DVD, Smallville S5 (Oracle)
This all feels a bit like a wild goose chase, everyone whizzing around, revelations coming thick and fast to all kinds of people, but it also begins to make the whole season look like a meta-wild goose chase! We get something of the rematch I was expecting between Milton Fine and Clark, though once again it ends a bit weakly thanks to Lionel's mystical power which turns Fine to silver jelly. Of course there are many more Fines out there so it doesn't make much difference, but Lionel is most definitely on side at the moment. He's been a hard one to figure out this season - is he the same old Lionel, manipulating and plotting, or was he really altered right back in the first episode and has been trying to be a good guy since then? It's so difficult to keep track of all he's done in each episode that you find you just have to believe him for the moment and wait until something bad happens. There is a major get-out clause with the Kryptonian thing going on. They could use it to say he was only doing what Jor-el (or whoever might have influenced him) wanted and that he'll have all this influence purged from his system, then wake up and wonder why he can't remember all that happened in the last year. That would be one way to press the reset button on Clark's secret.
Both Lionel and his son come out smelling of roses after several times when you think they've gone the way of the super-villain this season: the allegation that Lionel was planning something that would destroy the world was false, originating from Fine, while Lex proves to be just going along with the Kryptonian program, while secretly making the insurance policy of a mass-produced vaccine in case Fine's plans turn out to be an alien plot to bring the Earth to its knees (assuming the Earth had knees). In the end it's not really clear what his plan was, except to inject Lex with the formula, perhaps turning him into a weapon as he's shown to have the same healing abilities as Fine - he cuts his finger and silver liquid miraculously seals the wound. Whether that means he can split himself into multiple versions, has super strength and speed, and is able to morph into any person he chooses, we don't know, but it suggests Clark may find a physical opponent in Lex in the last episode.
Fine's way of attempting to have Lionel killed is a bit circuitous. Okay, so he can't touch the guy without being destroyed, but why doesn't he hurl the tractor at Mr. Luthor when he has the chance? That would save the whole business of pretending to be Jonathan Kent, a whole lot of time, and, the main point, would make the episode rather superfluous, so that's the answer. I'm never going to complain when they bring back John Schneider as, when he had worthwhile storylines, he was one of the best actors on the series. I love the way they've got him into a few episodes since his death, either as a video recording or Clark's near-death experience, which set us up to accept his appearance in this. You could say he's had better scenes while being dead than he got while he was alive! I was fooled for a short while after the teaser in which Jonathan turns up graveside to give Clark the mission to kill Lionel. Wanting Clark to kill someone, even Lionel, wasn't something you'd expect from Jonathan, but after the episode in which he did speak to Clark it was plausible in the continuity that he might appear like that. I never believed Clark would do it as that would be much too major an event, but it wasn't until he appeared at the Kent house and talked to Martha that I guessed he wasn't genuine and it wasn't long before we're shown it was actually Fine. Either way such a high concept opening (Jonathan returns from the dead to commission Clark to kill Lionel) made for a strong premise.
The rest of the episode is, as I described above, a bit of a wild goose chase, waiting for Clark to go for Lionel. It happens, Lionel helps him even more, and even provides the message which sets up the last episode: 'Zod is coming'. Much of what happens seems to be people talking about stuff to people they don't trust without confirming how much they know, so making for some odd conversations. Everyone is in on some part of the unfolding events except Lois! She's the odd one out, but has some nice scenes in which she proves a good friend to both Lana and Clark. In a way the joke's on her, because she thinks the biggest problems others are facing are boy/girl issues! Kind of funny when we're supposed to be in the midst of a plot for annihilation, and she's useful to lighten the mood and brings things down to Earth a bit. It was an especially nice ending with Lois giving Clark some friendly advice and then Chloe joining them. I'd like more of this happiness on a regular basis, but the next episode is guaranteed to end on a cliffhanger.
***
Monday, 28 March 2011
Divide and Conquer
DVD, Stargate SG-1 S4 (Divide and Conquer)
Now I know why I didn't see Martuf in the later episodes! Once again the ideas exceed the execution, and this is mostly a bottle show staged on the standing sets. It begins with a bang, and a heroic dive from Colonel O'Neill as he rescues Freya from a Zaytark attack - an assassin from the ranks of the SGC that's been programmed by the Goa'uld to activate when a specific target is in view. This promised an action-packed episode, but while there was an effective flashback sequence from one of the soldiers recalling a mission when they came under attack from the Goa'uld, it was a dialogue-heavy episode. The third Tok'ra themed episode in a row, and the the third to feature Freya, this also sees the return of Martuf and his sad demise after revealing himself as an unknowing Zaytark and getting shot to pieces.
I give the writers credit for this plot twist as I was expecting Freya to come out and be killed as the assassin, mainly thanks to Jack being vaguely fond of her, more than he's comfortable with. I still see no good coming of her, despite her well-meaning ways. Daniel was also high on my list of potential dangers as I thought I remembered him being left alone by Teal'c for a short period in the episode they were referencing. I was certainly glad this didn't turn into the annual clips show as I feared when they began doing the flashbacks to 'Upgrades', though no doubt there will be one along eventually! The way the US President was dealt with as an entity was another well-handled part of the story. Naturally they're shy of showing the man, but they have you believe the white-haired guy is the real deal to winkle out the Zaytark, leaving the real leader still unseen.
One arc in the story was less subtly handled; that of O'Neill and Carter's mutual fondness for each other. Previously it's always been a minor cog, mostly on Sam's side, occasionally referenced, but never getting in the way of the story. I'm not saying it got in the way, it didn't, but after skirting about the bush for so long it's strange to see the subject broached so clumsily as if they were artificially trying to move the story along. It's also unclear who else heard the 'revelations' as only Freya, the interviewer, was in the room with them - was Dr. Fraiser able to listen in, and what about the soldiers guarding the area? Ignoring the flaws I'd say I've enjoyed the continuing story that has unfolded in these last few episodes. Without slavishly linking together they've provided an ongoing Tok'ra presence (still no Jacob yet, though) which I hope will continue to grow rather than the team simply running off on another unrelated mission.
**
Now I know why I didn't see Martuf in the later episodes! Once again the ideas exceed the execution, and this is mostly a bottle show staged on the standing sets. It begins with a bang, and a heroic dive from Colonel O'Neill as he rescues Freya from a Zaytark attack - an assassin from the ranks of the SGC that's been programmed by the Goa'uld to activate when a specific target is in view. This promised an action-packed episode, but while there was an effective flashback sequence from one of the soldiers recalling a mission when they came under attack from the Goa'uld, it was a dialogue-heavy episode. The third Tok'ra themed episode in a row, and the the third to feature Freya, this also sees the return of Martuf and his sad demise after revealing himself as an unknowing Zaytark and getting shot to pieces.
I give the writers credit for this plot twist as I was expecting Freya to come out and be killed as the assassin, mainly thanks to Jack being vaguely fond of her, more than he's comfortable with. I still see no good coming of her, despite her well-meaning ways. Daniel was also high on my list of potential dangers as I thought I remembered him being left alone by Teal'c for a short period in the episode they were referencing. I was certainly glad this didn't turn into the annual clips show as I feared when they began doing the flashbacks to 'Upgrades', though no doubt there will be one along eventually! The way the US President was dealt with as an entity was another well-handled part of the story. Naturally they're shy of showing the man, but they have you believe the white-haired guy is the real deal to winkle out the Zaytark, leaving the real leader still unseen.
One arc in the story was less subtly handled; that of O'Neill and Carter's mutual fondness for each other. Previously it's always been a minor cog, mostly on Sam's side, occasionally referenced, but never getting in the way of the story. I'm not saying it got in the way, it didn't, but after skirting about the bush for so long it's strange to see the subject broached so clumsily as if they were artificially trying to move the story along. It's also unclear who else heard the 'revelations' as only Freya, the interviewer, was in the room with them - was Dr. Fraiser able to listen in, and what about the soldiers guarding the area? Ignoring the flaws I'd say I've enjoyed the continuing story that has unfolded in these last few episodes. Without slavishly linking together they've provided an ongoing Tok'ra presence (still no Jacob yet, though) which I hope will continue to grow rather than the team simply running off on another unrelated mission.
**
Singularity
DVD, Enterprise S2 (Singularity)
If someone were to write a parody of 'Star Trek' I imagine it might come out something like this episode. Except it would be funnier. There are almost excessive levels of continuity references, whether they be the ship's encounters with Suliban, Mazarites or Risa, knowing in-jokes about the future in which Trip wants to include tactical displays on the armrests of the Captain's chair and Reed develops a ship-wide alert signal (Reed Alert!), Zefram Cochrane and the warp project, or the obsessive behaviour of the crew in general, all under the influence of the trinary star system's radiation. It's not even 'bad' Trek, it's just moderately enjoyable, derivative ideas that don't go far enough to slap the parody label on them, or enough to make much of an impact, leaving the only exciting moment up to the special effects, which I must say were suitably action-oriented after such a 'quiet' episode.
The ship flying through a storm of meteors, breaking up as they approach is very 'Star Wars' and, for once, shows the advantages of a small ship with it's responsive manoeuvrability. There are good scenes in there too, such as Malcolm and Trip pretty much coming to blows and having to be separated by the Captain, or a visit to many of the locations on the ship which we don't often see, including our first view of the galley. Though the performances are suitably eccentric they don't reveal much about the characters and nothing much happens to be too worried about, aside from Phlox planning to open Mayweather's brain up for observation, leading T'Pol to use a Vulcan nerve pinch on him.
T'Pol, supposedly unaffected by the radiation still behaves in an atypical Vulcan way; getting agitated, raising her voice when things go bad, and generally not exuding the cool confidence under extreme pressure that I suspect draws most people towards the race. This of course, can be put down to the radiation, and we can assume she was affected slightly though this isn't mentioned in dialogue. The only development to come out of the story is the Tactical Alert, though you wonder why, after so many attacks they've never thought of such a procedure before. Still, it's supposed to be a learning curve for the crew, it's just a shame it also seems to be a learning curve, and an uneven one at that, for the writers. If you want to see this episode done much better watch 'DS9' Season 1 episode 'Dramatis Personae'.
