Run

DVD, Smallville S4 (Run)

That was The Flash, right? I'm not a comic buff, what I know about the minor superheroes is only what's seeped into popular culture, and all I know about The Flash is that he wears red, and has a lightning flash as a symbol. And I'm guessing he's referencing the future Justice League of America? These comic in-jokes and such go over my head a bit, but the guy was a fun addition, although through most of the story I was thinking maybe they hadn't used his and Clark's speeding powers as well as they could have, until the affecting ending. After so many down, bizarre or disappointing endings to Season Three it's been truly great to recapture some of the buoyant, joyful finales of the first two seasons.

Also on my checklist was for the adults to be featured more, so the Kent's better integration was another tick. I especially appreciated the Martha/Lana conversation, as I remember Annette O'Toole saying in an early interview that she wished the girls had more scenes together. I know it's not called Jonathan Kentville, but I do feel like his storyline has fallen down the cracks quite a bit. I heard that he too had concerns over the series, this time in the writing department, and that's shown in this one where we get his heart condition mentioned, but we're not delving into his day to day living; the way he must feel uncertain about the smallest job that requires a lot of physical exertion; his fear of the future. None of these are being explored and he's just carrying on as usual, when they could be utilising John Schneider's strong acting skills to portray Jonathan in weakness as so many scenes in the past have improved an episode because of his overcoming hot-headed anger, despair and regret over the life he gave Martha, or jealousy.

It's also a really weird feeling to see Mrs. Kent running the Talon, but I like it. It gives them a chance to show that upbeat, bright place where so much has happened. Lana's story moves on a little as she brings Jason into her confidence, and it seems the medieval connection is growing stronger with the manuscript Lex found. As always there's a bit of back-peddling to show us the exact same moments between characters we've seen so many time before: Lex says he has no interest in a Clark-related thing, but has some artifact that links to him. Clark gets involved and the item is stolen. Lex is suspicious of Clark, even though he's lying about something. They both pretend they don't know what the other's thinking. At the end they're buddies again, when really they're both doing something behind the other's back. We've seen it with the key to the ship and we've seen it with the age-old Kawatche caves, and I wrote previously that Lex' desire to stay friends with Clark is only going to lead to them distrusting each other again, and thus it is so. A final note: give Lex an Apple Mac again, as his PC laptop just doesn't look as expensive!

The episode was an all-round fine piece, and I found myself forgiving it it's faults. They got the score and the action about right (except I wanted Clark to run forward and ping the bullet away as it came out rather than just grabbing the gun), it continues to be colourful and happy, with a lack of moaning and negativity that blighted the previous season. I hope it stays like this. 

***

Critical Care

DVD, Voyager S7 (Critical Care)

They didn't do the more traditional morality plays on 'Voyager' very often, but this is in the tradition of the Original Series - they even have a controlling computer, the Allocator, to deal with, although it isn't about the computer. It's a mirror for the American health service, and while it probably meant a lot to that audience, for English viewers with our National Health Service providing care for all, regardless of financial situation–sorry, T.C., it's hard to empathise with the real world message.

The series is looking good, with some nice CG work, even if the style does seem a little out of place for Trek, and the balance of the episode, carried mainly by the Doctor, is also spread out among the other characters too. There are things that make you wonder, however. Does the Doctor not follow the Prime Directive? You can feel a Janeway dressing-down coming his way at the end of the episode in the vein (urk!) of 'as much as I agree with your position you shouldn't have interfered', and I got the impression he wasn't too forthcoming about the events on the hospital ship.

The hunt Voyager carries out has some funny moments (Janeway grabbing Tuvok's hand to pretend they're 'together' is the highlight), and some good alien heads, but it doesn't stop the story from seeming a little lightweight. Gregory Itzin returns to Trek again, and as usual he's not in makeup (does he have it in his contract that he can't wear prosthetics?), but performs slightly on-the-edge, emotionless, unflustered alien man as well as always. I wonder where Chellik got his desk computer? Was it from Gar, since it looks just like a Voyager laptop - and the wall decor also looks similar to sickbay's technology, so are these people less advanced or not?

**

Profit and Loss

DVD, DS9 S2 (Profit and Loss)

Uneventful compared to most of this season's episodes, which is the main reason I don't like this one so much, but there are things about it... Most notable must be the third appearance of Garak, the oily, x-man who can be both gracious and unpredictably brutal as discovered when he kills Gul Toran. We learn the most we've ever learned about him up to this point, with the facts that he was exiled, was once thought clever, loves Cardassia, but doesn't love all of the military. We also know he's heard of Spock's Father, Sarek of Vulcan! His mystery actually deepens through finding out more about him, as we're left with even more questions. Like motives - he was willing to kill the dissidents in exchange for the end of his exile, yet he's equally quick to turn the tables when it becomes clear the government had no intention of ending his exile for this 'small' favour. It's also the first time we've seen his wonderful tailor's shop since the first time we met him in one of the earliest episodes of Season One.

The subtext he talks the whole time makes for some intriguing discussions, and his pairing with Quark, a refreshing change for his usual sole conversations with Bashir. He even makes it to Ops to 'convey' a 'message' from his people, who are clearly able to contact him if the need arises (something they would use to great advantage at the beginning of Season Four!) - notice he comes up the back stairs rather than the lift... We also see a little more of the Promenade; we don't often visit that end of the station.

The point of the episode is to reveal a different side to Quark, who shows genuine love and affection, for a change, even over profit. Natima Lang, who is the first fully grown female of her species we've encountered on the series, brings not just old memories, but new perspectives on the Cardassians. That there could be a dissident movement working towards loosening the tight control the military holds on day to day life is quite a turnaround for a race who've generally been portrayed as brutal, although we've begun to see other sides to them. Rekelen and Hogue didn't seem all that bright, to me, to be leaders of a movement, but maybe they know what they're talking about when it's their subject?

Being a Quark episode there's humour aplenty, played seriously, and two of my favourite scenes are when he double-talks with Garak in his shop, and when he pleads with Odo to let Natima and her students go. He tries being friendly, being truthful, even resorting to begging, and when Odo eventually agrees you can tell that it's more than just the justice angle he says it is. Though this will be the one and only time Quark hugs Odo ("Let. Go!" - hilarious!). The Cardassians are proved liars once again, as at the beginning of the season they say they didn't realise there were still Bajoran prisoners and pledged to set them all free, yet here they conjure some up to act as an exchange!

I don't think Quark and Odo would have got into trouble for their disobedience. Either there were no Bajoran prisoners in reality, or they could have been dropped off before the Cardassians realised their 'terrorists' had escaped, and they could hardly demand the Bajorans back! The Bajorans might lodge a complaint, but as it was Odo they would be more favourable, and Starfleet isn't going to pry into what was a Bajoran matter. Sisko might give Odo a bit of a tongue-wag, but not a harsh one as he didn't want Natima and her students to be sent back to their deaths anyway.

The direction had some nice shots such as the view from the pit in Ops, framing the conversation in the V-shaped railing. And Quark's collapse to the floor allows the cloaking device to roll out of his hand, perfectly into the frame. Actually there's a bit of a question mark over that device. We see later examples (such as in 'The Emperor's New Cloak') which are much bigger. Maybe it was actually a lot longer and the rest of it was cloaked! This season has certainly seen a slightly higher number of Cardassian episodes than some, and the dissident movement brings new levels to the race, but not a lot really happens amid all the talking scenes so even though there are plenty of good lines, Garak's back, and a different Quark is revealed it still feels a little insubstantial.

**

A Matter of Honor

DVD, TNG S2 (A Matter of Honor)

A Matter of Perspective would have been an equally appropriate title for this tale of Klingon and Starfleet protocol. Following what became the traditional style for 24th Century Trek, we have a main plot featuring Riker's tour aboard a Klingon ship, and a secondary storyline with a Benzite visiting the Enterprise on an exchange programme. It's easy to point to the Klingon side as the better part, but the Ensign's attempt to fit in and prove himself gives us a different perspective of shipboard life. That's visually as well, as for most of the episode we're looking forward from the back of the bridge, the view these minor characters have, adding a further layer of detail to the bridge.

