DVD, Smallville S5 (Solitude)
The resolution of the Dr. Milton Fine arc is about as good as expected, revealing his character and affiliation and providing Clark with a top-class punch-bag. The big surprise is that he isn't Zod (yes, I know he didn't have the beard, but the writers have chosen not to follow continuity slavishly), but a form of artificial intelligence created by the Kryptonians, perhaps by the ship that brought the other two renegades to Earth since he was so free to melt in and out of it. It keeps to the established facts of there being no other Kryptonians alive, ties up the story neatly, though we aren't sure if he'll return, and explains why he was quite happy to waste time posing as a college professor while he's actually an evil-minded and rather hasty fellow when it comes down to Clark destroying Jor-El. Being a program he wouldn't get bored, but stuck to the ultimate plan - to free the nasty General Zod from his Phantom Zone prison, and almost succeeding. I must admit I wanted Zod to get through (beard and all) as he could be just about glimpsed in the vague, shadowy face that spins in the vortex, but it was not to be... yet.
I thought the name Zod might sound a bit corny if they did get to bringing it up, but it was okay as he was introduced as the great hero of Krypton by Fine, undeserved though it was, it stopped him from being simply a silly name. The impending doom Jor-El foretold was averted this time, with Martha surviving the lesions of a Kryptonian disease. It seemed very likely that Fine was behind it so I wasn't surprised by that revelation, but the slurs he made about Jor-El were almost believable, as we've already seen mostly bad things from Clark's real Dad. Whether he was to be responsible for the person close to Clark dying is unclear, as he's only told us it will happen, not that he will do it. The episode managed to end on a grim note, literally - after the pleasant 'things are alright now' speech from Jonathan a negative noise crashed the image out...
If Jor-El is so powerful in the form of the Fortress why did he 'sit' by and allow the agent of Zod to enter, and Clark to put in the black crystal? You'd think he'd have the power to protect 'his' structure, but there's not a peep out of him. We should give him a break I suppose, he is, after all, dead. I still can't get used to Lionel being in the same room as Chloe after their potentially career/life-ending encounter in Season 3. Lionel's release from prison was so unlikely I can't even remember how it happened now, but Chloe doesn't mind the mogul's presence too much, it seems. She gets to look like a cliched reporter when tracking Fine, standing in a phone booth, from the camera view appearing to wear a trenchcoat like some old-style detective. She's not, of course, but the image is there. She does get to be the most important female in Clark's life for this episode, being of great help to him and sharing experiences. Lana doesn't even appear so Clark's mind isn't on girlfriends for once, which is a good thing. There's even the merest hint of the series' more energetic past with the escape from the warehouse, but it's cut brutally short.
Lex' campaign is apparently continuing apace, but we don't actually see either he or Jonathan doing anything related to their campaigns, we're just told it's happening. As for Lex' line to Lois that he has nothing to hide, that doesn't gel with what we know of his chequered past in Metropolis, often cited in earlier seasons. I half hoped Warehouse 15 would be something to do with the skyscraper he took Mxyzptlk last season, but that little storyline hasn't been picked up as yet. The episode was quite strong, again successfully melding the established series with more 'Superman' myth (Lois gets to look intrigued for once as she gazes at the Daily Planet's sign), even the title is better than usual, with the obvious meaning, but also the analogy, mentioned in the episode, that Clark will have to leave people behind, and that no one lives forever. Humans, that is anyway. Are Mr. Kent's days numbered?
***
Monday, 29 November 2010
A Hundred Days
DVD, Stargate SG-1 S3 (A Hundred Days)
Surprisingly heartfelt and better than it seemed at first. It began as a disaster story, but turned into one about being trapped on an alien world. That, in itself, was nothing special, they'd done such episodes before, as early as Season 1, but this time it felt real as Jack begins to let go of the ties to his old life and, if not embrace his situation, at least begin to learn to accept it as the reality. The suitably placed widow helped, and again it isn't doing anything particularly new, but everything about the episode exudes quality and credibility. The gorgeous natural landscapes bring it up another level - it isn't limited to woods and mountains this time, but rippling streams and stunning sunsets, even the ugly great swathe in the earth left by a 'fire tear' or meteorite looks grand.
Unlike some episodes the character comes through as strong as the visuals, with Carter and Fraiser having a brief, but meaningful conversation about Jack to remind us of Carter's personal interest. Teal'c's loyalty comes through strongly and his brave acceptance of the mission to dig through the rock was typical of him, but all the regulars seem closer than ever and display the bond that has grown between them very well. The direction is beautiful, capturing the picturesque views perfectly. The scene which shows the transition between Jack's initial life there, and three months (or about a hundred days) later as the camera pans from him walking away from the river bank to see him arriving along the river on a canoe, his simple homemade shirt a symbol of his acceptance of his new life is particularly stylish.
I don't think they've ever made it more believable that a character has properly begun a new life after being stranded on the other side of a wormhole than in this, and the simple, rustic charms of their agrarian ways are well presented, from the men chopping wood in the village to a night time party with singing and dancing. Carter even gets a viewer sympathy moment at the end as she sees O'Neill say goodbye to his almost-wife. It has enough of all the things that make the series work, including the realistic and devastating daytime passage of the meteorites, to make this one of the best, if not the best put together episodes of the season so far! Even Sokar gets a mention, and good comes out of the attack he made on the SGC Stargate when it gives Carter the inspiration for how to reach the planet. Hooray!
***
Surprisingly heartfelt and better than it seemed at first. It began as a disaster story, but turned into one about being trapped on an alien world. That, in itself, was nothing special, they'd done such episodes before, as early as Season 1, but this time it felt real as Jack begins to let go of the ties to his old life and, if not embrace his situation, at least begin to learn to accept it as the reality. The suitably placed widow helped, and again it isn't doing anything particularly new, but everything about the episode exudes quality and credibility. The gorgeous natural landscapes bring it up another level - it isn't limited to woods and mountains this time, but rippling streams and stunning sunsets, even the ugly great swathe in the earth left by a 'fire tear' or meteorite looks grand.
Unlike some episodes the character comes through as strong as the visuals, with Carter and Fraiser having a brief, but meaningful conversation about Jack to remind us of Carter's personal interest. Teal'c's loyalty comes through strongly and his brave acceptance of the mission to dig through the rock was typical of him, but all the regulars seem closer than ever and display the bond that has grown between them very well. The direction is beautiful, capturing the picturesque views perfectly. The scene which shows the transition between Jack's initial life there, and three months (or about a hundred days) later as the camera pans from him walking away from the river bank to see him arriving along the river on a canoe, his simple homemade shirt a symbol of his acceptance of his new life is particularly stylish.
I don't think they've ever made it more believable that a character has properly begun a new life after being stranded on the other side of a wormhole than in this, and the simple, rustic charms of their agrarian ways are well presented, from the men chopping wood in the village to a night time party with singing and dancing. Carter even gets a viewer sympathy moment at the end as she sees O'Neill say goodbye to his almost-wife. It has enough of all the things that make the series work, including the realistic and devastating daytime passage of the meteorites, to make this one of the best, if not the best put together episodes of the season so far! Even Sokar gets a mention, and good comes out of the attack he made on the SGC Stargate when it gives Carter the inspiration for how to reach the planet. Hooray!
***
Improbable Cause
DVD, DS9 S3 (Improbable Cause)
Another turning point in the series, this was the first to hang an episode on a recurring character instead of the regulars, and while Odo shares the storyline about equally with Garak, it's still all about the Cardassian tailor. It also shows the possibilities of the series for a continuous story to run through. That had been a part of the series from the start, with Bajor's problems, Sisko's new role and the politics of the situation, but now we come across a season-spanning plot that began, without us realising it, right back at the first episode when Odo and his comrades discovered the Founders homeworld, shared that information with the Romulans, and inadvertently, as we learn now, with the Cardassian Obsidian Order and more specifically Enabran Tain, Garak's former mentor, turned nemesis, turned ally. Unanswered questions such as the unidentified Cardassian ships in 'Defiant' and that mysterious build-up in the Orias sector become clear like the reveal of a magician's trick. In the Companion book the writers claim they didn't have a strong arc laid out, but that only makes the tying up of threads more impressive.
A layer of Garak's personality is uncovered, but with each detail revealed his uneven state of mind, or the face he shows to people, becomes even more hazy. The moment we think we are getting to know him he becomes more indistinct than ever, ranging from friendly banter with Bashir, to repartee with Odo, to surprise when Tain offers him a position, anger at Odo's unfeelingness and blank unresponsiveness when questioned directly about his history by Sisko. It's what we wanted all along, to have the question of his past life out point blank, but as usual he dodges the questions, always playing the game, but what they don't realise is that Sisko and the others have been made part of the game and Garak is using them all along. He only occasionally allows himself the luxury of expressing true feelings, but Odo's musing that someone could care about the former spy as Tain's housekeeper seemed to, or that Garak cares about the mentor that tried to kill him pushes him into real irritation. Odo's evasiveness and sarcasm soon reminds him of his own buffers and the gracious and self-satisfied smile flickers back onto his lips in short order.
Odo too, is shown at his best, uncovering plots and seeing through motives, his best scene is probably the encounter with the 'innocent' Flaxian salesman, in which he plays the fish-like alien (complete with tendril-like whiskers coming from face and hands) expertly. There's so much double-talk in the episode that by the end, aboard the Romulan Warbird Tain is even making double-talk about the double-talk much to Odo's disdain. Thanks to this wonderful wordplay and trickery the episode flys by despite a lack of energetic action, aside from Garak's shop exploding (just as the schoolroom had done in Season 1 - maybe that's where he got the inspiration from?) or the Flaxian's ship doing the same. Odo and Garak are off all over the place, but though we hear of where they're going we don't see much indication, though it's wonderful to have the Runabouts so clearly in use again, the Rio Grande being mentioned by name. The Runabout they're aboard when captured by Tain isn't named, but you can bet it isn't the Rio Grande as that ship always gets its owners back in one piece.
The only unconvincing moment is the scene in the cave when Odo meets his Cardassian contact. The floor is level, there's plenty of light and the man's voice doesn't give away his lofty position? Yet he throws down the padd which Odo catches and then the constable resumes peering into the darkness as if he's going to spot the contact. Light in dark places is a common problem in screen dramas. If it was true to life it would be too dark to see anything, so there has to be some illumination. It's just one of those things we take as read, much like artificial gravity or ships travelling the 'right' way up whenever they meet each other. I thought it would be more suitable for the contact to tell Odo he'd transferred the names to his Runabout instead of chucking down the padd. A minor stump in a heartily well-written forest.
The potential for an extreme turning point in the series is not just in the characters (will Garak leave his role aboard DS9 now he's accepted Tain's offer?), but in the stability of the quadrant. The Tal'Shiar and Obsidian Order may be happy to throw everything into a war with the Dominion, regarding Starfleet as an unconcerned neutral, but the Gamma Quadrant enemy will strike back, and that strike will come through the Wormhole dragging the Federation in since they're not going to abandon Bajor. But Tain and his allies are so confident in their power they see only a first strike and victory.
With no 'part I' in the title in the style of all the other two-parters on the series (and in 'Star Trek' in general) the ending catches the viewer off guard. It's not so much a cliffhanger in terms of danger and suspense, but it leaves us with plenty to cogitate over. With all the information that seeps through about Garak, it appears we have concrete details about him at last, but how many cracks are in that concrete? Avery Brooks does another star turn as director, keeping the mystery and pace in so many dialogue-heavy scenes (and still showing the desire to experiment - I love the move into the frame along the wardroom table as we slowly creep towards the Flaxian, showing off the makeup department's triumph as much as anything). Quark and Jake don't feature, but that's the price of an included wider cast, the soundtrack is assured (the music coming across very strongly in the way that later season's would do), even the babble of the Promenade somehow sounds more 'three-dimensional'. Garak gives us at least two thoughts to stay with us: a Nausicaan in wedding clothes for one, and for another, that he definitely isn't as fond of his tailoring life as he makes out!
****
Another turning point in the series, this was the first to hang an episode on a recurring character instead of the regulars, and while Odo shares the storyline about equally with Garak, it's still all about the Cardassian tailor. It also shows the possibilities of the series for a continuous story to run through. That had been a part of the series from the start, with Bajor's problems, Sisko's new role and the politics of the situation, but now we come across a season-spanning plot that began, without us realising it, right back at the first episode when Odo and his comrades discovered the Founders homeworld, shared that information with the Romulans, and inadvertently, as we learn now, with the Cardassian Obsidian Order and more specifically Enabran Tain, Garak's former mentor, turned nemesis, turned ally. Unanswered questions such as the unidentified Cardassian ships in 'Defiant' and that mysterious build-up in the Orias sector become clear like the reveal of a magician's trick. In the Companion book the writers claim they didn't have a strong arc laid out, but that only makes the tying up of threads more impressive.
A layer of Garak's personality is uncovered, but with each detail revealed his uneven state of mind, or the face he shows to people, becomes even more hazy. The moment we think we are getting to know him he becomes more indistinct than ever, ranging from friendly banter with Bashir, to repartee with Odo, to surprise when Tain offers him a position, anger at Odo's unfeelingness and blank unresponsiveness when questioned directly about his history by Sisko. It's what we wanted all along, to have the question of his past life out point blank, but as usual he dodges the questions, always playing the game, but what they don't realise is that Sisko and the others have been made part of the game and Garak is using them all along. He only occasionally allows himself the luxury of expressing true feelings, but Odo's musing that someone could care about the former spy as Tain's housekeeper seemed to, or that Garak cares about the mentor that tried to kill him pushes him into real irritation. Odo's evasiveness and sarcasm soon reminds him of his own buffers and the gracious and self-satisfied smile flickers back onto his lips in short order.
Odo too, is shown at his best, uncovering plots and seeing through motives, his best scene is probably the encounter with the 'innocent' Flaxian salesman, in which he plays the fish-like alien (complete with tendril-like whiskers coming from face and hands) expertly. There's so much double-talk in the episode that by the end, aboard the Romulan Warbird Tain is even making double-talk about the double-talk much to Odo's disdain. Thanks to this wonderful wordplay and trickery the episode flys by despite a lack of energetic action, aside from Garak's shop exploding (just as the schoolroom had done in Season 1 - maybe that's where he got the inspiration from?) or the Flaxian's ship doing the same. Odo and Garak are off all over the place, but though we hear of where they're going we don't see much indication, though it's wonderful to have the Runabouts so clearly in use again, the Rio Grande being mentioned by name. The Runabout they're aboard when captured by Tain isn't named, but you can bet it isn't the Rio Grande as that ship always gets its owners back in one piece.
The only unconvincing moment is the scene in the cave when Odo meets his Cardassian contact. The floor is level, there's plenty of light and the man's voice doesn't give away his lofty position? Yet he throws down the padd which Odo catches and then the constable resumes peering into the darkness as if he's going to spot the contact. Light in dark places is a common problem in screen dramas. If it was true to life it would be too dark to see anything, so there has to be some illumination. It's just one of those things we take as read, much like artificial gravity or ships travelling the 'right' way up whenever they meet each other. I thought it would be more suitable for the contact to tell Odo he'd transferred the names to his Runabout instead of chucking down the padd. A minor stump in a heartily well-written forest.
The potential for an extreme turning point in the series is not just in the characters (will Garak leave his role aboard DS9 now he's accepted Tain's offer?), but in the stability of the quadrant. The Tal'Shiar and Obsidian Order may be happy to throw everything into a war with the Dominion, regarding Starfleet as an unconcerned neutral, but the Gamma Quadrant enemy will strike back, and that strike will come through the Wormhole dragging the Federation in since they're not going to abandon Bajor. But Tain and his allies are so confident in their power they see only a first strike and victory.
With no 'part I' in the title in the style of all the other two-parters on the series (and in 'Star Trek' in general) the ending catches the viewer off guard. It's not so much a cliffhanger in terms of danger and suspense, but it leaves us with plenty to cogitate over. With all the information that seeps through about Garak, it appears we have concrete details about him at last, but how many cracks are in that concrete? Avery Brooks does another star turn as director, keeping the mystery and pace in so many dialogue-heavy scenes (and still showing the desire to experiment - I love the move into the frame along the wardroom table as we slowly creep towards the Flaxian, showing off the makeup department's triumph as much as anything). Quark and Jake don't feature, but that's the price of an included wider cast, the soundtrack is assured (the music coming across very strongly in the way that later season's would do), even the babble of the Promenade somehow sounds more 'three-dimensional'. Garak gives us at least two thoughts to stay with us: a Nausicaan in wedding clothes for one, and for another, that he definitely isn't as fond of his tailoring life as he makes out!
****
Remember Me
DVD, TNG S4 (Remember Me)
One in a long line of weirded-out characters plunged into a different reality. This time it isn't the Holodeck or another dimension, not aliens playing tricks or all happening in the mind. This time it's Beverly's own personal universe and things aren't going well. I've always loved the mysterious and otherworldliness of these kinds of story where you can't tell up from down and you don't know what outlandish thing will happen next. The absurdity of the situation as people tell the Doctor they don't remember familiar characters is something that stuck in my mind when I saw this, one of the few episodes I got to see when I was younger and was impressed by. There has to be something creepy in the benign to make one of these work and few things are creepier than an entire crew vanishing with no record of their existence. The line Picard says sums it up: "We've never needed a crew before". It does bring imaginings to the fore of your brain - Picard and Beverly travelling the galaxy in a massive starship. There's a weird series in that idea.