**
If someone were to write a parody of 'Star Trek' I imagine it might come out something like this episode. Except it would be funnier. There are almost excessive levels of continuity references, whether they be the ship's encounters with Suliban, Mazarites or Risa, knowing in-jokes about the future in which Trip wants to include tactical displays on the armrests of the Captain's chair and Reed develops a ship-wide alert signal (Reed Alert!), Zefram Cochrane and the warp project, or the obsessive behaviour of the crew in general, all under the influence of the trinary star system's radiation. It's not even 'bad' Trek, it's just moderately enjoyable, derivative ideas that don't go far enough to slap the parody label on them, or enough to make much of an impact, leaving the only exciting moment up to the special effects, which I must say were suitably action-oriented after such a 'quiet' episode.
The ship flying through a storm of meteors, breaking up as they approach is very 'Star Wars' and, for once, shows the advantages of a small ship with it's responsive manoeuvrability. There are good scenes in there too, such as Malcolm and Trip pretty much coming to blows and having to be separated by the Captain, or a visit to many of the locations on the ship which we don't often see, including our first view of the galley. Though the performances are suitably eccentric they don't reveal much about the characters and nothing much happens to be too worried about, aside from Phlox planning to open Mayweather's brain up for observation, leading T'Pol to use a Vulcan nerve pinch on him.
T'Pol, supposedly unaffected by the radiation still behaves in an atypical Vulcan way; getting agitated, raising her voice when things go bad, and generally not exuding the cool confidence under extreme pressure that I suspect draws most people towards the race. This of course, can be put down to the radiation, and we can assume she was affected slightly though this isn't mentioned in dialogue. The only development to come out of the story is the Tactical Alert, though you wonder why, after so many attacks they've never thought of such a procedure before. Still, it's supposed to be a learning curve for the crew, it's just a shame it also seems to be a learning curve, and an uneven one at that, for the writers. If you want to see this episode done much better watch 'DS9' Season 1 episode 'Dramatis Personae'.
**
Meld
DVD, Voyager S2 (Meld)
One of the strongest of the early seasons, this episode has a bit of everything to recommend it. There's the return of Sandrine's, the holodeck program of Tom Paris and the beginning of his aberrant behaviour. He's happy to play up to the old Paris reputation with his gambling ring, even as far as talking back to Chakotay, but it's Kim's disgust with him that shows it means something to him. When you know what's going on you can understand what Kim's reaction must have felt like to Tom, but he keeps up the role because he has to. We don't get to see the resolution of that moment with Kim or the fact he's on report, which adds to the building sense of ongoing plot lines since the reintroduction of Seska. I think this worked well in the series, giving it more sense of progression, and since the ship was on a journey, it needed that to feel like they were getting somewhere, something that was lost in the later seasons when they all but dispensed with that style and returned to a more episodic format.
The first season had begun with arcs, but the second half of that season and the beginning of Season 2 had reverted to 'TNG' levels of individual stories with little or no connection to others. That goes for the Maquis side of the crew, which many felt were too quickly integrated - that's not quite true as there were often dissenters, but they had to tow the Starfleet line or Chakotay would sock 'em! This episode neatly uses the Maquis to its advantage. At first, when the murder is discovered we assume it has something to do with the spy, but it soon becomes much more disturbing. In another nice link we touch base with a familiar race; the Betazoids, through Suder being one (makes you wonder what other known species are aboard - we've already seen Bolians and Bajorans, and I'm sure a female Vulcan walked past in the background in 'Threshold'. Is there a Trill?).
Again, they use background lore in a new way to enhance the story: this Betazoid is different to the standard type as he can't access his own feelings let alone other's. So he's the opposite of the Betazoid genius Tam Elbrun in 'TNG' episode 'Tin Man', who couldn't get other people out of his head and was very animated. Suder is quiet and restrained until violence takes over. We never see Suder do anything violent, the true horror comes from his influence on Tuvok's mind, leading the Vulcan to strangle Neelix in a holodeck recreation. Some might have said they'd love to see it happen in real life, but it's actually very disturbing and an incredible turnaround for the usual serene, certain calm of Tuvok. He is of the Sherlock Holmes archetype, like Spock, Data and Odo before him - he has high physical strength, but even stronger mental faculties; the power of deduction; a knowledge of the criminal mind; a strong sense of justice. But also like those other characters he's a great risk to others when he loses control, becoming more dangerous, more resourceful, devious and unpredictable as any alien or adversary he's faced down for the side of right.
There are many great scenes which show this, the hint of danger and concealed threat giving the episode a discomfiting undertone from early on. When we know the episode is called 'Meld' and we soon find the murderer it's not hard to work out where things are going - he's sure to do a mindmeld and he does. This is one of the most violent melds we've seen, where he comes to kill Suder, ostensibly as an act of justice, but really to satiate his own uncontrolled thirst for violence. Vulcans are very strong, so when his emotional control is temporarily broken down he knows the things he can do and wants to use his power for his own ends, when usually as a Vulcan he keeps such impulses tightly repressed. Equally the Vulcan ability of control creates a new Suder, one who can reason, but still one whose mind is warped.
When Tuvok lets down the forcefield in the brig the 'victim' doesn't cower in the back of the cell, he jumps out and almost runs towards his executioner, wanting to accept the punishment of death. He tells Tuvok that it's not really justice he wants and that violence will take control of him, but it's not a warning, more an explanation of the facts because he knows how Tuvok feels - Tuvok's reasoning mind has cleared Suder's so he can express his own insights. The meld, with Tuvok dragging the Betazoid round the room is even more horrifying than Spock's mental interrogation of Valeris in 'Star Trek VI'. At least in that there was an imperative need for the information; in this Tuvok just wants vengeance. Suder seems to be glad of the pain he experiences, whether he feels the same addictive impulses of violent behaviour as when he was the offender, or feels the impending death will be bliss compared to his life, we don't know, but he looks almost wondering and saintly as he looks up, to who knows where.
Brad Dourif is excellent and fully deserved to come back. Leaving him locked in his quarters for seventy years was never going to be a real solution, so it's just added to the pile of unresolved issues, from Paris' behaviour, to the spy and the Maquis division. Music says it all, and is used so well. When Tuvok is walking to the turbolift, slows and then returns the way he came, we know he's thinking and has resolved to do something. The dark lighting and high contrast of many shots also increases the tension levels. There have been a lot of horror moments this season, and particularly after watching 'TNG' episodes, in which things are pretty comfortable and homely, it's quite a contrast, but then this is the frontier, Voyager is out in absolutely unknown space so it should be more frightening.
In the end the characters pull through, and though there are echoes of the previous story, 'Threshold' - another one which ends with Janeway and a crewmember in sickbay - this has a much more personal aspect to it, with Tuvok ranting about humans and Janeway in particular. He also says he's been studying violence for over a hundred years, which means he must have begun as a child as we later learn he's about 108at the time of this season. I don't know how bad Neelix' singing voice is, but it's important to note that Tuvok didn't react in that holo-simulation until the holo-Talaxian threatened to sing to him every day until he smiled! But that could stem from Tuvok's strong appreciation for music, and that he had an excellent singing voice himself...
****
One of the strongest of the early seasons, this episode has a bit of everything to recommend it. There's the return of Sandrine's, the holodeck program of Tom Paris and the beginning of his aberrant behaviour. He's happy to play up to the old Paris reputation with his gambling ring, even as far as talking back to Chakotay, but it's Kim's disgust with him that shows it means something to him. When you know what's going on you can understand what Kim's reaction must have felt like to Tom, but he keeps up the role because he has to. We don't get to see the resolution of that moment with Kim or the fact he's on report, which adds to the building sense of ongoing plot lines since the reintroduction of Seska. I think this worked well in the series, giving it more sense of progression, and since the ship was on a journey, it needed that to feel like they were getting somewhere, something that was lost in the later seasons when they all but dispensed with that style and returned to a more episodic format.
The first season had begun with arcs, but the second half of that season and the beginning of Season 2 had reverted to 'TNG' levels of individual stories with little or no connection to others. That goes for the Maquis side of the crew, which many felt were too quickly integrated - that's not quite true as there were often dissenters, but they had to tow the Starfleet line or Chakotay would sock 'em! This episode neatly uses the Maquis to its advantage. At first, when the murder is discovered we assume it has something to do with the spy, but it soon becomes much more disturbing. In another nice link we touch base with a familiar race; the Betazoids, through Suder being one (makes you wonder what other known species are aboard - we've already seen Bolians and Bajorans, and I'm sure a female Vulcan walked past in the background in 'Threshold'. Is there a Trill?).
Again, they use background lore in a new way to enhance the story: this Betazoid is different to the standard type as he can't access his own feelings let alone other's. So he's the opposite of the Betazoid genius Tam Elbrun in 'TNG' episode 'Tin Man', who couldn't get other people out of his head and was very animated. Suder is quiet and restrained until violence takes over. We never see Suder do anything violent, the true horror comes from his influence on Tuvok's mind, leading the Vulcan to strangle Neelix in a holodeck recreation. Some might have said they'd love to see it happen in real life, but it's actually very disturbing and an incredible turnaround for the usual serene, certain calm of Tuvok. He is of the Sherlock Holmes archetype, like Spock, Data and Odo before him - he has high physical strength, but even stronger mental faculties; the power of deduction; a knowledge of the criminal mind; a strong sense of justice. But also like those other characters he's a great risk to others when he loses control, becoming more dangerous, more resourceful, devious and unpredictable as any alien or adversary he's faced down for the side of right.
There are many great scenes which show this, the hint of danger and concealed threat giving the episode a discomfiting undertone from early on. When we know the episode is called 'Meld' and we soon find the murderer it's not hard to work out where things are going - he's sure to do a mindmeld and he does. This is one of the most violent melds we've seen, where he comes to kill Suder, ostensibly as an act of justice, but really to satiate his own uncontrolled thirst for violence. Vulcans are very strong, so when his emotional control is temporarily broken down he knows the things he can do and wants to use his power for his own ends, when usually as a Vulcan he keeps such impulses tightly repressed. Equally the Vulcan ability of control creates a new Suder, one who can reason, but still one whose mind is warped.