It would have been better to have Wesley's Benzite friend from Season One come to visit (especially since they're played by the same actor!), but his friendly advice is helpful to the alien all the same. And the race is one of the more visually interesting species that you can spend the whole episode trying to see into their ears or tracing the shape of the cranium bumps. We also learn that Benzites have their own ships and protocols rather than being a 'subsumed nation' within the Federation. Perhaps Dr. Phlox' Interspecies Medical Exchange was the inspiration for this idea of sharing knowledge and experiences with other races?

There's a bit of humour, with Riker stuffing himself full of unappetising foreign dishes, and some new things to look out for, such as the phaser range - it's unclear whether this is a Holoprogram or a separate facility, but it certainly looked the business. It seemed a little easy for Riker to get into a Klingon assignment, as he just discusses it informally with Picard and boom, it's all organised and ready to go, so maybe they could have had a bit more finesse in the process of the story, but it's one of those high-concept episodes: Riker serves on a Klingon ship. Right away you're interested to see how he'll fare, and he acts admirably, knowing when to bend to his host's ways, and when to stick to his ideals. He ends by showing great tact in allowing the Klingon captain to smack him across the room, thus giving him quick passage back to the Enterprise and defusing the situation in one blow. Even though it was a hefty one!

For the time this was quite a novelty as Klingon life had still only been seen briefly in films I and III. V and VI were still to come, so this does a lot to tie down Klingon foods, feelings and the ways of the warriors. It even introduces the concept of Romulans capturing Klingons and turning them into old men that die without honour: something that was to affect Worf in later seasons. Klag was well-played by Brian Thompson in one of several roles (including a red-faced Dosi and a Jem'Hadar in 'DS9'), and O'Brien is definitely part of the crew, sharing a joke with Riker and getting more to do than Deanna who doesn't even appear! You do wonder how the peace between the Feds and the Klingons has been kept intact since so many are intent on dying in glorious battle and misunderstand human motives. They must have some great ambassadors (Curzon Dax?) to keep things ticking over.

***

King Kong

DVD, King Kong (2005) film

This film lost me from the start, and didn't get me back until the appearance of the fearsome natives. For me, a film needs an exciting opening, or a mysterious one, but this had neither, and I would agree that its biggest failing is its bigness. Its too long, there are scenes which emphasise things over much (I was waiting for those planes to shoot Kong down for what seemed like an age). I often prefer Jackson's style to other, shaky-cam directors, like JJ Abrams, and similar shots as seen in 'The Lord of The Rings' trilogy are well in evidence. However, these shots, which worked for those films, feel like old hat, even repeating a few, such as the slow-motion closeups of gaping skulls or a CGI camera zooming over a landscape.

The CGI was a mixed bag, surprisingly, in that Kong himself was brilliant, and they captured the big scenes well, but smaller, less important shots didn't look real enough, such as the boat in stormy seas, and occasionally people moving from a distance. I never identified with any of the characters, neither did I dislike them. They simply existed, and I didn't care when any of them died, including the first officer whose friendship with the young lad marked either him or the lad for doom! I'm obligated to like Andy Serkis' performance, as we all are, but I expected to see more of Lumpy. I completely forgot that Serkis 'played' Kong too, until I saw it in the credits, which proves what a strong performance it was, though not as easy to identify with as Gollum.

There was far too much brightness and cleanness, even the dirt looked clean, and it didn't fit the mood that was being attempted. For much of the film it was a waiting game, wading through shots of people walking, or talking, and I only really enjoyed the spectacular action scenes, such as the Brontosaurus stampede, and the dino fights. If the running time had been significantly cut, there had been more 'Jurassic Park', and I had liked the characters more, I would have thought well of the film, but being the big first project, post-Rings, it was always going to be a massive hype-generator. Oddly I never even wanted to see it at the time it came out, because I thought I knew what I was going to get. And I was right.

Peter Jackson wanted to remake his childhood inspiration for a new audience, and that's laudable, and he deserved to do whatever he wanted after the phenomenon that was 'The Lord of The Rings', but that doesn't make it any more of an enjoyable film for me. It's about a giant ape, it's about an expedition, it's about... not much else, but done with clever effects. The bad language seemed more noticeable than other films after the purity of 'Rings'. The film seemed to hold itself back a little. Not always, as the unpleasant scenes with the natives (who looked very Orc-like!), had some danger to them. The music, which wasn't bad, but was sensitive and never took charge, became the mark of the film - I couldn't hum a single bit of the score, and I don't think there was a strong theme if there was one at all. A real shame Howard Shore wasn't onboard to compose, although the conductor in the show bore a passing resemblance...

It's not a bad film, but it did seem to be not a big enough leap away from 'Rings', and into something better, and I say all this even though I watched it with very little expectation. Not a disappointment, just something Jackson and his team needed to get out of their system, I feel. A film that exists, but not one I'd want to see again.

**

Playing God

DVD, DS9 S2 (Playing God)

I identified with Arjin, as someone who doesn't really have a lot of ambition, but sort of finds himself on the path to symbiosis, without clear goals. I wish we could have found out whether he was accepted by the Symbiosis Commission, or whether he chose to do something else, as the story leaves it wide open, with only the fact that Jadzia is going to recommend him, a certainty. This was certainly a Dax episode, even if it was also another of the rare 3-strand episodes, a strange decision coming right after another of those. It's close, but I think this one works marginally better, as the different storylines segue into each other instead of being completely disconnected.

Certainly a lot happens, even though it is mostly talk and very little action. The humour quotient is higher - Quark's inadvertent ear torture; Sisko hearing about Jake's interest in a Dabo girl; Kira and O'Brien's backsides being introduced as the First Officer and Chief Engineer since they're both engaged in a vole hunt.... Going on a vole hunt, going on a vole hunt, we're not scared...

Actually the episode could have turned into another monster rampage, in the vein of Odo's in 'The Alternate'. Both stories have in common the use of the science lab, seen here in all it's glory, and when those voles were skittering around the protouniverse you could have been forgiven for thinking one might have gone into hyper-change mode and become a huge vole hybrid that has the sentience of the inhabitants of the miniature universe, and foully does their bidding, trying to stop the humans from moving the phenomenon. But they never went down that route. The voles were kind of ugly, how you might imagine Ferengi babies could look, but it was good to see them up close, and they appeared much more realistic than the spider things at the beginning of the season!

A lot of references are made, almost too many to keep track of. The Trek universe is reinforced by such details as these, and it can become a bit of a game to try and keep track: Dax' love of little-known composers includes a Romulan, though his music isn't as distinct as the Vulcan artist she played before; she plays Tongo again; Sisko struggles over his decision about whether to leave the protouniverse to destroy the station, or try to destroy it, and wonders if they would be taking the same actions as the Borg took when they tried to wipe out humanity (they'll be back in three years, Ben, so watch out!); and the huge Klingon chef makes his second, and final appearance, after singing with Jadzia at his restaurant.

There seem to be a couple of mistakes that slipped through the continuity police. Jadzia says something about Curzon knowing a Ferengi bartender either a hundred years ago, or for a hundred years, which would be well before Federation first contact with the species. It could have been that Curzon went to places the Federation didn't, but since he was an ambassador for them, why didn't he tell them about the Ferengi? Maybe he did, or maybe he had promised this bartender he'd never tell anyone about his species? Who knows. One thing I do know is that there seems to be an extra Runabout pad. O'Brien mentions pad D, when surely there are only A, B and C pads, unless I'm missing something...