Crusher's gradual realisation that things are worse than they at first appeared carries on through the episode, right to the end when she has mere seconds to survive as the 'universe' collapses in on her. There was one moment when she didn't react in the most realistic of ways, in the briefing room when her colleagues don't know Worf and when she stumps down the corridor after Troi she wonders if she's mad. Surely she would continue to try to convince her fellow officers that there's something wrong with them if they don't remember Worf, maybe do some tests on them to search for parasites or alien influence as it could more commonly be.
When we do resurface in the real world we're brought back to memories of Season 1 when the Traveller shows up again to remind Wesley that he's smarter than the average bear. The first time, it was what encouraged Picard to speed up the boy's inclusion aboard the Enterprise and has since led to his application to the Academy and maybe even the field commission. Kozinsky is mentioned too, his warp experiments remaining to cause trouble three years after he visited! Another throwback to the first season is Beverly and Picard's 'understanding' or lack thereof, and that she often was about to say what she really thought of him, of them, but has the moment rudely snatched away. Shame we didn't get to see the Picard of her mind's reaction, but a nice touch, especially as such things have been slow to return after Dr. Crusher's absence from the series. Dr. Selar is another reference to the past, and of course O'Brien is almost a regular now.
Beverly's distress and dawning knowledge is only rivalled by the tense rescue attempt - what before she thought was a danger in a safe universe proves to be the other way round and her only way out (long before 'Star Trek Nemesis' gave us people being sucked towards the viewscreen Dr. Crusher shows how it's done!), all thanks to good son Wesley and the enigma that is the Traveller. His arrival neatly in the mid-point of the series is like a masterplan coming together and one of the enduring threads that made the series more than it might have been though the makers probably had no inkling where it was all going. Dr. Crusher makes a strong single focus for the episode and confirms her position on the ship isn't to stand at the back smiling and scanning.
***
One in a long line of weirded-out characters plunged into a different reality. This time it isn't the Holodeck or another dimension, not aliens playing tricks or all happening in the mind. This time it's Beverly's own personal universe and things aren't going well. I've always loved the mysterious and otherworldliness of these kinds of story where you can't tell up from down and you don't know what outlandish thing will happen next. The absurdity of the situation as people tell the Doctor they don't remember familiar characters is something that stuck in my mind when I saw this, one of the few episodes I got to see when I was younger and was impressed by. There has to be something creepy in the benign to make one of these work and few things are creepier than an entire crew vanishing with no record of their existence. The line Picard says sums it up: "We've never needed a crew before". It does bring imaginings to the fore of your brain - Picard and Beverly travelling the galaxy in a massive starship. There's a weird series in that idea.
Crusher's gradual realisation that things are worse than they at first appeared carries on through the episode, right to the end when she has mere seconds to survive as the 'universe' collapses in on her. There was one moment when she didn't react in the most realistic of ways, in the briefing room when her colleagues don't know Worf and when she stumps down the corridor after Troi she wonders if she's mad. Surely she would continue to try to convince her fellow officers that there's something wrong with them if they don't remember Worf, maybe do some tests on them to search for parasites or alien influence as it could more commonly be.
When we do resurface in the real world we're brought back to memories of Season 1 when the Traveller shows up again to remind Wesley that he's smarter than the average bear. The first time, it was what encouraged Picard to speed up the boy's inclusion aboard the Enterprise and has since led to his application to the Academy and maybe even the field commission. Kozinsky is mentioned too, his warp experiments remaining to cause trouble three years after he visited! Another throwback to the first season is Beverly and Picard's 'understanding' or lack thereof, and that she often was about to say what she really thought of him, of them, but has the moment rudely snatched away. Shame we didn't get to see the Picard of her mind's reaction, but a nice touch, especially as such things have been slow to return after Dr. Crusher's absence from the series. Dr. Selar is another reference to the past, and of course O'Brien is almost a regular now.
Beverly's distress and dawning knowledge is only rivalled by the tense rescue attempt - what before she thought was a danger in a safe universe proves to be the other way round and her only way out (long before 'Star Trek Nemesis' gave us people being sucked towards the viewscreen Dr. Crusher shows how it's done!), all thanks to good son Wesley and the enigma that is the Traveller. His arrival neatly in the mid-point of the series is like a masterplan coming together and one of the enduring threads that made the series more than it might have been though the makers probably had no inkling where it was all going. Dr. Crusher makes a strong single focus for the episode and confirms her position on the ship isn't to stand at the back smiling and scanning.
***
Through The Looking Glass
DVD, DS9 S3 (Through The Looking Glass)
The Mirror Universe, part of the enduring legacy of the Original 'Star Trek', cried out for a sequel after Season 2's visit. In that story we found out how much had changed since Kirk turned Spock round to peace, and almost as much has progressed now we revisit a year later. A new Rebellion has grown up from the seeds planted by Bashir and Kira after inspiring Smiley O'Brien. Out of the many likely guest stars to 'crossover', shall we say, I should think Tuvok was one of the least in contention seeing as our version was lost in a distant part of the galaxy. Jennifer Sisko was also very long odds to reappear, being dead in our universe, but it just shows you can bring anyone in with the right story. No one is truly dead until both they and their mirror counterpart is killed, and even then there's time travel and Prophets taking on their persona, and who knows what else!
Far from taking over the series, the Defiant has been used sparingly and for the right reasons. It doesn't shake a nacelle in this episode, but is useful as redressed sets for Smiley's rebel ship, which I'd never noticed before thanks to the extreme lighting - the transporter, corridors and rooms, are all courtesy of the Defiant (except for one bit of corridor that looks like a station doorway, but not the lift with its fancy map graphic on the wall, unless that too is a redress of the Defiant's turbolift - we see that so rarely as the ship is so small so it's difficult to tell. Maybe Smiley didn't need to capture the Defiant's specs in Season 4 after all, he just had to look around his own ship! Lest the Runabouts (used even more sparingly than the Defiant) be forgotten, the piloting area is a redress of the Runabout cockpit. Was Smiley's ship Cardassian built? It had the familiar golden brown ripples of the station's Cardassian transporter visual. We also see a little more of the station and perhaps the only airlock door to appear with no windows in it (at the Ore Processing facility). One of the rare vertical ellipse windows is also glimpsed.
While in the first 'DS9' Mirror story it was enough to be going to that universe, for a sequel they needed to up the stakes. They did so by making the heart of the story about the two Siskos - Jennifer has all this vitriol stored up to fling at Ben, but when it comes down to it she's only able to exert half-conviction when Sisko reacts in a totally unexpected way. For his part he successfully keeps the bravado of Captain Sisko, while skillfully, but truthfully making up for his counterpart's faults. One of the best moments is when he vows to get her out of the seemingly impossible situation and she wholeheartedly replies "I believe you!", signalling her change of heart so strongly. As in 'Civil Defense' Sisko activates the station's self-destruct, but I'm not sure how he knew the Intendant's code - he hopes the station was designed by the same Cardassian as in his universe, but Kira would have her own personal code. It's possible he could have accessed some program of the designer's which told him what the current code was.
Avery Brooks had an interesting challenge, playing Sisko as playing Mirror Sisko, so he's not as violent or expressive as that version was, but is more expressive than normal Sisko. It must have been difficult to find the right balance as he'd played the full-on Sisko, but didn't want to go that far. He meets the challenge admirably (let's not get ahead of ourselves, Captain will do for now!). He, himself gets to be called Captain for probably the first time (and gets to talk about himself in that rank in the third person!), so maybe he was inspired by the experience and more open to becoming a Captain than ever before? On hearing of Captain Sisko maybe Starfleet thought it was time the real Sisko was a Captain? Let's hope he didn't notice the Intendant's attraction to baldness or he might not have been so quick to shave his head...
I'd forgotten how exciting the end was, with all its shooting matches and tricks and near misses - both Smiley and Jennifer have close calls where beams narrowly miss them. I didn't realise when Smiley was scratching behind his ear that it was the sub-dermal communicator, I thought it was another little reminder that he's a bit dirty and maybe he'd got fleas! I'd also forgotten that Rom wasn't a traitor, and it was all a ploy. The tradition of killing off a famous Ferengi per visit took shape with this episode. They had been quite indiscriminate in the first visit, killing Quark and Odo, and with this they'd got rid of Sisko and Rom. They must have realised they couldn't keep making Mirror stories if they murdered all the main characters, but still wanted to have some fun, so the idea of the Ferengi being the most likely candidates for death came into being. That's my theory, anyway.
I wonder if there's a Parallel Prime Directive to complete the set, alongside the standard Prime and Temporal Prime Directives? If not, Sisko may have kept the details of his disappearance vague so as not to give too much embarrassment to his colleagues. Starfleet must have known about the event however because the universes travel at the same rate of time and he could have been gone a couple of days. How to explain it? I also wonder if there's supposed to be the suggestion Jennifer and Smiley are fond of each other with the way she talks about him at the end. Possibly not as I don't recall that being borne out in the next part of the 'trilogy'.
This is Garak's second episode in an unprecedented four-episode run. Season 1 belonged to Nog and the O'Brien's, 2 saw Rom come into his own more, but 3 has definitely been Garak's showcase, even though this is a third episode in which he plays a Garak that isn't Garak (after 'The Search' and 'Distant Voices'). The Mirror Garak has no finesse and is all about power and hurting people for the sake of cruelty. He can't restrain his emotions, but relishes the chance to let loose under the Intendant's orders. He comes across as a little stupid, allowing his pleasure for violence to overwhelm him. So far we haven't quite discovered whether our Garak shares any of these attributes deep inside, but we're about to...
As with the last few episodes there is something to link back to the previous one. This time it's the characters playing variations of themselves, and doing so with aplomb. Dax is quite scary and Bashir looks like a tramp so that it was almost a pleasure for Sisko to knock him head-over-heels across a table! Morn hasn't been seen as regularly this season, the visits to Quark's bar not quite the same backbone of the series as they had been, but he does get a mention, as do Vole fights (first mooted in 'Destiny'). The Romulans also get an honourary reference as that's the story Sisko tells to let people know he's going to be gone for a while. How Smiley explained Sisko's 'death' a second time I don't know. I expect his followers thought it was all a ruse again. Lastly, the Badlands are seen to be just as stormy in the Mirror universe as in ours. Surely they should be a place of peace and serenity?
****
The Mirror Universe, part of the enduring legacy of the Original 'Star Trek', cried out for a sequel after Season 2's visit. In that story we found out how much had changed since Kirk turned Spock round to peace, and almost as much has progressed now we revisit a year later. A new Rebellion has grown up from the seeds planted by Bashir and Kira after inspiring Smiley O'Brien. Out of the many likely guest stars to 'crossover', shall we say, I should think Tuvok was one of the least in contention seeing as our version was lost in a distant part of the galaxy. Jennifer Sisko was also very long odds to reappear, being dead in our universe, but it just shows you can bring anyone in with the right story. No one is truly dead until both they and their mirror counterpart is killed, and even then there's time travel and Prophets taking on their persona, and who knows what else!
Far from taking over the series, the Defiant has been used sparingly and for the right reasons. It doesn't shake a nacelle in this episode, but is useful as redressed sets for Smiley's rebel ship, which I'd never noticed before thanks to the extreme lighting - the transporter, corridors and rooms, are all courtesy of the Defiant (except for one bit of corridor that looks like a station doorway, but not the lift with its fancy map graphic on the wall, unless that too is a redress of the Defiant's turbolift - we see that so rarely as the ship is so small so it's difficult to tell. Maybe Smiley didn't need to capture the Defiant's specs in Season 4 after all, he just had to look around his own ship! Lest the Runabouts (used even more sparingly than the Defiant) be forgotten, the piloting area is a redress of the Runabout cockpit. Was Smiley's ship Cardassian built? It had the familiar golden brown ripples of the station's Cardassian transporter visual. We also see a little more of the station and perhaps the only airlock door to appear with no windows in it (at the Ore Processing facility). One of the rare vertical ellipse windows is also glimpsed.
While in the first 'DS9' Mirror story it was enough to be going to that universe, for a sequel they needed to up the stakes. They did so by making the heart of the story about the two Siskos - Jennifer has all this vitriol stored up to fling at Ben, but when it comes down to it she's only able to exert half-conviction when Sisko reacts in a totally unexpected way. For his part he successfully keeps the bravado of Captain Sisko, while skillfully, but truthfully making up for his counterpart's faults. One of the best moments is when he vows to get her out of the seemingly impossible situation and she wholeheartedly replies "I believe you!", signalling her change of heart so strongly. As in 'Civil Defense' Sisko activates the station's self-destruct, but I'm not sure how he knew the Intendant's code - he hopes the station was designed by the same Cardassian as in his universe, but Kira would have her own personal code. It's possible he could have accessed some program of the designer's which told him what the current code was.
Avery Brooks had an interesting challenge, playing Sisko as playing Mirror Sisko, so he's not as violent or expressive as that version was, but is more expressive than normal Sisko. It must have been difficult to find the right balance as he'd played the full-on Sisko, but didn't want to go that far. He meets the challenge admirably (let's not get ahead of ourselves, Captain will do for now!). He, himself gets to be called Captain for probably the first time (and gets to talk about himself in that rank in the third person!), so maybe he was inspired by the experience and more open to becoming a Captain than ever before? On hearing of Captain Sisko maybe Starfleet thought it was time the real Sisko was a Captain? Let's hope he didn't notice the Intendant's attraction to baldness or he might not have been so quick to shave his head...
I'd forgotten how exciting the end was, with all its shooting matches and tricks and near misses - both Smiley and Jennifer have close calls where beams narrowly miss them. I didn't realise when Smiley was scratching behind his ear that it was the sub-dermal communicator, I thought it was another little reminder that he's a bit dirty and maybe he'd got fleas! I'd also forgotten that Rom wasn't a traitor, and it was all a ploy. The tradition of killing off a famous Ferengi per visit took shape with this episode. They had been quite indiscriminate in the first visit, killing Quark and Odo, and with this they'd got rid of Sisko and Rom. They must have realised they couldn't keep making Mirror stories if they murdered all the main characters, but still wanted to have some fun, so the idea of the Ferengi being the most likely candidates for death came into being. That's my theory, anyway.
I wonder if there's a Parallel Prime Directive to complete the set, alongside the standard Prime and Temporal Prime Directives? If not, Sisko may have kept the details of his disappearance vague so as not to give too much embarrassment to his colleagues. Starfleet must have known about the event however because the universes travel at the same rate of time and he could have been gone a couple of days. How to explain it? I also wonder if there's supposed to be the suggestion Jennifer and Smiley are fond of each other with the way she talks about him at the end. Possibly not as I don't recall that being borne out in the next part of the 'trilogy'.
This is Garak's second episode in an unprecedented four-episode run. Season 1 belonged to Nog and the O'Brien's, 2 saw Rom come into his own more, but 3 has definitely been Garak's showcase, even though this is a third episode in which he plays a Garak that isn't Garak (after 'The Search' and 'Distant Voices'). The Mirror Garak has no finesse and is all about power and hurting people for the sake of cruelty. He can't restrain his emotions, but relishes the chance to let loose under the Intendant's orders. He comes across as a little stupid, allowing his pleasure for violence to overwhelm him. So far we haven't quite discovered whether our Garak shares any of these attributes deep inside, but we're about to...
As with the last few episodes there is something to link back to the previous one. This time it's the characters playing variations of themselves, and doing so with aplomb. Dax is quite scary and Bashir looks like a tramp so that it was almost a pleasure for Sisko to knock him head-over-heels across a table! Morn hasn't been seen as regularly this season, the visits to Quark's bar not quite the same backbone of the series as they had been, but he does get a mention, as do Vole fights (first mooted in 'Destiny'). The Romulans also get an honourary reference as that's the story Sisko tells to let people know he's going to be gone for a while. How Smiley explained Sisko's 'death' a second time I don't know. I expect his followers thought it was all a ruse again. Lastly, the Badlands are seen to be just as stormy in the Mirror universe as in ours. Surely they should be a place of peace and serenity?
****
Splinter
DVD, Smallville S5 (Splinter)
Red and green, and blue and... silver? I don't know how many colours of Kryptonite there, but for once that didn't matter because this is the best installment I've seen from the series for a long time, certainly as far back as Season 4. Somehow all the pieces that are usually missing fell into place in a way that should happen all the time! You actually feel sorry for Lex - he's wronged by all and sundry, thrown through the air with the greatest of ease and his Dad even swans in to dig the boot in, just like the old days. The Kent's are a solid family again, everyone there and a part of it. Such a thing as Chloe revealing her knowledge of Clark to the Kent's goes by the wayside in a story packed with possibilities. Pete's engagement with the family ended sadly and bitterly, but if this is anything to go by Chloe will be a different proposition.
The writing is clever enough that at first it seems Clark is just acting all immature and stupid, like he got out of bed on the wrong side, and while I balked at his bizarre treatment of Chloe I soon twigged that all was not as it seemed - it had to be, with Lionel offering Jonathan a bribe and it being accepted. I thought perhaps Lionel was really Dr. Fine in disguise, causing mayhem for his own reasons, and I was right, in a way. He is finally unmasked (sort of) as the Kryptonian we always knew he was. I suspected either him or Lex of sending the silver Kryptonite in the first place, but I was inclined more towards him because Lex was unlikely to know what effect the rock would have and things were pointing towards Luthor Jr. so it would be too obvious. Fine has so far seemed like a nice guy (a dangerous, murdering one when in his own company, it's true...), but here his penchant for wearing black begins to make sense - it's clear he was the sender of the rock to test Clark or manipulate him by gaining his trust.