When Tuvok lets down the forcefield in the brig the 'victim' doesn't cower in the back of the cell, he jumps out and almost runs towards his executioner, wanting to accept the punishment of death. He tells Tuvok that it's not really justice he wants and that violence will take control of him, but it's not a warning, more an explanation of the facts because he knows how Tuvok feels - Tuvok's reasoning mind has cleared Suder's so he can express his own insights. The meld, with Tuvok dragging the Betazoid round the room is even more horrifying than Spock's mental interrogation of Valeris in 'Star Trek VI'. At least in that there was an imperative need for the information; in this Tuvok just wants vengeance. Suder seems to be glad of the pain he experiences, whether he feels the same addictive impulses of violent behaviour as when he was the offender, or feels the impending death will be bliss compared to his life, we don't know, but he looks almost wondering and saintly as he looks up, to who knows where.
Brad Dourif is excellent and fully deserved to come back. Leaving him locked in his quarters for seventy years was never going to be a real solution, so it's just added to the pile of unresolved issues, from Paris' behaviour, to the spy and the Maquis division. Music says it all, and is used so well. When Tuvok is walking to the turbolift, slows and then returns the way he came, we know he's thinking and has resolved to do something. The dark lighting and high contrast of many shots also increases the tension levels. There have been a lot of horror moments this season, and particularly after watching 'TNG' episodes, in which things are pretty comfortable and homely, it's quite a contrast, but then this is the frontier, Voyager is out in absolutely unknown space so it should be more frightening.
In the end the characters pull through, and though there are echoes of the previous story, 'Threshold' - another one which ends with Janeway and a crewmember in sickbay - this has a much more personal aspect to it, with Tuvok ranting about humans and Janeway in particular. He also says he's been studying violence for over a hundred years, which means he must have begun as a child as we later learn he's about 108at the time of this season. I don't know how bad Neelix' singing voice is, but it's important to note that Tuvok didn't react in that holo-simulation until the holo-Talaxian threatened to sing to him every day until he smiled! But that could stem from Tuvok's strong appreciation for music, and that he had an excellent singing voice himself...
****
The Nth Degree
DVD, TNG S4 (The Nth Degree)
They had to bring Barclay back, he was too good a character not to return, and I'm sure there were very favourable reactions to his first appearance, in the previous season. I like the way they begin this episode with Barclay acting as Cyrano de Bergerac, with Dr. Crusher fluttering around him, because it's meant to make you think he's gone back to his holodeck fantasies, but then the camera pulls back and we see how far he's come - it's actually a play he's acting in, with an audience, something that would have been unthinkable last time we met the nervous, troubled man people were calling 'Lieutenant Broccoli'! He's come into his own, and while he still displays nervous habits, he also continues to contribute to the Enterprise, and that's something encouraging for all of us. 'Star Trek' is often at its best when it inspires us, gives us hope and shows people triumphing through adversity or even better, living with problems, but still fulfilling their potential and not letting such hang-ups hold them back.
Sci-fi is better when it has these foibles to overcome, and doesn't descend into shoot-em-ups or over done plots (no matter how much fun these can be). Not to say the story here is very original. No doubt most sci-fi series do a 'super intelligent person takes over the asylum' story. With this, it's Barclay, one of the weakest people on the ship who becomes the savant, ending up considering his fellow humans as almost insignificant, and wanting to show them great new things and boldly go where no one has gone before! I wonder if the 'Voyager' episode 'Threshold' was partly inspired by this, because it's practically the same story in reverse: that one begins with Paris going faster than ever before, leading to side effects that make him (okay, not super-intelligent, but) more advanced. In this, Barclay becomes super-intelligent which leads to him travelling faster than ever before.
The sequence where they burn it to the centre of the galaxy reminded me of the first season episode 'Where No One Has Gone Before' where they do just that thanks to the mysterious Traveller. The music and effects aren't that wondrous or alien, but there's a strong sense of scale, with both the huge distance covered and earlier in the episode when we see the Enterprise parked near the Argus array. I wonder if the writers realised what connections were going to ensue when they took the ship to the centre of the galaxy and had them meet a powerful being that was represented by a large floating head? It could only be 'Star Trek V: The Final Frontier'! That leads me to question whether the alien being in that film, pretending to be a god, was a Cytherian that had been locked away?
It's such a shame the Cytherians couldn't see fit to include the knowledge of this 'super warp' that allowed the ship to travel 30,000 light years in a few seconds - they wanted to exchange information, it would be the least they could do for practically kidnapping the starship! The questions remains how the Enterprise made it back to regular space since Barclay had returned to his usual self when they first arrived at the centre of the galaxy. The Cytherians must have just given them a really big push. The actor who supplied the big head went on to play the Bajoran Sirah in 'DS9' episode 'The Storyteller' a couple of years later.
Dwight Shultz does a sterling job with the multiple roles he's given in this episode. At first he's playing a neurotic who's acting, then he's playing the 'normal' Reg, then he has to be convincing as a Reg gradually growing more and more intelligent, before eventually having to do voice acting and face acting when he only speaks as the computer. He certainly handles all the changes well, and I imagine the scenes weren't shot in order so it's even more of an achievement and would have cemented him in everyone's eyes as a very reliable guest star. And indeed he was, later appearing in one of the films and with several guest spots on 'Voyager'. The episode ends with a light scene in which Barclay, who never played chess before, looks at a game in Ten Forward and predicts a checkmate in nine moves! It's a fun way of ending as it leaves you wondering if he still has some residual super-intelligence left upstairs, but I think it was probably just the last traces of his transformation back to regular old Reg.
***
They had to bring Barclay back, he was too good a character not to return, and I'm sure there were very favourable reactions to his first appearance, in the previous season. I like the way they begin this episode with Barclay acting as Cyrano de Bergerac, with Dr. Crusher fluttering around him, because it's meant to make you think he's gone back to his holodeck fantasies, but then the camera pulls back and we see how far he's come - it's actually a play he's acting in, with an audience, something that would have been unthinkable last time we met the nervous, troubled man people were calling 'Lieutenant Broccoli'! He's come into his own, and while he still displays nervous habits, he also continues to contribute to the Enterprise, and that's something encouraging for all of us. 'Star Trek' is often at its best when it inspires us, gives us hope and shows people triumphing through adversity or even better, living with problems, but still fulfilling their potential and not letting such hang-ups hold them back.
Sci-fi is better when it has these foibles to overcome, and doesn't descend into shoot-em-ups or over done plots (no matter how much fun these can be). Not to say the story here is very original. No doubt most sci-fi series do a 'super intelligent person takes over the asylum' story. With this, it's Barclay, one of the weakest people on the ship who becomes the savant, ending up considering his fellow humans as almost insignificant, and wanting to show them great new things and boldly go where no one has gone before! I wonder if the 'Voyager' episode 'Threshold' was partly inspired by this, because it's practically the same story in reverse: that one begins with Paris going faster than ever before, leading to side effects that make him (okay, not super-intelligent, but) more advanced. In this, Barclay becomes super-intelligent which leads to him travelling faster than ever before.
The sequence where they burn it to the centre of the galaxy reminded me of the first season episode 'Where No One Has Gone Before' where they do just that thanks to the mysterious Traveller. The music and effects aren't that wondrous or alien, but there's a strong sense of scale, with both the huge distance covered and earlier in the episode when we see the Enterprise parked near the Argus array. I wonder if the writers realised what connections were going to ensue when they took the ship to the centre of the galaxy and had them meet a powerful being that was represented by a large floating head? It could only be 'Star Trek V: The Final Frontier'! That leads me to question whether the alien being in that film, pretending to be a god, was a Cytherian that had been locked away?
It's such a shame the Cytherians couldn't see fit to include the knowledge of this 'super warp' that allowed the ship to travel 30,000 light years in a few seconds - they wanted to exchange information, it would be the least they could do for practically kidnapping the starship! The questions remains how the Enterprise made it back to regular space since Barclay had returned to his usual self when they first arrived at the centre of the galaxy. The Cytherians must have just given them a really big push. The actor who supplied the big head went on to play the Bajoran Sirah in 'DS9' episode 'The Storyteller' a couple of years later.
Dwight Shultz does a sterling job with the multiple roles he's given in this episode. At first he's playing a neurotic who's acting, then he's playing the 'normal' Reg, then he has to be convincing as a Reg gradually growing more and more intelligent, before eventually having to do voice acting and face acting when he only speaks as the computer. He certainly handles all the changes well, and I imagine the scenes weren't shot in order so it's even more of an achievement and would have cemented him in everyone's eyes as a very reliable guest star. And indeed he was, later appearing in one of the films and with several guest spots on 'Voyager'. The episode ends with a light scene in which Barclay, who never played chess before, looks at a game in Ten Forward and predicts a checkmate in nine moves! It's a fun way of ending as it leaves you wondering if he still has some residual super-intelligence left upstairs, but I think it was probably just the last traces of his transformation back to regular old Reg.
***
Threshold
DVD, Voyager S2 (Threshold)
The worst episode of the series. That's the commonly held opinion. When you look at some of the events that occur within the space of the story - transwarp travel, mutation to a new lifeform, Janeway and Paris having alien slime children, the Doc being able to reverse the whole process and make them human again - it isn't hard to see where the bad reputation came from. But like Tom Paris' reputation, the episode has a goodness to it and works dramatically, but like some of the Trek episodes that skirt the edges of believable science, or even hop over the line, if you take the hokey stuff with a pinch of salt, it isn't too farfetched or ridiculous (we are on a ship that warps space, can disassemble people's molecules and put them back together, and creates food out of energy, after all!).
