DVD, Smallville S5 (Hidden)
The meteor freaks plot gets another angle, this time an unaffected, but murderous lad decides Smallville town should be obliterated after his Dad became a mutant thanks to the most recent meteor strike. One of the worst meteor-inspired episodes they've done, which doesn't know whether it's a catalyst towards Clark getting his powers back, or about the Chloe connection, or Lana's new-found faith in Clark, while Lex continues to act obnoxiously, far from the sympathetic character he used to be. In truth it's all of these things, none of which work well enough. If one or two strands had been concentrated on then perhaps a more coherent and enjoyable story might have been fashioned from this lump of Kryptonite rock that is Season 5.
It begins with some inappropriate behaviour from Clark and Lana turned into a comic moment rather unsavourably I felt, and then we're into the story about the guy who wants to blow up Smallville because somehow that will prevent any more mutants from appearing. He just happens to be the tech guy who used to work on the Torch, but there's no connection to him whatsoever, whereas if he'd been a character we'd seen several times throughout the series his dastardly plot would have made more of an impact. Unhappily the story is curtailed by the old 'struggle for the gun and the baddie is accidentally killed', bypassing any guilt Chloe might feel at having killed someone. There seems to be a good deal more blood than we're used to, but maybe the series has moved to a slightly older demographic as the characters have aged?
One strand of the episode gives some air time to the arc that began in the first episode, of the mysterious black spaceship that we learn for definite has been snatched by Lex. This side of things is what we wanted to find out more on, and thankfully Lionel progresses too. In a great gag he becomes the body that Jor-el inhabits. Why does Jor-el need a body? Dunno, but it was a good scene, as was the moment Clark dies on the operating table. The less said about Lana's whining, the better - it's not true what she says about knowing Clark was the only one to make her happy as soon as she first saw him and is just sentimental rubbish, poured out over Clark's injured form. But the less said...
Clark gets his powers back, and admittedly that makes sense because that's what the series is about. Glover does a good impression of the clipped British (or Kryptonian) tones of Clark's dead Dad. But is he still in there somewhere? It's kind of a cop-out that Clark gets his powers back by dying (he's shot, blood oozes out and by the time he falls to the ground his shirt's dry!), and Jor-el witters on about there having to be a balance in nature so someone's 'life force' must be given up for him - surely such a balance would have to be immediate yet no one close to Clark dies in the episode. I can't believe Clark didn't tell his parents the truth about someone close to him destined to die - he's making the same mistake he's made so many times before! And it's no good telling Chloe that he made a terrible mistake giving up his powers in the first place, because he did it to save her life - wasn't that worth it?
Lana is standing staunchly by her boyfriend leading to bad blood between her and Lex (although they discuss the possibility of Clark not being normal quite frankly, which is rare), but you begin to see how things are likely to play out. How is Clark ever going to explain to Lana that he was resurrected and then got his clothes burnt through when the missile he was climbing up in space hurtled back to Earth? She's going to go off on one about him not telling her secrets and it'll be an end to it. Again. Either that or he's going to reveal his secret, but that seems unlikely. Regardless, the effects of Clark going into space and clawing up the missile were very good, but a bit wacky even for 'Smallville'. There's little rhyme or reason with the characters and Season 5 continues that bad writing, so that even exciting effects can't save it now.
**
Monday, 25 October 2010
Past Tense, Part I
DVD, DS9 S3 (Past Tense, Part I)
It's amazing to think while watching this that we're now halfway towards the 2024 date depicted in this story from the episode's broadcast date of 1995! A future that is so close is easy to get wrong, as The Original Series found when it predicted the Genetics Wars of the 1990s in 'Space Seed'. Back then, 25 years seemed such a long way away, and Star Trek as a phenomenon didn't exist, it was merely a TV show that could be axed at any time and forgotten in a few years. They were wrong, of course, but the makers of 'DS9' had the benefit of hindsight when thinking ahead 30 years in the midst of Star Trek's steady rise in popularity through the mid-90s, so their vision wasn't that different from the current time - people still wear suits and ties, use office computer terminals (albeit touchscreens which was a good guess as such technology has indeed become common), and there are still homeless people. This was the focus and what saves the two-parter from seeming completely outdated now: most of what we see is the ramshackle streets and buildings of a so-called Sanctuary District for those without jobs, places to live or any hope of getting them. It's quite surprising how close the story comes to our current time with its warnings of global economic troubles and mass unemployment, while observing that the top end still live in luxury. I had to raise eyebrows when even French students protesting is mentioned in a week when that very thing is happening in the real world. Perhaps they should have set the story in 2010?
The sights and sounds are realistically distressing, both to the 24th Century visitors and viewers. Dr. Bashir gets some truthful and heartfelt speeches, and while Sisko is less outspoken he lets his body language do the talking (especially fists when the situation warrants it). The characters we meet among the background masses are played for real, whether it's Webb's passionate dignity or BC's hooliganism and verbal harassment. I always forget that the black guy who agrees to trade clothes with the Starfleet officers is not Gabriel Bell! That moment makes me chuckle when I think of those two District residents wandering around in Command Red and Medical Blue uniforms, especially as others have called the clothing pyjamas or clown outfits. They must have had odd taste (or they were after some night wear - you just can't get good pyjamas in these places). My one problem with the whole episode comes with the arrival of Bell, not through any fault of his, but because he looks too much like the 'dim' in the 'Job Centre' (as I like to call it) who dazedly scrawls his pen on people. They're wearing the same brown jacket, both are black men with short, black hair, and there's so much resemblance in the brief time we see each of them that I assumed it was the same man (even having seen the episode several times in the past). I actually thought the 'dim' was getting agitated at seeing the violence on the street and was going to produce a weapon and attack someone!
The scale of the episode works so well, and to see the crazed crowd manically screaming and attacking the guards, with helicopter beams sweeping through the action and braziers violently knocked over it feels like a film. No doubt a bigger budget was available as the story was split over two episodes, but it still impresses. The time travel is well explained, being a new variation relying on a passing singularity, chronitons trapped in the Defiant's ablative armour and such-like, making it clear this is a one-off sequence of events and people couldn't usually use the transporter to hop through time. Much like TOS' 'The City On The Edge of Forever' the time travel has altered the future, though in that scenario the ship vanished along with every other evidence of the Federation, but in this the chronitons create a bubble which saves the Defiant.
The lighting and direction is very well done, and there is so much contrast between the drab greys and browns of the Sanctuary District and the vibrant, glowing colours of the Defiant and her crew's uniforms that it's like turning a light on when the scene switches to the starship. This is the series' first visit to Earth and it's all worth it for the amazing visual of the USS Defiant orbiting the home planet. Gorgeous! We get to see a rare scene in the ship's transporter room, or transporter cupboard to be more accurate - in keeping with the compact nature of the ship it has a very small, functional pad, much like the Enterprise NX-01.
The other side of the story is Jadzia's life in the upper class of society, separated on arrival from Ben and Julian by only a few centimetres, but experiencing such a different view of society. She impresses with her quick reaction to any situation, immediately realising she must try to blend in. It's a good job the original Trill makeup didn't become standard as an ugly bump on the forehead would have been much harder to explain away than the 'tattoos' circling her face! I wonder if Jadzia checked ebay while she was using Chris Brynner's computer - her action figure is sure to be worth more by then! I love Chris' mention of how he used to have a tattoo which he got in high school in the 90s - the age group of many of the viewers (including my own) would have been the same, so we're seeing ourselves in 30 years time. The fun element such as that isn't forgotten even with the dire circumstances - the guard, Vin, and his world-weary ways is another example. We get little snippets of information on the world of the 2020s with the conversation at the office party - New Zealanders would be pleased by a mention of Christchurch, Europe and the French are also discussed, as well as a Pan-Caribbean government and fun little hints of the world's condition.
Quark isn't a part of the journey to Earth, but he gets a scene passing on a message from the Grand Nagus who wants to remind Sisko of his role in introducing Starfleet to the Dominion and is ready to call in the favour. Chris' office looks like it was the same set that would be later used as Harry Kim's apartment in 'Voyager'. They were both set in San Francisco so it could be the same building - it survived World War III! You can tell how fast and enjoyable the episode is by the way you feel surprised when it ends and you want it to go on a bit longer. At least there's still Part 2.
****
It's amazing to think while watching this that we're now halfway towards the 2024 date depicted in this story from the episode's broadcast date of 1995! A future that is so close is easy to get wrong, as The Original Series found when it predicted the Genetics Wars of the 1990s in 'Space Seed'. Back then, 25 years seemed such a long way away, and Star Trek as a phenomenon didn't exist, it was merely a TV show that could be axed at any time and forgotten in a few years. They were wrong, of course, but the makers of 'DS9' had the benefit of hindsight when thinking ahead 30 years in the midst of Star Trek's steady rise in popularity through the mid-90s, so their vision wasn't that different from the current time - people still wear suits and ties, use office computer terminals (albeit touchscreens which was a good guess as such technology has indeed become common), and there are still homeless people. This was the focus and what saves the two-parter from seeming completely outdated now: most of what we see is the ramshackle streets and buildings of a so-called Sanctuary District for those without jobs, places to live or any hope of getting them. It's quite surprising how close the story comes to our current time with its warnings of global economic troubles and mass unemployment, while observing that the top end still live in luxury. I had to raise eyebrows when even French students protesting is mentioned in a week when that very thing is happening in the real world. Perhaps they should have set the story in 2010?
The sights and sounds are realistically distressing, both to the 24th Century visitors and viewers. Dr. Bashir gets some truthful and heartfelt speeches, and while Sisko is less outspoken he lets his body language do the talking (especially fists when the situation warrants it). The characters we meet among the background masses are played for real, whether it's Webb's passionate dignity or BC's hooliganism and verbal harassment. I always forget that the black guy who agrees to trade clothes with the Starfleet officers is not Gabriel Bell! That moment makes me chuckle when I think of those two District residents wandering around in Command Red and Medical Blue uniforms, especially as others have called the clothing pyjamas or clown outfits. They must have had odd taste (or they were after some night wear - you just can't get good pyjamas in these places). My one problem with the whole episode comes with the arrival of Bell, not through any fault of his, but because he looks too much like the 'dim' in the 'Job Centre' (as I like to call it) who dazedly scrawls his pen on people. They're wearing the same brown jacket, both are black men with short, black hair, and there's so much resemblance in the brief time we see each of them that I assumed it was the same man (even having seen the episode several times in the past). I actually thought the 'dim' was getting agitated at seeing the violence on the street and was going to produce a weapon and attack someone!
The scale of the episode works so well, and to see the crazed crowd manically screaming and attacking the guards, with helicopter beams sweeping through the action and braziers violently knocked over it feels like a film. No doubt a bigger budget was available as the story was split over two episodes, but it still impresses. The time travel is well explained, being a new variation relying on a passing singularity, chronitons trapped in the Defiant's ablative armour and such-like, making it clear this is a one-off sequence of events and people couldn't usually use the transporter to hop through time. Much like TOS' 'The City On The Edge of Forever' the time travel has altered the future, though in that scenario the ship vanished along with every other evidence of the Federation, but in this the chronitons create a bubble which saves the Defiant.
The lighting and direction is very well done, and there is so much contrast between the drab greys and browns of the Sanctuary District and the vibrant, glowing colours of the Defiant and her crew's uniforms that it's like turning a light on when the scene switches to the starship. This is the series' first visit to Earth and it's all worth it for the amazing visual of the USS Defiant orbiting the home planet. Gorgeous! We get to see a rare scene in the ship's transporter room, or transporter cupboard to be more accurate - in keeping with the compact nature of the ship it has a very small, functional pad, much like the Enterprise NX-01.
The other side of the story is Jadzia's life in the upper class of society, separated on arrival from Ben and Julian by only a few centimetres, but experiencing such a different view of society. She impresses with her quick reaction to any situation, immediately realising she must try to blend in. It's a good job the original Trill makeup didn't become standard as an ugly bump on the forehead would have been much harder to explain away than the 'tattoos' circling her face! I wonder if Jadzia checked ebay while she was using Chris Brynner's computer - her action figure is sure to be worth more by then! I love Chris' mention of how he used to have a tattoo which he got in high school in the 90s - the age group of many of the viewers (including my own) would have been the same, so we're seeing ourselves in 30 years time. The fun element such as that isn't forgotten even with the dire circumstances - the guard, Vin, and his world-weary ways is another example. We get little snippets of information on the world of the 2020s with the conversation at the office party - New Zealanders would be pleased by a mention of Christchurch, Europe and the French are also discussed, as well as a Pan-Caribbean government and fun little hints of the world's condition.
Quark isn't a part of the journey to Earth, but he gets a scene passing on a message from the Grand Nagus who wants to remind Sisko of his role in introducing Starfleet to the Dominion and is ready to call in the favour. Chris' office looks like it was the same set that would be later used as Harry Kim's apartment in 'Voyager'. They were both set in San Francisco so it could be the same building - it survived World War III! You can tell how fast and enjoyable the episode is by the way you feel surprised when it ends and you want it to go on a bit longer. At least there's still Part 2.
****
Pretense
DVD, Stargate SG-1 S3 (Pretense)
Heavy on the backstory, but you can't criticise an episode for that, especially when it begins in such a spectacular way with two Goa'uld motherships being destroyed and Scarra/Clorrel crashing down onto a planet. The CGI is extensive - as well as the opening battle the Tolan Stargate and some of their city is created and other moments in the episode. Sometimes it's a little unreal, but for the most part it holds up, a bit like the excellent sets - generally they're brilliant, but there are moments that demonstrate the artificial nature such as the judge lady's transparent screen which smoothly rears up, but judders a bit when descending.