Again, there's the feeling that packing too much into an episode makes the stuffing spill out the sides, so the impact is lost, but we do get to hear a fair bit about some character's pasts - Jadzia's battle with Curzon over initiation, and Quark's nefarious reason for leaving his profitable career. I did like the way a normally benign component that they usually fly through - the Wormhole's verteron nodes - became a danger thanks to the protouniverse, and the effects with the lone Runabout trying to steer round these huge objects were great, but that sequence could have done with a bit more 'Star Wars' pizazz as it could have been a lot more exciting.

***

Unnatural Selection

DVD, TNG S2 (Unnatural Selection)

Slow even for a TNG episode, it nevertheless has something about it that makes it watchable. A good old 3D chess set may be one of the clues that this owes a little to the Original Series. In Season One we had a direct sequel to Kirk's era, with the crew facing the disease they originally encountered in 'The Naked Time', and this one seems to be a kind of sequel to 'The Deadly Years', though you could say an aging episode is what all sci-fi or fantasy shows have to do at some point! There're more links to the older series too, with a ship, the USS Lantree, looking like the Reliant from 'Star Trek II', and the tale of genetically-bred superior humans - did they not learn anything from 'Enterprise' and it's Augments, or from Khan and his warriors? We also get to see them using the remote access codes to stop the Lantree's engines and activate the viewscreen, just as Khan deactivated the Enterprise's shields remotely.

I especially liked the medical scanner Pulaski uses to examine the dead bridge crew remotely. What makes the episode more watchable is the interactions of her and Picard, who have never quite hit it off. By the end of this episode they've come to an understanding of some kind, though perhaps not in words, but a subtle appreciation for the other, which is nice to see. What is also nice to see is Chief O'Brien (he's named for the first time!), who gets his first proper episode, in other words he has more than one line and is actually part of the story, taking his familiar role as Transporter Chief, just as Lieutenant Kyle was a familiar face at that position on the Original Series. O'Brien even gets to sit in on the conference in the briefing room.

There were a couple of little niggles - Troi says to Picard that Pulaski is the most dedicated physician she's ever known, but what about Dr. Crusher, you'd think she would have some loyalty to her friend, but maybe it was the writers sticking the boot in subconciously, or worse, they'd forgotten all about her (or Troi has, which comes to the same thing!). When Data picks up one of Pulaski's hairs from her quarters he notes that it has a follicle, but how can he know that as he's holding both ends?

The episode isn't one of the best of the season, but it has that quality that stops you dropping off to sleep even though there's not a lot of energy, and most of the characters are integrated well. The old warning about interfering with natural genetics is at the forefront, plus it ends with quite a sad moment as the Enterprise solemnly destroys the infected Lantree.

**

Devoted

DVD, Smallville S4 (Devoted)

Better in almost every way, they finally got the mix right for this season. Yes, they've done the story before where people react crazy and they have to find out what's making people release their feelings and such, but that wasn't the point of the episode, which usually I'd be complaining about, but it was well woven in among several plots and most of the characters were featured logically and believably. And there was a good dollop of humour (Clark pretending to be mad about the chief cheerleader, in a monosyllabic lack of acting skill), a bit more action (the great teaser with Jason being attacked by shotgun, although I was disappointed we didn't get to see Clark face off against the football guys that come to attack), and a bright, upbeat colourfulness. Not only that, but things end positively for a change.

They can't seem to help replaying scenes we've seen before, right back to Season Two, where Lex is trying to make up with Clark (incidentally you'd think the football team would know Lex had been good friends with Clark and given them another reason to take it out on their new quarterback...), Chloe is gooey over him, etc, but they just accepted they wanted things to get back to normal, instead of being all dark and grumpy about things. Okay, so it only leaves it open for Lex and Clark to blow up at each other again, but that's their perogative (and I'm not sure we can trust the guy now - previously he'd have done all this honestly, but he's a bit odd now, maybe still a little barmy inside, and I half expected to see another scene where he's on his own in another room and the car's still there).

I felt there was an opportunity for a good story about Clark gaining the respect of his teammates and not by using his powers, so the final throw that wins the game was one of the only letdowns, and you could see it reflected in Jonathan Kent's face. Admittedly the story goes a bit over-soapy as is the norm now, but the meteorite juice plot (really? Does no one in the town think twice about anything green - after all the bright green nastiness they've endured the last thing you'd expect them to drink would be a bright green drink!), is well-handled, the tension over whether Jason will be uncovered as a teacher with an inappropriate connection to a student is well-handled (and he did make a suitably bad baddie), and the minor scenes at the Kent house or with various characters shows a better understanding than we've seen lately.

It may have something to do with great 'Star Trek' director David Carson being in control - an assured hand at the tiller, but whatever green juice the makers have been drinking I hope they keep downing it! In the ongoing plot, it seems Lois Lane is coming to the end of her run, which is strange as there doesn't seem a particular reason for losing her, though I'm sure she'll be back, and maybe it will be a chance for the other characters such as the 'adults' (Martha, Jonathan and Lionel) to have a bit more worthwhile screen time. The ending was also finely judged, with Christopher Reeve's dedication a sad, but fitting touch: "He made us believe a man can fly." A worthy tribute for a great figure of the mythos, who for many will always be the only true Superman.

***

Shadowplay

DVD, DS9 S2 (Shadowplay)

Both sedate and dense, this episode is a juxtaposition, with the only thematic connection being about appearances being deceptive. A story with three strands is rare, especially ones that don't feed into each other, as is the case here. I sometimes wonder if they try and fit in too much in episodes like these - the side plots concern Bareil and Kira's initially awkward, but eventually pleasant, interactions, brought together through the machinations of Quark (he's at his wily ways while Odo's off the station), and Jake's realisation that, contrary to expectation (both characters and audience, I suspect), Starfleet isn't for him; another example of the series putting ideas on their heads, after Wesley Crusher's more traditional career path (at first, anyway).

While we learn a bit about O'Brien (not the least that he can be a very understanding and sympathetic ear), and Sisko (who admirably supports his son's decision), as well as Bashir (Garak's taught him some surveillance techniques which he wants to try out - shades of where his character would end up, perhaps), the main event is Dax and Odo's mission in the Gamma Quadrant, which facilitates a reminder of the powerful Dominion, a discussion on holographic sentience, and Odo's quest to find his people. There must be a definite line crossed at some point, to make a hologram 'real', otherwise, every training program or make-believe setting would have the danger of creating a new lifeform, and Starfleet would have to be careful - switching off programs could be like stepping on ants. Intelligent ants.

Again Changelings are considered a myth, as Croden believed in 'Vortex', and we even have a nice scene which demonstrates how Dax has learned not to hold herself back, discussing very personal topics with Odo. At first she stayed very withdrawn in a wise way, but has got to the point where her pre-symbiont personality has merged comfortably with her great wisdom, so she can enjoy life and people without fear of seeming condescending. That's my take, anyway. Ironically the very episode Odo admits to Dax he considers Kira a close friend, is the one where the Major is becoming ever more friendly with everyone's favourite Vedek. The amusing touches of their meetings is lost a little, as Bareil makes great effort to show Kira she doesn't need to be deferent, and they both become much more comfortable with each other.

The downside of so much happening is that we don't get to see some things, such as the Springball game in the Holosuite, or Bashir spying on Quark, or even a Tellarite! That last one might not seem surprising, but there have been so many references to Andorians and things of the Original era, that it becomes almost like teasing, and we want to see these 'older' races. As it happened we had to wait for 'Enterprise' for most of that! Quark gets another failure of a relative, in the unseen cousin Kono, and Jake starts thinking about getting a job, like Nog.

There aren't many questions left (aside from the obvious - what's happening with the Bajoran situation, or the Cardassians, or the Dominion), but I noticed a couple of oddities: Odo proves to Colyus, the village's Protector, that he could leave at any time, beaming himself away and back again, and the man seems very surprised. Yet in the following conversation he reveals knowledge of transporters, and later, holograms, so what made him react that way?