There's a lot to enjoy amid the implausibility. The people are interacting well, there's friendly banter, we find out what happens when a holodeck shuttle simulation ends while the pilot is sitting down (he ends up sitting on the floor), and we get links to the past with Janeway's roster of famous pilots, which includes Zefram Cochrane, a year or so before it became fashionable to reference the warp flight pioneer once he'd appeared in 'Star Trek: First Contact' (the shuttle Cochrane is also named for him). Paris gets to really show who he is, the inner workings of his mind (and I don't mean his mutated self's diatribe on how small Janeway looks - "I'm wearing the largest heels I can find, Mr. Paris!" I imagine her response might be...). His childhood spent crying in his room, his desire to be somebody, and at the end, his admitting that he thought breaking the Warp 10 barrier would be a quick fix. But as Janeway encourages, he's already someone important on Voyager and has changed people's view of him to become someone they respect and admire. Even when he was dying he wanted his Dad to know of his achievement, something that showed there was hope for the Paris family as would be shown in later seasons.
Transwarp is a difficult subject in 'Star Trek' because it seems to mean different things in different contexts. I believe we first heard of the term in 'Star Trek III' as the USS Excelsior was fitted with this new propulsion system. We never got to see it work thanks to Kirk's crew, who sabotaged it (did they push Starfleet technology back by a hundred years?). Another time it crops up is in the Borg's transwarp conduits. These certainly don't allow a traveller to be in every place at once in the universe, so my conclusion would be that transwarp simply means a higher echelon of warp speed, between the accepted 9.975 that Voyager can go to, but before warp 10, which must be a massive scale to ascend, since 10 is infinity. Not that it matters, as anyone that goes to Warp Factor 10 begins to mutate into the next form of life, a lizard-like creature, which is about as plausible as the mistaken belief we are descended from apes!
The makeup for Paris as the mutation is especially disgusting, even worse than the Vidiians. His head expands and contracts, he's got ugly gill protrusions all over his skin, and one eye is milked out alarmingly, as well as the most unpleasant moment in the episode - when he pulls out his own tongue. But I couldn't help feeling compassion for the pitiable creature he'd become, crouched on the deck in sickbay, wailing for help to be set free. One of the nicest moments is when Kes obeys his last request after he's died and the forcefield is taken down - she plants a tender kiss on his cheek. Some might balk at them, but I even liked the Mother and Father creatures that Chakotay and Tuvok discover on the planet, as well as the baby lizard slimeys that look like CGI they move so fluidly, but were actually done by pulling a sock along with string! There's a nice deadpan moment when Chakotay wonders which is the Captain and Tuvok points out it is the female, then Chakotay gives him such a look with as if to say 'I'm not that stupid, but how do we know which is the female?'
The ongoing spy storyline is forced into the episode, with Jonas giving the Kazon information on Paris' achievement, though what use they could make of it is negligible, it was more a display of his willingness to provide them with information. Could it be their three days in sickbay together was when Janeway and Paris (forgive me) 'hatched' the plan to root out the spy? I mean, after all that stuff he says about what he's gone through and how it's his own opinion of himself that needs to change, it will be strange when he starts acting up. Anyway, this episode is very much worth watching for its development of Tom (I must say, Torres looked very concerned for his well-being when she rushed into sickbay...), and the good use of horror, as well as nice scenes for every character. The balance is just right, if only they could have translated this aspect of the early seasons, and the arc-based additions with the later seasons' propensity for action and special effects, the series might have reached its potential.
***
The worst episode of the series. That's the commonly held opinion. When you look at some of the events that occur within the space of the story - transwarp travel, mutation to a new lifeform, Janeway and Paris having alien slime children, the Doc being able to reverse the whole process and make them human again - it isn't hard to see where the bad reputation came from. But like Tom Paris' reputation, the episode has a goodness to it and works dramatically, but like some of the Trek episodes that skirt the edges of believable science, or even hop over the line, if you take the hokey stuff with a pinch of salt, it isn't too farfetched or ridiculous (we are on a ship that warps space, can disassemble people's molecules and put them back together, and creates food out of energy, after all!).
There's a lot to enjoy amid the implausibility. The people are interacting well, there's friendly banter, we find out what happens when a holodeck shuttle simulation ends while the pilot is sitting down (he ends up sitting on the floor), and we get links to the past with Janeway's roster of famous pilots, which includes Zefram Cochrane, a year or so before it became fashionable to reference the warp flight pioneer once he'd appeared in 'Star Trek: First Contact' (the shuttle Cochrane is also named for him). Paris gets to really show who he is, the inner workings of his mind (and I don't mean his mutated self's diatribe on how small Janeway looks - "I'm wearing the largest heels I can find, Mr. Paris!" I imagine her response might be...). His childhood spent crying in his room, his desire to be somebody, and at the end, his admitting that he thought breaking the Warp 10 barrier would be a quick fix. But as Janeway encourages, he's already someone important on Voyager and has changed people's view of him to become someone they respect and admire. Even when he was dying he wanted his Dad to know of his achievement, something that showed there was hope for the Paris family as would be shown in later seasons.
Transwarp is a difficult subject in 'Star Trek' because it seems to mean different things in different contexts. I believe we first heard of the term in 'Star Trek III' as the USS Excelsior was fitted with this new propulsion system. We never got to see it work thanks to Kirk's crew, who sabotaged it (did they push Starfleet technology back by a hundred years?). Another time it crops up is in the Borg's transwarp conduits. These certainly don't allow a traveller to be in every place at once in the universe, so my conclusion would be that transwarp simply means a higher echelon of warp speed, between the accepted 9.975 that Voyager can go to, but before warp 10, which must be a massive scale to ascend, since 10 is infinity. Not that it matters, as anyone that goes to Warp Factor 10 begins to mutate into the next form of life, a lizard-like creature, which is about as plausible as the mistaken belief we are descended from apes!
The makeup for Paris as the mutation is especially disgusting, even worse than the Vidiians. His head expands and contracts, he's got ugly gill protrusions all over his skin, and one eye is milked out alarmingly, as well as the most unpleasant moment in the episode - when he pulls out his own tongue. But I couldn't help feeling compassion for the pitiable creature he'd become, crouched on the deck in sickbay, wailing for help to be set free. One of the nicest moments is when Kes obeys his last request after he's died and the forcefield is taken down - she plants a tender kiss on his cheek. Some might balk at them, but I even liked the Mother and Father creatures that Chakotay and Tuvok discover on the planet, as well as the baby lizard slimeys that look like CGI they move so fluidly, but were actually done by pulling a sock along with string! There's a nice deadpan moment when Chakotay wonders which is the Captain and Tuvok points out it is the female, then Chakotay gives him such a look with as if to say 'I'm not that stupid, but how do we know which is the female?'
The ongoing spy storyline is forced into the episode, with Jonas giving the Kazon information on Paris' achievement, though what use they could make of it is negligible, it was more a display of his willingness to provide them with information. Could it be their three days in sickbay together was when Janeway and Paris (forgive me) 'hatched' the plan to root out the spy? I mean, after all that stuff he says about what he's gone through and how it's his own opinion of himself that needs to change, it will be strange when he starts acting up. Anyway, this episode is very much worth watching for its development of Tom (I must say, Torres looked very concerned for his well-being when she rushed into sickbay...), and the good use of horror, as well as nice scenes for every character. The balance is just right, if only they could have translated this aspect of the early seasons, and the arc-based additions with the later seasons' propensity for action and special effects, the series might have reached its potential.
***
Alliances
DVD, Voyager S2 (Alliances)
Right from the opening seconds we're plunged into pitched battle with Voyager fending off a Kazon attack, one of many they've had to fight recently, we learn, forcing Chakotay to suggest they should act more like the Maquis and form an alliance with some of the Kazon sects, altering the balance of power in the area, but giving their ship a safer journey. Although Janeway is initially opposed to such a move away from Starfleet principles of non-interference she's surprised to learn Tuvok agrees with the Commander. This shouldn't be too surprising as the Vulcan has occasionally shown he's willing to bend Starfleet rules in this situation, as he did to try and procure alien folding space technology in Season 1 episode 'Prime Factors'.
It's wonderful to see the friendship that was set up in 'Caretaker', but has rarely been used since, when Janeway comes to him for advice. It gives him the chance to unfurl the vastness of the Trek universe by tying himself into 'TOS' continuity telling her he was a young man in the days when Spock proposed peace between the Klingons and Federation - Tuvok actually spoke out against Spock (wish we'd been there to see that!). This episode is almost like a reboot back to the values and conflicts of the pilot, since we have Janeway going to Tuvok, and Chakotay advocating Maquis tactics, and even the old Maquis versus Starfleet argument has begun to rage again when some crewmembers crawl out of hiding from behind their cooperative smiles. I always suspected things hadn't been as easy to come together as the series made out, but sadly there hadn't been many recurring characters to show the varying viewpoints through much of the first season, or indeed, this one, so it's good that Hogan and Jonas are allowed to come into play here, two characters that would be returning occasionally this season.
Talking of recurring characters, Seska, the one true and constant villain, alongside her irritated Maj Cullah, is back, as devious as ever, telling Cullah the baby inside her is his, though we know she stole Chakotay's DNA not so long ago. She fills the Maj's head with bold plans, but he always manages to let his chauvinism ruin it for him. Yes, he thinks, I'm sure Janeway will grant my request to station some Kazon troops on Voyager as an exchange! An alliance with their sworn enemies was never going to happen so I'm suprised Janeway even factored Seska and the Nistrim into her plans - in all their encounters they'd only ever wanted to get Voyager's technology to gain superiority, so it's a bit unlikely they'd agree to provide the ship with a nice, safe escort out of Kazon space!