There were problems even with such a good episode - I'd have liked to see the episode from Clark's point of view so the paranoid delusions were apparently real until someone got through to him (like the 'DS9' episode 'Whispers'), and it would have been great for Clark and Fine to have a full-blown battle using all their powers, rather than the quick scuffle that ensues. I also didn't like the idea that Chloe told Lana the silver stuff gave Clark temporary powers, because in some ways that makes it harder for him to tell her his real secret with the assumption being he no longer has those powers. At the same time there's no better time than now because she reacted well to the story Chloe spun and didn't 'freak out'. For once I was truly glad it was all simple to make up at the end as it would have been too easy for them to write that she gets all annoyed again ("How can I trust you, blah, blah, blah"), but she accepted it as an aberration.
The friendship between Clark and Lex is again unclear, shifting between best buddies looking out for each other to total distrust on a weekly basis. Now Lex appears set on winning over Lana I foresee trouble, but I can't think about downsides too much when I've enjoyed an episode so much. Will Jonathan die through standing against Lex, and will his heart be able to cope? Just as importantly what is the Kryptonian identity of Fine? I kept expecting him to reveal his real name, but no. Is he Zod or not? For a brief moment Clark's world appeared to be crumbling around him, and I can't help but hear the future in many of the words spoken about Lex and Clark and humans in general. Strange that an episode that so successfully intertwines the Kryptonian mythology with a slightly pessimistic view of the future should also be such a genuinely enjoyable group of interactions that inspire memories of when the series was great.
***
Red and green, and blue and... silver? I don't know how many colours of Kryptonite there, but for once that didn't matter because this is the best installment I've seen from the series for a long time, certainly as far back as Season 4. Somehow all the pieces that are usually missing fell into place in a way that should happen all the time! You actually feel sorry for Lex - he's wronged by all and sundry, thrown through the air with the greatest of ease and his Dad even swans in to dig the boot in, just like the old days. The Kent's are a solid family again, everyone there and a part of it. Such a thing as Chloe revealing her knowledge of Clark to the Kent's goes by the wayside in a story packed with possibilities. Pete's engagement with the family ended sadly and bitterly, but if this is anything to go by Chloe will be a different proposition.
The writing is clever enough that at first it seems Clark is just acting all immature and stupid, like he got out of bed on the wrong side, and while I balked at his bizarre treatment of Chloe I soon twigged that all was not as it seemed - it had to be, with Lionel offering Jonathan a bribe and it being accepted. I thought perhaps Lionel was really Dr. Fine in disguise, causing mayhem for his own reasons, and I was right, in a way. He is finally unmasked (sort of) as the Kryptonian we always knew he was. I suspected either him or Lex of sending the silver Kryptonite in the first place, but I was inclined more towards him because Lex was unlikely to know what effect the rock would have and things were pointing towards Luthor Jr. so it would be too obvious. Fine has so far seemed like a nice guy (a dangerous, murdering one when in his own company, it's true...), but here his penchant for wearing black begins to make sense - it's clear he was the sender of the rock to test Clark or manipulate him by gaining his trust.
There were problems even with such a good episode - I'd have liked to see the episode from Clark's point of view so the paranoid delusions were apparently real until someone got through to him (like the 'DS9' episode 'Whispers'), and it would have been great for Clark and Fine to have a full-blown battle using all their powers, rather than the quick scuffle that ensues. I also didn't like the idea that Chloe told Lana the silver stuff gave Clark temporary powers, because in some ways that makes it harder for him to tell her his real secret with the assumption being he no longer has those powers. At the same time there's no better time than now because she reacted well to the story Chloe spun and didn't 'freak out'. For once I was truly glad it was all simple to make up at the end as it would have been too easy for them to write that she gets all annoyed again ("How can I trust you, blah, blah, blah"), but she accepted it as an aberration.
The friendship between Clark and Lex is again unclear, shifting between best buddies looking out for each other to total distrust on a weekly basis. Now Lex appears set on winning over Lana I foresee trouble, but I can't think about downsides too much when I've enjoyed an episode so much. Will Jonathan die through standing against Lex, and will his heart be able to cope? Just as importantly what is the Kryptonian identity of Fine? I kept expecting him to reveal his real name, but no. Is he Zod or not? For a brief moment Clark's world appeared to be crumbling around him, and I can't help but hear the future in many of the words spoken about Lex and Clark and humans in general. Strange that an episode that so successfully intertwines the Kryptonian mythology with a slightly pessimistic view of the future should also be such a genuinely enjoyable group of interactions that inspire memories of when the series was great.
***
Distant Voices
DVD, DS9 S3 (Distant Voices)
Is he mad, back in time or in a coma? Well actually he is, yes. In a coma, that is. Trek occasionally delves into the psychological and these episodes are my favourite kind because they enable a surreal vision of the world, things that couldn't normally be done - balloons adorning Ops for a Birthday celebration or a tennis court on the Promenade. The possibilities are as open and endless as the mind itself. 'Distant Voices' is my favourite example, and one of my highest rated episodes to boot. It combines an initially unexplained event with the natural darkness of the station, so often seen in the light, but gaining a sinister atmosphere once the dark shadows are everywhere. The corridors of DS9 have always been a little foreboding on a good day, but the moment the lights go out and the pitch blackness scuttles after Bashir like a living entity, each set of lights enveloped, is incredibly chilling, not the least because a monster gets his hands in the turbolift door before it shuts, leading the Doctor to kick them away with all his strength. At this stage the darkness of the station, the absence of almost everyone aboard and the fact that a half-seen alien menace is intent on physically tearing the place apart brings a huge level of atmosphere and danger into play. But what raises the bar of the episode is that it not only creates a mysterious and scary situation, but it's a character episode in which we learn concrete things about one of the best; Dr. Bashir.
The reveal of the situation comes surprisingly early - already we're primed to half-expect some kind of unreality. As early as the teaser in which Garak presents the Doctor with a Holosuite program as a birthday present the idea of holo-manipulation is a common jump to reach when things are not as they seem. Likewise the possibilities of a virus or Dominion plot are suggested early on. That it is as simple as being in Bashir's mind is no disappointment because it's more than a lost-in-his-mind tale (like 'Extreme Measures') or escaping a monster. The scene in which he works out what part of him each character represents loses some of the momentum that had been sustained until that point, but at the same time it's true to the situation of Bashir having aged and taking longer to say things and work them out, and it's always a joy to see the main actors acting out of character, and in this instance seem cognizant of who they are, becoming annoyed when Bashir explains they are part of him.
So the episode very successfully creates a worrying and uncomfortable stage, and we dig deep into Bashir's psyche (though not deep enough to reveal his deepest secret...), but the episode also scores on the fantastic (and Emmy award-winning) makeup - Bashir's ageing is realistic and a work of excellence. The look is emphasised by the lighting - the scene in which he finds Kira lying dead in a pool of light and Odo melting shows the gaunt nature of his visage as he flits from dark to light, lit from below or above, moving through the corridor, his haggard appearance exuding the fear and horror he experiences. The Lethean is no less a work of latex art. My favourite race are the Vulcans, but the Letheans are the best of the minor races ever designed and should have been used more than the two outings they got. The red eyes appeared more liquid, the ridged head and spikes bring immediate visions of the Jem'Hadar, further enhancing Altovar's fearsome image, topped off by a visually splendid and deadly telepathic attack that could almost rival the mind meld for drama. His deep, menacing voice mocks the Doctor, though we'll never know if the real Lethean was as eloquent - from his one scene the impression is of a typical surly and silent ruffian in the Nausicaan mode, yet with more guile than those thugs as he doesn't threaten the Doctor, but gets right on with taking what he wants when refused. I want to know why there's no Lethean action figure!
The role is a tour de force for Alexander Siddig - his appearance was created by the makeup department, but you can't put makeup on a voice, that is all credit to Siddig, as is the doddery walk and the mannerisms of an old man. His voice becomes deeper and huskier, he becomes breathless, his voice cracks. His whole being becomes the embodiment of ancient. Nitpickers might suggest that an old man couldn't crawl through Jefferies tubes or haul himself up onto a stool, and might point out that he suffers a broken hip, but a few minutes later is walking about, albeit slowly. They forget that this is all in his mind, and the age is only a visual symptom of the mental destruction raging through his brain. If he forgets about his injuries then they aren't likely to bother him.
The triumph of the story is in the way we are treated to an update on Bashir, how he sees his life now, after almost three years on the station. He admits (to himself I suppose) that he still loves Dax, but he's happy with the friendship they enjoy; he could have tried harder in his schooling (the reason why he didn't try as hard isn't revealed beyond not wanting the pressure of being first - maybe that's what he told himself, though a stronger reason would come to light), but he doesn't look back and would have chosen this assignment regardless. He's happy to be where he is and has matured into a more serious and experienced hand far from the impulsive chatterbox he was when he arrived on the station. His friendship with Garak (who also plays a variation of himself, just as in the mental world created by the Founders of 'The Search'), is shown to be as strong as ever, and it leads to one of the best closing scenes in any episode as Garak enjoys a little fun, suggesting Bashir still doesn't trust him, proving he's learnt something - a touching reminder of the first few meetings when the Doctor was more impressionable and all excited at meeting the 'spy' of the station. Garak's views have impacted Bashir and in some ways he's one of the people that has shaped him. Notice that Quark is especially polite when he interrupts their meal because they're eating in the Replimat and he wants them to come to his bar to eat!
Seeing the station unlit except for a few areas here and there is quite stunning and makes me wish they'd used that style more. Only in 'Empok Nor' did we see the station's layout even darker than that. The last few episodes have had a link to the previous one, and in this one it's seeing O'Brien lying dead, which also happened in 'Visionary'. Even the title is one of the best, evoking mystery and an ethereal quality. That it remains in the top tier of episodes for me, is a tribute to all the departments that were forced into doing something different and further than usual, whether it was lighting or makeup, but most especially to Alexander Siddig for what may be his best performance.
*****
Is he mad, back in time or in a coma? Well actually he is, yes. In a coma, that is. Trek occasionally delves into the psychological and these episodes are my favourite kind because they enable a surreal vision of the world, things that couldn't normally be done - balloons adorning Ops for a Birthday celebration or a tennis court on the Promenade. The possibilities are as open and endless as the mind itself. 'Distant Voices' is my favourite example, and one of my highest rated episodes to boot. It combines an initially unexplained event with the natural darkness of the station, so often seen in the light, but gaining a sinister atmosphere once the dark shadows are everywhere. The corridors of DS9 have always been a little foreboding on a good day, but the moment the lights go out and the pitch blackness scuttles after Bashir like a living entity, each set of lights enveloped, is incredibly chilling, not the least because a monster gets his hands in the turbolift door before it shuts, leading the Doctor to kick them away with all his strength. At this stage the darkness of the station, the absence of almost everyone aboard and the fact that a half-seen alien menace is intent on physically tearing the place apart brings a huge level of atmosphere and danger into play. But what raises the bar of the episode is that it not only creates a mysterious and scary situation, but it's a character episode in which we learn concrete things about one of the best; Dr. Bashir.
The reveal of the situation comes surprisingly early - already we're primed to half-expect some kind of unreality. As early as the teaser in which Garak presents the Doctor with a Holosuite program as a birthday present the idea of holo-manipulation is a common jump to reach when things are not as they seem. Likewise the possibilities of a virus or Dominion plot are suggested early on. That it is as simple as being in Bashir's mind is no disappointment because it's more than a lost-in-his-mind tale (like 'Extreme Measures') or escaping a monster. The scene in which he works out what part of him each character represents loses some of the momentum that had been sustained until that point, but at the same time it's true to the situation of Bashir having aged and taking longer to say things and work them out, and it's always a joy to see the main actors acting out of character, and in this instance seem cognizant of who they are, becoming annoyed when Bashir explains they are part of him.
So the episode very successfully creates a worrying and uncomfortable stage, and we dig deep into Bashir's psyche (though not deep enough to reveal his deepest secret...), but the episode also scores on the fantastic (and Emmy award-winning) makeup - Bashir's ageing is realistic and a work of excellence. The look is emphasised by the lighting - the scene in which he finds Kira lying dead in a pool of light and Odo melting shows the gaunt nature of his visage as he flits from dark to light, lit from below or above, moving through the corridor, his haggard appearance exuding the fear and horror he experiences. The Lethean is no less a work of latex art. My favourite race are the Vulcans, but the Letheans are the best of the minor races ever designed and should have been used more than the two outings they got. The red eyes appeared more liquid, the ridged head and spikes bring immediate visions of the Jem'Hadar, further enhancing Altovar's fearsome image, topped off by a visually splendid and deadly telepathic attack that could almost rival the mind meld for drama. His deep, menacing voice mocks the Doctor, though we'll never know if the real Lethean was as eloquent - from his one scene the impression is of a typical surly and silent ruffian in the Nausicaan mode, yet with more guile than those thugs as he doesn't threaten the Doctor, but gets right on with taking what he wants when refused. I want to know why there's no Lethean action figure!
The role is a tour de force for Alexander Siddig - his appearance was created by the makeup department, but you can't put makeup on a voice, that is all credit to Siddig, as is the doddery walk and the mannerisms of an old man. His voice becomes deeper and huskier, he becomes breathless, his voice cracks. His whole being becomes the embodiment of ancient. Nitpickers might suggest that an old man couldn't crawl through Jefferies tubes or haul himself up onto a stool, and might point out that he suffers a broken hip, but a few minutes later is walking about, albeit slowly. They forget that this is all in his mind, and the age is only a visual symptom of the mental destruction raging through his brain. If he forgets about his injuries then they aren't likely to bother him.
The triumph of the story is in the way we are treated to an update on Bashir, how he sees his life now, after almost three years on the station. He admits (to himself I suppose) that he still loves Dax, but he's happy with the friendship they enjoy; he could have tried harder in his schooling (the reason why he didn't try as hard isn't revealed beyond not wanting the pressure of being first - maybe that's what he told himself, though a stronger reason would come to light), but he doesn't look back and would have chosen this assignment regardless. He's happy to be where he is and has matured into a more serious and experienced hand far from the impulsive chatterbox he was when he arrived on the station. His friendship with Garak (who also plays a variation of himself, just as in the mental world created by the Founders of 'The Search'), is shown to be as strong as ever, and it leads to one of the best closing scenes in any episode as Garak enjoys a little fun, suggesting Bashir still doesn't trust him, proving he's learnt something - a touching reminder of the first few meetings when the Doctor was more impressionable and all excited at meeting the 'spy' of the station. Garak's views have impacted Bashir and in some ways he's one of the people that has shaped him. Notice that Quark is especially polite when he interrupts their meal because they're eating in the Replimat and he wants them to come to his bar to eat!
Seeing the station unlit except for a few areas here and there is quite stunning and makes me wish they'd used that style more. Only in 'Empok Nor' did we see the station's layout even darker than that. The last few episodes have had a link to the previous one, and in this one it's seeing O'Brien lying dead, which also happened in 'Visionary'. Even the title is one of the best, evoking mystery and an ethereal quality. That it remains in the top tier of episodes for me, is a tribute to all the departments that were forced into doing something different and further than usual, whether it was lighting or makeup, but most especially to Alexander Siddig for what may be his best performance.
*****
Suddenly Human
DVD, TNG S4 (Suddenly Human)
The strong start to the Fourth Season continues. This time it's Picard's inhibitions regarding parenting that come to the fore, only this time, unlike the early seasons with Wesley, it's not supposed to be amusing. The Captain's inner workings show themselves a little through the incident with this human teen that has grown up as a Talarian, it seems Picard's desire to join Starfleet was the only thing that he put his mind to growing up, in the same manner as that other great Enterprise Captain, James T.
I had forgotten the resolution and whether Jono returned to his human relatives or to the only life he'd known. It was a surprise, the decision Picard comes to, but perhaps good will come out of it in the future. Jono could grow up to be an important Talarian warrior, and with his brief brush with humans perhaps he'll retain some of that culture in his mind so that one day more understanding and peace could be forged between them and the Federation. I don't usually say this, but it could have done with an officious authority figure to be aboard telling Picard he had to return the boy to his family, so that there would be a greater emphasis on the unexpected route the Captain takes, with this figure realising they were wrong. Instead it mostly happens internally in his head.
Raquetball, the sport O'Brien and Bashir later enjoyed, makes its debut here, and there's some continuity with the images of Jono's parents - his Father sports an old-fashioned Season 1 'TNG' uniform so we know they were in use at least fourteen years ago. Keeping a dagger in a room with an uncooperative member of an aggressive warrior race may not have been a prudent move on Picard's part, it could very easily have cost him his new heart (from Season 2), but I doubt it was something he didn't think about, but more likely preferred to trust Jono, only the boy was too messed up to keep from using it. Data's memory banks must be degrading as I'm sure he had the same conversation about types of humour with Guinan back in Season 2 as he does with Riker in this episode. Maybe it was Dr. Soong's recent tinkering.