Also, Taya's arm, in a nice visual effect, disappears as she gets too near the boundary. She's holding a bunch of berries which also vanish, but surely they would be real, and would simply drop to the ground when she's not holding them any more. Then again, the whole village was a fabrication, so this berry bush must have been fake also. But that brings up the question: why would a berry bush have been created so far from the village, since leaving it was discouraged. It would be asking for trouble to leave a big bush, full of bright, bulging berries, so near to the boundary, as the children would be attracted that way! And finally, Odo gets to show his shapeshifting skills again; as a gift to Taya he turns into a spinning top.

***

Paradise

DVD, DS9 S2 (Paradise)

Alixus' views and ideals are a topic of much debate and the issues make it a thoroughly thought-provoking episode that you find yourself pondering long after the episode has ended. It seems clear to me that her lies were a great evil, and anything based on such deceit can't survive. But at the same time, although it's taken ten years for the community to realise the truth, they are a community and they're doing what they set out to do. To leave, even after the surprising revelation of Alixus' secrets, would be to abandon the colony, the community and the dream that they've built.

The story leaves them now at a crossroads, with the choice of continuing rigidly to the teachings of their leader, or to accept the use of technology to some degree. I'd like to think they improved their lives with the use of devices occasionally, but probably stayed true to working with their bodies and taming the land. The changes are that they're no longer alone, have the freedom to leave if they choose, and the means to meet impossible challenges if they arise. Joseph seems like a good, dependable man who will be able to organise the colony, although I would expect some divisions to creep in, and maybe another colony would be started up by those unhappy with the rules. As with many episodes that end a little unresolved, it is fascinating to speculate, and would be great to revisit.

The final shot of the small boy staring, after Sisko, O'Brien, Alixus and her son have beamed away, could be interpreted in a number of ways - the simple surprise this lad experienced at seeing people vanish into thin air, since he would never have seen anything like it; perhaps sadness that their leader, and comforter, Alixus was taken away; could be desire to leave as well; or maybe he was actually staring at the punishment box, and wondering if it will no longer be a threat. I love those kinds of endings, because your imagination is left to grow the fertile seeds that were laid.

O'Brien has come to the forefront in recent stories, balancing out his period of mainly background in the first half of the season. He always shows great respect for authority with his commanding officers, and Sisko is no exception - it's clear he trusts him and they have a bond through their experiences of bringing up children. The little conversations are part of the joy of the unfolding series, and here we get the Chief and Sisko, and Kira and Dax interacting nicely. You almost don't notice the complete lack of Quark, Odo, Bashir and Jake (though his steadily increasing height is commented upon).

The paradise of the planet is a welcome visual change to familiar station-bound sights, and the lush woods, soil and plants work well with Starfleet uniforms and equipment. The colony has an olde worlde look in some ways, almost Hobbit-like; rustic, charming; candles and books and natural objects. The two officers show their ability to survive without technology, O'Brien in particular presents his practical ingenuity. Sisko embodies the powerful passive resistance in the great scene where he returns to the punishment box (an idea they might have got from the film 'The Bridge on The River Kwai'). The Runabouts get a workout, good wins out, and everything is pleasing on the eyes, and plays out like a proper drama, with ideas and arguments, not phasers and flashy effects. Paradise!

***

The Schizoid Man

DVD, TNG S2 (The Schizoid Man)

I'm not sure what Riker's last comment means - he asks Data if he remembers wrestling with a Klingon Targ, but if it was a joke he says it with a remarkably straight face! Otherwise, the episode is a chilling mirror on the affable Commander Data, and his potential for evil. Brent Spiner's face somehow flits between the reassuringly blank-but-also-alert expression we're used to seeing, and a more human one, but also more passionate in a greedy way. The face sneers, the eyes bulge, the teeth grimace, and these changes stretch the artificial construction to emphasise it's unreality - Data seems less human in many ways.

His strength becomes horrific, the dreams he has for eternal achievement at the expense of any around him... Like Lore, this shows starkly what Data might have been, if power and desire gripped him. The story isn't a new one; there were several in the Original Series that dealt with androids, and specifically humans wanting their conciousness housed in them forever. But that cold, violent scheme for life takes away the very life they think they are preserving. The warmth and duty is replaced by selfishness and the will to do whatever they want. It gives Picard the opportunity to show the bravery, care for his crew, and diplomatic skill with words, that he became famous for, even if it did earn him a smack round the chops. It's one of the examples of the connection between Picard and Data, that would be summoned for the films.

Ira Graves (played by W. Morgan Sheppard, in the first of several Trek roles, including a Vulcan in 'Star Trek XI' I believe), was another in a long line of Trek geniuses, who usually turn out to be bad news. While Gideon Seyetik (of 'Second Sight'), or Dr. Soong, turned out to be good people with flaws, Graves definitely comes under the 'danger to Starfleet' category. At first the episode appears to be a Dr. Pulaski episode, which we haven't explored yet, but she's soon forgotten, although we get Suzie Plakson's first appearance, in the form of Vulcan Lieutenant Selar.

***

Loud As A Whisper

DVD, TNG S2 (Loud As A Whisper)

The perfect evidence to support character scenes. Without the moments between Riva and Troi, what later occurs would not have nearly as much depth and poignancy to it. It's thanks to the introduction of the Chorus, and their careful integration in the understanding of Picard and his crew, that their loss is so devastating. Saying that, the episode isn't perfect - the teaser cuts off at an odd moment, which jerks you out of the story rather than leaving you anticipating what will happen next during the opening credits.

Having a deaf actor play Riva brought a reality to proceedings, but it was the writing that is most inspired, with the Chorus soon descending into the background so that you 'hear' Riva. It also makes for some clever moments when the use of a voice without using the mouth means Riva can leave a room, yet still say something once he's gone out the door (a new way of having the last word in an argument?), or eating while talking (putting Troi at a disadvantage).

The aliens were the least accessible part of the production, appearing like hairy Ferengi, but the swift and full impact of one man's hatred creates such over-riding effects on so many others, so that the episode could be as much about the consequences of hate, than disability, or learning to live without something you're used to. In Riva's case it wasn't his hearing, but his Chorus that he thought he couldn't live without, while the aliens couldn't survive without Riva himself. In a way our complete lack of identification with them is true to the situation since they are opposing forces, not cuddly aliens to talk reasonably with, and how good it would have been to return in a few months time to see the progress Riva would have made. 

Geordi and Data are also shown in a good light - Data's super fast learning skills, and LaForge's complete symmetry with Riva, along with a choice he has for surgery to give him eyes, thanks to Dr. Pulaski. The episode is undoubtedly Troi's, though I'm surprised Riva didn't see through the ploy from the Captain. Maybe Deanna really did plan to attempt reconciliation, and her feelings made Riva want to help her? In terms of minutiae, O'Brien is there again, and he actually gets a line! Plus, I feel sure Thomas Oglesby, one of the Chorus trio, is related to the more familiar Randy Oglesby, who's also been in various Trek roles, as he has a similar face. Riva and his Chorus was a brilliant idea, well executed, if you'll pardon the pun.

***

The Outrageous Okona

DVD, TNG S2 (The Outrageous Okona)

The B-story with Data attempting to learn how to be funny, wasn't played to its full potential, but even so, it's the more watchable strand of the episode for Guinan's input, and the Holodeck comic scenes. The events surrounding titular character Okona (pronounced O-Konna, but I always want to say O-Koh-na), are moderately watchable, but hardly engaging. He comes across as a space pirate, and one that has a lot of cheek. His 'charm' certainly seems to affect the normally strait-laced Starfleet females (including Teri Hatcher in an early role), making them seem rather unprofessional. It doesn't help that Riker and others find it amusing rather than keeping this 'rogue' in check.

Nice how it turns out he's simply covering for a couple of young lovebirds, and there's occasionally something to peak the interest, such as Worf stomping off to bring the outrageous one to the bridge - it wasn't just Worf, I wanted him to resist too! The writing's a bit flat, the effects of the ships aren't that great, but we get to see what may be the first 'conference' setting applied to a viewscreen. Small reason to rewatch... I have to say the quality of the first few episodes, which started well, has gone down each time, I think as a result of the writer's strike of that time. Season One is often considered to be the unbalanced one, but this season has matched it for unpredictable quality so far.

