so gooey this time, which was an improvement. Spiner gets a chance to show off some physical comedy as Data, and is probably the most interesting thing in the episode. It's the second in a row to have people frozen, they must love that effect.

The virus didn't have the same effect as in the original, though mentioning Kirk and the original Enterprise did help to set this series in the same universe, but maybe they should have been trying harder for their own identity and not reminding viewers of their rich heritage at such an early stage.

*

The Making of Private Pike

DVD, Dad's Army S9 (The Making of Private Pike)

The actors seemed more with it this time. Mainwaring, Godfrey, even Wilson, seemed more alert and active. Perhaps they'd got more into it again, or maybe it was because most of the scenes were studio-based, but they certainly seemed more able-bodied. The episode (as the title suggests) is more about Pike than anyone, when he and Hodges' niece Sylvia get into bother after taking the platoon's new staff car. She's an extremely flirty type and coming from Hodges' family you know from the off that she's a bad'un!

Poor Godfrey is constantly shouted down by Mainwaring whenever he so much as speaks, and the others all get their moments. Talk of the Black Market made me think of Walker and how fascinating it is to wonder what the series would have been like had he lived to continue through its entirety. Continuity is again upheld, when Pike tells Sylvia he can't join the regular army because of his rare blood condition (discovered in last season's 'When You've Got To Go') and with appearances by Hodges, the Vicar, Verger, Mrs. Fox and Mrs. Pike. And we end on a funny scene where Wilson gets the wrong end of the stick about Pike's night out, and Pike also gets the wrong end of the stick when they have their 'man to man talk'. Plenty of moments show the actors still have the ability to make us laugh, and it's a shame they were to make only four more.

***

Star Trek III: The Search For Spock

DVD, Star Trek III: The Search For Spock (1984) film

People say the trend of the even-numbered films being more action-packed and always better than odd-numbered ones was broken with the tenth film, 'Star Trek Nemesis', but I would argue that it only works for the first two films. This third film was as good as the second, which is nostalgically overrated, I believe. This third instalment had a difficult mandate to achieve. In some ways it was a relaunch as much as the first film, which created a new, more detailed look for Trek, and the second, which took place over a decade later, and also went for a new style. Trek III may have been set immediately after II, meaning it could use the same uniforms, ship and design style, but it had to resolve the huge problem of bringing Mr. Spock back from the dead in a believable way, that didn't seem too weird and way-out.

Also, they got to expand the universe a little bit, where Trek II had used some effects shots from the first film, and was a much more contained situation. With this film we get to see the Genesis planet in all its wonder and flaws, where before we only had a glimpse. The biggest compliment I can say about Leonard Nimoy's directorial work (it was part of his contract in the deal to get him back on board), is that it isn't noticeable. That is a good thing, and, I think, a difficult one for new directors. They want to stamp their identity on a film, let their creativity with shots go wild, but what a film like this needs, especially the third in a series, is for the story and characters to be the focus, not the directing style. Shots don't make you think 'how clever', but they don't take you away from what's important on screen either, so he did a good job.

There are some really impressive scenes, such as McCoy in Spock's quarters, speaking in the Vulcan's voice. The idea that Spock's conciousness can live on in the Doctor works so well, giving us these scenes of pity for them both, or going the other way into humour, such as when the Doc is grabbed by a security officer and he tries to use the Vulcan Neck Pinch and is surprised when it doesn't work! Very funny indeed. (We see some Tribbles in that scene, which helps underline this as a humourous scene). The taking of the Enterprise is like some 'Mission: Impossible' task, with some great fun and excitement, and before that, the sad news that it will be decommissioned after twenty years of service (though I'm not sure how accurate that is, because Pike was supposed to have served on it, and another Captain; Robert April before him. Maybe they meant the refitted Enterprise, although that's only been in service for about fourteen years in its current state!).