Nareem makes his return, still after Major Carter, and the technology his people possess is still impressive. A new Goa'uld is introduced in the giant form of Zipacna. Though he comes up with some arguments the result should never have been in doubt and the whole proceeding only goes to show the Tolan's arrogance at believing themselves so advanced that they won't take sides against the obvious aggressors. It was a little unsuitable for Lya of the Nox to reappear as she was more in human favour, but I was expecting her to confound the status quo and announce that Clorrel should live, voting in the Goa'uld's favour which would have turned out to be a tactic to save the planet. In the event things were much simpler and Teal'c only asked her to hide a defence cannon (being quite disobedient in his lack of compliance with O'Neill's orders).
So there isn't a lot of depth and it's a courtroom drama, but seeing so many old faces was fun and the direction was worthy of note as there were many different and impressive shots used - we follow the bolt from the cannon up to the attacking mothership, a plan view of the courtroom (sorry 'Triad' room) and other camera views made it seem like the director was having fun and flexing his camera muscles. The references come thick and fast, with the players above, Heruer mentioned and a few threads tied up. Scarra is at last free, but how long will he live as I don't remember him showing up in later episodes?
***
Heavy on the backstory, but you can't criticise an episode for that, especially when it begins in such a spectacular way with two Goa'uld motherships being destroyed and Scarra/Clorrel crashing down onto a planet. The CGI is extensive - as well as the opening battle the Tolan Stargate and some of their city is created and other moments in the episode. Sometimes it's a little unreal, but for the most part it holds up, a bit like the excellent sets - generally they're brilliant, but there are moments that demonstrate the artificial nature such as the judge lady's transparent screen which smoothly rears up, but judders a bit when descending.
Nareem makes his return, still after Major Carter, and the technology his people possess is still impressive. A new Goa'uld is introduced in the giant form of Zipacna. Though he comes up with some arguments the result should never have been in doubt and the whole proceeding only goes to show the Tolan's arrogance at believing themselves so advanced that they won't take sides against the obvious aggressors. It was a little unsuitable for Lya of the Nox to reappear as she was more in human favour, but I was expecting her to confound the status quo and announce that Clorrel should live, voting in the Goa'uld's favour which would have turned out to be a tactic to save the planet. In the event things were much simpler and Teal'c only asked her to hide a defence cannon (being quite disobedient in his lack of compliance with O'Neill's orders).
So there isn't a lot of depth and it's a courtroom drama, but seeing so many old faces was fun and the direction was worthy of note as there were many different and impressive shots used - we follow the bolt from the cannon up to the attacking mothership, a plan view of the courtroom (sorry 'Triad' room) and other camera views made it seem like the director was having fun and flexing his camera muscles. The references come thick and fast, with the players above, Heruer mentioned and a few threads tied up. Scarra is at last free, but how long will he live as I don't remember him showing up in later episodes?
***
Foothold
DVD, Stargate SG-1 S3 (Foothold)
I'd seen this back in the day and noted it was a good one, and I wasn't wrong. There's a good mix of action, humour and a bit of suspense, and Colonel Mayborn (with Major Davis), gets to be on the side of SG-1 just to be different - it even ends with some cosy familiarity which we're not used to seeing and for once Mayborn receives a warm reception, though whether he believes it to be true is unclear. Early on there are enough questions that you can begin to believe what 'Jack' says is true and it really was something that had happened to Carter, even though we've already seen the events as they occurred.
The cool technology of personal chameleon-like projection shield (it didn't have a name) worked really well, and the aliens were reasonably icky enough to be instant enemies, what with their slimy room of hanging victims like a spider's larders, even if they did tend to take greater than normal care when using steps! O'Neill gets some choice little gags and Teal'c displays his warrior prowess, we even get to go off-base for a bit, so there isn't much wrong with this one. The aliens feel like a one-shot wonder, but I'd like to see them come back, especially as they left it hanging with the possibility that there are some still out there with intimate knowledge of certain people.
***
I'd seen this back in the day and noted it was a good one, and I wasn't wrong. There's a good mix of action, humour and a bit of suspense, and Colonel Mayborn (with Major Davis), gets to be on the side of SG-1 just to be different - it even ends with some cosy familiarity which we're not used to seeing and for once Mayborn receives a warm reception, though whether he believes it to be true is unclear. Early on there are enough questions that you can begin to believe what 'Jack' says is true and it really was something that had happened to Carter, even though we've already seen the events as they occurred.
The cool technology of personal chameleon-like projection shield (it didn't have a name) worked really well, and the aliens were reasonably icky enough to be instant enemies, what with their slimy room of hanging victims like a spider's larders, even if they did tend to take greater than normal care when using steps! O'Neill gets some choice little gags and Teal'c displays his warrior prowess, we even get to go off-base for a bit, so there isn't much wrong with this one. The aliens feel like a one-shot wonder, but I'd like to see them come back, especially as they left it hanging with the possibility that there are some still out there with intimate knowledge of certain people.
***
The Best of Both Worlds, Part II
DVD, TNG S4 (The Best of Both Worlds, Part II)
The simplest solutions work best. If viewers had been told after watching part one of this story that it would all end with Data telling the Borg to take a nap they might have been a bit disappointed, but as things play out this is an admirable conclusion to the series' best episode. When added to the mental images of 'DS9' pilot 'Emissary' the horror of the Borg attack is even more real. Without that, it is still a terrible sight to see so many husks of former starships floating and sparking in the dark ocean of space. Guinan proves her worth again with her straightforward advice, speaking what may be obvious, but needs to be said. Her words and presence continue to be electrifying. O'Brien gets to be part of it, the saucer separates, even the battle bridge has its time in the sun and the episode successfully steers Riker and the Enterprise through their impossible problem and finds time to use all these elements that have made up the series, so it works well as a conclusion to a story and the opening of a new season.
Data's strength is seen again when he single-handedly pulls Locutus' Borg appendage away from doing anything dangerous and his mission to rescue the Captain with Worf provides some physical action and jeopardy amid the less visual fate of millions. Perhaps the Borg seem sanitised compared to later appearances - we don't see much body horror when Picard gets an arm extension added or any time when the Borg assimilate others, but the threat to Earth is enough to provoke a reaction.
There's something very special about seeing the Enterprise orbiting her home planet, with the Moon in the background, and it gives the impression of things being happy ever after. Shelby and Riker have kind words for each other, Picard's back in his rightful place and all the main characters are intact... The final moment when Picard is alone in his ready room, no longer having to put on a front for his officers reveals his pain and you see he's not back to his normal self, but is in fact very much affected by his experiences. It's a sign of the series growing into middle-age. Picard would never be quite the same again and neither would Star Trek.
****
The simplest solutions work best. If viewers had been told after watching part one of this story that it would all end with Data telling the Borg to take a nap they might have been a bit disappointed, but as things play out this is an admirable conclusion to the series' best episode. When added to the mental images of 'DS9' pilot 'Emissary' the horror of the Borg attack is even more real. Without that, it is still a terrible sight to see so many husks of former starships floating and sparking in the dark ocean of space. Guinan proves her worth again with her straightforward advice, speaking what may be obvious, but needs to be said. Her words and presence continue to be electrifying. O'Brien gets to be part of it, the saucer separates, even the battle bridge has its time in the sun and the episode successfully steers Riker and the Enterprise through their impossible problem and finds time to use all these elements that have made up the series, so it works well as a conclusion to a story and the opening of a new season.
Data's strength is seen again when he single-handedly pulls Locutus' Borg appendage away from doing anything dangerous and his mission to rescue the Captain with Worf provides some physical action and jeopardy amid the less visual fate of millions. Perhaps the Borg seem sanitised compared to later appearances - we don't see much body horror when Picard gets an arm extension added or any time when the Borg assimilate others, but the threat to Earth is enough to provoke a reaction.
There's something very special about seeing the Enterprise orbiting her home planet, with the Moon in the background, and it gives the impression of things being happy ever after. Shelby and Riker have kind words for each other, Picard's back in his rightful place and all the main characters are intact... The final moment when Picard is alone in his ready room, no longer having to put on a front for his officers reveals his pain and you see he's not back to his normal self, but is in fact very much affected by his experiences. It's a sign of the series growing into middle-age. Picard would never be quite the same again and neither would Star Trek.
****
Fascination
DVD, DS9 S3 (Fascination)
If anyone dared complain that the series had strayed from its, shall we say, 'stationary' remit, this is the perfect antidote to all those extravagant jaunts to strange new worlds and back to the inner workings of strange new people. And they are strange and they are new, but it's all thanks to a visit by Madame Chaos herself, the redoubtable Mrs. Troi. If anyone should question the number of 'TNG' characters this season they might have a viable accusation that it was overkill, but thankfully that's irrelevant because these are not mere walk-on roles to bolster the viewing figures, but crafted works (this episode is based on a Shakespeare play, what more do you want?) that bring the tapestry of the universe to life in a way that no other series could.
Amidst the mania it's easy to overlook the changes that are taking place - Mardah has moved on, leaving Jake to mope, Keiko and Molly are back, but only for a flying visit before heading back to Bajor and an even longer sojourn away from Miles. Kai Winn has appointed former adversary Bareil as an advisor, and Odo's secret fondness for Major Kira is spoken aloud for the first time. Little wonder if these important snippets of continuity pass off unnoticed thanks to the craziness that takes over. We can only wonder what and who will happen next (and it will be Quark falling madly in love with an aghast Keiko!). The acting is great - Sisko's embarrassed assumption of a practical joke is so real, and Vedek Bareil gets to stray quite far from his usual calm, controlled persona. My favourite moments are Sisko's easy defence from the monk's ineffectual punches, followed by Dax' ferocious thump that lays Bareil out on the Wardroom floor, finished off by Quark's compliment to the Commander on the quality of his parties as he steps over the fallen Vedek. Almost as wonderful are the attentions of Lwaxana on a bemused, but wearily meek Odo who has no choice but to allow her to manhandle him like a doll on a string!
I've noticed that Avery Brooks' acting becomes quieter and much more restrained (not that he's wildly expressive the rest of the time) when he holds the Director's baton for an episode. It doesn't make his presence or his character any less powerful, but it is a trend. Either that or the madcap antics of the others serves to subdue his rational Commander. Bashir and O'Brien's friendship is shown to be really taking off and it is here that the legendary pairing became the solid companions they would be for the rest of the series, so at least Keiko's absence served the series in some positive way. The Doctor's mental acuity for remembering exactly how many games of racquetball they've played since Keiko's been gone isn't anything to note unless you know that he's covering up a keener intellect than anyone could suspect, and though the writers didn't know it at the time they still succeeded in putting a believable base to that twist, even accidentally.
If the return of several recurring characters weren't enough I still find myself questioning the absence of such station stalwarts as Nog and Rom. In later seasons they would be much more evident, so I suppose it shows the series hadn't yet turned into the multi-character extravaganza it was destined to be. The one note of sadness is that this should be Bareil's last proper episode before the end, because any other time his shifty, distracted hovering would have been hilarious (indeed it was), but this is the first we've seen of him since the previous season and we don't get to spend as much time in his company as the normal figure as he or Kira deserved. And so the episode is something of a dessert. You really wouldn't want too much of this zany pie, but one piece goes down a treat. 'Deep Space Nine' was a gloomy, depressing show, was it? They obviously didn't see this one!
****
If anyone dared complain that the series had strayed from its, shall we say, 'stationary' remit, this is the perfect antidote to all those extravagant jaunts to strange new worlds and back to the inner workings of strange new people. And they are strange and they are new, but it's all thanks to a visit by Madame Chaos herself, the redoubtable Mrs. Troi. If anyone should question the number of 'TNG' characters this season they might have a viable accusation that it was overkill, but thankfully that's irrelevant because these are not mere walk-on roles to bolster the viewing figures, but crafted works (this episode is based on a Shakespeare play, what more do you want?) that bring the tapestry of the universe to life in a way that no other series could.
Amidst the mania it's easy to overlook the changes that are taking place - Mardah has moved on, leaving Jake to mope, Keiko and Molly are back, but only for a flying visit before heading back to Bajor and an even longer sojourn away from Miles. Kai Winn has appointed former adversary Bareil as an advisor, and Odo's secret fondness for Major Kira is spoken aloud for the first time. Little wonder if these important snippets of continuity pass off unnoticed thanks to the craziness that takes over. We can only wonder what and who will happen next (and it will be Quark falling madly in love with an aghast Keiko!). The acting is great - Sisko's embarrassed assumption of a practical joke is so real, and Vedek Bareil gets to stray quite far from his usual calm, controlled persona. My favourite moments are Sisko's easy defence from the monk's ineffectual punches, followed by Dax' ferocious thump that lays Bareil out on the Wardroom floor, finished off by Quark's compliment to the Commander on the quality of his parties as he steps over the fallen Vedek. Almost as wonderful are the attentions of Lwaxana on a bemused, but wearily meek Odo who has no choice but to allow her to manhandle him like a doll on a string!
I've noticed that Avery Brooks' acting becomes quieter and much more restrained (not that he's wildly expressive the rest of the time) when he holds the Director's baton for an episode. It doesn't make his presence or his character any less powerful, but it is a trend. Either that or the madcap antics of the others serves to subdue his rational Commander. Bashir and O'Brien's friendship is shown to be really taking off and it is here that the legendary pairing became the solid companions they would be for the rest of the series, so at least Keiko's absence served the series in some positive way. The Doctor's mental acuity for remembering exactly how many games of racquetball they've played since Keiko's been gone isn't anything to note unless you know that he's covering up a keener intellect than anyone could suspect, and though the writers didn't know it at the time they still succeeded in putting a believable base to that twist, even accidentally.
If the return of several recurring characters weren't enough I still find myself questioning the absence of such station stalwarts as Nog and Rom. In later seasons they would be much more evident, so I suppose it shows the series hadn't yet turned into the multi-character extravaganza it was destined to be. The one note of sadness is that this should be Bareil's last proper episode before the end, because any other time his shifty, distracted hovering would have been hilarious (indeed it was), but this is the first we've seen of him since the previous season and we don't get to spend as much time in his company as the normal figure as he or Kira deserved. And so the episode is something of a dessert. You really wouldn't want too much of this zany pie, but one piece goes down a treat. 'Deep Space Nine' was a gloomy, depressing show, was it? They obviously didn't see this one!