***
The strong start to the Fourth Season continues. This time it's Picard's inhibitions regarding parenting that come to the fore, only this time, unlike the early seasons with Wesley, it's not supposed to be amusing. The Captain's inner workings show themselves a little through the incident with this human teen that has grown up as a Talarian, it seems Picard's desire to join Starfleet was the only thing that he put his mind to growing up, in the same manner as that other great Enterprise Captain, James T.
I had forgotten the resolution and whether Jono returned to his human relatives or to the only life he'd known. It was a surprise, the decision Picard comes to, but perhaps good will come out of it in the future. Jono could grow up to be an important Talarian warrior, and with his brief brush with humans perhaps he'll retain some of that culture in his mind so that one day more understanding and peace could be forged between them and the Federation. I don't usually say this, but it could have done with an officious authority figure to be aboard telling Picard he had to return the boy to his family, so that there would be a greater emphasis on the unexpected route the Captain takes, with this figure realising they were wrong. Instead it mostly happens internally in his head.
Raquetball, the sport O'Brien and Bashir later enjoyed, makes its debut here, and there's some continuity with the images of Jono's parents - his Father sports an old-fashioned Season 1 'TNG' uniform so we know they were in use at least fourteen years ago. Keeping a dagger in a room with an uncooperative member of an aggressive warrior race may not have been a prudent move on Picard's part, it could very easily have cost him his new heart (from Season 2), but I doubt it was something he didn't think about, but more likely preferred to trust Jono, only the boy was too messed up to keep from using it. Data's memory banks must be degrading as I'm sure he had the same conversation about types of humour with Guinan back in Season 2 as he does with Riker in this episode. Maybe it was Dr. Soong's recent tinkering.
***
Visionary
DVD, DS9 S3 (Visionary)
You sometimes get a Romulan episode, and more often a Klingon episode, but rarely a Romulan and Klingon episode. The Klingons only existed as a blind to keep us guessing longer as to the cause of the trouble rather than being proper characters in their own right. The series had occasionally utilised Klingons, but apart from some exceptions hadn't begun the process of integrating them into the fabric of the series. At this point, like most other Trek series' they were merely guest heavies. The Romulans didn't even have that distinction since one of their number didn't show up until this season. To make up for it Season 3 became one of the heavier Romulan seasons and this episode is one of their starring roles. The Romulan Warbird even makes its belated debut on the series. I wonder if the shot on the viewscreen as it swoops to attack is a reuse of 'TNG' stock footage? Ruwon is typical of his people, he's shrewd - he sees through Quark's lies and suspects the Founders of believing Odo was attached to Kira, and retains a Vulcan-like reserve and business-like equanimity at all times. Jack Shearer had been the Bolian Ambassador Vadosia in Season 1 (amid other roles in other Trek) and brought the same brisk, rotund confidence to this character.
The agreement between the Romulans and the Federation, as seen in 'The Search' was a real rarity between the powers (a bit like the Russians and the Allies in World War II) and disappointing that the Romulans decided to break their side of it by attacking the station. Who knows what further cooperation might have occurred. It isn't clear whether this ends the agreement, but the Romulans are hardly in a position to ask for their cloaking device back. It leaves the viewer wondering what will happen between the two powers now as such an attack would be seen as an act of war. Of course it never actually happened (except in the future) so there must be less animosity than otherwise would have been, and the Romulans have been embarrassed rather than wounded.
I wonder if the Tal-Shiar knew about the plot to destroy the Wormhole? They had their own plan to attack the Founders, something that must have been prepared for a good while, which would be thwarted if there was no way to get there. The impact of the Dominion begins to make itself felt in the Alpha Quadrant - Romulans go to the trouble of plotting to destroy the Wormhole just to prevent an incursion. The Founders have already begun to spread discord among the powers of the Alpha Quadrant, fear and distrust being their most powerful weapons. No major disturbance has yet been accomplished but the seeds have been sown and the powers are beginning to turn their attention to the Wormhole in a negative way, reflecting badly on the 'owners' the Federation and Bajor. It may be a Pandora's Box of possibility, but it's also the home of the Prophets and so it's not as simple as destroying it. The poor Romulans must be really confused - how did the Federation work out our plan?
Relations with the Romulans may have taken a knock, but the Klingons probably aren't too happy about the Federation making deals with such an enemy in the first place. This is their reason for being on the station - they're suspicious of anything happening behind their backs or that doesn't include them. The spies were quite intelligent as proved by their transporter know-how (Odo has a convoluted line explaining how he worked this out, similar to one in the previous episode (my contact talked to so-and-so who talked to... etc). They seemed on the surface to be stereotypical of their race, but this appears to be cover for their operation. That's how a Klingon would spy, not making a secret of their presence, but being fully visible and loud. If they were quiet and sneaky then you'd be really suspicious!
Why couldn't anyone catch O'Brien whenever he fell over - he probably sustained more damage impacting the floor than all those radiation doses! Meaney doesn't often do stunts but in this he performs a fall to the floor, seen in one shot, which must be applauded for someone of his girth and age. He has a pretty tough time of it (the old 'torture O'Brien' strand crops up again), dying three times in the episode - was it a case of Spock in 'Star Trek II'? There were rumours that Meaney might be leaving so the writers could have been playing on that. At least something good came of it all - he now has two dressing gowns as he was wearing one when he came from the future! I'm not sure why he didn't know the station was going to explode when he was woken up by himself (must have been dazed) because he'd already experienced a jump beyond that point to the attack so the O'Brien three hours in the future should know about it, shouldn't he? I hate temporal mechanics (actually that's not true, I love 'em!).
They like having doubles. Whether it's Kirk or Picard or Riker or Janeway having two always works well. 'Voyager' later did a similar thing with Harry Kim who also dies then an alternate version appears to take his own place. The best ideas bear repeating - take time travel as an example. Everyone loves it, but it doesn't have to be travel by decades or centuries, there's as much fun and mystery to be had with a few hours or minutes. It can provide views of things we wouldn't normally experience, such as the spectacular station explosion that you wouldn't expect to see except perhaps in the last episode. Somewhere there exists a longer, more elaborate cut of that moment which they should have included on the DVD as an extra (just as in 'Way of The Warrior' there's a cut which has a torpedo snaking through the battle, but we don't get to see it!). One small thing we do see for maybe the only time is a view of the inside of the Runabout pad from the cockpit windows.
The Romulans may have put two and two together, but it only proves uncomfortable for Odo when Kira comes to him outraged at Ruwon's insinuation that she was protected on the Founder's homeworld because he was 'interested' in her and serves to remind us of recent events with the Female Changeling. Only Odo and she know this is true - as early as this there's a secret connection between the two shapeshifters whether the Constable would admit it or not, as she's the only person besides himself (and Lwaxana, who guessed) that knows, giving them a common bond which would be the genesis of much more in the future since his counterpart shows her care for him by not revealing the information to others. On the plus side for Odo his loyalties are firmly underscored again when Sisko and Kira stand up for him to the Romulans.
This is perhaps the episode I've seen the most out of the whole series as it was my first 'DS9' video buy. It doesn't quite maintain the awesomeness I experienced on seeing it the first few times, but remains a clever tale that is one of the better of the season. Plus a Pakled waddles across the screen and the Terellians are spoken about again. You'd think there was some sort of internal consistency to this Star Trek lark wouldn't you!
****
You sometimes get a Romulan episode, and more often a Klingon episode, but rarely a Romulan and Klingon episode. The Klingons only existed as a blind to keep us guessing longer as to the cause of the trouble rather than being proper characters in their own right. The series had occasionally utilised Klingons, but apart from some exceptions hadn't begun the process of integrating them into the fabric of the series. At this point, like most other Trek series' they were merely guest heavies. The Romulans didn't even have that distinction since one of their number didn't show up until this season. To make up for it Season 3 became one of the heavier Romulan seasons and this episode is one of their starring roles. The Romulan Warbird even makes its belated debut on the series. I wonder if the shot on the viewscreen as it swoops to attack is a reuse of 'TNG' stock footage? Ruwon is typical of his people, he's shrewd - he sees through Quark's lies and suspects the Founders of believing Odo was attached to Kira, and retains a Vulcan-like reserve and business-like equanimity at all times. Jack Shearer had been the Bolian Ambassador Vadosia in Season 1 (amid other roles in other Trek) and brought the same brisk, rotund confidence to this character.
The agreement between the Romulans and the Federation, as seen in 'The Search' was a real rarity between the powers (a bit like the Russians and the Allies in World War II) and disappointing that the Romulans decided to break their side of it by attacking the station. Who knows what further cooperation might have occurred. It isn't clear whether this ends the agreement, but the Romulans are hardly in a position to ask for their cloaking device back. It leaves the viewer wondering what will happen between the two powers now as such an attack would be seen as an act of war. Of course it never actually happened (except in the future) so there must be less animosity than otherwise would have been, and the Romulans have been embarrassed rather than wounded.
I wonder if the Tal-Shiar knew about the plot to destroy the Wormhole? They had their own plan to attack the Founders, something that must have been prepared for a good while, which would be thwarted if there was no way to get there. The impact of the Dominion begins to make itself felt in the Alpha Quadrant - Romulans go to the trouble of plotting to destroy the Wormhole just to prevent an incursion. The Founders have already begun to spread discord among the powers of the Alpha Quadrant, fear and distrust being their most powerful weapons. No major disturbance has yet been accomplished but the seeds have been sown and the powers are beginning to turn their attention to the Wormhole in a negative way, reflecting badly on the 'owners' the Federation and Bajor. It may be a Pandora's Box of possibility, but it's also the home of the Prophets and so it's not as simple as destroying it. The poor Romulans must be really confused - how did the Federation work out our plan?
Relations with the Romulans may have taken a knock, but the Klingons probably aren't too happy about the Federation making deals with such an enemy in the first place. This is their reason for being on the station - they're suspicious of anything happening behind their backs or that doesn't include them. The spies were quite intelligent as proved by their transporter know-how (Odo has a convoluted line explaining how he worked this out, similar to one in the previous episode (my contact talked to so-and-so who talked to... etc). They seemed on the surface to be stereotypical of their race, but this appears to be cover for their operation. That's how a Klingon would spy, not making a secret of their presence, but being fully visible and loud. If they were quiet and sneaky then you'd be really suspicious!
Why couldn't anyone catch O'Brien whenever he fell over - he probably sustained more damage impacting the floor than all those radiation doses! Meaney doesn't often do stunts but in this he performs a fall to the floor, seen in one shot, which must be applauded for someone of his girth and age. He has a pretty tough time of it (the old 'torture O'Brien' strand crops up again), dying three times in the episode - was it a case of Spock in 'Star Trek II'? There were rumours that Meaney might be leaving so the writers could have been playing on that. At least something good came of it all - he now has two dressing gowns as he was wearing one when he came from the future! I'm not sure why he didn't know the station was going to explode when he was woken up by himself (must have been dazed) because he'd already experienced a jump beyond that point to the attack so the O'Brien three hours in the future should know about it, shouldn't he? I hate temporal mechanics (actually that's not true, I love 'em!).
They like having doubles. Whether it's Kirk or Picard or Riker or Janeway having two always works well. 'Voyager' later did a similar thing with Harry Kim who also dies then an alternate version appears to take his own place. The best ideas bear repeating - take time travel as an example. Everyone loves it, but it doesn't have to be travel by decades or centuries, there's as much fun and mystery to be had with a few hours or minutes. It can provide views of things we wouldn't normally experience, such as the spectacular station explosion that you wouldn't expect to see except perhaps in the last episode. Somewhere there exists a longer, more elaborate cut of that moment which they should have included on the DVD as an extra (just as in 'Way of The Warrior' there's a cut which has a torpedo snaking through the battle, but we don't get to see it!). One small thing we do see for maybe the only time is a view of the inside of the Runabout pad from the cockpit windows.
The Romulans may have put two and two together, but it only proves uncomfortable for Odo when Kira comes to him outraged at Ruwon's insinuation that she was protected on the Founder's homeworld because he was 'interested' in her and serves to remind us of recent events with the Female Changeling. Only Odo and she know this is true - as early as this there's a secret connection between the two shapeshifters whether the Constable would admit it or not, as she's the only person besides himself (and Lwaxana, who guessed) that knows, giving them a common bond which would be the genesis of much more in the future since his counterpart shows her care for him by not revealing the information to others. On the plus side for Odo his loyalties are firmly underscored again when Sisko and Kira stand up for him to the Romulans.
This is perhaps the episode I've seen the most out of the whole series as it was my first 'DS9' video buy. It doesn't quite maintain the awesomeness I experienced on seeing it the first few times, but remains a clever tale that is one of the better of the season. Plus a Pakled waddles across the screen and the Terellians are spoken about again. You'd think there was some sort of internal consistency to this Star Trek lark wouldn't you!
****
Monday, 15 November 2010
Exposed
DVD, Smallville S5 (Exposed)
Another episode that I caught on TV, and another that made me think I'd made the right decision not to keep watching. It is demeaning and gratuitous to have one of your main characters do a lap dance just because you can even with the humourous and embarrassed slant of those scenes in the club they were obvious and disappointing, let alone unnecessary. The episode had its positives, Chloe at the Daily Planet on her first mission brings the series close to what the Superman mythos has always been - reporters uncovering corruption and evil in the city: 'life in Metropolis' as Detective Sawyer (returning from Season 3) said, and summing up the episode perfectly. In fact it practically was the Superman mythos, but without Superman, except when he shows up at the end to pull a helicopter down. The lack of Clark and focus on Lois and Chloe was a positive change, I'm always wishing they starred the other characters more, and Clark was still involved in both the A-story (the Wingate club) and the B-story ('Uncle' Jack running for office).
Even better, Jonathan was gifted a proper storyline instead of appearing at the end to remind us who he is. I would have liked more of his scenes with good friend Jack - at one point it looked like going all 'Dukes of Hazzard' with Mr. Kent at the wheel burning some rubber, but it sort of petered out. Even the strong moral messages came across as a bit deflated. Are we suppose to read into it that even Superman has his flaws, or he'll be the only hero without flaws? Maybe it's not about the future, but about Clark in the now, I don't know.
I don't understand how people such as Clark and Jonathan can vary so much in their dealings with Lex - the guy's been nothing but trouble this season, and suddenly we're back in Season 1 with Clark and Lex pretty much mates (if uneasy ones), and Jonathan accusing Lex of badness when he's actually decided to do something good. The difference is we know Lex is no longer trying to fight his ambition and the negative driving forces inside, so even if he performs a small act (finding out Jack's misdemeanours then not releasing them to anyone but Jonathan) we can't feel any sympathy or warmth towards him because of so much he's done. Running for senator is another small step in his rise to power! I applaud Michael Rosenbaum for delivering lines such as the one about Clark putting barriers up in their friendship, but even with his skill the words sound awful and unreal.
I hoped to find out more on the Professor Fine storyline, but a lot had to be left out to make the episode (Lana, Martha and Lionel don't appear either), but I can hardly complain when I've been wanting more exposure (pun unintended) for individuals beyond Clark. The story isn't exactly on fire and is pretty basic and the quality of the scripting continues to lurch around. Like the last episode this doesn't really cut it, but it does bode well for future Chloe stories now that she can get involved in Metropolis' dark underbelly.
**
Another episode that I caught on TV, and another that made me think I'd made the right decision not to keep watching. It is demeaning and gratuitous to have one of your main characters do a lap dance just because you can even with the humourous and embarrassed slant of those scenes in the club they were obvious and disappointing, let alone unnecessary. The episode had its positives, Chloe at the Daily Planet on her first mission brings the series close to what the Superman mythos has always been - reporters uncovering corruption and evil in the city: 'life in Metropolis' as Detective Sawyer (returning from Season 3) said, and summing up the episode perfectly. In fact it practically was the Superman mythos, but without Superman, except when he shows up at the end to pull a helicopter down. The lack of Clark and focus on Lois and Chloe was a positive change, I'm always wishing they starred the other characters more, and Clark was still involved in both the A-story (the Wingate club) and the B-story ('Uncle' Jack running for office).
Even better, Jonathan was gifted a proper storyline instead of appearing at the end to remind us who he is. I would have liked more of his scenes with good friend Jack - at one point it looked like going all 'Dukes of Hazzard' with Mr. Kent at the wheel burning some rubber, but it sort of petered out. Even the strong moral messages came across as a bit deflated. Are we suppose to read into it that even Superman has his flaws, or he'll be the only hero without flaws? Maybe it's not about the future, but about Clark in the now, I don't know.
I don't understand how people such as Clark and Jonathan can vary so much in their dealings with Lex - the guy's been nothing but trouble this season, and suddenly we're back in Season 1 with Clark and Lex pretty much mates (if uneasy ones), and Jonathan accusing Lex of badness when he's actually decided to do something good. The difference is we know Lex is no longer trying to fight his ambition and the negative driving forces inside, so even if he performs a small act (finding out Jack's misdemeanours then not releasing them to anyone but Jonathan) we can't feel any sympathy or warmth towards him because of so much he's done. Running for senator is another small step in his rise to power! I applaud Michael Rosenbaum for delivering lines such as the one about Clark putting barriers up in their friendship, but even with his skill the words sound awful and unreal.
I hoped to find out more on the Professor Fine storyline, but a lot had to be left out to make the episode (Lana, Martha and Lionel don't appear either), but I can hardly complain when I've been wanting more exposure (pun unintended) for individuals beyond Clark. The story isn't exactly on fire and is pretty basic and the quality of the scripting continues to lurch around. Like the last episode this doesn't really cut it, but it does bode well for future Chloe stories now that she can get involved in Metropolis' dark underbelly.