**

Repression

DVD, Voyager S7 (Repression)

A bit of a crowd-pleaser, this one. It cheers up people missing DS9 with some Bajoran references, and sneakily weaves some ret-conning into established Voyager characters. Then we get to see the Maquis take over the ship wearing their old clothes from 'Caretaker'! There are a lot of flaws in the story, including glaring ones like what would be the gain for Teero? He implements this takeover, long-planned, but for what? The ship will take at least thirty-five years to get home as far as he knows, and by then he could be dead. The reason given in the episode is that he wanted the Maquis to survive, and he was fanatical enough not to care where or how. But the Maquis have been destroyed, the conflict is over, and when last he had dealings with them they kicked him out! So is he trying to preserve the last remnants of the Maquis or do the opposite and make them into wanted criminals again?

The main concern is the speed at which the Starfleet crew allow themselves to be taken over. This can be glossed over - surprise attacks... allies becoming enemies... fully armed... etc, but we've seen this kind of thing happen before, and it would be inevitable that some people would be alerted and form a resistance group. Maybe they did, but we don't hear about it, in which case they lost chances to show crewmembers battling throughout the ship, instead of the walkover that was shown. It also seemed a stretch that Chakotay and the others would be so completely overwhelmed by Teero's conditioning and Tuvok's awakening that they hate their Starfleet colleagues, and where such things have been done more realistically in previous episodes or other series', this seemed too simple.

The resolution was far too rushed as well, with a hurriedly pressed reset button, without much difficulty. The early part of the episode with Tuvok investigating himself (another concept done well previously; eg: DS9's 'The Alternate') could have been shortened, so as to allow more time for the troubles with the Maquis to be filled in better. Ignore the flaws, because it's such a good celebration of  the recent 'Star Trek' years. We also get a few Maquis faces from the past, including the Bolian Chell, someone I don't think we've seen since the first season. There's also the familiar face that's been in the background since the pilot, who I can't remember the name of.

I thought the Bajoran guy was the one from 'Learning Curve', but it appeared not, and there's the surprise appearance by at least one Vulcan woman - I could be wrong but I thought there were none aboard which was why there was all the trouble for Tuvok and Vorik! Unless... she's the first Romulan in the service. Funny, we haven't heard of her before... This isn't the first time Tuvok's been spurred to opposition thanks to the Maquis, since he gained a murderous desire to kill after melding with Suder in Season Two. It's a well used idea, but always a source of good tales, and there's some crazy delight in seeing Tuvok fight the crew, especially Chakotay, although again, they could have made more of that set-piece, ranging round the Cargo Bay instead of in a tight little corner of the room behind some barrels!

Paris' delight in the archaic brings a smile when Torres points out he's made a 3D image project a 2D image, only to turn it back into 3D using the glasses (and there's a mistake at one point when they show part of the first film in black and white, without the blurring of 3D). Better than the other episodes so far this season, when the series delights in its heritage this way it can't go too far wrong, but when you know who the attacker is the story is a bit less impressive since they haven't moved the characters along as much as some Trek series', so the short character scenes aren't as poignant as they once were or could be.

****

Whispers

DVD, DS9 S2 (Whispers)

I love the creepy ones. You know the ones I mean? You've got weird things happening and it's only noticed by one person. 'Whispers' has the added advantage of being a really well told tale, with O'Brien acting as teller, starting us off with more questions than answers. The strangeness begins slowly, but as people treat him differently, lie to him, and even his wife acts out of character, the plot thickens into creepy gloopy goodness, and if you don't know the ending it's one of the best of the series. This episode has everything, from O'Brien's desperate escape from his 'friends', to the short appearance of some great-looking aliens, but the dramatic tension is the strongest part, with a growing level of an unsettling mood, like TNG's 'Conspiracy'.

The flawless plotting is immensely clever, and demands to be seen a second time (for a unique and different perspective), and is best illustrated by the way we're rooting for the Chief even though we know he's going to escape in a Runabout, since that's what happens in the teaser. His skill in telling us just enough, as it unfolds to him, keeps us with him and eager to see what happens. The other characters also excel, furthering the creepiness - Bashir says he has two more tests to run, but when O'Brien gets annoyed, he gives him a clean bill of health. The change in Jake and Odo, the only other characters who seem normal, is even more pronounced. I suspect Quark wasn't in with the senior staff, but doubtless he had, shall we say, acquired information on the situation, since he tries to get something out of O'Brien regarding the Paradas.

Amid all the paranoia and chasing, it's easy to overlook the debut of the fifth Runabout, the USS Mekong, replacing the Ganges, destroyed in the previous episode. It's easy to overlook because we don't actually see it onscreen! It's mentioned (as is the Rio Grande, the ship O'Brien escapes in), and seen as a sensor blip, but that's all. Interestingly this is another Gamma Quadrant episode that has nothing to do with the Dominion, something that would change by the end of the season. And there's a bit of continuity with reference to a rematch of the Racquetball game Bashir and O'Brien abandoned in 'Rivals'.

The background characters give consistency to the station, as a living environment, whether they be Bajorans working away with Starfleet crew in Ops, including a particular gold uniformed, black beehive-haired woman, or the exact same woman exiting a docking bay. And that's what happens, which might not be so strange, except she's the first to come off the ship Odo's travelled on from Bajor! Either it was her twin sister, sitting at the main Ops console, or she was behind the whole episode!

****

In The Line of Duty

DVD, Stargate SG-1 S2 (In The Line of Duty)

As soon as the pacy opening gave way to Carter becoming a Goa'uld host the episode could have gone one of two ways. To it's credit it didn't repeat the best story from Season One, where Kowalski became a danger to the base, but the other side of the coin is the lack of drive with the choices they made.

New concepts always flesh out the mythology pleasingly, so it was a bonus to hear about the Tokra (they who would become 'Stargate's' Vulcans), and the Ashrak, an assassin. The story didn't play to the strengths of that chase drama - it wasn't 'Terminator 2', though the enemy was set up to be that kind of threat. Imagination would bring to mind an exciting chase through our world, with the SG teams attempting to cover up the fact that two aliens are fighting each other, while also trying to get to Sam. Instead she remains tightly locked away for the majority, and even the touching ending that throws their preconceptions of the Goa'uld on its head, can't lose the nagging feeling that this should have been much more.

The strength of this series is its characters, and though there were some good scenes, they weren't the focus. Again, continuity is not dwelt upon, and the audience is expected to recall much from the first season. On balance this is probably a good thing, as it isn't talking down to the viewers, but making us feel we're part of the series thanks to the details that are followed up on. Dr. Frasier makes her season debut, and Cassandra, the little girl Carter rescued in 'Singularity' seems to be coming along well in her new life, which is nice. The circle is complete as Cassandra is there to help Sam after her ordeal, just as Sam was with her at a difficult time before.

The assassin strand may not have been used to its full potential, but the directing and effects were noticeably strong. There was a lot of visual interest in the camera moves (the journey into the medical room, leaving Daniel, sweeping round the room to show the wounded doctor, then continuing round to see the enemy appear at the mirror, all in one shot; or the slide through the infrared beams of Carter's cell, for examples), and the CGI impressively made its mark, from the glider attack in the teaser to the alien 'ring' that revealed the inside of human faces. What I take away from the episode are the new facts, and the visuals, but not a lot more.

**

The Serpent's Lair

DVD. Stargate SG-1 S2 (The Serpent's Lair)

Unsurprisingly there's a lot more energy and verve to the season opener than there was in the cliffhanger ending at the end of Season One. There are some ups and some downs, including the occasionally dodgy CGI, which improves dramatically before the closing credits. The opening titles have barely been altered which is a shame as it's always good to see an updated opening sequence.