****
The Devil You Know
DVD, Stargate SG-1 S3 (The Devil You Know)
So Apophis escapes again. You have to pity the guy, for even when he's rock bottom he's still deluded (or ambitious) enough to believe he'll rise above everyone and rule! The question is, did Sokar die in the explosion (and can he die?), because if Apophis can escape then surely Sokar can, and when he was built up to be this super enemy it seems too easy for him to get blown up. The second part inevitably didn't live up to the first. Instead of some elaborate explanation of how Apophis is alive and why he 'rescued' SG-1, it really is as simple as 'he was rejuvenated with a sarcophagus and left to suffer on Natu, and wants the SG-1 team to use as bargaining chips with Sokar'.
Sokar isn't as unsuspecting as Apophis thought and his concealed blade only succeeds in aiding his escape, not the glorious killing of his master as he envisioned. The flashbacks or false memories or whatever you want to call them added a little extra to a predictable story of rescue at the last minute, but they didn't have the impact of those seen in the part one. At least no one dies and it's all a happy ending, at least for the moment. There is a sense that the budget was blown on creating the sets for this two-parter which were reused in part two, but not much progresses other than Apophis' plans being revealed and the team escaping. Still, a big two-part episode is always good viewing.
**
So Apophis escapes again. You have to pity the guy, for even when he's rock bottom he's still deluded (or ambitious) enough to believe he'll rise above everyone and rule! The question is, did Sokar die in the explosion (and can he die?), because if Apophis can escape then surely Sokar can, and when he was built up to be this super enemy it seems too easy for him to get blown up. The second part inevitably didn't live up to the first. Instead of some elaborate explanation of how Apophis is alive and why he 'rescued' SG-1, it really is as simple as 'he was rejuvenated with a sarcophagus and left to suffer on Natu, and wants the SG-1 team to use as bargaining chips with Sokar'.
Sokar isn't as unsuspecting as Apophis thought and his concealed blade only succeeds in aiding his escape, not the glorious killing of his master as he envisioned. The flashbacks or false memories or whatever you want to call them added a little extra to a predictable story of rescue at the last minute, but they didn't have the impact of those seen in the part one. At least no one dies and it's all a happy ending, at least for the moment. There is a sense that the budget was blown on creating the sets for this two-parter which were reused in part two, but not much progresses other than Apophis' plans being revealed and the team escaping. Still, a big two-part episode is always good viewing.
**
Monday, 18 October 2010
Mortal
DVD, Smallville S5 (Mortal)
It's super deja vu time: Jonathan exists to be thrown against walls, Martha exists to look worried when Jonathan gets thrown against walls, Lana and Clark are best buddies, Chloe's probably still a bit jealous, but manages to curb it knowing she knows something Lana doesn't know, Lex does some dastardly plotting then goes all 'make up, make up, never, never break up' on Clark at the end, and some meteor freaks cause trouble. I liked that Clark is considered something of a legend by the inmates of Belle Reve with the plethora of rumours going around in there, but we didn't get to see any of the former foes. That would have made it even more obvious than it already was that they'd already done the storyline about inmates ganging up to get their own back on Clark, before. They'd also done the one where Lex tests Clark secretly and the one where Clark loses his powers and experiences normal life, and even the one where characters are caught up in a hostage situation. I'm beginning to wonder if the writers have the ability to come up with new ideas consistently.
Chloe gets to go on her first mission with Clark, ironically now he's no longer 'super', but even then there were niggling bits of dialogue, such as when Clark is shown the contents of her boot, full of gadgets and tools (off ebay!) and wonders why she didn't tell him about them. It's all a rather clunky way of pointing out the flash grenade that will later prove useful, but done in an unnatural way. Chloe claims everyone has their secrets, but a boot full of tools isn't much of a secret and why would Clark want to know such deep, dark 'mysteries' anyway? Amid the rubbish version of 'Mission: Impossible' there is some good interaction between them such as Chloe noting that she didn't realise super-whining was one of Clark's superpowers when he's finding the going tough! The best bit is when she learns in a throwaway line that Clark told Pete about his powers and that he got to see his spaceship! Brilliant stuff.
I'm a bit confused about Level 3. It used to be a place at the LuthorCorp plant that the 'Jitters' guy exposed, and it's at the plant this time, but last season Lex took Mxyzptlk to some high-rise in Metropolis accessed by a lift and I thought that had been designated Level 3. Maybe they're both Level 3, or perhaps the plant location was all part of the set-up to test Clark. I was surprised and gratified they didn't take an easy way out to get Clark's powers back - I had suspicions he'd fall into a vat of Kryptonite or something and it would magically restore him to his former glory, so at least they didn't take an easy route.
I will say that I loved the barn-raising opening, and it's those realistic scenes of small town life that got lost in the last few seasons. The town doesn't have any recurring faces any more, and has very little character itself because of that. About the only recurring face still in the series is Sheriff Adams. I was again pleasantly surprised by her as I thought she'd lost her sharpness and her nose for trouble (and what a sharp nose it is!) as she sped up to the Kent house then was happy to stop for a coffee before walking calmly out, but she proved me wrong - she'd clocked the unwanted visitors and my faith in her meddling ways was restored. I must say it did look suspicious just Mr. Kent and Lana alone in the house and looking so shifty...
Lionel's situational similarity to the late Dr. Walden is increased when we see him in the same cell as the Doc, his eyes still whited out. The only difference is he doesn't burble 'the day is coming' over and over. It transpires Lex' visit to his old Dad isn't the only reason he has for being there. His stumble against the electric freak which frees him and his bald, twin associates was too cheap for it to be true, but I didn't get that it was purposeful at the time, I just assumed it was the general lack of consistency I've come to accept in the series. And I would say that has continued with the first episode being pretty good, and this one being a return to (bad) form. I always hope for better.
**
It's super deja vu time: Jonathan exists to be thrown against walls, Martha exists to look worried when Jonathan gets thrown against walls, Lana and Clark are best buddies, Chloe's probably still a bit jealous, but manages to curb it knowing she knows something Lana doesn't know, Lex does some dastardly plotting then goes all 'make up, make up, never, never break up' on Clark at the end, and some meteor freaks cause trouble. I liked that Clark is considered something of a legend by the inmates of Belle Reve with the plethora of rumours going around in there, but we didn't get to see any of the former foes. That would have made it even more obvious than it already was that they'd already done the storyline about inmates ganging up to get their own back on Clark, before. They'd also done the one where Lex tests Clark secretly and the one where Clark loses his powers and experiences normal life, and even the one where characters are caught up in a hostage situation. I'm beginning to wonder if the writers have the ability to come up with new ideas consistently.
Chloe gets to go on her first mission with Clark, ironically now he's no longer 'super', but even then there were niggling bits of dialogue, such as when Clark is shown the contents of her boot, full of gadgets and tools (off ebay!) and wonders why she didn't tell him about them. It's all a rather clunky way of pointing out the flash grenade that will later prove useful, but done in an unnatural way. Chloe claims everyone has their secrets, but a boot full of tools isn't much of a secret and why would Clark want to know such deep, dark 'mysteries' anyway? Amid the rubbish version of 'Mission: Impossible' there is some good interaction between them such as Chloe noting that she didn't realise super-whining was one of Clark's superpowers when he's finding the going tough! The best bit is when she learns in a throwaway line that Clark told Pete about his powers and that he got to see his spaceship! Brilliant stuff.
I'm a bit confused about Level 3. It used to be a place at the LuthorCorp plant that the 'Jitters' guy exposed, and it's at the plant this time, but last season Lex took Mxyzptlk to some high-rise in Metropolis accessed by a lift and I thought that had been designated Level 3. Maybe they're both Level 3, or perhaps the plant location was all part of the set-up to test Clark. I was surprised and gratified they didn't take an easy way out to get Clark's powers back - I had suspicions he'd fall into a vat of Kryptonite or something and it would magically restore him to his former glory, so at least they didn't take an easy route.
I will say that I loved the barn-raising opening, and it's those realistic scenes of small town life that got lost in the last few seasons. The town doesn't have any recurring faces any more, and has very little character itself because of that. About the only recurring face still in the series is Sheriff Adams. I was again pleasantly surprised by her as I thought she'd lost her sharpness and her nose for trouble (and what a sharp nose it is!) as she sped up to the Kent house then was happy to stop for a coffee before walking calmly out, but she proved me wrong - she'd clocked the unwanted visitors and my faith in her meddling ways was restored. I must say it did look suspicious just Mr. Kent and Lana alone in the house and looking so shifty...
Lionel's situational similarity to the late Dr. Walden is increased when we see him in the same cell as the Doc, his eyes still whited out. The only difference is he doesn't burble 'the day is coming' over and over. It transpires Lex' visit to his old Dad isn't the only reason he has for being there. His stumble against the electric freak which frees him and his bald, twin associates was too cheap for it to be true, but I didn't get that it was purposeful at the time, I just assumed it was the general lack of consistency I've come to accept in the series. And I would say that has continued with the first episode being pretty good, and this one being a return to (bad) form. I always hope for better.
**
Defiant
DVD, DS9 S3 (Defiant)
The Maquis threat had been rather eclipsed by the might and spectacle of the Dominion, and their little struggle against the Cardassians began to look a bit small fry if it was thought about at all. This episode defiantly redresses the balance, presenting the terrorists as an ambitious group that aren't going to be ignored, by their bold plot to steal the most powerful starship in the area. It was only natural for Riker to appear, beating his Captain's record of being in other series' (Picard is seen in 'DS9', but Riker in some form is seen in 'DS9', 'Voyager' and 'Enterprise'. Picard wins on meeting the other Captain's however as he had contact with Kirk, Sisko and Janeway!). Since Jonathan Frakes had already directed two episodes that season, and had completed work on 'TNG' and that first film it was just the right moment for him to reprise his character, and for there to be repercussions beyond the Maquis plot.
According to the Star Trek Chronology the episode occurs just after 'Star Trek: Generations' which would give credence to Riker's choice to take some leave, but Sisko doesn't mention the destruction of the Enterprise (as he later does to Worf), it's merely that Dr. Crusher told 'Riker' to take leave, so it would indicate this was before the events of the film unless they were happening so close together that news of the Enterprise's fate hadn't reached outposts like DS9. Anyone who missed 'Second Chances', the story of Riker's transporter duplicate, was catered for in the briefing given to Dukat, who clearly hadn't bothered to watch 'TNG' at all.
Starfleet should have thought to add an extra security measure to be alerted any time Riker's DNA scan showed up in case of the duplicate's loyalties shifting. I know it was only recently that he left Starfleet to join the Maquis, but they should have prepared for every contingency. Then again they prefer to have a bit more trust in people and if they began acting like that they may as well be the Obsidian Order! The Order features effectively in the story, reigniting the distrust between them and the military by their mystery ship-building project in the Orias system. What can it mean when even Dukat doesn't know what's going on?! This is a really good episode for him, showing him in a good light - he's allied with Sisko who has arrived on Cardassia in a reverse of their last encounter when Dukat came to defuse the situation on DS9, and he's shown to be as much in the dark about the Order's secrets as the Commander, while sharing common ground in that priceless exchange: Sisko leaning on a console, Dukat reclining in a chair, both discussing fatherhood. It's an eddy of understanding in a fast-flowing river towards enmity. At this point the river's slowed to a gentle ripple and Dukat becomes a more rounded man because of it, but we all know there are torrents and waterfalls to come.
The gruff manner with which Riker greets O'Brien is all a bluff as Will never had any quarrel with the Chief. It was to keep him off-balance so he wouldn't realise this wasn't Will Riker. He does a good job of ducking and weaving when he's put on the spot - the same thing happens when he's benignly confronted by Dax. We learn that Riker visited the station a year ago, though sadly we didn't get to see it. At least Tom gets one thing over on Will - he gets in his "Tough little ship" comment long before Will says the same thing in 'Star Trek: First Contact' - they do think alike! It was a little melodramatic to have Tom pull of his sideboards, but I can't think of a better way of 'revealing' himself as an imposter aside from the fact he'd just phasered Kira and nicked off in the Defiant.
There are plenty of links to other Trek's with Bashir wanting a Runabout to visit Vulcan, Kira eating a Jumja stick, the Badlands and Risa both mentioned by Riker and one of the soldiers Dukat mentions being Gul Toran. It must be a guy with the same name, because the last time we heard of a Gul Toran he was killed by Garak in 'Profit and Loss'! Fittingly for an episode named after it the Defiant gets some added importance - we learn more of Sisko's earlier career on the Mars Utopia Planitia shipyards and that the Commander had a hand in designing the Defiant, no doubt in reaction to his wife's death in the Borg attack. It means more that he now gets to command her as no other Captain has been responsible for the genesis of their ship. Jonathan Archer comes closest since his Dad was partly responsible for the NX-01.
Kira's so adamant that she'll get Tom out that a sequel should have been a cert. It should have happened, it didn't happen and I think I know why. With the whole Eddington thing taking over the Maquis storyline Tom Riker was one too many balls to juggle, that's my theory. Tom Riker's biggest problem is his personal need to prove himself a separate person to Will, but although he's willing to go on a terrorist mission to do that he proves that he has the same genes as Will when he shows himself to be an honourable man who gives himself up in exchange for the other Maquis' freedom.
***
The Maquis threat had been rather eclipsed by the might and spectacle of the Dominion, and their little struggle against the Cardassians began to look a bit small fry if it was thought about at all. This episode defiantly redresses the balance, presenting the terrorists as an ambitious group that aren't going to be ignored, by their bold plot to steal the most powerful starship in the area. It was only natural for Riker to appear, beating his Captain's record of being in other series' (Picard is seen in 'DS9', but Riker in some form is seen in 'DS9', 'Voyager' and 'Enterprise'. Picard wins on meeting the other Captain's however as he had contact with Kirk, Sisko and Janeway!). Since Jonathan Frakes had already directed two episodes that season, and had completed work on 'TNG' and that first film it was just the right moment for him to reprise his character, and for there to be repercussions beyond the Maquis plot.