**
Brothers
DVD, TNG S4 (Brothers)
Brent Spiner's seemingly effortless triple role is a testament to the actor's dedication, endurance and skill. Playing one prosthetic character is generally considered a challenge, but to perform many of the scenes of an episode as two and even three and retaining the intensity of each one (not to mention the close similarity they each have) is a masterstoke and possibly the actor's finest hour on the series. Following the theme of family begun in the previous story Data returns 'home' of sorts and meets the creator he long thought dead, giving him the chance to get to know Dr. Noonien Soong a little and ask important questions such as 'why was I created?'
The story begins two-fold, one part about a dangerous prank between brothers, providing a fine link to the second part in which Data proves what a dangerous individual he is capable of being by taking over the ship in a tense and exciting mystery. I question why Picard ordered Engineering to be the place where control was routed as it seems the logical choice to go to the battle bridge. It could be that the battle bridge is only used when the saucer is detached so that's an answer to that question. Dr. Crusher has some nice scenes with the afflicted boy and each of the cast, though not prominent have something visible to do. Look out for James Lashly as bridge officer Ensign Kopf who made a bigger impact in Season 1 of 'DS9' playing Lieutenant George Primmin, Odo's great annoyance.
So much is answered about Data and Lore and their creator, yet the important things are the family side of it and Soong's desire to leave a legacy. The makeup is very good, not always easy to create an aged person, and his laboratory and home is full of interesting knick-knacks related to cybernetics that it makes you wish you could explore every nook and cranny. I thought Data ended up getting the emotion chip back from Lore (as he keeps it unused in 'Star Trek: Generations'), so now I'm not sure if he got another chip or whether he took it from Lore. The 'evil' android was as good value as his previous appearance in Season 1, so full of sarcasm and bitterness and enjoying Data's simplistic view of things. Soong is caught in the middle with two bickering children (even if only one bickers), but it's when Lore tries to dismiss his claim that he's dying that you see some of his insecurity, despite later hurling his 'Father' across the room and bringing death on sooner.
The episode ends with Lore on the loose again, but let's be honest, they should never have left him floating in space to be picked up by anyone in the first place. Why didn't Commander Maddox track down the android if he was so intent on opening one up? The answer is: because it gave us a chance to see how Data could be and what he isn't, as well as a great villain that could appear in the future.
****
Brent Spiner's seemingly effortless triple role is a testament to the actor's dedication, endurance and skill. Playing one prosthetic character is generally considered a challenge, but to perform many of the scenes of an episode as two and even three and retaining the intensity of each one (not to mention the close similarity they each have) is a masterstoke and possibly the actor's finest hour on the series. Following the theme of family begun in the previous story Data returns 'home' of sorts and meets the creator he long thought dead, giving him the chance to get to know Dr. Noonien Soong a little and ask important questions such as 'why was I created?'
The story begins two-fold, one part about a dangerous prank between brothers, providing a fine link to the second part in which Data proves what a dangerous individual he is capable of being by taking over the ship in a tense and exciting mystery. I question why Picard ordered Engineering to be the place where control was routed as it seems the logical choice to go to the battle bridge. It could be that the battle bridge is only used when the saucer is detached so that's an answer to that question. Dr. Crusher has some nice scenes with the afflicted boy and each of the cast, though not prominent have something visible to do. Look out for James Lashly as bridge officer Ensign Kopf who made a bigger impact in Season 1 of 'DS9' playing Lieutenant George Primmin, Odo's great annoyance.
So much is answered about Data and Lore and their creator, yet the important things are the family side of it and Soong's desire to leave a legacy. The makeup is very good, not always easy to create an aged person, and his laboratory and home is full of interesting knick-knacks related to cybernetics that it makes you wish you could explore every nook and cranny. I thought Data ended up getting the emotion chip back from Lore (as he keeps it unused in 'Star Trek: Generations'), so now I'm not sure if he got another chip or whether he took it from Lore. The 'evil' android was as good value as his previous appearance in Season 1, so full of sarcasm and bitterness and enjoying Data's simplistic view of things. Soong is caught in the middle with two bickering children (even if only one bickers), but it's when Lore tries to dismiss his claim that he's dying that you see some of his insecurity, despite later hurling his 'Father' across the room and bringing death on sooner.
The episode ends with Lore on the loose again, but let's be honest, they should never have left him floating in space to be picked up by anyone in the first place. Why didn't Commander Maddox track down the android if he was so intent on opening one up? The answer is: because it gave us a chance to see how Data could be and what he isn't, as well as a great villain that could appear in the future.
****
Prophet Motive
DVD, DS9 S3 (Prophet Motive)
Of all the characters populating DS9 Quark would seem the least likely to be the next person to speak with the Prophets inside the Wormhole. The Sisko taught them about time, talk and terrible grief, and Quark does some lecturing too, this time on a subject he knows well: greed and acquisition. The Prophets reveal that the Ferengi were once quite different to their current stereotype, valuing people over profit. It's telling that Rom exhibits some of the qualities he'd later be known for, adapting quickly and easily to these new ways of benevolence and generosity, even if he does siphon off some of Zek's personal wealth like a true Ferengi. I suspect he only did that to win his brother's approval. There must have been an element of excitement over being given so much power in the Nagus' name which encouraged him, but it's still evident that the spark of the 'new' Ferenginar was deep inside him, perhaps this experience fuelled it and brought it to the surface? An anti-Ferengi streak runs through the family since his wife left him (surely unheard of in their society) and his son wants to join Starfleet.
By Season 3 the annual visit of the Nagus had become a firm tradition. The repulsive Zek is scarier as his reverted, un-Ferengi self, all smiles and light. He appears to have the ability to accept any eventuality, even humming hilariously as Mai'hardu lugs him through the corridors of the station in a sack! Mai'hardu, like Morn was always one of those mysteries of the series - like Morn he never speaks, but whereas the Lurian barfly (seen briefly in a Prophet vision) is known as a chatterbox, Mai'hardu is sworn only to speak to his master. He gets his one moment of glory in this episode when he speaks onscreen for the one and only time. Technically it's a Prophet using his image in a vision, but I'm sure that didn't lessen the enormity of the moment for actor Tiny Ron. The Hupyrian gets more to do than usual since he's there to help Quark restore the Nagus, and he's always good value, bent double as he follows the troll-like Ferengi around, rolling his eyes, nodding and generally expressing as much facially as he can without uttering a word.
The secondary story of Bashir's nomination for an award isn't that exciting, but it does introduce the station world to the pleasures of darts. His secret powers show up again if you know what to look for - he tells O'Brien they've played 106 games of racquetball since Keiko left. Fortunately O'Brien doesn't notice his friends quick brain at work. The nominees include the first onscreen mention of the Andorian homeworld, Andoria thanks to Chirurgeon Ghee P'Trell, an extremely rare example of an Andorian name. Other references to continuity are Saurian brandy ('The Enemy Within'), Aldebaran whiskey ('Relics'), self-sealing stem bolts ('Progress'), an Orb of the Prophets, and some Ferengi customs (such as snorting beetle snuff - 'we might like it, but it's not very nice for the beetles!').
Nog is effectively written out by visiting his Grandmother on the homeworld, the second time she's been mentioned in the last few episodes. Did the writers anticipate a visit to see her at this time or were they merely having fun thinking about the extended Ferengi family? Quark's experiences in the Wormhole mirror those of Commander Sisko in the pilot episode, moments of his own life used as reference in which to communicate. This could be seen as a missed opportunity, it would have been nice to see baby Quark or flashes from his pre-DS9 times. Those included are the scene from 'The Search, part I' in which Sisko commands him in his office with the Nagus' cane, any time Jadzia's played tongo with him and some scenes from this episode such as the moment he and Rom are sitting in the window looking over the new Rules of Acquisition. Such attention to detail is commended.
This was Rene Auberjonois' first directing assignment on the series, following in the footsteps of co-star Avery Brooks, and he does a good job, though doesn't try anything too noticeable or outrageous. He gets to direct himself in only one scene, but I wonder how many takes it took with those tongue-twisting words (my friend's sister's cousin's friend... or whatever it was). If you know what's going on the episode does lose a little of its charm, but there's still much to enjoy and much to learn of the Ferengi. If anyone could talk the Prophets round with his own, personal brand of logic, it would be Quark. So far he's used his considerable vocal skills to convince a Vulcan and now the Prophets. There isn't much higher he could go!
***
Of all the characters populating DS9 Quark would seem the least likely to be the next person to speak with the Prophets inside the Wormhole. The Sisko taught them about time, talk and terrible grief, and Quark does some lecturing too, this time on a subject he knows well: greed and acquisition. The Prophets reveal that the Ferengi were once quite different to their current stereotype, valuing people over profit. It's telling that Rom exhibits some of the qualities he'd later be known for, adapting quickly and easily to these new ways of benevolence and generosity, even if he does siphon off some of Zek's personal wealth like a true Ferengi. I suspect he only did that to win his brother's approval. There must have been an element of excitement over being given so much power in the Nagus' name which encouraged him, but it's still evident that the spark of the 'new' Ferenginar was deep inside him, perhaps this experience fuelled it and brought it to the surface? An anti-Ferengi streak runs through the family since his wife left him (surely unheard of in their society) and his son wants to join Starfleet.
By Season 3 the annual visit of the Nagus had become a firm tradition. The repulsive Zek is scarier as his reverted, un-Ferengi self, all smiles and light. He appears to have the ability to accept any eventuality, even humming hilariously as Mai'hardu lugs him through the corridors of the station in a sack! Mai'hardu, like Morn was always one of those mysteries of the series - like Morn he never speaks, but whereas the Lurian barfly (seen briefly in a Prophet vision) is known as a chatterbox, Mai'hardu is sworn only to speak to his master. He gets his one moment of glory in this episode when he speaks onscreen for the one and only time. Technically it's a Prophet using his image in a vision, but I'm sure that didn't lessen the enormity of the moment for actor Tiny Ron. The Hupyrian gets more to do than usual since he's there to help Quark restore the Nagus, and he's always good value, bent double as he follows the troll-like Ferengi around, rolling his eyes, nodding and generally expressing as much facially as he can without uttering a word.
The secondary story of Bashir's nomination for an award isn't that exciting, but it does introduce the station world to the pleasures of darts. His secret powers show up again if you know what to look for - he tells O'Brien they've played 106 games of racquetball since Keiko left. Fortunately O'Brien doesn't notice his friends quick brain at work. The nominees include the first onscreen mention of the Andorian homeworld, Andoria thanks to Chirurgeon Ghee P'Trell, an extremely rare example of an Andorian name. Other references to continuity are Saurian brandy ('The Enemy Within'), Aldebaran whiskey ('Relics'), self-sealing stem bolts ('Progress'), an Orb of the Prophets, and some Ferengi customs (such as snorting beetle snuff - 'we might like it, but it's not very nice for the beetles!').
Nog is effectively written out by visiting his Grandmother on the homeworld, the second time she's been mentioned in the last few episodes. Did the writers anticipate a visit to see her at this time or were they merely having fun thinking about the extended Ferengi family? Quark's experiences in the Wormhole mirror those of Commander Sisko in the pilot episode, moments of his own life used as reference in which to communicate. This could be seen as a missed opportunity, it would have been nice to see baby Quark or flashes from his pre-DS9 times. Those included are the scene from 'The Search, part I' in which Sisko commands him in his office with the Nagus' cane, any time Jadzia's played tongo with him and some scenes from this episode such as the moment he and Rom are sitting in the window looking over the new Rules of Acquisition. Such attention to detail is commended.
This was Rene Auberjonois' first directing assignment on the series, following in the footsteps of co-star Avery Brooks, and he does a good job, though doesn't try anything too noticeable or outrageous. He gets to direct himself in only one scene, but I wonder how many takes it took with those tongue-twisting words (my friend's sister's cousin's friend... or whatever it was). If you know what's going on the episode does lose a little of its charm, but there's still much to enjoy and much to learn of the Ferengi. If anyone could talk the Prophets round with his own, personal brand of logic, it would be Quark. So far he's used his considerable vocal skills to convince a Vulcan and now the Prophets. There isn't much higher he could go!
***
Thirst
DVD, Smallville S5 (Thirst)
Last season they did witches, this time it's vampires. What's next, werewolves, ghosts and the Mummy? I'd actually seen this episode before, tuning in on the off-chance the series might have got better, and it confirmed my impression that it had turned into a soapy, stupid construct without any of the charm, excitement or truthful characters that I loved. Seeing it a second time wasn't quite so bad - I knew the layout of where each person was and why, and the Professor Fine side of the story was actually very interesting, but as a whole it is a bit demeaning to certain characters, quite graphic in places without earning it and a blatant cash-in on vampires, which have been popular in the last few years. They don't try to disguise the fact, even calling one of the main characters Buffy, ironic, since it also stars James Marsters.
None of the 'adult' characters were in evidence and it's more of a standalone story in some ways. One thing that did attract me was the brutal editor of the Daily Planet played by Carrie Fisher - they've previously had Christopher Reeve and Margot Kidder from the 'Superman' films, so why not start on 'Star Wars', though I can't see Anthony Daniels appearing any time soon! And Clark gets a couple of good in-jokes about not liking costumes, and then liking the cape, so it wasn't all bad. Perhaps it was slightly more enjoyable because we're finally let in on the Prof's secret - he is the black slime creature we saw him change out of in the first episode of the season, but why he's so intent on damaging Lex is still a mystery, unless he wants to get his spacecraft going again. Does he know who Clark is, what is it he has against Lex (could it be Lex himself contacted the aliens asking them to come to Earth in the first place? Nah, that's too wacky!), and will he kill anyone else in the rather efficient 'Terminator 2' method he uses in this story? All questions that must be answered.
The device of having Chloe narrate the events in retrospect was underused - the effect of pausing the action for her to continue was actually a good stylistic idea. There does seem to be some inconsistency such as a blurriness around Lex' involvement. Fine says he's doing experiments on campus, and he admits LuthorCorp rescued 'Buffy', but it's not clear what the experiment was, how it had got out of control or why Lex wasn't going after the girls with his antidote in the first place. It doesn't help I have no idea how a sorority works and why 'Buffy' should still be at Met U after six years, but that's just a lack of knowledge in American culture.
As usual Lex gets knocked out, and then Lana wakes up without remembering what happened. If anything it should encourage Clark to confide his secret in her since she was okay about it when finding out in vampiric form. If 'Buffy' wasn't the girl's real name why does everyone call her that, unless none of what we see is exactly real and it's all as told by Chloe, in which case it's objective from each viewpoint. A story like that couldn't have been done before last season when Chloe didn't know about Clark so I suppose they are trying to be different. But it's not a patch on the Season 2 episode 'Suspect' - a similarly experimental narrative style in which different viewpoints are shown. The episode ends quite happily despite all the over the top antics, with Chloe awarded a place at the Daily Planet, and the threads of the mythos drawn tighter. I don't know who Kimberley Regent is, but the episode was dedicated to her.
**
Last season they did witches, this time it's vampires. What's next, werewolves, ghosts and the Mummy? I'd actually seen this episode before, tuning in on the off-chance the series might have got better, and it confirmed my impression that it had turned into a soapy, stupid construct without any of the charm, excitement or truthful characters that I loved. Seeing it a second time wasn't quite so bad - I knew the layout of where each person was and why, and the Professor Fine side of the story was actually very interesting, but as a whole it is a bit demeaning to certain characters, quite graphic in places without earning it and a blatant cash-in on vampires, which have been popular in the last few years. They don't try to disguise the fact, even calling one of the main characters Buffy, ironic, since it also stars James Marsters.
None of the 'adult' characters were in evidence and it's more of a standalone story in some ways. One thing that did attract me was the brutal editor of the Daily Planet played by Carrie Fisher - they've previously had Christopher Reeve and Margot Kidder from the 'Superman' films, so why not start on 'Star Wars', though I can't see Anthony Daniels appearing any time soon! And Clark gets a couple of good in-jokes about not liking costumes, and then liking the cape, so it wasn't all bad. Perhaps it was slightly more enjoyable because we're finally let in on the Prof's secret - he is the black slime creature we saw him change out of in the first episode of the season, but why he's so intent on damaging Lex is still a mystery, unless he wants to get his spacecraft going again. Does he know who Clark is, what is it he has against Lex (could it be Lex himself contacted the aliens asking them to come to Earth in the first place? Nah, that's too wacky!), and will he kill anyone else in the rather efficient 'Terminator 2' method he uses in this story? All questions that must be answered.
The device of having Chloe narrate the events in retrospect was underused - the effect of pausing the action for her to continue was actually a good stylistic idea. There does seem to be some inconsistency such as a blurriness around Lex' involvement. Fine says he's doing experiments on campus, and he admits LuthorCorp rescued 'Buffy', but it's not clear what the experiment was, how it had got out of control or why Lex wasn't going after the girls with his antidote in the first place. It doesn't help I have no idea how a sorority works and why 'Buffy' should still be at Met U after six years, but that's just a lack of knowledge in American culture.