It wouldn't have been as enjoyable without Seska and Cullah, she trying to keep him from making stupid gestures, and he failing to see his mistakes. If Chakotay was right, and Janeway were to really think like a Kazon leader she'd have to start hating herself and saying "I'm not taking orders from a woman" at her reflection in the mirror, before conceding authority to Chakotay, then whispering plots and plans into his ear in a devious manner. Chakotay might have liked that. The other plot point to be introduced this episode (aside from Seska deceiving Cullah about the baby), was the traitor Jonas, who first tries to make contact with Seska here. Positive impressions are reinforced about him since he holds back the angry Hogan in the mess hall after the touching ceremony for the most recent casualty, with the haunting whistle and Chakotay making a poignant speech - this kind of thing is what Voyager has missed from many of its episodes, the ability to have caring moments that make the crew real, beyond the main characters, while also being able to use the regulars well, give us plenty of action, and tie into ongoing arcs. It's more like a 'DS9' episode than the usual standalones, and because of that it's so much better.
Mabus is another character which is deceptively shown in a good light, his concern over Neelix when the Talaxian is thrown into the Kazon prison, and his honest face and obvious care for his people mark him out as a good guy - he reminded me of Shakaar on 'DS9', down to Earth and plain-spoken (with the same floppy hair!), and you believe him as much as Janeway does, so it comes as quite a shock when his cold, calculating plan to kill off the Kazon leaders comes to light. That sequence with the gunship blasting into the meeting room is something that should be attempted more on Trek. I don't mean gunships should be in every episode, but that kind of bold, strategic moment, with Voyager sending some photon torpedoes from orbit to hit the hovering Kazon ship makes the scale of the event so much bigger and more real.
I don't think it could have been all the Kazon leaders as I'm sure there would be more sects than just five or so, but maybe some couldn't come or wouldn't. Jal Surat shouldn't be there since he was beamed into space by Cullah just a short time ago, but he's apparently been rescued and doesn't bear a grudge, unless this is his twin brother! Mabus' plan still would have been unlikely to work from what we've seen of the Kazon. The factions territory and size shifts all the time, and probably their leaders too, so new ones would soon have forced their way to the top of each faction. We do finally get some background on the race, which fleshes them out, and provides a modicum of sympathy for them, as Trek is so good at doing to its enemies. The Trabe were just as bad as the Kazon, keeping them in ghettos and treating them badly, so it's their fault the Kazon became angry enough to rise up against them, thus plunging the area into constant instability.
Mabus didn't seem a vengeful sort of man, he seemed to genuinely believe killing off their leaders would weaken the Kazon enough to give the Trabe chance to settle somewhere, but in reality it would just provoke them even more, just as the failed assassination attempt must have done. So it leaves Voyager in a worse position than before, since the Kazon would all want them dead now, but Janeway's great speech at the end, exhorting her crewmates to stick to the principles of Starfleet is a strong and upbeat way to finish, also reassuring us with the news that supplies and energy are high. If nothing else, the time it took to organise the alliance talks gave Voyager a chance to catch breath, and it can now speed off into the sunset secure in the knowledge that, for the moment at least, their Starfleet principles will guide them as they always have. Though if Paris was at the helm in that last shot I wonder if he'd been at the synthale again - the ship was listing drunkenly into the distance rather than smartly warping off! Maybe that's the start of his undercover operation to weed out the spy?
****
Right from the opening seconds we're plunged into pitched battle with Voyager fending off a Kazon attack, one of many they've had to fight recently, we learn, forcing Chakotay to suggest they should act more like the Maquis and form an alliance with some of the Kazon sects, altering the balance of power in the area, but giving their ship a safer journey. Although Janeway is initially opposed to such a move away from Starfleet principles of non-interference she's surprised to learn Tuvok agrees with the Commander. This shouldn't be too surprising as the Vulcan has occasionally shown he's willing to bend Starfleet rules in this situation, as he did to try and procure alien folding space technology in Season 1 episode 'Prime Factors'.
It's wonderful to see the friendship that was set up in 'Caretaker', but has rarely been used since, when Janeway comes to him for advice. It gives him the chance to unfurl the vastness of the Trek universe by tying himself into 'TOS' continuity telling her he was a young man in the days when Spock proposed peace between the Klingons and Federation - Tuvok actually spoke out against Spock (wish we'd been there to see that!). This episode is almost like a reboot back to the values and conflicts of the pilot, since we have Janeway going to Tuvok, and Chakotay advocating Maquis tactics, and even the old Maquis versus Starfleet argument has begun to rage again when some crewmembers crawl out of hiding from behind their cooperative smiles. I always suspected things hadn't been as easy to come together as the series made out, but sadly there hadn't been many recurring characters to show the varying viewpoints through much of the first season, or indeed, this one, so it's good that Hogan and Jonas are allowed to come into play here, two characters that would be returning occasionally this season.
Talking of recurring characters, Seska, the one true and constant villain, alongside her irritated Maj Cullah, is back, as devious as ever, telling Cullah the baby inside her is his, though we know she stole Chakotay's DNA not so long ago. She fills the Maj's head with bold plans, but he always manages to let his chauvinism ruin it for him. Yes, he thinks, I'm sure Janeway will grant my request to station some Kazon troops on Voyager as an exchange! An alliance with their sworn enemies was never going to happen so I'm suprised Janeway even factored Seska and the Nistrim into her plans - in all their encounters they'd only ever wanted to get Voyager's technology to gain superiority, so it's a bit unlikely they'd agree to provide the ship with a nice, safe escort out of Kazon space!
It wouldn't have been as enjoyable without Seska and Cullah, she trying to keep him from making stupid gestures, and he failing to see his mistakes. If Chakotay was right, and Janeway were to really think like a Kazon leader she'd have to start hating herself and saying "I'm not taking orders from a woman" at her reflection in the mirror, before conceding authority to Chakotay, then whispering plots and plans into his ear in a devious manner. Chakotay might have liked that. The other plot point to be introduced this episode (aside from Seska deceiving Cullah about the baby), was the traitor Jonas, who first tries to make contact with Seska here. Positive impressions are reinforced about him since he holds back the angry Hogan in the mess hall after the touching ceremony for the most recent casualty, with the haunting whistle and Chakotay making a poignant speech - this kind of thing is what Voyager has missed from many of its episodes, the ability to have caring moments that make the crew real, beyond the main characters, while also being able to use the regulars well, give us plenty of action, and tie into ongoing arcs. It's more like a 'DS9' episode than the usual standalones, and because of that it's so much better.
Mabus is another character which is deceptively shown in a good light, his concern over Neelix when the Talaxian is thrown into the Kazon prison, and his honest face and obvious care for his people mark him out as a good guy - he reminded me of Shakaar on 'DS9', down to Earth and plain-spoken (with the same floppy hair!), and you believe him as much as Janeway does, so it comes as quite a shock when his cold, calculating plan to kill off the Kazon leaders comes to light. That sequence with the gunship blasting into the meeting room is something that should be attempted more on Trek. I don't mean gunships should be in every episode, but that kind of bold, strategic moment, with Voyager sending some photon torpedoes from orbit to hit the hovering Kazon ship makes the scale of the event so much bigger and more real.
I don't think it could have been all the Kazon leaders as I'm sure there would be more sects than just five or so, but maybe some couldn't come or wouldn't. Jal Surat shouldn't be there since he was beamed into space by Cullah just a short time ago, but he's apparently been rescued and doesn't bear a grudge, unless this is his twin brother! Mabus' plan still would have been unlikely to work from what we've seen of the Kazon. The factions territory and size shifts all the time, and probably their leaders too, so new ones would soon have forced their way to the top of each faction. We do finally get some background on the race, which fleshes them out, and provides a modicum of sympathy for them, as Trek is so good at doing to its enemies. The Trabe were just as bad as the Kazon, keeping them in ghettos and treating them badly, so it's their fault the Kazon became angry enough to rise up against them, thus plunging the area into constant instability.
Mabus didn't seem a vengeful sort of man, he seemed to genuinely believe killing off their leaders would weaken the Kazon enough to give the Trabe chance to settle somewhere, but in reality it would just provoke them even more, just as the failed assassination attempt must have done. So it leaves Voyager in a worse position than before, since the Kazon would all want them dead now, but Janeway's great speech at the end, exhorting her crewmates to stick to the principles of Starfleet is a strong and upbeat way to finish, also reassuring us with the news that supplies and energy are high. If nothing else, the time it took to organise the alliance talks gave Voyager a chance to catch breath, and it can now speed off into the sunset secure in the knowledge that, for the moment at least, their Starfleet principles will guide them as they always have. Though if Paris was at the helm in that last shot I wonder if he'd been at the synthale again - the ship was listing drunkenly into the distance rather than smartly warping off! Maybe that's the start of his undercover operation to weed out the spy?
****
Crossroads
DVD, Stargate SG-1 S4 (Crossroads)
Like most of the mythology episodes involving the Jafar this is very absorbing, partly because you have to concentrate to take in all the names and events they're talking about, and partly because of the Shakespearean grandeur of the language and gravity put into the performances, particularly of Teal'c and his good friend Shan'auc, lit by candles and shot in a careful, serious manner. This does accentuate the way SG-1 are pushed into the background as it is mainly about or between the Tok'ra and Jafar representatives, the people of the Tar'e (humans), therefore looking a bit powerless and unimportant except as friends of Teal'c. I wouldn't say it hurts the episode, there's plenty to keep the mind busy without giving the regulars involving plots too, although it would have been nice to have either Master Bre'tak or Sam's Dad, a member of the Tok'ra, taking part. Instead we get the same female Tok'ra representative as the previous episode, which is good for continuity, but will it have a bearing on future episodes, since O'Neill has the dichotomy of liking the host, but despising the symbiont inside her?!
The whole idea is that this old friend of Teal'c's, formerly a Goa'uld priestess, has apparently found a way to communicate with her symbiont through visions when in deep meditation of Kel Nor Reem, and, inspired by Teal'c's stand against Apophis believes her symbiont is willing to communicate secrets. Of course things are never that simple and even initially things look suspicious since Bre'tak has sent her alone - he just couldn't come, apparently. Teal'c tries this new level of Kel Nor Reem and sees a vision of his Father being murdered at the hand of Cronus, so confirms it is possible to do what Shan'auc claims, but if this were always possible how can it be so simple as just trying a bit harder to meditate? Surely if it were that easy he'd have received messages from his symbiont long ago!