According to the Star Trek Chronology the episode occurs just after 'Star Trek: Generations' which would give credence to Riker's choice to take some leave, but Sisko doesn't mention the destruction of the Enterprise (as he later does to Worf), it's merely that Dr. Crusher told 'Riker' to take leave, so it would indicate this was before the events of the film unless they were happening so close together that news of the Enterprise's fate hadn't reached outposts like DS9. Anyone who missed 'Second Chances', the story of Riker's transporter duplicate, was catered for in the briefing given to Dukat, who clearly hadn't bothered to watch 'TNG' at all.
Starfleet should have thought to add an extra security measure to be alerted any time Riker's DNA scan showed up in case of the duplicate's loyalties shifting. I know it was only recently that he left Starfleet to join the Maquis, but they should have prepared for every contingency. Then again they prefer to have a bit more trust in people and if they began acting like that they may as well be the Obsidian Order! The Order features effectively in the story, reigniting the distrust between them and the military by their mystery ship-building project in the Orias system. What can it mean when even Dukat doesn't know what's going on?! This is a really good episode for him, showing him in a good light - he's allied with Sisko who has arrived on Cardassia in a reverse of their last encounter when Dukat came to defuse the situation on DS9, and he's shown to be as much in the dark about the Order's secrets as the Commander, while sharing common ground in that priceless exchange: Sisko leaning on a console, Dukat reclining in a chair, both discussing fatherhood. It's an eddy of understanding in a fast-flowing river towards enmity. At this point the river's slowed to a gentle ripple and Dukat becomes a more rounded man because of it, but we all know there are torrents and waterfalls to come.
The gruff manner with which Riker greets O'Brien is all a bluff as Will never had any quarrel with the Chief. It was to keep him off-balance so he wouldn't realise this wasn't Will Riker. He does a good job of ducking and weaving when he's put on the spot - the same thing happens when he's benignly confronted by Dax. We learn that Riker visited the station a year ago, though sadly we didn't get to see it. At least Tom gets one thing over on Will - he gets in his "Tough little ship" comment long before Will says the same thing in 'Star Trek: First Contact' - they do think alike! It was a little melodramatic to have Tom pull of his sideboards, but I can't think of a better way of 'revealing' himself as an imposter aside from the fact he'd just phasered Kira and nicked off in the Defiant.
There are plenty of links to other Trek's with Bashir wanting a Runabout to visit Vulcan, Kira eating a Jumja stick, the Badlands and Risa both mentioned by Riker and one of the soldiers Dukat mentions being Gul Toran. It must be a guy with the same name, because the last time we heard of a Gul Toran he was killed by Garak in 'Profit and Loss'! Fittingly for an episode named after it the Defiant gets some added importance - we learn more of Sisko's earlier career on the Mars Utopia Planitia shipyards and that the Commander had a hand in designing the Defiant, no doubt in reaction to his wife's death in the Borg attack. It means more that he now gets to command her as no other Captain has been responsible for the genesis of their ship. Jonathan Archer comes closest since his Dad was partly responsible for the NX-01.
Kira's so adamant that she'll get Tom out that a sequel should have been a cert. It should have happened, it didn't happen and I think I know why. With the whole Eddington thing taking over the Maquis storyline Tom Riker was one too many balls to juggle, that's my theory. Tom Riker's biggest problem is his personal need to prove himself a separate person to Will, but although he's willing to go on a terrorist mission to do that he proves that he has the same genes as Will when he shows himself to be an honourable man who gives himself up in exchange for the other Maquis' freedom.
***
Meridian
DVD, DS9 S3 (Meridian)
Now they've got a proper starship they can do the conventional stories in the same way as any other Trek series and this is the first traditional Trek episode in the series for a while. That may be one reason why it didn't work so well. It's not a bad episode by a long way, but the Meridians as a race are a bit of a mystery. We hear all about their dual existence as non-corporeal beings, but less of them as a people. It could be they were so similar to humans that it wasn't necessary, but the people we meet aren't well enough developed to intrigue us, so it's harder to believe that someone as experienced, intelligent and confident would fall for one so easily, especially such a quiet, romantic sort as Dax finds in Deral. Once that falls down you start to see flaws in Dax' character, which is never positive. We've seen her fight violent battles side by side with Klingon warriors, or calmly solving a scientific problem with nary a sweat, but get her up a couple of metres from the ground and she gets all jittery! In its defence, Dax' fear of heights is a follow-up to her comments in 'Equilibrium' about a former host falling out of a tree, so full marks for continuity.
There's more personal continuity, this time for Kira who continues her aversion to Holosuites. This B-story of a dodgy alien associate of Quark's wanting to exploit Kira for his personal pleasure is dark side of the romance theme playing out on the planet. It is funny in places and is noteworthy for Kira's easy pretence that Odo was her boyfriend while she fails to notice the impact the moment has on the Constable, something to be followed up in the future. Jeffrey Combs' Tiron isn't as memorable, but he does enough that you've got to watch him and as he was to become one of the company in this and subsequent Treks there is a certain novelty value in seeing this performance.
The moments that stand up very well and improve the episode are the very realistic goodbyes between Dax and her friends when she decides to leave them. Sisko particularly is utterly believeable in his grief at the end of a long friendship, and even though it's sudden (think back to Tasha Yar) you begin to see her actually leaving. If we think forward to the time she really did leave the series this becomes even more real, for it is the unsaid goodbye that Sisko would never get to say. It also posits the idea of such a wonderful character as Dax leaving which can make us appreciate these people even more.
With beautiful locations and good direction from Jonathan Frakes, this is not as good as the other episodes so far this season, but has enough to make it worth watching and to be enjoyed thanks to the strong bond between the main characters working so well and for the fun of seeing the Defiant orbiting a planet in the mould of 'The Original Series' or 'TNG'. They're still willing to explore the Gamma Quadrant despite the Dominion presence which is heroic and shows what Starfleet is made of as well as Sisko's confidence in the good ship Defiant. My only question would be why the inhabitants of Meridian didn't all leave the planet? Maybe their dual existence was important to them and their lives were intertwined with their home. I always thought there should have been some kind of scene in the future when another Dax host made the pilgrimage to see Deral, but perhaps such things are outside the series' remit.
***
Now they've got a proper starship they can do the conventional stories in the same way as any other Trek series and this is the first traditional Trek episode in the series for a while. That may be one reason why it didn't work so well. It's not a bad episode by a long way, but the Meridians as a race are a bit of a mystery. We hear all about their dual existence as non-corporeal beings, but less of them as a people. It could be they were so similar to humans that it wasn't necessary, but the people we meet aren't well enough developed to intrigue us, so it's harder to believe that someone as experienced, intelligent and confident would fall for one so easily, especially such a quiet, romantic sort as Dax finds in Deral. Once that falls down you start to see flaws in Dax' character, which is never positive. We've seen her fight violent battles side by side with Klingon warriors, or calmly solving a scientific problem with nary a sweat, but get her up a couple of metres from the ground and she gets all jittery! In its defence, Dax' fear of heights is a follow-up to her comments in 'Equilibrium' about a former host falling out of a tree, so full marks for continuity.
There's more personal continuity, this time for Kira who continues her aversion to Holosuites. This B-story of a dodgy alien associate of Quark's wanting to exploit Kira for his personal pleasure is dark side of the romance theme playing out on the planet. It is funny in places and is noteworthy for Kira's easy pretence that Odo was her boyfriend while she fails to notice the impact the moment has on the Constable, something to be followed up in the future. Jeffrey Combs' Tiron isn't as memorable, but he does enough that you've got to watch him and as he was to become one of the company in this and subsequent Treks there is a certain novelty value in seeing this performance.
The moments that stand up very well and improve the episode are the very realistic goodbyes between Dax and her friends when she decides to leave them. Sisko particularly is utterly believeable in his grief at the end of a long friendship, and even though it's sudden (think back to Tasha Yar) you begin to see her actually leaving. If we think forward to the time she really did leave the series this becomes even more real, for it is the unsaid goodbye that Sisko would never get to say. It also posits the idea of such a wonderful character as Dax leaving which can make us appreciate these people even more.
With beautiful locations and good direction from Jonathan Frakes, this is not as good as the other episodes so far this season, but has enough to make it worth watching and to be enjoyed thanks to the strong bond between the main characters working so well and for the fun of seeing the Defiant orbiting a planet in the mould of 'The Original Series' or 'TNG'. They're still willing to explore the Gamma Quadrant despite the Dominion presence which is heroic and shows what Starfleet is made of as well as Sisko's confidence in the good ship Defiant. My only question would be why the inhabitants of Meridian didn't all leave the planet? Maybe their dual existence was important to them and their lives were intertwined with their home. I always thought there should have been some kind of scene in the future when another Dax host made the pilgrimage to see Deral, but perhaps such things are outside the series' remit.
***
Monday, 11 October 2010
Arrival
DVD, Smallville S5 (Arrival)
I have to say it's an impressive beginning to Season 5 that successfully works in Superman lore, contains some style, but also some substance thanks to Chloe's conversation with Clark on the subject of superhuman endeavours. It starts out with a pounding film-like narrative depicting scenes from the previous episode that rattles through the important points. I guessed (and it was exceedingly obvious) that the crystal was going to form the Fortress of Solitude and with that the series stakes out its new boundaries: what before could have been the early years of the popular Superman films (with judicious tweaking!) is clearly in a world of its own as Superman discovered the Fortress in the first film. This is cemented by the appearance of the two villains from 'Superman II' who arrived in the spaceship with no explanation for how they escaped from the prison in which the Kryptonians had incarcerated them. We even get a glimpse of Zod in a fleeting appearance at the very end.
Then again I could be completely wrong - it isn't stated that these are the criminals seen in the film and it may not be Zod (but let's face it, it's inevitable just like the crystal and the Fortress). The Fortress was created in a blaze of visual effects that works well and is brilliantly similar to the film Fortress. After a spectacular and speedy teaser we get an updating of the 'Smallville' titles which was overdue - while I'll always love the Season 1 design above anything (just as with the episodes themselves) the series has changed so much it needed a new look and this funkily-designed version works fine. One point that doesn't appear to have been cleaned up is what happened to Jason? Was he flattened by the meteor and Lex surreptitiously removed the body or is he still out there to cause menace in the future?
Chloe and Clark's truthfulness was a wonderful moment, I only hope that they don't become estranged as Pete and Clark did. I felt he should have cited this as one of the reasons he didn't tell her, but the writers probably felt that mentioning a character that hadn't been seen for over a year would confuse casual viewers. The opening of this season recalled the devastation and uncertainty left by the tornado in the opening of the second season, and the disruption is much the same with characters all over the place and in varying states of confusion. Lex is the only one who doesn't seem at all fazed or shocked by events, perhaps because his mind is full of seeing Clark disappear in a blaze of light. His unexpected arrival to collect Chloe from her distant hospital sends a sinister note of caution if his constant questions hadn't already.
Lois becomes a permanent member of the cast, though isn't featured a lot in this episode, the Kent's do their usual thing (Mr. Kent chucked against a wall, Mrs. Kent looking worried), but Lionel is a mystery. He looks a bit like that Doctor from Season 2 that became affected by Kryptonian tech. Is he blind again? Perhaps he'll be an important tool against any Kryptonians, after all, he did help Lana to set up a trap for the two visitors. Jor-el seems especially harsh this time, by saying that if Clark doesn't finish his training that very day before the sun goes down bad stuff will be sure to transpire! For a start how does a dead guy from a distant planet that was annihilated do all this stuff (best not to ask), and why would he strip Clark of his powers so arbitrarily? Jor-el has been shown to be nothing more than a megalomaniac in many ways, but it just seems wrong that Clark would have such a strict curfew. Not "Make sure you're in before sunset or you'll be grounded", but "If you're not, Earth will pay big time!"
As always the budget must have been enormous and the extra resources were well utilised. You get helicopter shots and lots of vehicles and explosions and it all becomes a little bit meaningless, so it's a good thing the character side of things wasn't forgotten. We don't need to revisit the Clark/Lana thing again because we know what always happens and I get fed up with having to watch the same conversations. At this stage of reconciliation it's fine, but I don't expect a happy ending. As is now traditional we're left wanting to slip the next disc in to see what happens. Inevitably the second episode is never as spectacular, but there are plenty of questions that must be answered, not least being Clark's condition, the depth of Lex' knowledge and the mysterious figure (Zod) and his intentions.
***
I have to say it's an impressive beginning to Season 5 that successfully works in Superman lore, contains some style, but also some substance thanks to Chloe's conversation with Clark on the subject of superhuman endeavours. It starts out with a pounding film-like narrative depicting scenes from the previous episode that rattles through the important points. I guessed (and it was exceedingly obvious) that the crystal was going to form the Fortress of Solitude and with that the series stakes out its new boundaries: what before could have been the early years of the popular Superman films (with judicious tweaking!) is clearly in a world of its own as Superman discovered the Fortress in the first film. This is cemented by the appearance of the two villains from 'Superman II' who arrived in the spaceship with no explanation for how they escaped from the prison in which the Kryptonians had incarcerated them. We even get a glimpse of Zod in a fleeting appearance at the very end.
Then again I could be completely wrong - it isn't stated that these are the criminals seen in the film and it may not be Zod (but let's face it, it's inevitable just like the crystal and the Fortress). The Fortress was created in a blaze of visual effects that works well and is brilliantly similar to the film Fortress. After a spectacular and speedy teaser we get an updating of the 'Smallville' titles which was overdue - while I'll always love the Season 1 design above anything (just as with the episodes themselves) the series has changed so much it needed a new look and this funkily-designed version works fine. One point that doesn't appear to have been cleaned up is what happened to Jason? Was he flattened by the meteor and Lex surreptitiously removed the body or is he still out there to cause menace in the future?