They don't stint on the continuity, with various characters reappearing, several others garnering a mention, and references galore. The best reintroduction is master Bre'tak who proves a worthy ally once again. Does make you wonder what the Bre'tak of the alternate universe was doing, that he couldn't save Earth, but you can put that one down to the changes in that universe. It does seem serendipitous that the old man managed to gain Apophis' trust in time for the attack on Earth, but we can pass on by such possible flaws because he's such a good character!

There was one surprise for me, since I'd forgotten about the sarcophagus on the ship, and really thought Scarra was gone for good last season. So it was a nice surprise to see he was back and fighting to get through his alien suppressor, and it seems he and 'Father' Apophis will be back to cause more trouble since they escape using the snappily named 'Ring Transporter'. Nothing like 'Star Trek's' Transporter, at all. Because it's got Ring in front of it. See what they did there? But it's a good effect either way, and they might as well use the best stuff if they're going to loot sci-fi's best franchise for inspiration!

I'm not clear why Jack was fine with leaving Daniel to die, and Carter and Teal'c don't bat an eyelid... almost as if they'd seen the last page of the script... Maybe it was because they all thought they were about to die, whichever ship they were on, but at any other time O'Neill wouldn't leave a man behind, even if he had to be carried. I could complain about some of the timing too - Daniel doesn't take long to recover in the sarcophagus (how did he even operate it on his own?), and calling up the Stargate in the final seconds was the quickest gate response ever! Also I would have expected some debris to fall through the wormhole behind Daniel, especially as the gate stays open behind him.

Nitpicking aside, this gets back to the humour and movement that was drowned in budget-skimping and creeping round the same corridors over and over in part one of this story. They still creep through the same corridors, but it's done in a more exciting way, and with Bre'tak along for the ride you know it'll be more fun. For those keeping track we hear mention of Teal'c's son Riach, Mayborn, and Senator Kinsey, though strangely no talk of Sharray from Daniel. The team's back together, the season has hit the ground running, and hopefully we can expect good things.

***

Armageddon Game

DVD, DS9 S2 (Armageddon Game)

This holds a special place in my warp core, for it was the first exposure I had to Deep Space Nine, back at the end of my first year at secondary school, in one of the last lessons of the school year. Watching it now I can see what attracted my younger self to this variation on the already familiar 'Star Trek': the bright colours of the Harvesters and the alien control panels, the exciting storyline, with twists and turns, aliens that seemed alien, with fantastic hair, coupled with characters that seemed to care, and importantly, cool space ships! It's interesting that my first view of the station was in the credits as the teaser is entirely set away from DS9.

Now, fifteen years later I see even more in the episode, with the characters well-known to me, their unfolding sagas enriching and enriched by episodes such as this. Often we don't see windows, because of the extra cost of having to put in opticals, but here they have a great view of the planet, and the early excitement of the attack, reminding us that O'Brien used to be a soldier. His comment early on that "another day won't kill me" when he's ordered to stay for the celebration, makes us wonder if they would actually kill a main character. It's happened before, after all. All the way through you're seeing this irascible Irishman slowly dying, with the chattering Bashir his only comfort. Could this be called the first of the 'torture O'Brien' episodes? Probably not, and in any case you'd have to count last season's 'The Storyteller' if this was eligible. The next episode is most likely to garner that award. But it does play an important role in the unfolding of Bashir and O'Brien as two characters that were like chalk and cheese at first.

The Chief, in particular, has come a long way from being a man that could barely stand to be in the same room as the idealistic, over-eager doctor, but he's learned to tolerate him, and even, perhaps, to like him, if only a little. I love the fact that Bashir answers O'Brien's comment that it was an honour serving with him, as they're about to die, with a simple thanks you, and that it's only after the danger has passed that he takes the time to return the compliment. This wittily laughs a bit at the Chief's traditional way of accepting death, that he would only say such a thing at that point, embarrassing him in front of Keiko, but at the same time shows how much Bashir really means it. He's not under duress, and he takes pleasure from giving it.

The episode works so well because of the characterisations, and the way they are allowed time. It could easily have concentrated on the two Starfleet officers jeopardy, and the alien's attempt to find them, without returning to the station, but we actually get to see what the deaths of two close officers would have on their crewmates. Sisko shows a great burden on him, as soon as he hears the news of their apparent death, knowing he'll have to tell Keiko. Dax heroically offers to come with him, showing their great friendship. Kira is angry at those who didn't prevent the accident, even Quark toasts them! If it's true what Bashir says about a bond forming between two who've faced death together, it must work even more for those that face grief together, and is a catalyst in the closeness of the DS9 crew.

In other news: the good old Ganges, one of the original three Runabouts, saves the lives of her crew by becoming a decoy in a fine twist at the end, and for once the aliens are the ones to be left wondering. Alien hairstyles that are too wacky can be annoying, I cite the Skreeans of 'Sanctuary', but these two aliens, so different in appearance, are great. The T'Lani wear more shapely, earthier coloured garb, with curly, but severe hair shapes, and seem younger, some even elf-like. The Kelleruns have smarter, more military uniforms and hairdos, with Sharat a craggy older man. The contrast is strong, and assists in keeping the truth of the attack from becoming obvious.

This episode proves that some episodes can work equally well in different ways, whether you watch an episode with no knowledge of the ongoing series, or with the basckstory at the front of your mind, something that some of these early stories have done very well at. My History and Geography teacher chose the right one to show us. So if you're out there Mrs. Wallace, thanks a lot!

***

Elementary, Dear Data

DVD, TNG S2 (Elementary, Dear Data)

It was a strange decision for them to end the episode with a reuse of the Stargazer as the USS Victory, as it was one of those times when it wasn't necessary to see the approaching ship. As a whole the episode follows that pattern of questionable choices. The main set-up was clearly a winner - Data's interest in Sherlock Holmes was well established in the first season, but to have Moriarty give up so willingly on the off-chance they might, one day discover how to turn holograms into physical beings, was hard to swallow. Even by Voyager's time, a few years later the EMH was locked into the ship, needing holoemitters to exist, and it was only 29th Century tech that enabled him to experience a more mobile existence.

There was certainly charm in the way this holocharacter catches on to his situation, in the same way that Vic Fontaine or the Irish villagers did in later series'. It all started here (unless you count Cyrus Redblock trying to leave the Holodeck in 'The Big Goodbye'). The ending was more for the sake of wrapping up the story before time ran out, than going for a logical progression of events. If anything it took too long to get to Moriarty (maybe the teaser should have ended with him gaining awareness), and they should have played with him and the danger his knowledge creates, much more.

The Holmes references were fun, but the scenario for Data and La Forge to get to the program seemed quite contrived. During duty the engineer puts in an emergency call for Data, but it's only to show him a (rather good) model of the HMS Victory (and I've been to see the original ship since I last saw this episode which makes it more interesting!). Then he presents his friend with a pipe and Data agrees to go and play. Don't they have duties? La Forge seems to know a bit about Holmes - enough to get the right kind of pipe anyway, but then has no idea why Data's speaking in that enunciated British accent, or can deduce things by observation. Clearly Geordi hasn't actually read or seen any Holmes material!

It's the same with Pulaski in her ignorance of Holotechnology. You can argue that she has buried herself in research all her life and never got around to investigating the potential, but you'd think this kind of tech would be integrated into many applications in the 24th Century. We're not told how new it is, although it seemed to be slightly unfamiliar to the characters last season, so perhaps it hasn't seeped into the public conciousness yet. The doctor also seems remarkably unruffled, sitting there having tea with Moriarty. She's just been carried through the streets of London according to Data's deductions, and I can imagine she wasn't best pleased, yet she's maintained the whimsical attitude to the adventure as when she was strolling through the street. Granted, Data's reasoning might not be true, as we don't actually see her being carried, but it feels less real that she isn't reacting in some way after her ordeal.