I distrusted Shan'auc from the start, but it turns out that she was telling the truth, though the Goa'uld symbiont inside her, calling itself Tanith when it takes a willing Tok'ra host, was the liar, the purpose to become a spy in the Tok'ra ranks. This all seems rather obvious, especially as he kills his former host, much to Teal'c's dismay, since he'd decided to leave to take up the rebellion with her on his home planet. The fact that Hebron, the host who agrees to take the Goa'uld symbiont has an English accent was like hanging a big sign over his head with the flashing the word 'BADDIE' on it. And the way he sneeringly commiserates with Teal'c over Shan'auc's apparently accidental death (they were meant to think her new symbiont came too late to save her), is a bit too obvious to be taken seriously. Does Tanith really think he's fooling the Tok'ra? Do the Tok'ra really think he doesn't guess that they suspect him? Is anyone on the winning side in this spy versus spy situation?
It sounds more complex than it was, and a bit boring, but it's actually a good episode, the moving theme music for Teal'c whenever sad things happen to him coming on as usual and adding to the visuals a wistful mood that couldn't be conveyed merely with the images. The twist was better than if it had been Shan'auc as a villain, but I feel I've either seen this episode before or Tanith is sure to reappear since I recognised his sneering face. It became obvious Shan'auc had to die because no way was Teal'c leaving the SGC. His story does rather mirror Worf's in 'Star Trek: The Next Generation', with a traitor killing his intended mate, and the two characters have always been quite similar, but I won't hold that against this series because you should always plunder from the best!
***
Like most of the mythology episodes involving the Jafar this is very absorbing, partly because you have to concentrate to take in all the names and events they're talking about, and partly because of the Shakespearean grandeur of the language and gravity put into the performances, particularly of Teal'c and his good friend Shan'auc, lit by candles and shot in a careful, serious manner. This does accentuate the way SG-1 are pushed into the background as it is mainly about or between the Tok'ra and Jafar representatives, the people of the Tar'e (humans), therefore looking a bit powerless and unimportant except as friends of Teal'c. I wouldn't say it hurts the episode, there's plenty to keep the mind busy without giving the regulars involving plots too, although it would have been nice to have either Master Bre'tak or Sam's Dad, a member of the Tok'ra, taking part. Instead we get the same female Tok'ra representative as the previous episode, which is good for continuity, but will it have a bearing on future episodes, since O'Neill has the dichotomy of liking the host, but despising the symbiont inside her?!
The whole idea is that this old friend of Teal'c's, formerly a Goa'uld priestess, has apparently found a way to communicate with her symbiont through visions when in deep meditation of Kel Nor Reem, and, inspired by Teal'c's stand against Apophis believes her symbiont is willing to communicate secrets. Of course things are never that simple and even initially things look suspicious since Bre'tak has sent her alone - he just couldn't come, apparently. Teal'c tries this new level of Kel Nor Reem and sees a vision of his Father being murdered at the hand of Cronus, so confirms it is possible to do what Shan'auc claims, but if this were always possible how can it be so simple as just trying a bit harder to meditate? Surely if it were that easy he'd have received messages from his symbiont long ago!
I distrusted Shan'auc from the start, but it turns out that she was telling the truth, though the Goa'uld symbiont inside her, calling itself Tanith when it takes a willing Tok'ra host, was the liar, the purpose to become a spy in the Tok'ra ranks. This all seems rather obvious, especially as he kills his former host, much to Teal'c's dismay, since he'd decided to leave to take up the rebellion with her on his home planet. The fact that Hebron, the host who agrees to take the Goa'uld symbiont has an English accent was like hanging a big sign over his head with the flashing the word 'BADDIE' on it. And the way he sneeringly commiserates with Teal'c over Shan'auc's apparently accidental death (they were meant to think her new symbiont came too late to save her), is a bit too obvious to be taken seriously. Does Tanith really think he's fooling the Tok'ra? Do the Tok'ra really think he doesn't guess that they suspect him? Is anyone on the winning side in this spy versus spy situation?
It sounds more complex than it was, and a bit boring, but it's actually a good episode, the moving theme music for Teal'c whenever sad things happen to him coming on as usual and adding to the visuals a wistful mood that couldn't be conveyed merely with the images. The twist was better than if it had been Shan'auc as a villain, but I feel I've either seen this episode before or Tanith is sure to reappear since I recognised his sneering face. It became obvious Shan'auc had to die because no way was Teal'c leaving the SGC. His story does rather mirror Worf's in 'Star Trek: The Next Generation', with a traitor killing his intended mate, and the two characters have always been quite similar, but I won't hold that against this series because you should always plunder from the best!
***
Monday, 21 March 2011
Fade
DVD, Smallville S5 (Fade)
Lois Lane is the new Pete, she's always attracting dangerous, psychopathic types, and you have to feel sympathy for her really. I don't know if the Chameleon, as he called himself, was an original 'Smallville' creation or an existing DC villain (I know Marvel had one of the same name in the Spiderman universe), but it seems likely the former since he admits to gaining his power of invisibility from the meteor rocks on a trip through the area when the first strike hit. Plus it looked like he died at the end, so we can assume he was a one-episode guest villain. As much as Lois falling for the bad boys is a cliche, I'm sure Clark making a powerful friend who then helps him out by doing things for him (such as attempting to kill Lex) has been done before, though episode specifics don't 'fade' into mind. Invisibility certainly had been used in Season 1's 'Shimmer' so I don't know why Chloe's Wall of Weird, now seemingly transformed into a searchable database, has no occurrences listed.
The Database of Weird doesn't have the same attraction as a crazy wall full of papers, but it's not her office at the Torch any more, it's the basement of the Daily Planet, so such displays of personal oddness would be frowned upon. There are links back to those Torch days when Chloe tries to get Clark back into reporter mode, one aspect of his character that has fallen by the wayside after being so successfully set up in the early seasons. But there are echoes of destiny too, with his continued presence at the Planet, and his decision to save Graham Garrett at the start, as well as his interesting discussion with Chloe on whether it was right to save people who had done, or would do evil - a theme that could have stretched out to the length of an episode, but sadly 'Smallville' doesn't do a lot of 'thoughtful'. Lois and Martha's conversation at the end also hints at the possible future Lois and Clark could have if she realised what a good chap he is, without openly saying anything.
The episode begins strongly with a pretty good effects sequence of Clark saving Garrett, but didn't live up to the promise shown in the teaser, which was well shot, exciting and impressive. I'm amazed not one person in the busy street noticed the guy with the bright red jacket was one side of the road, then a few seconds later he's over the other side having pushed the guy out of the way of a speeding car! The episode comes full circle with another sequence in which Clark saves the unknowing Lex and his now-public girlfriend Lana, from the bullet of the baddie, except Lana thinks Lex saved her life now! I really hoped, futilely, as it turns out, that the big circle of doom had been broken and we wouldn't have to see scenes between Clark and Lana where they softly rant at each other, moan about trust, etc, etc, etc. It's like they can't go too many episodes without ending one with the pair getting all het up with each other, but there was a time when it didn't happen, honest it really didn't! Those happier days are long since gone, and signs are there that spell further trouble - Lana's trust in Lex may be misplaced since he appeared to be in email contact with Milton Fine, the missing Kryptonian, who is still sure to show up for a rematch with Clark before long.
***
Lois Lane is the new Pete, she's always attracting dangerous, psychopathic types, and you have to feel sympathy for her really. I don't know if the Chameleon, as he called himself, was an original 'Smallville' creation or an existing DC villain (I know Marvel had one of the same name in the Spiderman universe), but it seems likely the former since he admits to gaining his power of invisibility from the meteor rocks on a trip through the area when the first strike hit. Plus it looked like he died at the end, so we can assume he was a one-episode guest villain. As much as Lois falling for the bad boys is a cliche, I'm sure Clark making a powerful friend who then helps him out by doing things for him (such as attempting to kill Lex) has been done before, though episode specifics don't 'fade' into mind. Invisibility certainly had been used in Season 1's 'Shimmer' so I don't know why Chloe's Wall of Weird, now seemingly transformed into a searchable database, has no occurrences listed.
The Database of Weird doesn't have the same attraction as a crazy wall full of papers, but it's not her office at the Torch any more, it's the basement of the Daily Planet, so such displays of personal oddness would be frowned upon. There are links back to those Torch days when Chloe tries to get Clark back into reporter mode, one aspect of his character that has fallen by the wayside after being so successfully set up in the early seasons. But there are echoes of destiny too, with his continued presence at the Planet, and his decision to save Graham Garrett at the start, as well as his interesting discussion with Chloe on whether it was right to save people who had done, or would do evil - a theme that could have stretched out to the length of an episode, but sadly 'Smallville' doesn't do a lot of 'thoughtful'. Lois and Martha's conversation at the end also hints at the possible future Lois and Clark could have if she realised what a good chap he is, without openly saying anything.
The episode begins strongly with a pretty good effects sequence of Clark saving Garrett, but didn't live up to the promise shown in the teaser, which was well shot, exciting and impressive. I'm amazed not one person in the busy street noticed the guy with the bright red jacket was one side of the road, then a few seconds later he's over the other side having pushed the guy out of the way of a speeding car! The episode comes full circle with another sequence in which Clark saves the unknowing Lex and his now-public girlfriend Lana, from the bullet of the baddie, except Lana thinks Lex saved her life now! I really hoped, futilely, as it turns out, that the big circle of doom had been broken and we wouldn't have to see scenes between Clark and Lana where they softly rant at each other, moan about trust, etc, etc, etc. It's like they can't go too many episodes without ending one with the pair getting all het up with each other, but there was a time when it didn't happen, honest it really didn't! Those happier days are long since gone, and signs are there that spell further trouble - Lana's trust in Lex may be misplaced since he appeared to be in email contact with Milton Fine, the missing Kryptonian, who is still sure to show up for a rematch with Clark before long.