Chloe and Clark's truthfulness was a wonderful moment, I only hope that they don't become estranged as Pete and Clark did. I felt he should have cited this as one of the reasons he didn't tell her, but the writers probably felt that mentioning a character that hadn't been seen for over a year would confuse casual viewers. The opening of this season recalled the devastation and uncertainty left by the tornado in the opening of the second season, and the disruption is much the same with characters all over the place and in varying states of confusion. Lex is the only one who doesn't seem at all fazed or shocked by events, perhaps because his mind is full of seeing Clark disappear in a blaze of light. His unexpected arrival to collect Chloe from her distant hospital sends a sinister note of caution if his constant questions hadn't already.
Lois becomes a permanent member of the cast, though isn't featured a lot in this episode, the Kent's do their usual thing (Mr. Kent chucked against a wall, Mrs. Kent looking worried), but Lionel is a mystery. He looks a bit like that Doctor from Season 2 that became affected by Kryptonian tech. Is he blind again? Perhaps he'll be an important tool against any Kryptonians, after all, he did help Lana to set up a trap for the two visitors. Jor-el seems especially harsh this time, by saying that if Clark doesn't finish his training that very day before the sun goes down bad stuff will be sure to transpire! For a start how does a dead guy from a distant planet that was annihilated do all this stuff (best not to ask), and why would he strip Clark of his powers so arbitrarily? Jor-el has been shown to be nothing more than a megalomaniac in many ways, but it just seems wrong that Clark would have such a strict curfew. Not "Make sure you're in before sunset or you'll be grounded", but "If you're not, Earth will pay big time!"
As always the budget must have been enormous and the extra resources were well utilised. You get helicopter shots and lots of vehicles and explosions and it all becomes a little bit meaningless, so it's a good thing the character side of things wasn't forgotten. We don't need to revisit the Clark/Lana thing again because we know what always happens and I get fed up with having to watch the same conversations. At this stage of reconciliation it's fine, but I don't expect a happy ending. As is now traditional we're left wanting to slip the next disc in to see what happens. Inevitably the second episode is never as spectacular, but there are plenty of questions that must be answered, not least being Clark's condition, the depth of Lex' knowledge and the mysterious figure (Zod) and his intentions.
***
Jolinar's Memories
DVD, Stargate SG-1 S3 (Jolinar's Memories)
A bit of an epic, this one. I didn't guess it was going to be a two-parter, I suppose I should have from all the impressive visual effects and large sets on display. And what a cliffhanger! Nayonak reveals himself as Apophis, but how can that be? Apophis died, we saw it happen! And why would he save Carter from Bynar? In the great tradition of two-part episodes there's plenty to talk about when the credits role, but few answers.
The episode treats us to first glimpses of Sokar (an Emperor Palpatine type), and Jolinar. Sokar's appearance as a hooded humanoid can't help but lessen his image as before he was a legend, an image of his face seen, but nothing definite revealed. Jolinar on the other hand became flesh and blood where she was but memory before (although, yes, technically she's only memory in this). I would have liked to see more of Carter's memories as the one we do see of Jacob coming home to tell her about her Mother's death was quite affecting.
Martuf and Jacob both return, the human in pretty bad shape. CGI visuals of Natu and the surrounding space are rather good, helping to give the story a grandeur on which to base its canvas, the coffin-like eject pods especially realistic tearing through the crimson atmosphere. The lighting had a lot of effort put into creating the hellish fiery burn, although I felt the characters didn't look dirty and ripped into by the environment as much as they should. I have no idea what will happen next, though I did guess that Jolinar had to do something drastic and distasteful to escape. Can part II live up to the first? Will anyone die? If they do it's sure to be Martuf...
***
A bit of an epic, this one. I didn't guess it was going to be a two-parter, I suppose I should have from all the impressive visual effects and large sets on display. And what a cliffhanger! Nayonak reveals himself as Apophis, but how can that be? Apophis died, we saw it happen! And why would he save Carter from Bynar? In the great tradition of two-part episodes there's plenty to talk about when the credits role, but few answers.
The episode treats us to first glimpses of Sokar (an Emperor Palpatine type), and Jolinar. Sokar's appearance as a hooded humanoid can't help but lessen his image as before he was a legend, an image of his face seen, but nothing definite revealed. Jolinar on the other hand became flesh and blood where she was but memory before (although, yes, technically she's only memory in this). I would have liked to see more of Carter's memories as the one we do see of Jacob coming home to tell her about her Mother's death was quite affecting.
Martuf and Jacob both return, the human in pretty bad shape. CGI visuals of Natu and the surrounding space are rather good, helping to give the story a grandeur on which to base its canvas, the coffin-like eject pods especially realistic tearing through the crimson atmosphere. The lighting had a lot of effort put into creating the hellish fiery burn, although I felt the characters didn't look dirty and ripped into by the environment as much as they should. I have no idea what will happen next, though I did guess that Jolinar had to do something drastic and distasteful to escape. Can part II live up to the first? Will anyone die? If they do it's sure to be Martuf...
***
Civil Defense
DVD, DS9 S3 (Civil Defense)
The idea was to do something in which events continue to escalate, action-film style, except set on the station, but I don't think it was completely successful in this thanks to the more traditional technobabble that takes over a bit towards the end and the lack of grubbiness when the Siskos and O'Brien are down in the ore processing room crawling through dusty old tubes. Still, it was a refreshing change from exterior threats and space travel, a confined, claustrophobic tale, a bit like S2's 'Invasive Procedures' except there are still lots of people aboard in this case. This appears to contradict recent episodes that have noted how many people have left the station thanks to the trouble with the Dominion, but I think it was Dukat who said that there were 2000 people so he may not know the station's complement has lessened of late.
In Dukat's first Season 3 outing he gets to be at his most smug and condescending: the best moment is Dukat swanning into Ops to 'save the day' then finding things turn around on him and he's trapped too. He loves being the 'white knight' and you begin to see the deluded tendencies he'd later become famous for - he thinks he can playfully use the situation to impress Kira or strike a bargain that would give Cardassians a foot in the door of Bajor again. He doesn't acknowledge or recognise the bitter hatred the Bajorans had for him and his people or he wouldn't have even considered suggesting a garrison of his troops could have a permanent presence on the station! The arrogance of the man is astounding. Even in his security warnings recorded years earlier he displays his desire for peace and talks to the Bajoran workers as a king might to some errant subjects. He wants to show mercy in keeping with his image of a caring, but wronged leader - even then he was blinded by his own ego and sense of importance. All of this doesn't really get revealed until later episodes, but when you know him from those these subtle (or not so subtle) character traits rise to the surface visibly.
Typically for someone who's completely confident in himself, he doesn't lose his cool when events turn against him, but retains the assuredness that he'll conquer the situation, perhaps a sign that he always had a streak of madness in him. He gets to play both villain and a part of the heroes group by virtue of necessity. He even shows how easy it would be for him to return to his old job on the station by the comfortable manner in which he enters his former office, flicking Sisko's baseball off the table, perhaps the first indication of the symbolic nature the writer's used it for: the baseball drops powerlessly to the floor with the flick of a Cardassian finger, while Sisko is also below his usual position, powerless below. If only the episode hadn't ended so abruptly - it would have been fun to see how Dukat extricated himself from the station - as diplomatically as possible I expect, and quickly before Sisko came back to Ops!
At first I wondered why they didn't beam to the Defiant, but it's made clear that the transporters aren't functioning. There's still no appearance from Eddington as if his role was only to be a pawn in the dream sequence the Founders made them live through. Odo is fully back in his job with seemingly no worries, except for Quark who thinks the safest place to be is with Odo. The Constable calls him the most devious Ferengi he's ever known, and Quark later returns the compliment in a back-handed way by saying he's an honourable man, and his integrity will get them both killed. At the end Odo gets to retract the accolade saying the Grand Nagus, Quark's Uncle Frin (who has thirty bars - I'm guessing that's bar establishments, not bars of latinum!), his Cousin Gaila (yes, the one with the moon - he'd be heard of again), a DaiMon someone-or-other (one of the only times the Ferengi Captain term is used on this series, I believe), and even brother Rom are more devious than he!
While these small, compartmentalised stories take place in Ops and Security, the Siskos and O'Brien have the tough assignment down in the bowels of the station, untouched since before the Cardassians left. We've seen some of this area before, but only the Mirror version in 'Crossover' in which ore processing was still perpetuated. Jake gets to be a hero for a change, saving both the Chief's and his Father's lives. I know just how Sisko feels fiddling about with the computer with mere seconds to spare - I get that feeling just before I'm about to be called down for dinner and I'm trying to finish something on the computer!
Garak and Dukat's enmity gets form when we hear Garak brought Dukat's father to trial, and Dukat tried to kill Garak. The tailor wears his new suit for the first (real) time (after his dream appearance in search), and the ugly belt Odo began to wear towards the end of Season 2 is dispensed with. Apart from these piecemeal character details not a lot develops in the episode, but that doesn't matter, because it's necessary for the spice of life to have a standalone tale once in a while and you can't get much more standalone than a stationwide shutdown.
***
The idea was to do something in which events continue to escalate, action-film style, except set on the station, but I don't think it was completely successful in this thanks to the more traditional technobabble that takes over a bit towards the end and the lack of grubbiness when the Siskos and O'Brien are down in the ore processing room crawling through dusty old tubes. Still, it was a refreshing change from exterior threats and space travel, a confined, claustrophobic tale, a bit like S2's 'Invasive Procedures' except there are still lots of people aboard in this case. This appears to contradict recent episodes that have noted how many people have left the station thanks to the trouble with the Dominion, but I think it was Dukat who said that there were 2000 people so he may not know the station's complement has lessened of late.
In Dukat's first Season 3 outing he gets to be at his most smug and condescending: the best moment is Dukat swanning into Ops to 'save the day' then finding things turn around on him and he's trapped too. He loves being the 'white knight' and you begin to see the deluded tendencies he'd later become famous for - he thinks he can playfully use the situation to impress Kira or strike a bargain that would give Cardassians a foot in the door of Bajor again. He doesn't acknowledge or recognise the bitter hatred the Bajorans had for him and his people or he wouldn't have even considered suggesting a garrison of his troops could have a permanent presence on the station! The arrogance of the man is astounding. Even in his security warnings recorded years earlier he displays his desire for peace and talks to the Bajoran workers as a king might to some errant subjects. He wants to show mercy in keeping with his image of a caring, but wronged leader - even then he was blinded by his own ego and sense of importance. All of this doesn't really get revealed until later episodes, but when you know him from those these subtle (or not so subtle) character traits rise to the surface visibly.
Typically for someone who's completely confident in himself, he doesn't lose his cool when events turn against him, but retains the assuredness that he'll conquer the situation, perhaps a sign that he always had a streak of madness in him. He gets to play both villain and a part of the heroes group by virtue of necessity. He even shows how easy it would be for him to return to his old job on the station by the comfortable manner in which he enters his former office, flicking Sisko's baseball off the table, perhaps the first indication of the symbolic nature the writer's used it for: the baseball drops powerlessly to the floor with the flick of a Cardassian finger, while Sisko is also below his usual position, powerless below. If only the episode hadn't ended so abruptly - it would have been fun to see how Dukat extricated himself from the station - as diplomatically as possible I expect, and quickly before Sisko came back to Ops!
At first I wondered why they didn't beam to the Defiant, but it's made clear that the transporters aren't functioning. There's still no appearance from Eddington as if his role was only to be a pawn in the dream sequence the Founders made them live through. Odo is fully back in his job with seemingly no worries, except for Quark who thinks the safest place to be is with Odo. The Constable calls him the most devious Ferengi he's ever known, and Quark later returns the compliment in a back-handed way by saying he's an honourable man, and his integrity will get them both killed. At the end Odo gets to retract the accolade saying the Grand Nagus, Quark's Uncle Frin (who has thirty bars - I'm guessing that's bar establishments, not bars of latinum!), his Cousin Gaila (yes, the one with the moon - he'd be heard of again), a DaiMon someone-or-other (one of the only times the Ferengi Captain term is used on this series, I believe), and even brother Rom are more devious than he!
While these small, compartmentalised stories take place in Ops and Security, the Siskos and O'Brien have the tough assignment down in the bowels of the station, untouched since before the Cardassians left. We've seen some of this area before, but only the Mirror version in 'Crossover' in which ore processing was still perpetuated. Jake gets to be a hero for a change, saving both the Chief's and his Father's lives. I know just how Sisko feels fiddling about with the computer with mere seconds to spare - I get that feeling just before I'm about to be called down for dinner and I'm trying to finish something on the computer!
Garak and Dukat's enmity gets form when we hear Garak brought Dukat's father to trial, and Dukat tried to kill Garak. The tailor wears his new suit for the first (real) time (after his dream appearance in search), and the ugly belt Odo began to wear towards the end of Season 2 is dispensed with. Apart from these piecemeal character details not a lot develops in the episode, but that doesn't matter, because it's necessary for the spice of life to have a standalone tale once in a while and you can't get much more standalone than a stationwide shutdown.
***
The Abandoned
DVD, DS9 S3 (The Abandoned)
With a few episodes having passed we come to a Dominion-themed story at last, but rather than all out war or some mission into the Gamma Quadrant, a smaller, station-centred episode revolves around a child Jem'Hadar. We get to find out more about the species without having to engage them in battle, and through the meeting we learn more about Odo. He's made it very clear which side of the Wormhole he's pitching his tent, and by taking up quarters and ditching the bucket he confirms he's settling down now his quest is over, but we also discover a new quest has begun to form in the formless man: to undo some of the damage his people have caused. He also shows that the encounter with his people hasn't been all bad, it's given him the confidence and notion of pursuing shapeshifting, to learn new forms, where before he saw his abilities as a convenience to be exploited, and knew from experience to keep them to himself.