For a short time it seems like they might be about to steal the Excelsior (making a lacklustre debut thanks to Mr. Scott's sabotage!), but they had to take the Enterprise, didn't they. One thing that isn't explained is the new ship's 'transwarp' drive. This makes it sound like it can go faster than warp speed, but the warp speed scale goes up to infinite velocity, where you would be everywhere in the universe at once (as Tom Paris found in 'Voyager'), so I would suggest this means they can do something else, such as going at very high warp for undetermined lengths of time, or the equivalent of opening a wormhole and popping out the other side. As we never see the technology again (except for the Borg's transwarp conduits, which are more like rabbit warrens instead of wormholes), it could be assumed that Scotty's damage permanently destroyed the prototype, or that it never worked very well in practice and was all theory.

The bringing back of David and Saavik, from Trek II was a good move, as it helps to make this a direct sequel with such continuity. I'm not sure Robin Curtis is as good as Kirstie Alley, she seems much more stilted. It could be that I've just become used to T'Pol of 'Enterprise' whose delivery is smoother than most Vulcans we've seen. And Curtis still made her mark. It was handy she was there when the young Spock went through Pon Farr or things could have gone badly.

One thing I did notice was that the Starfleet people, other than the main crew, all seem like complete idiots. The Admiral who refuses Kirk a return to Genesis has no better reason than it's 'his orders', Captain Styles (reminded me of Captain Square from 'Dad's Army'!) is a posh halfwit, and the Grissom's Captain Esteban is also an idiot, saying things like 'well I could let you go down to the planet, if I feel like it' in an annoying way as if he thinks he's so funny! Not to mention other minor characters such as 'Adventure' man who ends up getting in the 'closet' when Uhura pulls a phaser on him, or the huge security guard who hates everyone. One thing the eleventh film got right was in the 'Cupcake' man, who is very reminiscent of these characters. Not exactly true to Roddenberry's 'perfect' humanity though, is it?

The Klingons were another part of the film that stood out. They didn't have the extreme and much more vicious look that was pioneered in the first film but seemed more like an amalgamation of them and the original series versions (even had ordinary teeth!). Maybe these were halfbreeds. Kruge goes out of his way to show how tough Klingons are, killing his mate who had looked at the Genesis data, though I'm not sure why he had to do that, killing an officer who doesn't do what he wants, getting half strangled by the microbes-turned-nasty-great-snake-worms and then contacting the bridge to say nothing was happening, and even beaming down alone to Genesis to take on Kirk and crew. Much of later Klingon behaviour originated here.

The ending is so good, as Spock is returned to them, and walks away, only to half-remember something, and turn, and go back to his friends. And slowly memories return, and they all gather round him happily. It's just such a happy ending! The fal-tor-pan, and other aspects of the film make it very heavily sci-fi, more so than many of the other films in the series, and if you think about it too much it doesn't necessarily make sense, but it works because of atmosphere and it fits the internal logic. Plus it gives us the chance to see Vulcan again, more beautiful than ever, and we get a new Klingon ship, and Spock and the crew are back together, and Kirk has a fist fight, just like the series. There aren't any plot threads to tie up, it all ends happily. Except... hang on, they've still got to return to Earth and face the penalties for what they did... A fourth film was guaranteed.

****

Duet

DVD, DS9 S1 (Duet)

The theme of the episode is pretty simple: racism. But the story has a bit more to it than that. The change in Kira's attitude is quite profound, and brings her to a new way of thinking by the end. Hate has been, if not universally conquered, staved off, had ice poured on the flames. We see several character's views in the episode, from both Bajoran and Cardassian perspectives, and I think the important point that's made is that you can't judge an entire people. Everyone is different. There are bad Cardassians that believe all the shameful views Aamin Marritza expresses, and their are good, like him, who feel shame; a deep guilt for his people and his own inaction. The same for the Bajorans - the minister who cavalierly assumes Sisko will relent to whatever demands are made regarding the prisoner simply because he is Cardassian and therefore an automatic enemy of the people, shows the same impatience to adminsiter justice as Kira is initially.