As usual Lex gets knocked out, and then Lana wakes up without remembering what happened. If anything it should encourage Clark to confide his secret in her since she was okay about it when finding out in vampiric form. If 'Buffy' wasn't the girl's real name why does everyone call her that, unless none of what we see is exactly real and it's all as told by Chloe, in which case it's objective from each viewpoint. A story like that couldn't have been done before last season when Chloe didn't know about Clark so I suppose they are trying to be different. But it's not a patch on the Season 2 episode 'Suspect' - a similarly experimental narrative style in which different viewpoints are shown. The episode ends quite happily despite all the over the top antics, with Chloe awarded a place at the Daily Planet, and the threads of the mythos drawn tighter. I don't know who Kimberley Regent is, but the episode was dedicated to her.
**
Destiny
DVD, DS9 S3 (Destiny)
The role of the Emissary has been a subject rarely discussed or developed in the series to this point. If the pilot was anything to go by it would appear Sisko's role in the Bajoran religion was to be an important part of the ongoing story of the series, but whether the writers found it hard to implement such things, or didn't have a clear direction to travel, or even had vague ideas of what they were going to do in the course of the series, but felt it needed to reach a certain maturity before exploring such storylines, it didn't work out that way. There had been occasional references to Sisko as the Emissary, the Bajorans were deferential to him, but in terms of day to day life it didn't impact him, even Major Kira was apparently happy to see him as her superior officer and friend. So the conflict between being a Starfleet officer and Emissary to an alien race had no chance to cause any problems, if Sisko even gave it any thought whatsoever.
With this episode that changed, we were shown in black and white that Sisko doesn't really see himself in the role, that he would step down graciously if he saw the chance (that's my reading, borne out in Season 4), and that Kira does believe in him. In the course of the episode Sisko comes to realise that prophecy isn't necessarily some ancient, magical, mythical tale to be seized on by any who wish to interpret it for their own ends, but simply a way of describing future events in terms that wouldn't be out of place in the time they were revealed. As God did in the Bible, revealing certain things to certain people, to be passed on, so did the Prophets to the Bajorans. If Trakor had been given the exact words that would explain the event in the terms of the time when it was to happen, he wouldn't have had a clue what he was talking about, but in seeing or being given the sequence of events he was able to record it in his own understanding.
Through this experience Sisko comes to a better understanding of such matters which to a secular mind, the possibility is hard to accept, but Kira does an admirable job of couching events in words that show the seemingly irrational is clearly rational when the mythic nature is stripped away. This would not be the last time Sisko's dual roles would cause him difficulty, only this time it sets him on a journey, or at least, gets him moving again from the place he had grown comfortable in after Kai Opaka helped him to get over his grief. It doesn't change his mind, but it does make his mind more open, which although he thought it was, he proves if any decision was to be made he would always come down on the Starfleet side.
The other important event is the joint mission between Bajor and Cardassia to place a relay in the Gamma Quadrant for maintaining contact and to provide warning of any ships approaching the Wormhole. This relay could be seen as an act of war - while the Federation hasn't explored the Gamma Quadrant as much as before, the Defiant visiting only twice since meeting the Founders, Starfleet isn't going to be bullied. They want the Dominion to know they aren't a threat to their way of life, but they have a duty to explore and discover, and aren't going to back down from threats - it's a free Quadrant (or it should be). Because the Dominion has been quiet for so long such a plan seems reasonable, but if ships can slip through at any time, as the Female Changeling proved when she visited to try and get Odo back, then a detection device is even more necessary.
Back to the treaty, we learn that it is progressing well, and that there are Cardassians who really think it's a good thing. Ulani and Gilora are two of the most untraditional examples of their race that we've seen, despite showing themselves to keep to Cardassian values as evidenced by Gilora's mistaken reading of O'Brien's irritation with her - cross-cultural missteps are rarely seen, but that may be because most familiar races know what to expect, and these were scientists, a sub-species in most cultures that tend to be more introverted and unexposed to others. Cardassians in 'TNG' were straightforward Baddies, Bajorans straightforward Goodies, but these characters add more to the positive impression of Cardassians, and we've seen our fair share of 'bad' Bajorans. Any simplicity in 'TNG' has been ironed out and balanced in 'DS9. They were interested in other cultures, especially from a culinary point of view, perhaps working in the sciences gives them a different perspective than the average Cardassian - most aren't encouraged to open their minds, whereas scientists need an open mind to completely explore all avenues. The main proof the treaty is a good thing, and not a ploy as might have been suspected is that the Obsidian Order is opposed to it - a good enough justification for most things!
The effects of the comet were good, especially when we see the rarely shown shuttlepod of the Defiant as it pulls the comet fragments along - a tiny Major Kira is visible through the window! Quark is once again shoehorned into the story a little in the way he would be later in the series, but he got off a few lines regarding rules of acquisition and vole-fighting, and the next episode makes up for it. Morn gets a mention from Bashir (another character that fell into the 'underused' category this season), though the barfly hasn't been seen much in Season 3. I was just waiting for Vedek Yarka to have a scene at the end in which he admitted his mistake. Though he was correct about the prophecy he was wrong about its result. I wonder if he was reinstated after this? Maybe his views towards Cardassians softened? The episode isn't one of the better examples of the season, but because of the continuing threads and a return to Bajoran religious matters it is still an enjoyable experience. There aren't any space battles or scenes of inner turmoil, but little details are added to the ongoing tapestry, and sometimes the little things can add up to something big.
***
The role of the Emissary has been a subject rarely discussed or developed in the series to this point. If the pilot was anything to go by it would appear Sisko's role in the Bajoran religion was to be an important part of the ongoing story of the series, but whether the writers found it hard to implement such things, or didn't have a clear direction to travel, or even had vague ideas of what they were going to do in the course of the series, but felt it needed to reach a certain maturity before exploring such storylines, it didn't work out that way. There had been occasional references to Sisko as the Emissary, the Bajorans were deferential to him, but in terms of day to day life it didn't impact him, even Major Kira was apparently happy to see him as her superior officer and friend. So the conflict between being a Starfleet officer and Emissary to an alien race had no chance to cause any problems, if Sisko even gave it any thought whatsoever.
With this episode that changed, we were shown in black and white that Sisko doesn't really see himself in the role, that he would step down graciously if he saw the chance (that's my reading, borne out in Season 4), and that Kira does believe in him. In the course of the episode Sisko comes to realise that prophecy isn't necessarily some ancient, magical, mythical tale to be seized on by any who wish to interpret it for their own ends, but simply a way of describing future events in terms that wouldn't be out of place in the time they were revealed. As God did in the Bible, revealing certain things to certain people, to be passed on, so did the Prophets to the Bajorans. If Trakor had been given the exact words that would explain the event in the terms of the time when it was to happen, he wouldn't have had a clue what he was talking about, but in seeing or being given the sequence of events he was able to record it in his own understanding.
Through this experience Sisko comes to a better understanding of such matters which to a secular mind, the possibility is hard to accept, but Kira does an admirable job of couching events in words that show the seemingly irrational is clearly rational when the mythic nature is stripped away. This would not be the last time Sisko's dual roles would cause him difficulty, only this time it sets him on a journey, or at least, gets him moving again from the place he had grown comfortable in after Kai Opaka helped him to get over his grief. It doesn't change his mind, but it does make his mind more open, which although he thought it was, he proves if any decision was to be made he would always come down on the Starfleet side.
The other important event is the joint mission between Bajor and Cardassia to place a relay in the Gamma Quadrant for maintaining contact and to provide warning of any ships approaching the Wormhole. This relay could be seen as an act of war - while the Federation hasn't explored the Gamma Quadrant as much as before, the Defiant visiting only twice since meeting the Founders, Starfleet isn't going to be bullied. They want the Dominion to know they aren't a threat to their way of life, but they have a duty to explore and discover, and aren't going to back down from threats - it's a free Quadrant (or it should be). Because the Dominion has been quiet for so long such a plan seems reasonable, but if ships can slip through at any time, as the Female Changeling proved when she visited to try and get Odo back, then a detection device is even more necessary.
Back to the treaty, we learn that it is progressing well, and that there are Cardassians who really think it's a good thing. Ulani and Gilora are two of the most untraditional examples of their race that we've seen, despite showing themselves to keep to Cardassian values as evidenced by Gilora's mistaken reading of O'Brien's irritation with her - cross-cultural missteps are rarely seen, but that may be because most familiar races know what to expect, and these were scientists, a sub-species in most cultures that tend to be more introverted and unexposed to others. Cardassians in 'TNG' were straightforward Baddies, Bajorans straightforward Goodies, but these characters add more to the positive impression of Cardassians, and we've seen our fair share of 'bad' Bajorans. Any simplicity in 'TNG' has been ironed out and balanced in 'DS9. They were interested in other cultures, especially from a culinary point of view, perhaps working in the sciences gives them a different perspective than the average Cardassian - most aren't encouraged to open their minds, whereas scientists need an open mind to completely explore all avenues. The main proof the treaty is a good thing, and not a ploy as might have been suspected is that the Obsidian Order is opposed to it - a good enough justification for most things!
The effects of the comet were good, especially when we see the rarely shown shuttlepod of the Defiant as it pulls the comet fragments along - a tiny Major Kira is visible through the window! Quark is once again shoehorned into the story a little in the way he would be later in the series, but he got off a few lines regarding rules of acquisition and vole-fighting, and the next episode makes up for it. Morn gets a mention from Bashir (another character that fell into the 'underused' category this season), though the barfly hasn't been seen much in Season 3. I was just waiting for Vedek Yarka to have a scene at the end in which he admitted his mistake. Though he was correct about the prophecy he was wrong about its result. I wonder if he was reinstated after this? Maybe his views towards Cardassians softened? The episode isn't one of the better examples of the season, but because of the continuing threads and a return to Bajoran religious matters it is still an enjoyable experience. There aren't any space battles or scenes of inner turmoil, but little details are added to the ongoing tapestry, and sometimes the little things can add up to something big.
***
Family
DVD, TNG S4 (Family)
The series takes a breath, a natural pause that shows its maturity as well as its willingness to sometimes, just sometimes, experiment a bit. Very rarely did Captain Kirk show the effects of the many circumstances he travelled through, and that tradition of 'forget and move on' continued with this series, but the Borg two-parter reached a point that had never been crossed before and so it was only good and proper for the characters to show what had happened to them, that what they'd been through made a difference, at least before flashing off to the next planet again - if it became too introspective the series' style would be lost.
So we have an uncharacteristic view into several of the crew's personal lives, the highlights being Picard's visit to the family home in France, and Wesley's gift of a message from his Father, made eighteen years ago. Worf's parents visit of the Enterprise is also quietly entertaining and brings Guinan in for her usual wise, but child-like input. For a start I would have told Counselor Troi to go and bother someone else instead of prying into and finding my holiday plans amusing, if I didn't know it was only the result of her concern. Picard's long absence from his family home is a wonderful excuse for the series to go on location, the vines and traditional house far removed from the technology of the Borg ship. There is added sadness to the story when you consider the terrible news in 'Star Trek: Generations' that Robert and Rene were both destined to die in a fire. The interactions between the brothers is very real and it's a delight to experience Picard with his family, away from decisions and command, just talking over a traditional meal, drinking traditional wine, fighting in a traditional vineyard!
That Picard had been changed by his experiences with the Borg is obvious, but here we actually get to delve a little into his thoughts and feelings, a rare opportunity and the perfect cap to the events of the past two episodes. I can see imperfections in the episode (the matte paintings aren't that great), but nothing matters except what is happening between the people. To finally see Jack Crusher was another high point, and Wesley is blessed with some small understanding of his Father's hopes and expectations. On top of that O'Brien reveals his full name for the first time! Both sadness and joy are threads running through this episode and it deserves a special place of its own.
****
The series takes a breath, a natural pause that shows its maturity as well as its willingness to sometimes, just sometimes, experiment a bit. Very rarely did Captain Kirk show the effects of the many circumstances he travelled through, and that tradition of 'forget and move on' continued with this series, but the Borg two-parter reached a point that had never been crossed before and so it was only good and proper for the characters to show what had happened to them, that what they'd been through made a difference, at least before flashing off to the next planet again - if it became too introspective the series' style would be lost.
So we have an uncharacteristic view into several of the crew's personal lives, the highlights being Picard's visit to the family home in France, and Wesley's gift of a message from his Father, made eighteen years ago. Worf's parents visit of the Enterprise is also quietly entertaining and brings Guinan in for her usual wise, but child-like input. For a start I would have told Counselor Troi to go and bother someone else instead of prying into and finding my holiday plans amusing, if I didn't know it was only the result of her concern. Picard's long absence from his family home is a wonderful excuse for the series to go on location, the vines and traditional house far removed from the technology of the Borg ship. There is added sadness to the story when you consider the terrible news in 'Star Trek: Generations' that Robert and Rene were both destined to die in a fire. The interactions between the brothers is very real and it's a delight to experience Picard with his family, away from decisions and command, just talking over a traditional meal, drinking traditional wine, fighting in a traditional vineyard!
That Picard had been changed by his experiences with the Borg is obvious, but here we actually get to delve a little into his thoughts and feelings, a rare opportunity and the perfect cap to the events of the past two episodes. I can see imperfections in the episode (the matte paintings aren't that great), but nothing matters except what is happening between the people. To finally see Jack Crusher was another high point, and Wesley is blessed with some small understanding of his Father's hopes and expectations. On top of that O'Brien reveals his full name for the first time! Both sadness and joy are threads running through this episode and it deserves a special place of its own.
****
Heart of Stone
DVD, DS9 S3 (Heart of Stone)
Thanks to the Defiant the Runabouts have had to play second fiddle so the Mekong's little outing here could be the first of the season that we actually see. This episode could have gone two ways as I see it: either Major Kira is barely in it or she's in mourning and it's a sad episode. If you haven't seen it then don't read this, because there is a twist in the tale. I was right on the first count and Kira is hardly in it, though we're not supposed to know that. Watching it from that perspective you do notice Kira acting slightly differently than might be expected, but not enough to rouse Odo's suspicion. Going into a dark cave to chase a Maquis terrorist sets the brain on a whole other direction than what actually happens - sleight of hand, if the episode had hands.
Kira too quickly becomes weepy and worried, when the Major would normally remain stoic. She shows less sensitivity to Odo than she normally would (and did in the argument on the Runabout, letting Odo reveal his irritation rather than jumping down his throat). The best moment (apart from Odo's physically wrenching admittance of love for her) is when he deduces that it isn't Kira at all, and her head, trapped at an uncomfortable angle suddenly lifts up unnaturally, like something in a horror film. Instead of grimacing in pain and fear she smiles triumphantly. If the Female Changeling was willing to kill Kira in order to break Odo's ties to the Alpha Quadrant how far would she go? Does she have to destroy the whole quadrant before Odo returns willingly? Even then he would remain opposed to his people because of what they do. No changeling may have harmed another, as the Female says, but they're perfectly happy to harm entire planets of non-changelings!
Of the two plots you can't say that either Odo and Kira's mission or Nog's decision to join Starfleet are the main focus as both receive equal screen time. Strangely I found myself drawn to Nog's side of it more, perhaps because I knew the twist in the other story so well. I actually laughed out loud during the exchange between Nog and Sisko in his office - Sisko's bemused reaction as he tries to put up blocks against the Ferengi's persistent and positive attitude is true and funny without being silly, Nog's alien perspective and customs coming through realistically. One recurring character had just been killed off and written out, and now another had reached a turning point towards a new level. Nog's wish to join Starfleet may seem to come out of the blue, but it comes from a logical and reasonable place - his Father Rom's lack of success as a traditional Ferengi. It's the first we see of the new Rom in some ways; the much softer, but determined man whose engineering skills would lead to a turning point for him too.
Partly it's because Rom is another to fall through the cracks a bit, not appearing for most of the season so we haven't seen the change in him over that time. They're making up for lost time for both Nog and Rom. We get to see some of the enforced professionalism Nog would go on to embody - he stands straight and formal after a gentle rebuff from Commander Sisko when he tries to hug him in unbridled joy at his agreement to send a letter of recommendation. Also in his misguided attempt to follow human customs (shaking hands at every meeting and parting!). Nog has become an adult and decided to make a better future. He's moved on from childish ways and realised life is up to him.
I lost count of the many references strewn throughout - still unseen on the series, the Nausicaans are mentioned; the Lissespians are not seen, but heard of; the Maquis appear to feature, and the Badlands score a mention too; O'Brien's appetite for holo-kayaking is discussed;as is the origins of Odo's name ('nothing' in Cardassian!); we even hear about Ensign Vilix'pran for the first time, one of the few non-humanoid or radically different aliens that were tantalisingly spoken of now and again (such as Captain Boday and his transparent skull!). The new treaty between Bajor and Cardassia also has a fleeting mention from Kira, but Bareil does not. Probably too hard to talk about him at the moment.
It was too soon after the Vedek's death for Odo's secret to be revealed to Kira, but you have to trust the writer's - they know what they're doing. By the end we see Odo doesn't go into specifics when discussing the matter with Kira so his secret stays hidden. It was such a painful thing to open up like he did that that incident may have pushed back his courage at telling her by years. A victory for the Changelings, though it wouldn't help them. The stasis pod or whatever it was that Kira was locked inside was reminiscent of the Season 1 episode 'Vortex' in which Odo rescues a little girl from a similar device, though that was longer, like a coffin and had a smaller window, I think. The shot of the Mekong on the rocky moon's surface was a reuse from a previous episode and may have been that one.