That Kira should be the first visitor to Odo's quarters is fitting, and telling that he should be relatively happy for her to see his private space. I'm not sure she realises what a privilege she's been granted and assumes he would let any of their mutual friends in, but I think that's unlikely. It is symbolic that her flowers should be put in the bucket that used to be all Odo really owned, as if his past has really become the past and he's at a new stage of life, without leaving Kira behind, which would become an important point in their futures and even the future of the Alpha Quadrant itself.
Watching 'The Jem'Hadar' who would have thought that a mere six episodes down the line Odo would be trying to teach one of them to smile! As he would later do with the infant changeling Odo sees the alien as being in the same situation he went through, not understanding that choice isn't the thing for a child to have - children don't know what's best for them, they need to be told by those who have experienced life, even though it can be uncomfortable or seemingly unfair. Only Dr. Mora could explain that Odo wouldn't have grown if he hadn't been pushed, and it's the same for the Jem'Hadar. They deliberately don't give him a name, because then he would become a character, but he doesn't want to be like that, his genetic programming is too strong, and Odo's passivity is anathema to his being. Early on the hint is there that this child will become a Jem'Hadar - the clothing he wears is the black and grey we've always seen the race wearing before. It would be fascinating to know what became of him, whether he died in battle, was trapped on either side of the Wormhole or simply interrogated and killed by those he returned to? Unless someone writes a book (like the one about Rugal) we'll never know.
Odo freely taking the boy back isn't going to help his case with Starfleet. They were already a bit suspicious of him, and now, knowing that he's related to the biggest threat since the Borg can't be a good sign. The problem with Eddington still hasn't been revisited, but there are a lot of balls in the air at this time. Risa and Admiral Nechayev are both mentioned, though not in the same sentence - the mind boggles at such a thought! Risa is just the sort of place you'd expect Mardah to come from, and at first seeing Jake with this girl that's almost bursting out of her Dabo costume is a bit odd, but thankfully we learn there is much more to the pair, just as Commander Sisko does.
Sisko is surprisingly well involved for an episode that actor Avery Brooks directed. It's unusual for an actor-director, usually they appear fleetingly, but as usual he did a good job and experimented with some different shots, such as the handheld POV from the adolescent Jem'Hadar, or the shot into the Wardroom from a window that Odo stands by. The Holosuite fight program was good too, (and has moved on a bit since Tasha Yar showed Yutan what a holodeck opponent could do in the first season 'TNG' episode 'Code of Honor'!). I wonder what race the computer opponent was. The large man with circular temples at the Dabo table in the teaser was of a race that had been seen before - one of them (named Zolan) transported Rugal the Cardassian and his Father to the station, but it wasn't the same man.
The little-seen Wardroom set is used again, Odo's new quarters, the Holosuite, and many areas of the station show up for the first time this season, which points to the wide-reaching nature of the first batch of episodes. But now they've had some fun with the Defiant it's time to reacquaint us with the location of the title. It isn't called 'Star Trek: Defiant' after all. The episode is the first not to be fully engaging, which is a shame as it's the first real station story. Perhaps all this jetting off to foreign planets has spoilt us, or more likely, it's because it was a smaller scale of story. After so much new stuff we should allow them a few episodes before they fully get back into the swing of the station.
***
With a few episodes having passed we come to a Dominion-themed story at last, but rather than all out war or some mission into the Gamma Quadrant, a smaller, station-centred episode revolves around a child Jem'Hadar. We get to find out more about the species without having to engage them in battle, and through the meeting we learn more about Odo. He's made it very clear which side of the Wormhole he's pitching his tent, and by taking up quarters and ditching the bucket he confirms he's settling down now his quest is over, but we also discover a new quest has begun to form in the formless man: to undo some of the damage his people have caused. He also shows that the encounter with his people hasn't been all bad, it's given him the confidence and notion of pursuing shapeshifting, to learn new forms, where before he saw his abilities as a convenience to be exploited, and knew from experience to keep them to himself.
That Kira should be the first visitor to Odo's quarters is fitting, and telling that he should be relatively happy for her to see his private space. I'm not sure she realises what a privilege she's been granted and assumes he would let any of their mutual friends in, but I think that's unlikely. It is symbolic that her flowers should be put in the bucket that used to be all Odo really owned, as if his past has really become the past and he's at a new stage of life, without leaving Kira behind, which would become an important point in their futures and even the future of the Alpha Quadrant itself.
Watching 'The Jem'Hadar' who would have thought that a mere six episodes down the line Odo would be trying to teach one of them to smile! As he would later do with the infant changeling Odo sees the alien as being in the same situation he went through, not understanding that choice isn't the thing for a child to have - children don't know what's best for them, they need to be told by those who have experienced life, even though it can be uncomfortable or seemingly unfair. Only Dr. Mora could explain that Odo wouldn't have grown if he hadn't been pushed, and it's the same for the Jem'Hadar. They deliberately don't give him a name, because then he would become a character, but he doesn't want to be like that, his genetic programming is too strong, and Odo's passivity is anathema to his being. Early on the hint is there that this child will become a Jem'Hadar - the clothing he wears is the black and grey we've always seen the race wearing before. It would be fascinating to know what became of him, whether he died in battle, was trapped on either side of the Wormhole or simply interrogated and killed by those he returned to? Unless someone writes a book (like the one about Rugal) we'll never know.
Odo freely taking the boy back isn't going to help his case with Starfleet. They were already a bit suspicious of him, and now, knowing that he's related to the biggest threat since the Borg can't be a good sign. The problem with Eddington still hasn't been revisited, but there are a lot of balls in the air at this time. Risa and Admiral Nechayev are both mentioned, though not in the same sentence - the mind boggles at such a thought! Risa is just the sort of place you'd expect Mardah to come from, and at first seeing Jake with this girl that's almost bursting out of her Dabo costume is a bit odd, but thankfully we learn there is much more to the pair, just as Commander Sisko does.
Sisko is surprisingly well involved for an episode that actor Avery Brooks directed. It's unusual for an actor-director, usually they appear fleetingly, but as usual he did a good job and experimented with some different shots, such as the handheld POV from the adolescent Jem'Hadar, or the shot into the Wardroom from a window that Odo stands by. The Holosuite fight program was good too, (and has moved on a bit since Tasha Yar showed Yutan what a holodeck opponent could do in the first season 'TNG' episode 'Code of Honor'!). I wonder what race the computer opponent was. The large man with circular temples at the Dabo table in the teaser was of a race that had been seen before - one of them (named Zolan) transported Rugal the Cardassian and his Father to the station, but it wasn't the same man.
The little-seen Wardroom set is used again, Odo's new quarters, the Holosuite, and many areas of the station show up for the first time this season, which points to the wide-reaching nature of the first batch of episodes. But now they've had some fun with the Defiant it's time to reacquaint us with the location of the title. It isn't called 'Star Trek: Defiant' after all. The episode is the first not to be fully engaging, which is a shame as it's the first real station story. Perhaps all this jetting off to foreign planets has spoilt us, or more likely, it's because it was a smaller scale of story. After so much new stuff we should allow them a few episodes before they fully get back into the swing of the station.
***
Monday, 4 October 2010
The Best of Both Worlds
DVD, TNG S3 (The Best of Both Worlds)
"Resistance is futile." I couldn't say it better myself. Though this is fifteen years old, the effects are mostly passable, and we don't see much to impress the modern viewer, this story still has it where it counts, and makes me think on original transmission it must have been incredible, because back then even the visuals would have been breathtaking. They aren't bad, even now, thanks to some dazzling nebula scenes to rival 'Star Trek II', and the Borg vessel, a real construct has so much more weight, presence and menace than the later appearances in most of 'Voyager'. The Borg are untested and unmatched, still the most dangerous foe Starfleet has ever encountered to that point, and while a case can be made that the Dominion was the deadlier enemy, the Borg remain more terrifying, their ideology as much a threat as their almost-human appearance and lack of individuality. I could write about the success of the Borg as a creation all day, but it isn't simply their presence and the shock of losing Picard to them that places this episode beyond reach of any other of the series, in my view.
The characters are as vital to the storytelling as their actions, something 'Enterprise' would fall down on in its Xindi arc, the closest they got to a strong recurring villain. Riker's career and personal problems are as much an underlining of the external events as they are a seemingly bizarre side story. But his personal tensions, with Shelby, with his own future, even with the Captain, feed the latent threat of the Borg. They don't appear until near the end, when the Captain is kidnapped, following the tradition of all great stories in building and building until the audience knows something bad is going to happen. The music, its rising portent signifying the slow, but steady approach of danger, works so well in mirroring Riker's situation, and in many ways this two-parter is so much more about him than Picard. The Captain's experiences would be played out in the succeeding episode 'Family', and in 'Star Trek: First Contact', but it's Riker's show for sure.
Events catch him at a bad time, or perhaps serve to highlight the rut or comfort he's allowed himself to fall into. We remember the brash risk-taker he was in the first season, and in the space of three years he really has matured and grown, and it is this fact that threatens him more than the Borg, because it causes him to doubt himself, or at least, question himself, forgetting that even at his most reckless, he maintained an awareness of others around him and the necessary procedures, which Shelby, being more of a renegade, lacks. She is important in the fight against the Borg, but her ambition outshines all her other qualities making her potentially a weakness. So far her professionalism has mostly contained her impetuousness, but not enough for Riker. The Borg have actually given Riker a jolt out of any perceived complacency he saw in himself and lead him to act in the best interest of the ship, as always.
Guinan was a natural person to shore up Captain Picard's confidence, and it's a shame it wasn't Riker she was speaking to, but she was there when the first encounter with the Borg took place, and she has first hand knowledge of them after they destroyed her homeworld. Her talk with the Captain serves to reassure us, but at the same time hints at what could be lost. There is comfort in the thought that humanity would survive, even if it were only a handful slipping through a net, but it is small comfort all the same. Their discussion of the fall of Rome or the battle of Trafalgar in which Nelson died victoriously speaks to our sense of history - as Picard says, this is but another page, but it is a page that would resonate for years after, haunting many. For the first time it showed that Earth itself could be in danger, brings up the fact that Starfleet will one day pass into history, and that everything known can be swallowed up, and turns even the sure things on their head.
Worf must have been especially disgruntled with his performance as security as he is prevented from protecting the Captain or rescuing him. Geordi does his usual best, as does Data. Beverly gets to be part of the rescue mission and is vocal in her suggestion that Picard should be rescued, though Riker knows the ship is his responsibility more than any other concern. Even Wesley gets to help. The whole team do their best, but it isn't enough to avert catastrophe. How far that the fallout would be was yet to be revealed in the second part. Pity those people in the past that had to wait months, and be thankful for DVD! Season 3 isn't quite the bold change many think it is, and I miss some of the unpredictability and the originality of the first two seasons. The quality definitely boosted to a new level, but it wasn't completely consistent. It certainly showed what the series was capable of and took things on another step, and this episode was the crowning achievement.
*****
"Resistance is futile." I couldn't say it better myself. Though this is fifteen years old, the effects are mostly passable, and we don't see much to impress the modern viewer, this story still has it where it counts, and makes me think on original transmission it must have been incredible, because back then even the visuals would have been breathtaking. They aren't bad, even now, thanks to some dazzling nebula scenes to rival 'Star Trek II', and the Borg vessel, a real construct has so much more weight, presence and menace than the later appearances in most of 'Voyager'. The Borg are untested and unmatched, still the most dangerous foe Starfleet has ever encountered to that point, and while a case can be made that the Dominion was the deadlier enemy, the Borg remain more terrifying, their ideology as much a threat as their almost-human appearance and lack of individuality. I could write about the success of the Borg as a creation all day, but it isn't simply their presence and the shock of losing Picard to them that places this episode beyond reach of any other of the series, in my view.
The characters are as vital to the storytelling as their actions, something 'Enterprise' would fall down on in its Xindi arc, the closest they got to a strong recurring villain. Riker's career and personal problems are as much an underlining of the external events as they are a seemingly bizarre side story. But his personal tensions, with Shelby, with his own future, even with the Captain, feed the latent threat of the Borg. They don't appear until near the end, when the Captain is kidnapped, following the tradition of all great stories in building and building until the audience knows something bad is going to happen. The music, its rising portent signifying the slow, but steady approach of danger, works so well in mirroring Riker's situation, and in many ways this two-parter is so much more about him than Picard. The Captain's experiences would be played out in the succeeding episode 'Family', and in 'Star Trek: First Contact', but it's Riker's show for sure.
Events catch him at a bad time, or perhaps serve to highlight the rut or comfort he's allowed himself to fall into. We remember the brash risk-taker he was in the first season, and in the space of three years he really has matured and grown, and it is this fact that threatens him more than the Borg, because it causes him to doubt himself, or at least, question himself, forgetting that even at his most reckless, he maintained an awareness of others around him and the necessary procedures, which Shelby, being more of a renegade, lacks. She is important in the fight against the Borg, but her ambition outshines all her other qualities making her potentially a weakness. So far her professionalism has mostly contained her impetuousness, but not enough for Riker. The Borg have actually given Riker a jolt out of any perceived complacency he saw in himself and lead him to act in the best interest of the ship, as always.
Guinan was a natural person to shore up Captain Picard's confidence, and it's a shame it wasn't Riker she was speaking to, but she was there when the first encounter with the Borg took place, and she has first hand knowledge of them after they destroyed her homeworld. Her talk with the Captain serves to reassure us, but at the same time hints at what could be lost. There is comfort in the thought that humanity would survive, even if it were only a handful slipping through a net, but it is small comfort all the same. Their discussion of the fall of Rome or the battle of Trafalgar in which Nelson died victoriously speaks to our sense of history - as Picard says, this is but another page, but it is a page that would resonate for years after, haunting many. For the first time it showed that Earth itself could be in danger, brings up the fact that Starfleet will one day pass into history, and that everything known can be swallowed up, and turns even the sure things on their head.