Why are Geordi and Data even allowed to go off during their shift, since all the other bridge crew are still working, and they all seem to share the same shift. Maybe these are minor problems on what is a fun episode, but dealing with Holmes, the master of the smallest detail, the series comes up wanting, and needed to go a bit further than simply a period recreation or a side story of sentience. Mind you, there's a sequel set up there, if ever I saw one...

**

Where Silence Has Lease

DVD, TNG S2 (Where Silence Has Lease)

Stories where a starship gets stuck, be it in space or in a hole, are rarely that entertaining. We watch the crew scrabble around, gradually solving the puzzle, until they find a way out, learn the right way to alter the intermix ratio of the warp engines, or whatever last minute writer's device is used to get us out and back to normal. At least this story does something a bit different - okay, so the idea of a powerful entity playing with the crew as an experiment is hardly original, but it's the way they face death without qualms, and the belief Picard has that death is only the beginning of a new stage of life, beyond what we understand is very close to Christian teaching, which was a pleasant surprise.

The episode has an eventful, but irrelevant teaser about Riker accompanying Worf on one of his daily exercises. It's well shot, atmospheric, although you guess it's on the Holodeck because they aren't carrying phasers, and we've just seen the Enterprise speeding through space. But it's an illuminating sequence that gives us a glimpse of the real Worf that is quite rare to see at this point. It's not clear why Picard would be worried about the escapade, but maybe that was to inject some tension so that we'd assume it's a serious mission. It does flag up the episode's problem of being too slow in places, with that first scene where Picard wanders pensively about the bridge.

The odd events of the main plot do draw the attention and keep you watching, even if the sudden appearance of the Romulan ship is obviously a plant. It's no surprise that we don't get an Away Team to visit that ship, but instead go aboard a ship of the Enterprise's class. Empty vessels, no matter how familiar are always a good choice for drama, in my opinion, and the multiple bridges give us interesting visuals, even if Worf seems to go a bit crazy, a bit quickly - maybe he should have calmed down before the mission instead of getting all battle-crazed just before it!

The creature Nagilum looks suitably alien, and the whole thing feels very much in the vein of the Original Series episodes. But... I'm not sure it quite hits the mark, it's entertaining, but not as accomplished as the last episode, even if the Enterprise does look real nice all lit up in the darkness of Nagilum's 'hole'. At least O'Brien gets a bit more to do!

***

The Child

DVD, TNG S2 (The Child)

An impressive start for the new season, this packs a lot into it's 45 minutes! It's quite exciting to see so many changes, small and large, an affecting story, introduction of new characters, and great moments - the whole package. We begin with suitably rousing music as the Enterprise glides past camera, the main mission of the episode isn't really important, it becomes the background canvas on which the real drama happens.

There seems to be a lack of respect for Captain Picard with both the new doctor, Pulaski, and the man responsible for the stuff they're carrying, seeming very casual with him. Picard's reactions are steamrollered over since he isn't given a chance to respond in either case, which makes for some humour. Questions about Dr. Crusher's name missing from the credits are soon answered as we find she's left to become head of Starfleet Medical, though in reality I believe the character wasn't liked well enough so she was 'let go'. It would have been nice if they could have at least given her a goodbye scene by screen so we could see her reaction to Wesley's decision to stay on board.

The new doc is much more in the McCoy vein with a no-nonsense approach that holds her duty of care higher than protocol, as in Troi's situation. Her scene playing with Data and not taking him seriously is quite similar to Spock and McCoy's exchanges, most likely a deliberate inclusion. That isn't the only link to the previous series, as the script was originally written as a potential episode of the aborted 'Phase II' series in the 70s, so no wonder it was good - they'd had over ten years to polish it! It does seem strange they didn't include Diana Muldaur's name (she'd played two characters in the Original Series) in the opening credits since she's obviously more than a recurring character.

The other important character introduced is one of their best creations - Guinan, played by Whoopi Goldberg. There have been several high profile actors wanting a part in Trek over the years (Eddie Murphy, Robin Williams, etc), but few have made it in. Goldberg is probably the most high-profile exception, and her debut here is very good indeed, laying out her mysterious, but playful depth (and the beginning of the cool hats!). It's made clear she's been on the ship for a little while, and seems to know Picard, but apart from that she proves useful to Wesley in helping him realise what's best for his next step in life. The end scene where Picard and Riker tease the lad a bit about whether he can stay is in the same style as the Original Series endings, and gets the season off to a good, upbeat beginning.

Initially we're busily trying to spot all the differences since the last season: Riker's beard; Worf's more imposing brow and change to a gold uniform; likewise for La Forge who's been made Chief Engineer, a post that needed filling throughout Season One; Crusher's absence; Troi's new look, which suits her much more than the previous severe approach. We even get a welcome appearance from O'Brien, albeit a silent one. After seeing 'Star Trek Nemesis' the moment with Riker and Troi together after the baby's born (in what must be the quietest birth you'll ever see on TV!), seemed so right, as if you were glimpsing their future, and made me wish we could have a series with them on the Titan, and see their family develop. Troi stays remarkably calm throughout her experience, and seems to take child-bearing in her stride, though of course there's great sadness when the child leaves.

The effects were excellent, with various interesting directorial choices (such as the fisheye lens from the creatures POV; the focus on Troi during the meeting about this apparent 'threat'; the outside view into Ten Forward, and the effect of going to warp seen from the window; even the window turning opaque at the touch of a button when Troi puts her boy to bed) - the only thing they didn't get right, and it's something that is always wrong whenever episodes deal with an outside entity that swishes through the hull of a ship: the scale. You see this large light flashing around the Enterprise, then when it's inside it's become a tiny little light. Anyway, this episode succeeds on every level and launches the ship and crew into something that you really want to come back to, in a confident and positive way.

***

Drive

DVD, Voyager S7 (Drive)

My memory of this was the over-riding disappointment. It had been billed as this 'Star Wars Episode I'-style racing extravaganza, but it never got close to the adrenaline-packed CGI racing of that film, instead concentrating on a personal story for Tom and B'Elanna. Why set up a visual speed feast, especially since starship racing is an underused concept in Trek, and then not deliver on the racing thrills? Now, of course, I see there's more to it, and enjoyed the definitive bringing together of those two characters.

Probably because I had low expectations, but I enjoyed the crew's interactions, the running joke of poor Harry yet again going for the wrong girl (it's becoming ridiculous, but in a fun way), Neelix doing exactly as I hoped he would do, and in a sequence reminiscent of the times he used to broadcast 'A Briefing With Neelix' to the crew, he does a suitably exciteable commentary over the comm! The aliens looked good (although they reacted rather limply to the end of the race, which should have seen them leaping for joy and cheering), the Starfleet racing togs are stylish, and the few scenes we see of ships racing are well realised.

The only thing still letting the side down is the pacing in a few of the scenes - nowadays they'd be cutting all over the place in a whirl of faces and control panels and buzzing lights and sound. Usually I don't like that style of direction, but it would have suited this scenario perfectly. There are also a few little points that don't make sense: Tuvok wants Janeway to look at his report when she's caught up in the race, and the joke's on him when the race enters a wormhole and so she stops watching and asks the Vulcan if he wants to show her the report now, except he's suddenly become gripped with interest for the race. But they've just entered the wormhole and the race can't be followed so what's he avidly staring at? When did Irina have time to reprogram the new Delta Flyer's sensors so they wouldn't detect the leak? And why was O'Zaal, the authority in charge, happy for Voyager, an unknown ship, to both enter the race and hold the festivities - isn't there a conflict of interest?

Also, when the explosion occurs, Janeway excuses herself, but all O'Zaal does is look midly worried and return to looking out the window. Surely he should be in constant contact with race officials and representatives of the various competing races. Again it's not explained how they managed to so quickly recreate the Flyer after its destruction last season, and makes that event seem meaningless. If they can easily bring back any ship, why should we invest in it at all. Plus I never liked the non-Starfleet protocol, ancient controls, included as a concession to Tom Paris. Always seemed a step into farce.