The developments this episode features are moving the series up a gear, moulding it into the thing it was to be for the rest of its 'life'. It wasn't quite there yet, but with so many possibilities - the peace between Cardassia and Bajor; the fact that the Founders were willing and able to track Odo and Kira, use a Maquis ship, all to find out Odo's motivation; little hints dropped through the season (the build-up of a mystery Cardassian fleet, a deal with the Romulans to use the cloaking device) - things were building to an unknown future. A future in which a Ferengi would join Starfleet. You'd think Dax would have been more open-minded about the possibility after all her Tongo sessions. But Nog?!
****
Thanks to the Defiant the Runabouts have had to play second fiddle so the Mekong's little outing here could be the first of the season that we actually see. This episode could have gone two ways as I see it: either Major Kira is barely in it or she's in mourning and it's a sad episode. If you haven't seen it then don't read this, because there is a twist in the tale. I was right on the first count and Kira is hardly in it, though we're not supposed to know that. Watching it from that perspective you do notice Kira acting slightly differently than might be expected, but not enough to rouse Odo's suspicion. Going into a dark cave to chase a Maquis terrorist sets the brain on a whole other direction than what actually happens - sleight of hand, if the episode had hands.
Kira too quickly becomes weepy and worried, when the Major would normally remain stoic. She shows less sensitivity to Odo than she normally would (and did in the argument on the Runabout, letting Odo reveal his irritation rather than jumping down his throat). The best moment (apart from Odo's physically wrenching admittance of love for her) is when he deduces that it isn't Kira at all, and her head, trapped at an uncomfortable angle suddenly lifts up unnaturally, like something in a horror film. Instead of grimacing in pain and fear she smiles triumphantly. If the Female Changeling was willing to kill Kira in order to break Odo's ties to the Alpha Quadrant how far would she go? Does she have to destroy the whole quadrant before Odo returns willingly? Even then he would remain opposed to his people because of what they do. No changeling may have harmed another, as the Female says, but they're perfectly happy to harm entire planets of non-changelings!
Of the two plots you can't say that either Odo and Kira's mission or Nog's decision to join Starfleet are the main focus as both receive equal screen time. Strangely I found myself drawn to Nog's side of it more, perhaps because I knew the twist in the other story so well. I actually laughed out loud during the exchange between Nog and Sisko in his office - Sisko's bemused reaction as he tries to put up blocks against the Ferengi's persistent and positive attitude is true and funny without being silly, Nog's alien perspective and customs coming through realistically. One recurring character had just been killed off and written out, and now another had reached a turning point towards a new level. Nog's wish to join Starfleet may seem to come out of the blue, but it comes from a logical and reasonable place - his Father Rom's lack of success as a traditional Ferengi. It's the first we see of the new Rom in some ways; the much softer, but determined man whose engineering skills would lead to a turning point for him too.
Partly it's because Rom is another to fall through the cracks a bit, not appearing for most of the season so we haven't seen the change in him over that time. They're making up for lost time for both Nog and Rom. We get to see some of the enforced professionalism Nog would go on to embody - he stands straight and formal after a gentle rebuff from Commander Sisko when he tries to hug him in unbridled joy at his agreement to send a letter of recommendation. Also in his misguided attempt to follow human customs (shaking hands at every meeting and parting!). Nog has become an adult and decided to make a better future. He's moved on from childish ways and realised life is up to him.
I lost count of the many references strewn throughout - still unseen on the series, the Nausicaans are mentioned; the Lissespians are not seen, but heard of; the Maquis appear to feature, and the Badlands score a mention too; O'Brien's appetite for holo-kayaking is discussed;as is the origins of Odo's name ('nothing' in Cardassian!); we even hear about Ensign Vilix'pran for the first time, one of the few non-humanoid or radically different aliens that were tantalisingly spoken of now and again (such as Captain Boday and his transparent skull!). The new treaty between Bajor and Cardassia also has a fleeting mention from Kira, but Bareil does not. Probably too hard to talk about him at the moment.
It was too soon after the Vedek's death for Odo's secret to be revealed to Kira, but you have to trust the writer's - they know what they're doing. By the end we see Odo doesn't go into specifics when discussing the matter with Kira so his secret stays hidden. It was such a painful thing to open up like he did that that incident may have pushed back his courage at telling her by years. A victory for the Changelings, though it wouldn't help them. The stasis pod or whatever it was that Kira was locked inside was reminiscent of the Season 1 episode 'Vortex' in which Odo rescues a little girl from a similar device, though that was longer, like a coffin and had a smaller window, I think. The shot of the Mekong on the rocky moon's surface was a reuse from a previous episode and may have been that one.
The developments this episode features are moving the series up a gear, moulding it into the thing it was to be for the rest of its 'life'. It wasn't quite there yet, but with so many possibilities - the peace between Cardassia and Bajor; the fact that the Founders were willing and able to track Odo and Kira, use a Maquis ship, all to find out Odo's motivation; little hints dropped through the season (the build-up of a mystery Cardassian fleet, a deal with the Romulans to use the cloaking device) - things were building to an unknown future. A future in which a Ferengi would join Starfleet. You'd think Dax would have been more open-minded about the possibility after all her Tongo sessions. But Nog?!
****
Monday, 1 November 2010
Aqua
DVD, Smallville S5 (Aqua)
In the vein of last season's 'Run', this is another showcase for a superhero-to-be, this time Aquaman. At least, I think that's who Arthur Curry was supposed to be - not being a follower of comics I hadn't heard of him before his publicity on 'Smallville' and I seem to remember hearing at the time that this either was, or led to, a pilot for an 'Aquaman' TV series, though it never materialised. Like 'Run' before it, it's somehow less 'Smallville' and yet more 'Smallville' than a lot of the heavy mythology episodes. It gets the balance of in-jokes right (I had to smile at AC's suggestion he and Clark start up a Junior Lifeguard's Association, to which Clark replies he's not ready for the JLA yet - the initials of the Justice League of America to which Superman belongs in some comics), and the plots and dialogue, so that it begins to be like a holiday for the series, a chance to breathe and have some fun with its unique status of being able to use the background of other superheroes.
Beginning as a Lois story, of which we haven't really had focusing directly on her, since almost every episode is Clark-centric to the detriment of the series sometimes, it doesn't stay that way for long. Fans of Lois would have been disappointed that her involvement was limited to looking good and making some cutting putdowns in embarassment at having been rescued. Lex' plans to equip the country's navy with a new, all-powerful undersea weapon to make lots of money at the expense of sea-life, takes over, and probably for the better. I prefer some action and meaningful scenes much more than soapy stuff. I don't know what's happened to Clark's desire not to let anyone know about his powers - he doesn't mind too much that this stranger is able to see them. It was a choice between AC knowing and the lab being blown up so it can be put down to Clark's need to stop the bomb. Plus he already knew about AC's ability in the water, and he might have sensed he was a good guy deep down.
I don't know whether the AC character would have worked on a weekly series, especially with the amount of underwater shots that would be needed. He was fine for a guest shot, zipping through Smallville, but I would have liked a bit more on his background as I know next to nothing about most of these 'minor' superheroes. I have the feeling I'd seen the bit where Clark stumbles late into class at university, sorry, 'college', with the prof played by James Marsters. He was good in the few scenes he was in and his offer to Clark to expose the Luthors makes for an interesting proposition. But what about Zod? He appears for a few seconds at the end of the first episode and now apparently the same guy is a college professor interested in looking into the Luthors?! A plot worth following.
It further drives a wedge between Clark and Lex, or to be more accurate is the result of the distance between them, exacerbated by Lex' uncaring attitude that borders on evil. Only he's still not quite fully the nasty villain. This time it isn't a secret experiment for LuthorCorp's pleasure, but purely business and in the national security's interest. But you can see the friendship that once existed has been slowly wittled away through both of their lies and cover-ups, that Clark's line about perhaps being more naive than he realised when he defended Lex, works, and seems to strike a chord with Lex. For his part he doesn't even bother asking Clark if he was part of the sabotage on the weapon - he saw two shapes speeding away in the water and it's almost a certainty he suspects Clark was one of them - it doesn't take a genius to work out that Clark and AC were actively against it, so therefore they are the two most logical protagonists. You can see in Lex' face that he just accepts it.
Good old Crater Lake is back for more fun, seeing familiar locales reused helps to make the town real and such continuity isn't seen enough. The adults aren't in it, except for Annette O'Toole who appears at the end to make a direct appeal for Christopher Reeve's foundation just before the credits. I can't complain that other characters didn't get enough focus because there were enough well-written scenes (Lois wondering if she'll ever again meet someone heroic who wants to save the world, and Clark standing by her saying she's sure to!) with those that are in it that it makes for a worthwhile episode and a pleasant antidote to the last couple of stories.
***
In the vein of last season's 'Run', this is another showcase for a superhero-to-be, this time Aquaman. At least, I think that's who Arthur Curry was supposed to be - not being a follower of comics I hadn't heard of him before his publicity on 'Smallville' and I seem to remember hearing at the time that this either was, or led to, a pilot for an 'Aquaman' TV series, though it never materialised. Like 'Run' before it, it's somehow less 'Smallville' and yet more 'Smallville' than a lot of the heavy mythology episodes. It gets the balance of in-jokes right (I had to smile at AC's suggestion he and Clark start up a Junior Lifeguard's Association, to which Clark replies he's not ready for the JLA yet - the initials of the Justice League of America to which Superman belongs in some comics), and the plots and dialogue, so that it begins to be like a holiday for the series, a chance to breathe and have some fun with its unique status of being able to use the background of other superheroes.
Beginning as a Lois story, of which we haven't really had focusing directly on her, since almost every episode is Clark-centric to the detriment of the series sometimes, it doesn't stay that way for long. Fans of Lois would have been disappointed that her involvement was limited to looking good and making some cutting putdowns in embarassment at having been rescued. Lex' plans to equip the country's navy with a new, all-powerful undersea weapon to make lots of money at the expense of sea-life, takes over, and probably for the better. I prefer some action and meaningful scenes much more than soapy stuff. I don't know what's happened to Clark's desire not to let anyone know about his powers - he doesn't mind too much that this stranger is able to see them. It was a choice between AC knowing and the lab being blown up so it can be put down to Clark's need to stop the bomb. Plus he already knew about AC's ability in the water, and he might have sensed he was a good guy deep down.
I don't know whether the AC character would have worked on a weekly series, especially with the amount of underwater shots that would be needed. He was fine for a guest shot, zipping through Smallville, but I would have liked a bit more on his background as I know next to nothing about most of these 'minor' superheroes. I have the feeling I'd seen the bit where Clark stumbles late into class at university, sorry, 'college', with the prof played by James Marsters. He was good in the few scenes he was in and his offer to Clark to expose the Luthors makes for an interesting proposition. But what about Zod? He appears for a few seconds at the end of the first episode and now apparently the same guy is a college professor interested in looking into the Luthors?! A plot worth following.
It further drives a wedge between Clark and Lex, or to be more accurate is the result of the distance between them, exacerbated by Lex' uncaring attitude that borders on evil. Only he's still not quite fully the nasty villain. This time it isn't a secret experiment for LuthorCorp's pleasure, but purely business and in the national security's interest. But you can see the friendship that once existed has been slowly wittled away through both of their lies and cover-ups, that Clark's line about perhaps being more naive than he realised when he defended Lex, works, and seems to strike a chord with Lex. For his part he doesn't even bother asking Clark if he was part of the sabotage on the weapon - he saw two shapes speeding away in the water and it's almost a certainty he suspects Clark was one of them - it doesn't take a genius to work out that Clark and AC were actively against it, so therefore they are the two most logical protagonists. You can see in Lex' face that he just accepts it.
Good old Crater Lake is back for more fun, seeing familiar locales reused helps to make the town real and such continuity isn't seen enough. The adults aren't in it, except for Annette O'Toole who appears at the end to make a direct appeal for Christopher Reeve's foundation just before the credits. I can't complain that other characters didn't get enough focus because there were enough well-written scenes (Lois wondering if she'll ever again meet someone heroic who wants to save the world, and Clark standing by her saying she's sure to!) with those that are in it that it makes for a worthwhile episode and a pleasant antidote to the last couple of stories.
***
Urgo
DVD, Stargate SG-1 S3 (Urgo)
A reclusive alien story like they used to do in Season 1 before all the heavy Goa'uld stuff happened, and it was fun to go back to that kind of episode again. Every so often they like to do a slightly crazy, light and fluffy scenario, and this time it mostly took place in the base, with a short visit to a fascinatingly-designed futuristic lab. Urgo walked a fine line between endearing and annoying and I have to say, as no doubt the SG-1 team would agree, he crossed the line occasionally. Mostly it was quirky fun with the usual blank stares from bemused General Hammond and Doc Fraiser (who gets in a mention of Cassandra in case we forgot about her).
I have to say I twigged that it was going to be about aliens that wanted to experience other lifeforms and their habitats from the early experience of super-tasty food, but it could have turned into a sinister alien takeover plot without much trouble, so as much as you wouldn't want Urgo around for long, one episode was fine, and there was even time to get in some artificial intelligence/sentient life debate. So it doesn't go far into any aspect (it isn't too crazy or very intellectually stimulating), but as a one-off breather from the weighty matters of universal politics it worked nicely. Nevertheless I wouldn't recommend bringing Urgo back.
***
A reclusive alien story like they used to do in Season 1 before all the heavy Goa'uld stuff happened, and it was fun to go back to that kind of episode again. Every so often they like to do a slightly crazy, light and fluffy scenario, and this time it mostly took place in the base, with a short visit to a fascinatingly-designed futuristic lab. Urgo walked a fine line between endearing and annoying and I have to say, as no doubt the SG-1 team would agree, he crossed the line occasionally. Mostly it was quirky fun with the usual blank stares from bemused General Hammond and Doc Fraiser (who gets in a mention of Cassandra in case we forgot about her).
I have to say I twigged that it was going to be about aliens that wanted to experience other lifeforms and their habitats from the early experience of super-tasty food, but it could have turned into a sinister alien takeover plot without much trouble, so as much as you wouldn't want Urgo around for long, one episode was fine, and there was even time to get in some artificial intelligence/sentient life debate. So it doesn't go far into any aspect (it isn't too crazy or very intellectually stimulating), but as a one-off breather from the weighty matters of universal politics it worked nicely. Nevertheless I wouldn't recommend bringing Urgo back.
***
Life Support
DVD, DS9 S3 (Life Support)
I regret very little about the series, particularly Season 3, but one thing I consider a mistake is Bareil's untimely death and exit as a recurring character. He should have been in more episodes during the season, perhaps showing the preliminary meetings leading up to the treaty, and a greater demonstration of his negotiating skills which I can imagine were considerable. He gave us a different side of Kira to see, a looser, informal, even fun side when she was with him, without her usual guard up. He was one of the best characters, a wise, heroic, self-sacrificing guy who gives himself for Bajor's future. And what a potential future! A peace treaty between Bajor and Cardassia would have been unheard of, yet he engineers it. The impact of this is almost lost in the personal tragedy and we can forget the high import of such a moment in history. In some ways it was a cruel twist because we see Bareil die early on, and that's hard enough to accept, but then hope is reignited as he's brought back only to die a little bit at a time. On the other hand it gave Philip Anglim one last episode (or not...) to play the serene religious monk and display the calm air of one who was comfortable with his place.
Ironically, in the first episode we meet Bareil and Winn, she tries to kill him, and in this, his last appearance she's desperate to keep him alive. That is, until her purpose is served. I even considered whether Winn had engineered the accident herself to prevent a future threat to her position, but that would make no sense when Bareil was helping her and getting along well and even she admits she couldn't do without his insight and guidance. One of the best scenes is Bashir's informal confrontation with Winn in the wardroom - her veiled venom is potent when he shows her up as the coward and the manipulator she is, and she threatens to remember those words, to which Bashir replies he will too. Charged! Louise Fletcher's illness at the time of shooting is noticeable if you know about it, but otherwise you could put it down to the burden of office - she seems more reserved and tired, and less unpleasant - now she has what she wanted she doesn't need to dig her claws in any more.
It was the first major shock of the series, after Kai Opaka's departure, and in keeping with the serious nature of the story everyone is subdued - in the whole episode only Nog gets really animated. Some might feel the B-story, humourous as it was, detracted from the serious moments, but I think it succeeded in giving some relief as we took in the terrible ramifications. In fact Jake is quite quiet and mature, and the row between the two friends leads to a heartwarming mended friendship so it can hardly be called a frivolous indulgence, and addresses the human/Ferengi differences that haven't been much of an issue before, as well as the growing up of the young friends. It's surprising that Nog hadn't been seen for half a season, probably his longest absence from the show, but there were so many characters expected to be brought back after Season 2, and several big plots, not forgetting the main cast and the desire to show more of the Trek universe, that it shouldn't be so unexpected. They waited for the right story to feature him instead of squeezing him in without good reason. I'm still waiting for Eddington to show his face after being forgotten since the opening two-parter!
There are several references to other races in the episode (and first mention of Nog's Grandmother, though not by name, unless you count Rom calling for 'Moogie' last season), including the Vulcans and the Terellians. The best one is in Jake and Nog's supposed crime of breaking into the Tholian ambassador's quarters. When Nog is put in the holding cell he pleads that he's never even seen a Tholian, and at that point in the Star Trek saga, neither had we! Not a whole one anyway. I suppose the most thought-provoking question left by Bareil's death is what would the series have been like if he had lived?