Worf must have been especially disgruntled with his performance as security as he is prevented from protecting the Captain or rescuing him. Geordi does his usual best, as does Data. Beverly gets to be part of the rescue mission and is vocal in her suggestion that Picard should be rescued, though Riker knows the ship is his responsibility more than any other concern. Even Wesley gets to help. The whole team do their best, but it isn't enough to avert catastrophe. How far that the fallout would be was yet to be revealed in the second part. Pity those people in the past that had to wait months, and be thankful for DVD! Season 3 isn't quite the bold change many think it is, and I miss some of the unpredictability and the originality of the first two seasons. The quality definitely boosted to a new level, but it wasn't completely consistent. It certainly showed what the series was capable of and took things on another step, and this episode was the crowning achievement.
*****
Endgame
DVD, Voyager S7 (Endgame)
So the series ends in style, seven years of a journey complete. If you didn't wish to know whether they made it back or not, the crux of the whole series, you shouldn't be reading this, because it is the focus of the finale and the most important fact of all the episodes. As Kim said, perhaps the journey was more important than the destination, but they were always so set on returning to Earth and the Alpha Quadrant that anything less would have seemed a harsh result.
Though that question is answered, the beginning of controversy was instigated, and I would argue, is much more of an issue than the final episode of 'Enterprise' - the fact that it all ends so abruptly, without the extended winding up, sorting out and general completeness of 'DS9'. 'Voyager' was a series apart, from its inception it was far from the Trek universe, and it didn't have a continuation that elements of 'DS9' had, which it inherited to a small degree, or the closure of the 'TNG' or 'TOS' films, or that final episode of 'Enterprise'. Only one character would reappear, and that briefly, so it remained contained in its own place even to the end.
That's not to say they didn't bung in a few references to their brethren in this last two-parter. Tuvok quotes Ambassador Spock, the future uniforms seen in 'TNG' and later, 'DS9', further tie down the future beyond the current timeline, the Defiant (or one of its class of ship) is there at the end, and I even noticed a call for Dr. Pulaski at the future Tuvok's medical centre. Even Neelix gets to show his face and Chell is talked of as a substitute cook. In some ways the series should have taken the long way round, because according to Admiral Janeway we'd have got a total of 23 seasons to watch! But it was an appropriate time to end, following in the footsteps of its two older 24th Century series' by concluding after seven years.
I'm left with mixed feelings about both this episode and the series as a whole. When I first watched it through on original BBC2 transmission (aah, Sunday evenings, the last thing to look forward to before the onset of school!), I enjoyed it at least as much as 'DS9' and was enthralled by the USS Voyager's adventures. But as I've got older, my tastes have shifted a little, and what was once exciting can now sometimes be merely satisfactory, even mundane. 'DS9' seemed to change with me as I saw new things in it, but 'Voyager' mostly became less than it was, for me. This episode is a case in point, perhaps tempered by those first thoughts back in 2002 (when I think it was shown on TV), as I waited to see the fates of these characters. And no matter what, it is they that still make it an enjoyable series.
Some of the CGI hasn't aged so well, the Borg ships exploding didn't have enough weight or reality to them, and there seemed to be a preponderance with exposition in rooms and corridors. I also now find slight cracks in the smart and shiny veneer of what was a thrilling climax - the fact that a disgraced Klingon could invent some device that would allow Janeway to go back in time, or why she couldn't simply prop the 'door' open and tractor Voyager through into the future. The Seven/Chakotay thing almost comes out of nowhere, if it weren't for Seven's thoughts being shared with us in 'Human Error', and of course the lack of finality or chance to see the consequences of getting home. Yet it is still meaningful because this is the last time we'll see these characters that we've travelled with on the journey. Though we won't get to see the start of so many new lives we can imagine for ourselves their future.
The fate of the Borg is uncertain, crippling them is a more likely outcome than their total destruction, and if Janeway's past abhorrence of taking even Borg lives is any indication, she wouldn't have agreed to genocide. Alice Krige retakes the mantle of the true Borg Queen in suitable style, Reg Barclay (both old and not quite so old) is part of things, and there are some nice, small moments for each crewmember, though it's sad that with two Janeway's Chakotay doesn't fulfil his place by her side as he usually would in other episodes. There was even the slightest of bloopers, hardly worth mentioning, but I will anyway - Seven hits the keys on her console when leaving Admiral Janeway in the Cargo Bay, but you only hear the thump of her hitting the button, not the bleeps that usually accompany such an action; and the Borg Queen starts to break the set as she stumbles around, loosening a couple of rods surrounding Janeway.
I can't say that this is the absolutely brilliant ending I used to think it was, but it does sport some attractive visuals with the Borg cubes emerging from the golden mist, and the huge, glowing centre of the transwarp hub. It also completes the mission of the Voyager and her crew, and that's more than can be said for many TV series' before and since, that have ended in ignominy, not having the chance to sign off with a flourish. Plus nobody dies! If every series had the wealth of characters and so many great episodes then there would be a lot more worth watching. This series may not have fulfilled its true potential, but it tried hard and will mean a lot to many people for years to come.
****
So the series ends in style, seven years of a journey complete. If you didn't wish to know whether they made it back or not, the crux of the whole series, you shouldn't be reading this, because it is the focus of the finale and the most important fact of all the episodes. As Kim said, perhaps the journey was more important than the destination, but they were always so set on returning to Earth and the Alpha Quadrant that anything less would have seemed a harsh result.
Though that question is answered, the beginning of controversy was instigated, and I would argue, is much more of an issue than the final episode of 'Enterprise' - the fact that it all ends so abruptly, without the extended winding up, sorting out and general completeness of 'DS9'. 'Voyager' was a series apart, from its inception it was far from the Trek universe, and it didn't have a continuation that elements of 'DS9' had, which it inherited to a small degree, or the closure of the 'TNG' or 'TOS' films, or that final episode of 'Enterprise'. Only one character would reappear, and that briefly, so it remained contained in its own place even to the end.
That's not to say they didn't bung in a few references to their brethren in this last two-parter. Tuvok quotes Ambassador Spock, the future uniforms seen in 'TNG' and later, 'DS9', further tie down the future beyond the current timeline, the Defiant (or one of its class of ship) is there at the end, and I even noticed a call for Dr. Pulaski at the future Tuvok's medical centre. Even Neelix gets to show his face and Chell is talked of as a substitute cook. In some ways the series should have taken the long way round, because according to Admiral Janeway we'd have got a total of 23 seasons to watch! But it was an appropriate time to end, following in the footsteps of its two older 24th Century series' by concluding after seven years.
I'm left with mixed feelings about both this episode and the series as a whole. When I first watched it through on original BBC2 transmission (aah, Sunday evenings, the last thing to look forward to before the onset of school!), I enjoyed it at least as much as 'DS9' and was enthralled by the USS Voyager's adventures. But as I've got older, my tastes have shifted a little, and what was once exciting can now sometimes be merely satisfactory, even mundane. 'DS9' seemed to change with me as I saw new things in it, but 'Voyager' mostly became less than it was, for me. This episode is a case in point, perhaps tempered by those first thoughts back in 2002 (when I think it was shown on TV), as I waited to see the fates of these characters. And no matter what, it is they that still make it an enjoyable series.
Some of the CGI hasn't aged so well, the Borg ships exploding didn't have enough weight or reality to them, and there seemed to be a preponderance with exposition in rooms and corridors. I also now find slight cracks in the smart and shiny veneer of what was a thrilling climax - the fact that a disgraced Klingon could invent some device that would allow Janeway to go back in time, or why she couldn't simply prop the 'door' open and tractor Voyager through into the future. The Seven/Chakotay thing almost comes out of nowhere, if it weren't for Seven's thoughts being shared with us in 'Human Error', and of course the lack of finality or chance to see the consequences of getting home. Yet it is still meaningful because this is the last time we'll see these characters that we've travelled with on the journey. Though we won't get to see the start of so many new lives we can imagine for ourselves their future.
The fate of the Borg is uncertain, crippling them is a more likely outcome than their total destruction, and if Janeway's past abhorrence of taking even Borg lives is any indication, she wouldn't have agreed to genocide. Alice Krige retakes the mantle of the true Borg Queen in suitable style, Reg Barclay (both old and not quite so old) is part of things, and there are some nice, small moments for each crewmember, though it's sad that with two Janeway's Chakotay doesn't fulfil his place by her side as he usually would in other episodes. There was even the slightest of bloopers, hardly worth mentioning, but I will anyway - Seven hits the keys on her console when leaving Admiral Janeway in the Cargo Bay, but you only hear the thump of her hitting the button, not the bleeps that usually accompany such an action; and the Borg Queen starts to break the set as she stumbles around, loosening a couple of rods surrounding Janeway.
I can't say that this is the absolutely brilliant ending I used to think it was, but it does sport some attractive visuals with the Borg cubes emerging from the golden mist, and the huge, glowing centre of the transwarp hub. It also completes the mission of the Voyager and her crew, and that's more than can be said for many TV series' before and since, that have ended in ignominy, not having the chance to sign off with a flourish. Plus nobody dies! If every series had the wealth of characters and so many great episodes then there would be a lot more worth watching. This series may not have fulfilled its true potential, but it tried hard and will mean a lot to many people for years to come.
****
Past and Present
DVD, Stargate SG-1 S3 (Past and Present)
Not the follow-up I was expecting, but it did turn into a thorny problem nonetheless. You can't accuse the series of pandering to the young when Colonel O'Neill's grey hairs are so in evidence, but I had hoped to see the Destroyer of Worlds again in her 'true' form, instead of this de-aged version, but even so the actress had a notable madness, or intensity in her eyes that was striking from her first stare into camera. The story crosses from a mystery of mass amnesia to 'what would you do if Hitler lost his memory and became a nice person and started helping the Jews instead of persecuting them?' It's hard to see this person in the same light, yet you could never fully trust them no matter how much good they did, so it was an interesting enough intellectually, but although Daniel makes things more complicated by falling for Lenaya (or she for him, or both), there isn't enough involvement to really care too much about the aliens.
It has a fairly happy ending (and one particularly funny moment when Jack covers his hands over his ears and sings to block out Carter telling him Lenaya may be Kira), and I can't see the story needing to be followed up, which is disappointing as the story that instigated it seemed so much more momentous. It would be silly to expect all plotlines to continue indefinitely, and we've already seen a shift as the stories that began the series; Apophis; Sharray, have mostly been tied up, and credit must be due for the unexpected course change, but even so, it's not enough to be satisfactory and in some ways it would be better if Lenaya did regain her memory and go on the rampage again.
**
Not the follow-up I was expecting, but it did turn into a thorny problem nonetheless. You can't accuse the series of pandering to the young when Colonel O'Neill's grey hairs are so in evidence, but I had hoped to see the Destroyer of Worlds again in her 'true' form, instead of this de-aged version, but even so the actress had a notable madness, or intensity in her eyes that was striking from her first stare into camera. The story crosses from a mystery of mass amnesia to 'what would you do if Hitler lost his memory and became a nice person and started helping the Jews instead of persecuting them?' It's hard to see this person in the same light, yet you could never fully trust them no matter how much good they did, so it was an interesting enough intellectually, but although Daniel makes things more complicated by falling for Lenaya (or she for him, or both), there isn't enough involvement to really care too much about the aliens.
It has a fairly happy ending (and one particularly funny moment when Jack covers his hands over his ears and sings to block out Carter telling him Lenaya may be Kira), and I can't see the story needing to be followed up, which is disappointing as the story that instigated it seemed so much more momentous. It would be silly to expect all plotlines to continue indefinitely, and we've already seen a shift as the stories that began the series; Apophis; Sharray, have mostly been tied up, and credit must be due for the unexpected course change, but even so, it's not enough to be satisfactory and in some ways it would be better if Lenaya did regain her memory and go on the rampage again.
**
Second Skin
DVD, DS9 S3 (Second Skin)
Another in a long line of stories featuring uncertain settings or characters with altered memories or faces. Even the participants start to question things (cloning? Holodeck?), but this was cleverer than what had come before, as there was enough truth in there to make it almost plausible, or at least keep the viewers on their mental toes as each fact serves to build a case for what our eyes are seeing: Kira is an undercover agent with false Bajoran memories. There are parallels with the 'TNG' episode 'Face of The Enemy', and as I said, there have been and would continue to be false reality episodes made, it just so happens that Star Trek is ideal for such stories and does them very well.
Mr. Garak gets his first appearance this season, after a version of him was seen in the 'dream' reality at the start of the season. Here he's still wearing his old Season 2 threads, so perhaps the Dominion is a few steps further ahead than we even realised as he hasn't been seen in the outfit they depicted him wearing! We learn of his claustrophobia, dropped in an offhand manner by the way he didn't like the Defiant's quarters; that he has access to current codes still in use when he bluffs the Cardassian ships into allowing the Defiant on its way; and that the Obsidian Order has been happy to let him stay on DS9. Before he's killed, Entek threatens the tailor that they'll no longer let him live, but it's unclear whether this threat would be carried out, as the man's killed and unable to report back, but if the Order knew Garak was in on the rescue, and there's little they don't know (at least, that's what they'd like us to think), then he could be in danger. There's a warning not to trust Garak, again, this time from a more trustworthy source than Tain, since Tekeny Ghemor is of the dissident movement, first discovered last season, which gives the story a broader scope than just Kira's upset.
This is the fourth story (counting the two-parter as one), and the fourth homeworld visited, and though we've been to Cardassia before (most notably for O'Brien's trial), we experience a domestic setting this time. Other commonalities shared with the previous episode are blocked memories (last time for real, this time in pretence) and Sisko's blackmailing - last time the Symbiosis Commission, this time Garak, who shows his true feelings for a change, making it clear it isn't safe for him to go to Cardassia. As soon as he realises the situation is hopeless he goes anyway and is gracious in his usual diverting way. And he gets the best lines - "Treason, like beauty, is in the eye of the beholder."
Odo is seen to be back at his job in security, and the issue between him and Eddington has yet to be addressed, but he's up to his old tricks, this time being brought into a room as a bag to swing things in Sisko's favour. You can see he's quite amused by Garak's discomfort at Sisko's insistence the Cardassian must come along on the rescue. Garak is the person to remind us of the Dominion presence this episode, since we haven't yet had any follow-up to the opening two-parter - like Quark before him, he mentions that it has affected business in a negative way.