It's a final disappointment that we don't get to see Torres and Paris married on screen. Technically we saw it in 'Course: Oblivion', but it could have been a fitting cap to an enjoyable episode. Still, for all that, as long as you don't look for too much, the episode has a good run, with most of the character scenes striking chords, whether it's the Doctor wittering on about playing golf at St. Andrews, Seven smartly summing up her reaction to Tom, or B'Elanna talking to Neelix about what's happening. Also interesting to see Cyia Batten out of makeup - she was one of three actresses to play Dukat's daughter Ziyal on 'DS9', and went on to play an Orion slave girl on 'Enterprise'.

***

The Alternate

DVD, DS9 S2 (The Alternate)

For the intensely private Odo, to become the opposite of his reserved, disciplined nature, while also revealing something from his subconcious was a very embarrassing event, and the horror of the episode is not so much in other people's reactions to his Jekyll and Hyde persona, but his own realisation of the fact. Like 'The Passenger' it's a good twist to have the 'villain' one of the good guys, and even more so for it to be the lawman in charge of the investigation (it was successfully repeated in a late 'Voyager' episode with Tuvok).

We get a pleasingly varied story, with all the main characters contributing. There's a jaunt into the Gamma Quadrant (though with no mention of the Dominion), and an exciting planetary sequence. The perils of the crispness of DVD are that we see sometimes too well, as evidenced in the painted backdrop, which, while lavish, is more noticeably artificial, whereas watching on video didn't give that impression. Presumably Blu-Ray makes details like this even more obvious, a sad side-effect of improving technology!

The creepy creature, and the efforts to work out what's happening are good, but the crux of the story is in Odo's buried resentment over the way he was treated as an experiment. It's fascinating to see how he is drawn to Dr. Mora, the man who worked on him, and in a way, brought him up, while he also harbours great distaste for him. Mora comes across as well-meaning, and proud of Odo, as a son. But he doesn't realise the shapeshifter has grown up, and there's real regret and sadness that he never returned to the scientist. The ending is touching, as Mora requests to be a small part of Odo's life from now on, and they really should have followed up on that in a regular way. I believe we occasionally hear of him, but it takes a long time before he returns, yet here he seems to be set up as a potential recurring character.

Something else that is suggested and not followed through with, thankfully, is Sisko's Father. He mentions how he became so weak, and though he doesn't say he died, it seems to be hinted at, yet we later find Joseph is running a restaurant! Then again, he was always shown to be ill so perhaps Sisko was referring to a time when he first became ill. The Infirmary seems to have grown bigger as we see a sickbay-like area with several biobeds like all the other incarnations of Trek, although generally we only see a single bed in a smaller area. Maybe this was an extension that was later made into storage or something? The science lab is again used, as it has been several times this season. It's rare to see it, even though it featured in the pilot, probably because it's supposed to be Dax' domain, yet she's generally at her console in Ops, so it became less necessary to use it.

As always, James Sloyan brings a character so strongly to life. It's great to see that they stuck to continuity with Mora's hair in the same style as Odo's since it had previously been mentioned that he modelled his appearance on the scientist that studied him. They didn't need to mention it, simply included it as a visual reference for those that care! I must recommend the Terok Nor series of books, which goes into the details of some of the events mentioned here, filling in many things we don't know while creating a good story set over the course of the Cardassian Occupation. While the books aren't considered part of official continuity, to which I hold, there will probably never be a definitive answer to questions about the early lives of these characters, so they are a good interpretation of the possibility of what may have happened.

***

Facade

DVD, Smallville S4 (Facade)

"Sounds dangerously close to nostalgia" someone says at one point, and if anything this episode could have been called 'Nostalgia'. Or 'Beauty'. Or, if you're feeling unkind, 'Deja Vu' (or would that count as two words?). It's crazy how Season One/Two this episode feels - not just the freak-of-the-week storyline, though that has been done before in different guises, but Martha wanting to work for a Luthor, and Jonathan having something to say on the matter; Lex Luthor going in and finding someone by Lana's bedside in the SMC - only it's not Clark this time. Chloe buzzing about The Torch. A focus on school life, and Clark in disagreement with his Dad over joining the 'football' team. Even the Talon is planned to reopen! It's all crazy, but it's all crazy-good, not crazy-stupid.

The only letdown is that Eric Johnson's Whitney only features in the teaser, then his name comes up in the opening credits, so you wonder if they'll do another flashback, but they don't. What a great idea! Bring back an old character (one who's died, no less), and show a scene that could have been from the first season - Clark even looked the same. This is the first episode that Pete's absence has stuck out like a sore thumb, as so far since he left we've had wild, sci-fi moments or super-soap, or mad Army encounters. Now we go back to Smallville High and it would have felt so natural for Pete to fall for Abby, then regret his feelings when she turns out to be dangerous - it would surely have been a Pete episode.

Although this is the first one to focus on school in a while, it's also the one with the most real conversations between the Kent family. It made me long for the times of yore when they were like a family and the recurring characters frolicked in the town of the early seasons, and the unbroken to-ing and fro-ing of people making up a believable world. That has long been lost, and it was always the reality that adult characters projected onto the story that contrasted with the bizarre meteorite transformations that made up the bulk of the early series. But it's mean to wallow in the past and try to compare this episode to The Great Times. Of course it can't measure up, just enjoy the nostalgia.

Despite being so backward-looking, the episode proves best for the new characters of Jason and Lois. They both get good moments, which hasn't really been the case in the opening installments. I have the feeling I saw the scene with Clark meeting Jason the coach, as Lana looks on, and maybe some of Clark's football training, but then again we occasionally saw his dreams on that front, so it could have been from an earlier episode. I have to admit, it is purely the elements of the past that make this enjoyable, with the 'that's going a bit far to get rid of spots, isn't it?' beginning, to the feelgood ending (although we have to have a touch of angst thrown in for good measure). You can grit your teeth as teen models orate the importance of inner beauty, but that's nothing new for the series, and the brightness and a little bit of joy improve it no end. If they could only recapture a bit more of the danger, emotion and intense slickness of the period they emulated here, we might get back to something approaching a good series. Might.

***

Rivals

DVD, DS9 S2 (Rivals)

While there's a lot to like, this one falls a bit flat. I think it's in the pacing or the lack of dramatic tension, as exemplified by the teaser: It ends with Martus being put in a holding cell. I thought it would have been better to introduce The Luck Machine (as I like to think the episode would have been called had it been an Original Series entry), and the dying alien in the teaser. Perhaps too much story was given over to a new, and in the grand scheme of the series, minor character - Martus was a bit of a failed conman, even less successful than Quark. At least the Ferengi had established his bar and had a solid foothold on his own life. Martus was a drifter, a pre-'Generations' El-Aurian, a fascinating thing in itself, since it would only be in that film we'd discover the people had been made refugees by the Borg.

Maybe if he had been Guinan's son as was originally planned, with a guest spot from Whoopi Goldberg, the episode might have taken off... But I have the feeling the most entertaining portion of the story was O'Brien and Bashir's sporting rivalry. They could have taken it further, and it was certainly worthy of being the central plot. The two are always fun to watch, and the differences between them were visually amplified by their choice of attire - O'Brien in his casual shirt and shorts, who could have walked out of any modern sports centre; and Bashir with his futuristic, sleek Olympic-wear. I don't think the gambling machines had anything to do with O'Brien's success in the match. I think it was Keiko's headband; something must have given the Chief the feeling he was stronger, faster and felt no pain. And she said it was perfume...

Really it was nice to see Rom and Keiko, and it's always more than the sum when they weave the plots together (such as Martus coming out of Quark's and almost bumping into O'Brien who's jogging in preparation for his big match). My favourite scene is the one where Bashir talks to Dax in the Replimat about how worried he is that O'Brien's going to have a heart attack if he plays again. It's a nice scene, made even better because Bashir is trying to find a pot of sauce for his food. Little things count. I think it's the small scenes, such as O'Brien complaining to his wife, that make the episode watchable, even though it's nothing special.

**