With Bareil as a trusted advisor, only interested in Bajor's betterment would Winn have made better decisions? Would she have fallen from the Prophets or been encouraged by Bareil's faith? Would she have needed to seek solace in the Pah-wraiths? Or would she still have walked the dark path and closed her ears to Bareil? It seems likely there would have been a confrontation at some point, maybe the Vedek would even have realised he'd have to speak out against her, and so sealed his fate. In a way she was responsible for his death because she encouraged his zealous desire to remain active for the negotiations, and I can only see her doing the deed for real if she and Bareil had lost their joint goal when her ambition for power took over. It may have taken a season or so longer but in the end I don't think Bareil would have survived anyway.
****
I regret very little about the series, particularly Season 3, but one thing I consider a mistake is Bareil's untimely death and exit as a recurring character. He should have been in more episodes during the season, perhaps showing the preliminary meetings leading up to the treaty, and a greater demonstration of his negotiating skills which I can imagine were considerable. He gave us a different side of Kira to see, a looser, informal, even fun side when she was with him, without her usual guard up. He was one of the best characters, a wise, heroic, self-sacrificing guy who gives himself for Bajor's future. And what a potential future! A peace treaty between Bajor and Cardassia would have been unheard of, yet he engineers it. The impact of this is almost lost in the personal tragedy and we can forget the high import of such a moment in history. In some ways it was a cruel twist because we see Bareil die early on, and that's hard enough to accept, but then hope is reignited as he's brought back only to die a little bit at a time. On the other hand it gave Philip Anglim one last episode (or not...) to play the serene religious monk and display the calm air of one who was comfortable with his place.
Ironically, in the first episode we meet Bareil and Winn, she tries to kill him, and in this, his last appearance she's desperate to keep him alive. That is, until her purpose is served. I even considered whether Winn had engineered the accident herself to prevent a future threat to her position, but that would make no sense when Bareil was helping her and getting along well and even she admits she couldn't do without his insight and guidance. One of the best scenes is Bashir's informal confrontation with Winn in the wardroom - her veiled venom is potent when he shows her up as the coward and the manipulator she is, and she threatens to remember those words, to which Bashir replies he will too. Charged! Louise Fletcher's illness at the time of shooting is noticeable if you know about it, but otherwise you could put it down to the burden of office - she seems more reserved and tired, and less unpleasant - now she has what she wanted she doesn't need to dig her claws in any more.
It was the first major shock of the series, after Kai Opaka's departure, and in keeping with the serious nature of the story everyone is subdued - in the whole episode only Nog gets really animated. Some might feel the B-story, humourous as it was, detracted from the serious moments, but I think it succeeded in giving some relief as we took in the terrible ramifications. In fact Jake is quite quiet and mature, and the row between the two friends leads to a heartwarming mended friendship so it can hardly be called a frivolous indulgence, and addresses the human/Ferengi differences that haven't been much of an issue before, as well as the growing up of the young friends. It's surprising that Nog hadn't been seen for half a season, probably his longest absence from the show, but there were so many characters expected to be brought back after Season 2, and several big plots, not forgetting the main cast and the desire to show more of the Trek universe, that it shouldn't be so unexpected. They waited for the right story to feature him instead of squeezing him in without good reason. I'm still waiting for Eddington to show his face after being forgotten since the opening two-parter!
There are several references to other races in the episode (and first mention of Nog's Grandmother, though not by name, unless you count Rom calling for 'Moogie' last season), including the Vulcans and the Terellians. The best one is in Jake and Nog's supposed crime of breaking into the Tholian ambassador's quarters. When Nog is put in the holding cell he pleads that he's never even seen a Tholian, and at that point in the Star Trek saga, neither had we! Not a whole one anyway. I suppose the most thought-provoking question left by Bareil's death is what would the series have been like if he had lived?
With Bareil as a trusted advisor, only interested in Bajor's betterment would Winn have made better decisions? Would she have fallen from the Prophets or been encouraged by Bareil's faith? Would she have needed to seek solace in the Pah-wraiths? Or would she still have walked the dark path and closed her ears to Bareil? It seems likely there would have been a confrontation at some point, maybe the Vedek would even have realised he'd have to speak out against her, and so sealed his fate. In a way she was responsible for his death because she encouraged his zealous desire to remain active for the negotiations, and I can only see her doing the deed for real if she and Bareil had lost their joint goal when her ambition for power took over. It may have taken a season or so longer but in the end I don't think Bareil would have survived anyway.
****
The Speris Legacy
Amiga 1200, The Speris Legacy (1996) game
Immediately I was impressed by the graphics, they reminded me of the 2D Zelda games, which is the reason I picked this up (from a pile of games in the loft that I'd never played before) over any others. It was soon patently clear that this was no Zelda, even if it was almost a direct clone, visually almost identical to the SNES version. It emphasises the brilliance of Nintendo's works by its levels of sheer frustration and illogic. That isn't to say I didn't enjoy playing it, for the visuals were bright and crisp enough to inspire excitement whenever I got to explore a new village.
The game begins with a forgettable story, and this sums up much of the narrative side of the game: you're expected to remember every piece of information you're given without hearing it again. This was so annoying that I sometimes found myself quitting to my last save point to revisit the conversations and hopefully uncover the hint I was looking for. The characters don't even show their names again after they've first told you, which can be especially confusing if you need to seek out a particular person. Okay, so there aren't dozens of characters in each area and you do get the hang of who's where after a while, but it highlights the lack of thought that went into the game.
The Zelda games had a kind of freedom to them that was true right down to being able to chop up grass willy-nilly, but this is absent from 'Speris' - you're only allowed to chop specific items, even specific flowers, and to do this you have to stand in the right spot rather than having collision detection from a distance. This all adds up to a less than cohesive experience, and one which the player wasn't expecting: they went out of their way to make it Zelda-like, but comparisons don't leave 'Speris' looking too healthy. The key is I did persevere to the end, even getting stuck for a while a couple of times, which shows the game was intuitive enough to be enjoyable despite its over-arching flaws. I particularly enjoyed the Cow Tree Island level which is a bright, colourful relief after being stuck in Gilliard's Rhine and the Outlaws Caves for several days (I didn't realise I needed the pass to the Information Building to progress, and running into someone isn't in any way obvious as a solution!), the music melodic and much superior to the grating and loud tone of Gilliard's.
There were some elements in the game that made me wonder if I was missing something as they didn't appear to have any function - the pink gem Phillis sells for one, and the anti-toxin from the block of ice, which I didn't realise was necessary in the Sandoon Hideout desert area as I got through without using it. Then there's the statues in Gilliard's Rhine, one of which has the circular blocks nearby that can be blown up with bombs, but doing so achieves nothing. Not to mention the fenced off area nearby that has two of these blocks which you can't get to. Add to that a hint in the manual that 'the adept player can use bombs to more deadly effect' and I was wondering if it was possible to make them more powerful or even throw them, though nothing I ever did made a difference.
Still, I'm fairly proud I only had to look at the (excellent, life-saving) walkthrough by Stuart Kyzer Caie and Murray Kendrick at one point (getting the Information Building pass). I must admit I did scout another person's saved game file who'd progressed further for clues when I was stuck in Makiah, but it only took the hint that the Invisibility Cloak was missing for me to realise it was a magical thing, and that Monkian was into magical things. As is usually the case, it's the journey that's important rather than the destination, but I couldn't help but feel the ending was rather abrupt and the two 'bosses' in the game (the Mud thing and the flying nasty in league with Gallus at the end) were very easy to dispatch. I sensed the puzzles were sometimes illogical because it was too difficult for the scripters to come up with ways of getting you to a point without forcing you down some contrived and confusing route, and the game was even artificially lengthened when you have to go back and forth between characters with little reward.
With all the problems I've mentioned you'd think this was a dismal experience to take part in, but in fact in the three weeks it took me to complete it, I did rather enjoy the overall experience, as close to playing Zelda on an Amiga as you can get I expect. The ending, with Gallus kidnapped, presumably by the nasty creature you kill at the end, set it up for a sequel though I doubt if one was ever made. I played it on an Amiga 1200 the way it was designed to be played (with a CD32 joypad which made control a lot easier than the alternatives), and though it could be put on a hard drive it was too technical to bother, and the disk accessing wasn't frequent enough to be annoying. I would recommend this to anyone that wants to have a go on an old-fashioned 2D adventure, just don't think about Zelda.
***
Immediately I was impressed by the graphics, they reminded me of the 2D Zelda games, which is the reason I picked this up (from a pile of games in the loft that I'd never played before) over any others. It was soon patently clear that this was no Zelda, even if it was almost a direct clone, visually almost identical to the SNES version. It emphasises the brilliance of Nintendo's works by its levels of sheer frustration and illogic. That isn't to say I didn't enjoy playing it, for the visuals were bright and crisp enough to inspire excitement whenever I got to explore a new village.
The game begins with a forgettable story, and this sums up much of the narrative side of the game: you're expected to remember every piece of information you're given without hearing it again. This was so annoying that I sometimes found myself quitting to my last save point to revisit the conversations and hopefully uncover the hint I was looking for. The characters don't even show their names again after they've first told you, which can be especially confusing if you need to seek out a particular person. Okay, so there aren't dozens of characters in each area and you do get the hang of who's where after a while, but it highlights the lack of thought that went into the game.
The Zelda games had a kind of freedom to them that was true right down to being able to chop up grass willy-nilly, but this is absent from 'Speris' - you're only allowed to chop specific items, even specific flowers, and to do this you have to stand in the right spot rather than having collision detection from a distance. This all adds up to a less than cohesive experience, and one which the player wasn't expecting: they went out of their way to make it Zelda-like, but comparisons don't leave 'Speris' looking too healthy. The key is I did persevere to the end, even getting stuck for a while a couple of times, which shows the game was intuitive enough to be enjoyable despite its over-arching flaws. I particularly enjoyed the Cow Tree Island level which is a bright, colourful relief after being stuck in Gilliard's Rhine and the Outlaws Caves for several days (I didn't realise I needed the pass to the Information Building to progress, and running into someone isn't in any way obvious as a solution!), the music melodic and much superior to the grating and loud tone of Gilliard's.
There were some elements in the game that made me wonder if I was missing something as they didn't appear to have any function - the pink gem Phillis sells for one, and the anti-toxin from the block of ice, which I didn't realise was necessary in the Sandoon Hideout desert area as I got through without using it. Then there's the statues in Gilliard's Rhine, one of which has the circular blocks nearby that can be blown up with bombs, but doing so achieves nothing. Not to mention the fenced off area nearby that has two of these blocks which you can't get to. Add to that a hint in the manual that 'the adept player can use bombs to more deadly effect' and I was wondering if it was possible to make them more powerful or even throw them, though nothing I ever did made a difference.
Still, I'm fairly proud I only had to look at the (excellent, life-saving) walkthrough by Stuart Kyzer Caie and Murray Kendrick at one point (getting the Information Building pass). I must admit I did scout another person's saved game file who'd progressed further for clues when I was stuck in Makiah, but it only took the hint that the Invisibility Cloak was missing for me to realise it was a magical thing, and that Monkian was into magical things. As is usually the case, it's the journey that's important rather than the destination, but I couldn't help but feel the ending was rather abrupt and the two 'bosses' in the game (the Mud thing and the flying nasty in league with Gallus at the end) were very easy to dispatch. I sensed the puzzles were sometimes illogical because it was too difficult for the scripters to come up with ways of getting you to a point without forcing you down some contrived and confusing route, and the game was even artificially lengthened when you have to go back and forth between characters with little reward.
With all the problems I've mentioned you'd think this was a dismal experience to take part in, but in fact in the three weeks it took me to complete it, I did rather enjoy the overall experience, as close to playing Zelda on an Amiga as you can get I expect. The ending, with Gallus kidnapped, presumably by the nasty creature you kill at the end, set it up for a sequel though I doubt if one was ever made. I played it on an Amiga 1200 the way it was designed to be played (with a CD32 joypad which made control a lot easier than the alternatives), and though it could be put on a hard drive it was too technical to bother, and the disk accessing wasn't frequent enough to be annoying. I would recommend this to anyone that wants to have a go on an old-fashioned 2D adventure, just don't think about Zelda.
***
Past Tense, Part II
DVD, DS9 S3 (Past Tense, Part II)
Not quite as powerful as part one, but it covers the personalities and people very well and is a more up-close and personal tale. Sisko's command of people is shown to be more than the rank and respect he is owed as a Starfleet officer - in this situation he has neither at the outset, but shakes with passion for the cause, his cause, which is different from those around him. To counter BC's exuberantly violent persona he has to be even bigger, giving the young man the way out of being relaxed and unimpressed by anything that happens in response. But BC isn't a stereotype. He has murdered, but he is driven and though he covers up his real desires under bravado and lack of respect for authority even he sees the importance of what they're doing, if he doesn't think much beyond his own plans for freedom. I had forgotten who lived, and, if any, who died, but the farewell Webb gives to his son suggested that he was saying more than a temporary goodbye and it's sad that such a good man could die, but out of the deaths of the good and the bad came a time of social reform and the future was secured. Were their lives worth it? I don't know, but that was why the Federation had implemented a policy not to interfere in temporal matters - only what had been could be again, rightly or wrongly.
The story isn't as successful as the first part, mainly because much of the momentum is lost as they wait for the inevitable confrontation. The humour comes from O'Brien and Kira's visits to different time periods, and those moments are funny, but they don't quite suit the mood of the hostage room which is generally charged and testy. I felt their weary attitude to the last attempt at transporting to the right time was a bit too cavalier. I know they're tired, but this last try was going to decide the fate of the entire Federation. If they had thought too much about it they might have spent too long agonising over which period to use up the last chroniton particles on, so it could be a way to avoid that turmoil.
The police attack doesn't quite come across strongly enough and the force of these projectile weapons isn't as powerful as some phaser fights have been. I put it down to lack of experience with such things in the Trek universe, but the impact is lessened so the scene doesn't have the weight it deserves as the event that this was all leading up to. It isn't that Jonathan Frakes (back for his third episode behind the camera) directed badly, but the episode is much more introverted than others, so the camera is generally pushed up close to people.
This two-parter has been the least 'DS9'-like of the season - the station isn't seen, much of the action occurs in the past and the characters are pretending to be other people, almost like a parallel universe. Bashir and Sisko's inherent goodness and good intentions still come across however, so that the hostages learn to trust them. Vin is the staunchest critic of the District residents so it's quite something when his views are turned around. It may be ironic that it should be he, a guard, that realises the truth, but there is great satisfaction in it, completing the episode. You're left wanting to see the fates of these people, to view the changes that would take place in the coming years, and as often happens the episode ends too quickly. Sisko confesses he doesn't know how people let things get so bad and the episode doesn't have answers, but it does alert us to the dangers of forgetting or not thinking about the plight of people around us.
***
Not quite as powerful as part one, but it covers the personalities and people very well and is a more up-close and personal tale. Sisko's command of people is shown to be more than the rank and respect he is owed as a Starfleet officer - in this situation he has neither at the outset, but shakes with passion for the cause, his cause, which is different from those around him. To counter BC's exuberantly violent persona he has to be even bigger, giving the young man the way out of being relaxed and unimpressed by anything that happens in response. But BC isn't a stereotype. He has murdered, but he is driven and though he covers up his real desires under bravado and lack of respect for authority even he sees the importance of what they're doing, if he doesn't think much beyond his own plans for freedom. I had forgotten who lived, and, if any, who died, but the farewell Webb gives to his son suggested that he was saying more than a temporary goodbye and it's sad that such a good man could die, but out of the deaths of the good and the bad came a time of social reform and the future was secured. Were their lives worth it? I don't know, but that was why the Federation had implemented a policy not to interfere in temporal matters - only what had been could be again, rightly or wrongly.
The story isn't as successful as the first part, mainly because much of the momentum is lost as they wait for the inevitable confrontation. The humour comes from O'Brien and Kira's visits to different time periods, and those moments are funny, but they don't quite suit the mood of the hostage room which is generally charged and testy. I felt their weary attitude to the last attempt at transporting to the right time was a bit too cavalier. I know they're tired, but this last try was going to decide the fate of the entire Federation. If they had thought too much about it they might have spent too long agonising over which period to use up the last chroniton particles on, so it could be a way to avoid that turmoil.
The police attack doesn't quite come across strongly enough and the force of these projectile weapons isn't as powerful as some phaser fights have been. I put it down to lack of experience with such things in the Trek universe, but the impact is lessened so the scene doesn't have the weight it deserves as the event that this was all leading up to. It isn't that Jonathan Frakes (back for his third episode behind the camera) directed badly, but the episode is much more introverted than others, so the camera is generally pushed up close to people.
This two-parter has been the least 'DS9'-like of the season - the station isn't seen, much of the action occurs in the past and the characters are pretending to be other people, almost like a parallel universe. Bashir and Sisko's inherent goodness and good intentions still come across however, so that the hostages learn to trust them. Vin is the staunchest critic of the District residents so it's quite something when his views are turned around. It may be ironic that it should be he, a guard, that realises the truth, but there is great satisfaction in it, completing the episode. You're left wanting to see the fates of these people, to view the changes that would take place in the coming years, and as often happens the episode ends too quickly. Sisko confesses he doesn't know how people let things get so bad and the episode doesn't have answers, but it does alert us to the dangers of forgetting or not thinking about the plight of people around us.
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