Nana Visitor really gets to act in this one, showing anger at her captivity, unbelief at the farfetched claims, and then breaking down under the continued pressure and uncertainty. Her body language, usually so rigid and assured, slackens, she scrunches herself up and for once seems small and powerless. Her best scene must be the exchange between her and Ghemor at the end, who has become like a surrogate father, and she to him a surrogate daughter, one thread that would be followed up, though the real Iliana Ghemor never became a story herself. Kira has changed so much, beginning with early episodes like 'Duet', that her blind hatred of all Cardassians has been stripped away, and she can care deeply about some of them. Watching the episode again is quite rewarding and provides a different perspective, because you know Ghemor really does believe Kira is his daughter and so her responses, which seem quite legitimate, now become harsh and painful for him.
Ghemor's story is sad, but it brings to light once again the friction between the Obsidian Order and the Central Command, as well as reminding us of the dissident presence on Cardassia. Though much of it happens in the rooms of Ghemor's house the scope of events is broadened through the dialogue. The Kohbeerians had been seen before, and this is the cover Sisko uses to get the Defiant into Cardassian space. I'm not sure why they didn't use the cloak, which suggests the Romulans revoked the device after the Dominion mission. We hear more of Kira's backstory, though her belief her Mother died in a camp would be proved unfounded, and again the series proves that adding the ongoing threat and a starship to the mix has far from hindered the ideas from flowing.
****
Another in a long line of stories featuring uncertain settings or characters with altered memories or faces. Even the participants start to question things (cloning? Holodeck?), but this was cleverer than what had come before, as there was enough truth in there to make it almost plausible, or at least keep the viewers on their mental toes as each fact serves to build a case for what our eyes are seeing: Kira is an undercover agent with false Bajoran memories. There are parallels with the 'TNG' episode 'Face of The Enemy', and as I said, there have been and would continue to be false reality episodes made, it just so happens that Star Trek is ideal for such stories and does them very well.
Mr. Garak gets his first appearance this season, after a version of him was seen in the 'dream' reality at the start of the season. Here he's still wearing his old Season 2 threads, so perhaps the Dominion is a few steps further ahead than we even realised as he hasn't been seen in the outfit they depicted him wearing! We learn of his claustrophobia, dropped in an offhand manner by the way he didn't like the Defiant's quarters; that he has access to current codes still in use when he bluffs the Cardassian ships into allowing the Defiant on its way; and that the Obsidian Order has been happy to let him stay on DS9. Before he's killed, Entek threatens the tailor that they'll no longer let him live, but it's unclear whether this threat would be carried out, as the man's killed and unable to report back, but if the Order knew Garak was in on the rescue, and there's little they don't know (at least, that's what they'd like us to think), then he could be in danger. There's a warning not to trust Garak, again, this time from a more trustworthy source than Tain, since Tekeny Ghemor is of the dissident movement, first discovered last season, which gives the story a broader scope than just Kira's upset.
This is the fourth story (counting the two-parter as one), and the fourth homeworld visited, and though we've been to Cardassia before (most notably for O'Brien's trial), we experience a domestic setting this time. Other commonalities shared with the previous episode are blocked memories (last time for real, this time in pretence) and Sisko's blackmailing - last time the Symbiosis Commission, this time Garak, who shows his true feelings for a change, making it clear it isn't safe for him to go to Cardassia. As soon as he realises the situation is hopeless he goes anyway and is gracious in his usual diverting way. And he gets the best lines - "Treason, like beauty, is in the eye of the beholder."
Odo is seen to be back at his job in security, and the issue between him and Eddington has yet to be addressed, but he's up to his old tricks, this time being brought into a room as a bag to swing things in Sisko's favour. You can see he's quite amused by Garak's discomfort at Sisko's insistence the Cardassian must come along on the rescue. Garak is the person to remind us of the Dominion presence this episode, since we haven't yet had any follow-up to the opening two-parter - like Quark before him, he mentions that it has affected business in a negative way.
Nana Visitor really gets to act in this one, showing anger at her captivity, unbelief at the farfetched claims, and then breaking down under the continued pressure and uncertainty. Her body language, usually so rigid and assured, slackens, she scrunches herself up and for once seems small and powerless. Her best scene must be the exchange between her and Ghemor at the end, who has become like a surrogate father, and she to him a surrogate daughter, one thread that would be followed up, though the real Iliana Ghemor never became a story herself. Kira has changed so much, beginning with early episodes like 'Duet', that her blind hatred of all Cardassians has been stripped away, and she can care deeply about some of them. Watching the episode again is quite rewarding and provides a different perspective, because you know Ghemor really does believe Kira is his daughter and so her responses, which seem quite legitimate, now become harsh and painful for him.
Ghemor's story is sad, but it brings to light once again the friction between the Obsidian Order and the Central Command, as well as reminding us of the dissident presence on Cardassia. Though much of it happens in the rooms of Ghemor's house the scope of events is broadened through the dialogue. The Kohbeerians had been seen before, and this is the cover Sisko uses to get the Defiant into Cardassian space. I'm not sure why they didn't use the cloak, which suggests the Romulans revoked the device after the Dominion mission. We hear more of Kira's backstory, though her belief her Mother died in a camp would be proved unfounded, and again the series proves that adding the ongoing threat and a starship to the mix has far from hindered the ideas from flowing.
****
Transfigurations
DVD, TNG S3 (Transfigurations)
Forever destined to be known as 'the one before the Borg episode' if it's remembered at all, this has a few nice moments, but is held up by the incessant talk and verbal plotting. It's rare to see live brains on Trek (I can only think of the ones in 'The Gamesters of Triskelion'), but John Doe gets to show his off. Beverly too, gets to show off - a big medical lab that we've not been privy to before. Wesley doesn't get much to do, but he's in his new uniform and has a nice little chat with his Mum, which we don't see much of these days, and it's also interesting to see a bit more of the ship, with the area around the shuttebay explored. O'Brien even appears to show kayaking and injuring his shoulder wasn't something limited to his time on DS9!
The effects aren't bad, although John does sound like he's talking through a blanket once he's transfigured, probably because he was wearing a full body suit. I'm not sure where this Zalkonian species appears from, with their ability to use Sith-like powers of suffocation, only this time on an entire ship's complement, and with weapons and speed to match the Federation flagship, you'd think we'd have heard of them before or since. Their ship had strong similarities to the Tarellian plague ship, so perhaps they weren't really who they seemed, or maybe they all transfigured and left this TV plane of existence? Geordi's storyline of sudden onset of confidence in himself didn't go anywhere, was more filler than anything interesting, and does that mean he's got that for keeps or only while the patient was aboard? They had to do a 'small' ship-bound episode before the finale, especially as it was going to be the best season ender the series produced. Still, no one wants a forgettable episode, so this is... erm, what was I talking about?
**
Forever destined to be known as 'the one before the Borg episode' if it's remembered at all, this has a few nice moments, but is held up by the incessant talk and verbal plotting. It's rare to see live brains on Trek (I can only think of the ones in 'The Gamesters of Triskelion'), but John Doe gets to show his off. Beverly too, gets to show off - a big medical lab that we've not been privy to before. Wesley doesn't get much to do, but he's in his new uniform and has a nice little chat with his Mum, which we don't see much of these days, and it's also interesting to see a bit more of the ship, with the area around the shuttebay explored. O'Brien even appears to show kayaking and injuring his shoulder wasn't something limited to his time on DS9!
The effects aren't bad, although John does sound like he's talking through a blanket once he's transfigured, probably because he was wearing a full body suit. I'm not sure where this Zalkonian species appears from, with their ability to use Sith-like powers of suffocation, only this time on an entire ship's complement, and with weapons and speed to match the Federation flagship, you'd think we'd have heard of them before or since. Their ship had strong similarities to the Tarellian plague ship, so perhaps they weren't really who they seemed, or maybe they all transfigured and left this TV plane of existence? Geordi's storyline of sudden onset of confidence in himself didn't go anywhere, was more filler than anything interesting, and does that mean he's got that for keeps or only while the patient was aboard? They had to do a 'small' ship-bound episode before the finale, especially as it was going to be the best season ender the series produced. Still, no one wants a forgettable episode, so this is... erm, what was I talking about?
**
Equilibrium
DVD, DS9 S3 (Equilibrium)
I do love the incongruity of the Star Trek style - one episode you can be in a life and death struggle with the Jem'Hadar, lost in the Gamma Quadrant or dueling Klingons, the next you can be learning to whisk as Odo does under the tutelage of Sisko, or seeing bunkbeds on the Defiant. The purpose is to show the reality of the character's lives, which in turn creates a stronger attachment with the viewer and gives us reason to care more whenever they are put in danger. So far each episode of the season has been mostly set away from the station, as is right and proper for a series approaching middle age - they hadn't exhausted every storyline that could be played out on the stationary facility, but the Defiant's presence proved ample excuse to visit planets further afield. It seems a questionable move for the Commander to take the Defiant as transport to Trill, the Trill homeworld, as its purpose was to provide extra protection for the area and a simple Runabout would have sufficed, but it shows how much he cares about Jadzia, and a full-sized starship would probably get her there quicker.
We've now visited three homeworlds (Founders rogue planet, Qo'noS and Trill) in three stories, and that trend was to continue - they were really branching out and exploring the Alpha Quadrant now that the series was the sole displayer of the 'home' region as you might call it, since the Alpha Quadrant has become a kind of cosy, comfortable place, where we know the aliens and planets, whereas Gamma and Delta were still widely unexplored and could therefore be considered more dangerous. This episode is also a bit cosy, in a good way, in that it makes excellent fare for a dark evening's entertainment in winter, what with dream-like sequences and dark corridors of the station or Defiant and a focus on one character rather than deep plots or continuing arcs. The only deep plots are the Symbiosis Commission's hiding of the truth that around half the population could be a host, rather than the one in a thousand they'd told the people, and the physical one of the symbiont pools down in the caves in which odd, flittery Guardians look after their symbiont charges. Nicholas Cascone, the actor who played Timor had also appeared in the 'TNG' episode 'Pen Pals' as Ensign Davies.
It's a little sad that Jadzia and her fellow joined Trill aren't quite as special as they thought, but she is explored very well in the story, cementing friendships with Julian and Sisko, both sides realising how much they mean to the other. We don't often get to see other members of the Trill race, so we're spoilt here, and it made me wonder if bald Trill have spots right over the dome of their head - it's confirmed that Jadzia's spots go all the way down to her feet. Dr. Bashir has matured a great deal by this season, and his conduct is very professional towards Jadzia as she is a patient in his care, and I especially like the 'Poirot'-style grilling by Sisko and Bashir of Dr. Renhol as they take it in turns to drive home the points. I wonder if they practiced that aboard the Defiant? O'Brien doesn't appear, but he did get the B-story last time, and it's a pleasure to see the series continue to do these character-focused stories, not allowing Dominion-fever to take over. I loved the mask skills and only wished it had been seen more often, but although Joran had died so long ago, the fact that he was now a part of Dax again would not be forgotten...
****
I do love the incongruity of the Star Trek style - one episode you can be in a life and death struggle with the Jem'Hadar, lost in the Gamma Quadrant or dueling Klingons, the next you can be learning to whisk as Odo does under the tutelage of Sisko, or seeing bunkbeds on the Defiant. The purpose is to show the reality of the character's lives, which in turn creates a stronger attachment with the viewer and gives us reason to care more whenever they are put in danger. So far each episode of the season has been mostly set away from the station, as is right and proper for a series approaching middle age - they hadn't exhausted every storyline that could be played out on the stationary facility, but the Defiant's presence proved ample excuse to visit planets further afield. It seems a questionable move for the Commander to take the Defiant as transport to Trill, the Trill homeworld, as its purpose was to provide extra protection for the area and a simple Runabout would have sufficed, but it shows how much he cares about Jadzia, and a full-sized starship would probably get her there quicker.
We've now visited three homeworlds (Founders rogue planet, Qo'noS and Trill) in three stories, and that trend was to continue - they were really branching out and exploring the Alpha Quadrant now that the series was the sole displayer of the 'home' region as you might call it, since the Alpha Quadrant has become a kind of cosy, comfortable place, where we know the aliens and planets, whereas Gamma and Delta were still widely unexplored and could therefore be considered more dangerous. This episode is also a bit cosy, in a good way, in that it makes excellent fare for a dark evening's entertainment in winter, what with dream-like sequences and dark corridors of the station or Defiant and a focus on one character rather than deep plots or continuing arcs. The only deep plots are the Symbiosis Commission's hiding of the truth that around half the population could be a host, rather than the one in a thousand they'd told the people, and the physical one of the symbiont pools down in the caves in which odd, flittery Guardians look after their symbiont charges. Nicholas Cascone, the actor who played Timor had also appeared in the 'TNG' episode 'Pen Pals' as Ensign Davies.
It's a little sad that Jadzia and her fellow joined Trill aren't quite as special as they thought, but she is explored very well in the story, cementing friendships with Julian and Sisko, both sides realising how much they mean to the other. We don't often get to see other members of the Trill race, so we're spoilt here, and it made me wonder if bald Trill have spots right over the dome of their head - it's confirmed that Jadzia's spots go all the way down to her feet. Dr. Bashir has matured a great deal by this season, and his conduct is very professional towards Jadzia as she is a patient in his care, and I especially like the 'Poirot'-style grilling by Sisko and Bashir of Dr. Renhol as they take it in turns to drive home the points. I wonder if they practiced that aboard the Defiant? O'Brien doesn't appear, but he did get the B-story last time, and it's a pleasure to see the series continue to do these character-focused stories, not allowing Dominion-fever to take over. I loved the mask skills and only wished it had been seen more often, but although Joran had died so long ago, the fact that he was now a part of Dax again would not be forgotten...
****
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