Indeed, she is defensive when Sisko and others seem to suggest that the facts may not be as they seem, or at least should be ascertained. Her training and friends at least help her to wonder if she is doing as Marritza accuses and is simply interested in vengeance. There was a nice scene with Dax, who glides into Kira's proximity, gives some advice and gently leaves the Major with something to consider. The damning truth of Marritza's claims lead to a powerful confrontation, which at first sees two ideologies fight it out in a war of words. The Cardassian trait for verbosity, is confirmed here, as the hurtful events of the camp at Gallitep are used to further enrage Kira. But when she's in possession of the full facts, a marked change comes over her. She no longer allows the Cardassian's verbal attacks and attitude to blind her. And this leads to the truth being revealed, and an amazing scene where the prisoner breaks down.

The series did drama better than most, and not always physically. Two people talking in a room, when the subjects are as important and life-changing as the equivalent of Nazi concentration camps, can be as compelling and enthralling as any starship battle. The sparks fly without need of showing the events. The forcefulness used when talking about them is enough. The series started with many expectations, one of which would surely be that the Cardassians would be just around every corner, ready to cause trouble. In fact they hardly appeared, so it's satisfying to see an episode that shows so much of them. Marritza's corpulent face, small eyes and ashen hue only add to the horror of who he seems to be, his voice adds to this, being so smooth and cultured, and yet coming from such a face. It helps to create the image of a monster.

Yet if you know what happens, you can sometimes catch a glimpse of the man behind the rhetoric. When left alone we see him slump, or sigh, as if the bravado is all a cover. It is, of course, but not as we imagine. Gul Dukat also makes his long-awaited return (long-awaited by those who know the importance he would go on to play, anyway) and it was a nice touch to have Odo speak to him and have the former commandant reminisce in that way he has of 'forgetting' how events really played out, but said in such a manner as to be so charming and gracious. Alaimo makes the most of a very small part.

One thing that shows how advanced their future computers are, is the way a photo can be enhanced to fill in bits that are missing or turn the field into a 3D image, where the camera can move past objects! You'd think with all this modern tech they could have carried out a DNA scan and confirmed the prisoner's ID that way, but I suppose that was part of the difficulty - they couldn't get the Cardassian data files. Neela makes her debut as O'Brien's work mate, but it's such a brief moment that you'd never guess she would turn out to be so important in the following episode! I have a feeling the guy who played Kainon, the criminal Bajoran, may have been the guy who kills Uncle Ben in the first 'Spiderman' film. They certainly look very similar.

****

Encounter At Farpoint

DVD, TNG S1 (Encounter At Farpoint)

On the DVD sleeve it marks this pilot, feature length episode as two separate ones, but in fact it's included as one, as it should be. I had seen this before, but not for some years, so my impressions feel fresh. I completely forgot about Admiral McCoy's cameo appearance, which was a definite high. I think, when you know that Q doesn't really mean particular harm, then all those scenes where he threatens them lose a lot of their danger. There are still some good effects though, such as the deep freezing of crewmembers, to retain some element of the unexpected.

John DeLancie performs expertly, and it's easy to forget how undeveloped the character was, yet the Q charm, anarchy and personality manages to be clear even at such an early stage. The main joy of the episode is seeing the familiar characters meet for the first time (including a much enjoyed appearance from O'Brien to make Niners happy). Admittedly some are a little unfinished at this stage, but most are the people we grew to know so well.

Data seems to show more emotion than an android should (a bit like Nimoy's first pilot as Spock); Deanna Troi has a stranger accent (designed to make her seem more alien and exotic, but later dropped) than other seasons, and seems the weakest, most wishy-washy character. Riker is clearly the Kirk-type and Picard's detached treatment of him, to begin with, makes for much interest. Indeed the character interaction clearly draws a line under the star roles of the original and shows an ensemble with equal exposure. Picard is very well developed, and his brief moments of discomfort around Wesley or Beverly bring some fun to proceedings, without undermining his clear authority that is the power of thought and mental strength rather than physical presence.