***
The Communicator
DVD, Enterprise S2 (The Communicator)
'The Original Series' was a continued source of inspiration for the latest branch of the legacy, and this episode was one of the more obvious tips of the hat since it directly follows on (retrospectively) from Dr. McCoy's comments in an episode (was it 'A Piece of The Action'?), in which, after suffering at the hands of a pre-warp civilization who had been influenced by a book left behind on a previous ship's visit, he realises he's left his communicator down on the planet. In that episode it was only meant as a lighthearted way to end the episode, no doubt with Kirk pulling a long-suffering expression and Spock raising an eyebrow. In this however, it's a serious story, which shows the difference between the two series', I suppose - 'TOS' tended to be more straightforward 'fun', where 'Enterprise' took things a little more seriously sometimes than was necessary.
It may not have been a particularly rich vein to mine as the story is fairly bland, as in we've seen it all before - the aliens are rather uninspiring to look at, we don't learn enough about their culture to care about them, and what should have been the heart of the narrative, the fact that cultural contamination should be avoided at all costs, was neither delved into in a new way, or deep enough. If Malcolm had refused to die for the sake of the race knowing he was an alien, and had confessed against Archer's orders it might have spiced things up (although he'd have had to redeem himself somehow). Even worse, there's no real B-story, only Trip and Travis pottering sedately around the Suliban ship they've been carrying since the pilot in an attempt to get the cloak working. The most exciting thing that happens is Trip's arm going invisible!
If there had never been a 'TNG', a 'DS9' or a 'Voyager', this might be okay, but we've had so many episodes that rolling out another identikit, half-hearted story doesn't cut it. It would be different if the characters were used to their full potential and we learnt about them through the story, but although it's always interesting to see Archer and Reed together, they don't move on from the 'Minefield' episode, and there's nothing new going on. So that's the bad, but I can't say there weren't good points - the lush planet views were beautiful, and show just what we're missing in space when we only get distant stars pinging by. In this, the NX-01 orbits gracefully, and the surface views are equally attractive with verdant forests and realistic cityscapes. The effects budget was well allocated, with an airborne chase, the invisibility effects and T'Pol rolling out of the pod firing! The sets were also quite nice, the cosy pub best, and the very well-lit, sunset-like glow of the prison cell showed off modern ability to create high quality visuals.
There was a break down in intelligence with the soldiers and the bar man as he clearly remembered Hoshi, but although the soldiers were in waiting for Archer and Malcolm no one ever asked them where the third member of their team had gone! This episode was the closest they ever got to having Guinan appear, but only because a guest actor's name was Francis Guinan, which shows how little they bothered about getting regular faces on the series. I felt the story could have done with a scene in which the leader of the soldiers told his men that none of it had happened and that they were to tell no one, as that might have made a better ending dramatically instead of the usual conversation where T'Pol tries to cheer up Archer by saying it didn't go as badly as it might have done. Perhaps if Archer really had left his scanner behind instead of dropping it on the floor of the Suliban pod, in 35 years a new 'Star Trek' series might have had an episode called 'The Scanner'.
**
'The Original Series' was a continued source of inspiration for the latest branch of the legacy, and this episode was one of the more obvious tips of the hat since it directly follows on (retrospectively) from Dr. McCoy's comments in an episode (was it 'A Piece of The Action'?), in which, after suffering at the hands of a pre-warp civilization who had been influenced by a book left behind on a previous ship's visit, he realises he's left his communicator down on the planet. In that episode it was only meant as a lighthearted way to end the episode, no doubt with Kirk pulling a long-suffering expression and Spock raising an eyebrow. In this however, it's a serious story, which shows the difference between the two series', I suppose - 'TOS' tended to be more straightforward 'fun', where 'Enterprise' took things a little more seriously sometimes than was necessary.
It may not have been a particularly rich vein to mine as the story is fairly bland, as in we've seen it all before - the aliens are rather uninspiring to look at, we don't learn enough about their culture to care about them, and what should have been the heart of the narrative, the fact that cultural contamination should be avoided at all costs, was neither delved into in a new way, or deep enough. If Malcolm had refused to die for the sake of the race knowing he was an alien, and had confessed against Archer's orders it might have spiced things up (although he'd have had to redeem himself somehow). Even worse, there's no real B-story, only Trip and Travis pottering sedately around the Suliban ship they've been carrying since the pilot in an attempt to get the cloak working. The most exciting thing that happens is Trip's arm going invisible!
If there had never been a 'TNG', a 'DS9' or a 'Voyager', this might be okay, but we've had so many episodes that rolling out another identikit, half-hearted story doesn't cut it. It would be different if the characters were used to their full potential and we learnt about them through the story, but although it's always interesting to see Archer and Reed together, they don't move on from the 'Minefield' episode, and there's nothing new going on. So that's the bad, but I can't say there weren't good points - the lush planet views were beautiful, and show just what we're missing in space when we only get distant stars pinging by. In this, the NX-01 orbits gracefully, and the surface views are equally attractive with verdant forests and realistic cityscapes. The effects budget was well allocated, with an airborne chase, the invisibility effects and T'Pol rolling out of the pod firing! The sets were also quite nice, the cosy pub best, and the very well-lit, sunset-like glow of the prison cell showed off modern ability to create high quality visuals.
There was a break down in intelligence with the soldiers and the bar man as he clearly remembered Hoshi, but although the soldiers were in waiting for Archer and Malcolm no one ever asked them where the third member of their team had gone! This episode was the closest they ever got to having Guinan appear, but only because a guest actor's name was Francis Guinan, which shows how little they bothered about getting regular faces on the series. I felt the story could have done with a scene in which the leader of the soldiers told his men that none of it had happened and that they were to tell no one, as that might have made a better ending dramatically instead of the usual conversation where T'Pol tries to cheer up Archer by saying it didn't go as badly as it might have done. Perhaps if Archer really had left his scanner behind instead of dropping it on the floor of the Suliban pod, in 35 years a new 'Star Trek' series might have had an episode called 'The Scanner'.
**
Prototype
DVD, Voyager S2 (Prototype)
Robots. We don't get many of them on these series'. Androids, Cyborgs, holocharacters, yes, but a simple robot? Not often. There are plenty of them in this episode, two sides of a never-ending war, but to begin with we don't know anything, even what's going on, as the decision was taken to be a little more experimental with the teaser, which shows the robot's-eye view of floating adrift, beaming up and being poked and prodded by Starfleet officers, only revealing what it looks like when it focuses in on a monitor displaying a video link of itself. Director Jonathan Frakes, as ever, does a good job on the visual side. There were some well-shot scenes that stick in my mind, such as B'Elanna's late-night visit to her mechanical man, shown from high up in Engineering with the warp core throbbing away and evoking the empty night hours suitably. I particularly enjoyed the shuttle sequence when Paris flys towards the robot ships as they battle each other, the tiny shuttle vastly out-sized by the others, the opposing robot craft suddenly looming over the other robot's vessel, like a storm cloud rising above a mountain. And the tiny shuttle is heading into this maelstrom!
The simple, clean design of the robots, though it could be seen as a generic, sci-fi style, emphasised their seeming innocence with the blank faces and equally measured, unemotional voices. The clothing, something that might be considered extraneous gave them a more relatable humanoid texture, a uniform design to mark them out as servants, and the subconscious idea they could be hiding something. When Torres gets in a reference to Data it's a really good tying together of the universe, though as the ship is lost in the Delta Quadrant B'Elanna didn't know the ship Data was on had been destroyed by then, so at that precise moment he wouldn't have been serving as she assumed.
The design of the ships, pyramidal, formidable, were quite different compared with the 'Star Trek' style we usually see, though they still seemed a part of the universe thanks to their blinky lights and windows. Voyager was pummeled again, but this was long before the days when they regularly went nacelle to nacelle with the Borg, or could take on multiple enemies with a snap of Janeway's coffee-stained fingers. It was a simpler time, when the crew still hadn't been defined; Neelix is there to give advice to a weary Torres, Janeway has an understanding chat with her engineer at the end, for once not giving a crewmember a 'chewing out' over disobeying orders, since this time Torres was under duress and thought she was doing the best she could for her ship by co-operating. It was also before she realised the terrible mistake she'd made in helping the Pralor robots.
The story of artificial lifeforms destroying their makers wasn't new to the franchise, as I think Ruk in 'TOS' was responsible for killing off the 'Old Ones' as he called them, but again, it's probably an old staple of the genre. I'm not sure why the Pralor ships didn't destroy Voyager when it was left dead in the water as it would have saved them having to worry about it. If they were intelligent they'd have realised B'Elanna wouldn't have helped if her shipmates were annihilated. Rick Worthy, heard as one of the robot voices, would later be seen as a member of the Equinox crew, and also played a Klingon in 'Enterprise' if I remember correctly, as well as appearing in 'Star Trek: Insurrection'.
***
Robots. We don't get many of them on these series'. Androids, Cyborgs, holocharacters, yes, but a simple robot? Not often. There are plenty of them in this episode, two sides of a never-ending war, but to begin with we don't know anything, even what's going on, as the decision was taken to be a little more experimental with the teaser, which shows the robot's-eye view of floating adrift, beaming up and being poked and prodded by Starfleet officers, only revealing what it looks like when it focuses in on a monitor displaying a video link of itself. Director Jonathan Frakes, as ever, does a good job on the visual side. There were some well-shot scenes that stick in my mind, such as B'Elanna's late-night visit to her mechanical man, shown from high up in Engineering with the warp core throbbing away and evoking the empty night hours suitably. I particularly enjoyed the shuttle sequence when Paris flys towards the robot ships as they battle each other, the tiny shuttle vastly out-sized by the others, the opposing robot craft suddenly looming over the other robot's vessel, like a storm cloud rising above a mountain. And the tiny shuttle is heading into this maelstrom!
The simple, clean design of the robots, though it could be seen as a generic, sci-fi style, emphasised their seeming innocence with the blank faces and equally measured, unemotional voices. The clothing, something that might be considered extraneous gave them a more relatable humanoid texture, a uniform design to mark them out as servants, and the subconscious idea they could be hiding something. When Torres gets in a reference to Data it's a really good tying together of the universe, though as the ship is lost in the Delta Quadrant B'Elanna didn't know the ship Data was on had been destroyed by then, so at that precise moment he wouldn't have been serving as she assumed.