Beverly, too, comes across well, and there are so many interesting lines dropped hinting at the histories of these individuals, from Riker and Troi's prior meeting, to Beverly's husband's death, to Tasha's hard upbringing. It all contributes to making a viewer connect and want to know more about them. Tasha is another instantly believable character, coming across well, as does Worf, originally only meant to be a background character! His agressive attitude clearly marks him out as a Klingon warrior, a huge thing at the time since Klingons were the ultimate baddies. It's just one of those things to help people realise this is not your Father's Star Trek (to quote the rubbish Star Trek XI tagline!), but something set even further into the future.

The production veers from impressive spectacle that would no doubt have absolutely wowed audiences of the time, to rough edges. Spectacles include scenes set in the courtroom with Q's judge looming over all, and the attack on the Bandi settlement, or the ship itself... the production design is phenomenal, easy to forget that this episode re-energised the familiar Trek design to a new level. The rougher side to things is just that effects have dated a little (but not significantly, they still service the story well), lines not perfectly rendered, or music that is reused a bit too much. Generally the sound and music experience is high, with a lot of bass and violins, and a capturing of the essence of exploration and excitement.

Perhaps they throw too much in. The saucer separation, mentions of the Ferengi, the many characters, the Holodeck, so many conventions, new and old. Even so there are occasionally slow parts, so it couldn't quite be called a classic. It is a good episode, with an uplifting ending, but it's not a patch on later Trek pilots, which tended towards more action, emotion and dramatics. Without this pilot, however, those later series' would never have been.

***

Dramatis Personae

DVD, DS9 S1 (Dramatis Personae)

Whatever series it is, as long as it's fantasy or sci-fi in some way, you can be sure of at least one thing: there will be an episode where the main characters all act weird! This is 'DS9's entry, though not the last of the series. From the start, with a Klingon vessel exploding after coming through the Wormhole, you know it will be something special. The changes are subtle at first. Early on Odo has a dramatic reaction though we don't realise it at the time. The effect of the 'head wipe,' like a computer restarting itself, is enough, but his rigid slump to the ground is just as scary for such a mercurial form. Quark shows more concern than would be due a man of the law, from a criminal, and there are several scenes that continue the brilliant double act of the pair.

The best is probably Quark's arrival in a neck brace, to press charges against Kira who threw him against the bar! All the way through he's finding it hard to talk and move, yet when Odo leaves in a hurry Quark reveals he's well enough to shout and leap up after the constable! Kira's response (before the attack), to his inquiries as host, are to "Get lost!", which is something you can imagine her saying normally. That's the key. The 'DS9' characters might be re-enacting an alien play, but their behaviour is all exaggerated from their real personas. Bashir's innuendo over choosing sides, dropping hints as he goes about his work recalls his possession by a criminal in 'The Passenger', the same smooth, but knowing wording and attitude.

Kira becomes more conscious of her physicality, and tries to get under the cracks of each new possible recruit to her cause, something which brings humour to the scene where she attempts to gauge Dax' loyalties, only for the Trill to keep going off on a tangent, reminiscing nostalgically, her mind distant. Kira's behaviour is a dry run for the Intendant of the Mirror Universe, coming in a season's time. Interestingly Odo shows no indication of his love for the Major, perhaps being too preoccupied with events. Sisko, for me, is the scariest, because the full force of his large frame and volcano-like emotions is allowed to explode. He beats the Bajoran assassin around Ops showing no restraint, yet he's equally calm and dispassionate at the flick of a switch.

O'Brien becomes the boss man, the bodyguard you have to get through, and it's quite a shock when he slaps Dax across the face for alerting Kira! Jake wasn't in it, but that's explained as Keiko taking the school on a trip to Bajor. It probably wouldn't have worked as a B-story in this one, where the tensions seethe - it wasn't a place for children! Would have been interesting to see a school trip on another occasion, though.

I did notice some small mistakes in Ops near the beginning. Above Sisko's head in some tight shots you can see blue high above. This is clearly a bit of bluescreen for a window which should have been filled in with the starfield! And I wonder if the inspiration for the story came partly from some Original Series episodes, in particular 'Return To Tomorrow' in which the Enterprise came across some spheres which took them over. I could tell this was a classic by the way I was buzzing with thoughts and impressions after viewing. That doesn't always happen. Usually only with the best!

****