The design of the ships, pyramidal, formidable, were quite different compared with the 'Star Trek' style we usually see, though they still seemed a part of the universe thanks to their blinky lights and windows. Voyager was pummeled again, but this was long before the days when they regularly went nacelle to nacelle with the Borg, or could take on multiple enemies with a snap of Janeway's coffee-stained fingers. It was a simpler time, when the crew still hadn't been defined; Neelix is there to give advice to a weary Torres, Janeway has an understanding chat with her engineer at the end, for once not giving a crewmember a 'chewing out' over disobeying orders, since this time Torres was under duress and thought she was doing the best she could for her ship by co-operating. It was also before she realised the terrible mistake she'd made in helping the Pralor robots.
The story of artificial lifeforms destroying their makers wasn't new to the franchise, as I think Ruk in 'TOS' was responsible for killing off the 'Old Ones' as he called them, but again, it's probably an old staple of the genre. I'm not sure why the Pralor ships didn't destroy Voyager when it was left dead in the water as it would have saved them having to worry about it. If they were intelligent they'd have realised B'Elanna wouldn't have helped if her shipmates were annihilated. Rick Worthy, heard as one of the robot voices, would later be seen as a member of the Equinox crew, and also played a Klingon in 'Enterprise' if I remember correctly, as well as appearing in 'Star Trek: Insurrection'.
***
Identity Crisis
DVD, TNG S4 (Identity Crisis)
Much better than I remembered, this story, linked to one of Geordi's previous postings, is slow-burning, but with enough intrigue to keep you going. I love it when we hear about (or even better, in this case, see) previous missions people have been on prior to the series. They got the period detail of five years before, correct, with the tighter uniform designs and their 'go-faster' stripes on the shoulders! I'm not sure if we'd heard much about Geordi's previous career, or the USS Victory, but either way we get more information to add to our knowledge.
There's always something special about recreating a real scene on the holodeck, perhaps a more important function than the recreational use it's mostly employed for. There was something rather creepy about the shadow that can't be accounted for in the scene, and that computer extrapolation, unfinished, untextured, was strangely menacing. Effects are always important for helping to create believability, and 'TNG' sometimes suffers in this department - the shuttle crash into the atmosphere of the planet was a bit weedy. It's surprising that some visuals can be so drab, yet others are incredible, up there with the best in the series - I'm thinking of the chameleon effect La Forge uses to get to the transporter room, which was tremendous. The holodeck recreation was pretty good, although whenever they do something like this, it always works better when the subjects are locked off (as in 'Journey's End' or 'the 'DS9' episode 'Duet') as you can't rely on the actors not to sway slightly or move almost imperceptibly, which nonetheless diminishes the effect somewhat. Saying that, the 'rewind' sequence looked brilliant, as did all the business with the shadows, and La Forge removing individual elements from the scene.
While the visual effects were worthy of praise, the prosthetics took the series to another level of quality and experimentation - the alien's translucent, blue-veined exterior, added to the webbed hands and glowing yellow eyes, crafted an image of fear and instinctual behaviour. When Geordi is torn between following the other two, who are too far gone to ever revert to their humanity, or to trust his friend Susanna Leitjen, the eyes are so expressive of his desire to flee like an animal, and it's a very touching moment when he takes her hand and takes the first step back to his humanity. There is great poignancy in his returning to normal as the others couldn't make it back, and though we never knew them, it's still very sad.
There are a couple of hiccups in the story - why didn't Riker simply deactivate the holoprogram rather than leaving it running when they search for Geordi, and in the first place, why didn't Picard order a twenty-four hour watch on his Chief Engineer since they knew he was going to turn into a creature that couldn't be tracked, at some point? It was quite surprising to have a Nordic or Scandinavian helmswoman, as it wasn't a people I'd thought of, but as soon as she spoke I wished we had a regular character of that extraction! On the cast front Nurse Ogawa gets to be in it, and we get some really nice scenes between Geordi and Dr. Crusher, and Geordi and Data, both of whom show their concern for their friend. It's one of those well mixed episodes (not talking about sound, although that was fine), which you can sink into, there are some good moments and everything, well almost everything, turns out alright by the end, which is the style of the series I really like - the warm bath effect, shall we say.
Ideas in 'Star Trek' often get recycled, and the genetic reproduction was also seen in 'Voyager' story 'Ashes To Ashes', though that race brought the dead of other races back to life to serve as hosts to new genetic material. The same series' (and also written by Brannon Braga) 'Threshold' is also about genetic mutation, and of course 'TNG's own 'Genesis' had a similar theme. No doubt there were others too!
***
Much better than I remembered, this story, linked to one of Geordi's previous postings, is slow-burning, but with enough intrigue to keep you going. I love it when we hear about (or even better, in this case, see) previous missions people have been on prior to the series. They got the period detail of five years before, correct, with the tighter uniform designs and their 'go-faster' stripes on the shoulders! I'm not sure if we'd heard much about Geordi's previous career, or the USS Victory, but either way we get more information to add to our knowledge.
There's always something special about recreating a real scene on the holodeck, perhaps a more important function than the recreational use it's mostly employed for. There was something rather creepy about the shadow that can't be accounted for in the scene, and that computer extrapolation, unfinished, untextured, was strangely menacing. Effects are always important for helping to create believability, and 'TNG' sometimes suffers in this department - the shuttle crash into the atmosphere of the planet was a bit weedy. It's surprising that some visuals can be so drab, yet others are incredible, up there with the best in the series - I'm thinking of the chameleon effect La Forge uses to get to the transporter room, which was tremendous. The holodeck recreation was pretty good, although whenever they do something like this, it always works better when the subjects are locked off (as in 'Journey's End' or 'the 'DS9' episode 'Duet') as you can't rely on the actors not to sway slightly or move almost imperceptibly, which nonetheless diminishes the effect somewhat. Saying that, the 'rewind' sequence looked brilliant, as did all the business with the shadows, and La Forge removing individual elements from the scene.
While the visual effects were worthy of praise, the prosthetics took the series to another level of quality and experimentation - the alien's translucent, blue-veined exterior, added to the webbed hands and glowing yellow eyes, crafted an image of fear and instinctual behaviour. When Geordi is torn between following the other two, who are too far gone to ever revert to their humanity, or to trust his friend Susanna Leitjen, the eyes are so expressive of his desire to flee like an animal, and it's a very touching moment when he takes her hand and takes the first step back to his humanity. There is great poignancy in his returning to normal as the others couldn't make it back, and though we never knew them, it's still very sad.
There are a couple of hiccups in the story - why didn't Riker simply deactivate the holoprogram rather than leaving it running when they search for Geordi, and in the first place, why didn't Picard order a twenty-four hour watch on his Chief Engineer since they knew he was going to turn into a creature that couldn't be tracked, at some point? It was quite surprising to have a Nordic or Scandinavian helmswoman, as it wasn't a people I'd thought of, but as soon as she spoke I wished we had a regular character of that extraction! On the cast front Nurse Ogawa gets to be in it, and we get some really nice scenes between Geordi and Dr. Crusher, and Geordi and Data, both of whom show their concern for their friend. It's one of those well mixed episodes (not talking about sound, although that was fine), which you can sink into, there are some good moments and everything, well almost everything, turns out alright by the end, which is the style of the series I really like - the warm bath effect, shall we say.
Ideas in 'Star Trek' often get recycled, and the genetic reproduction was also seen in 'Voyager' story 'Ashes To Ashes', though that race brought the dead of other races back to life to serve as hosts to new genetic material. The same series' (and also written by Brannon Braga) 'Threshold' is also about genetic mutation, and of course 'TNG's own 'Genesis' had a similar theme. No doubt there were others too!
***
Night Terrors
DVD, TNG S4 (Night Terrors)
I like to imagine that this episode shows what the cast looked like at the end of a long week of shooting! The unsettling nature of the music helped to create the right sort of atmosphere for the crew's gradual descent into madness, but as a whole I didn't feel the story went far enough in upping the tension. There are some striking images that stick in the mind, most impressive of all were the corpses Dr. Crusher was examining in the morgue (was that the morgue or just a temporary space to store the bodies). She hears rustling then looking round she sees all the silent shapes, wrapped in their sheets, sitting bolt upright. Very effective indeed, without any need for gore. The snakes Riker sees enveloping his legs when in bed also worked well, but there weren't many of these moments, or enough to keep the uneasiness going.
Once we know it's a simple matter of not being able to dream, the solution gets all techy, slowing the story. Data again proves how handy he is with the ability to work normally while everyone else succumbs to irritability and tiredness, and Troi shows herself useful too, though this involves floating rather gracelessly through her dream - I bet Marina Sirtis cringed when she saw that sequence! I like it when they go to the trouble of showing the guest ship's name on it's hull, rather than just telling us its name, even if it was a reuse of the Reliant model. The aliens were a bit cryptic, as it would have been much simpler to explain what they meant, but this must have been the only way they could communicate. I just think that if they could speak English, they'd know the word 'hydrogen', but it's nitpicking really.
It was about time we had a look in on the newly-weds, Miles and Keiko, but sadly it was only an argument, presumably brought on by lack of REM sleep. They should really have had a scene to cap it off where Keiko forgives Miles for his outburst, but that's the price of not having a regular for a husband - when she did get that, on 'DS9', she went off to Bajor anyway, so there's no pleasing some people! Guinan's appearance too, was slightly off-kilter compared to her usual role - I never saw her as the type to carry around a hulking great gun, but she certainly knows how to keep order. It was also fitting that she didn't seem to show any effects of not dreaming, as she's so often 'above' whatever happens to the ship, existing almost separately to her colleagues on board.
I thought Worf was showing his Klingon strength by seemingly not becoming affected, but as usual he was bottling it all up until he bolts off the bridge to his quarters, planning to kill himself. An over-reaction? It was worth it for the scene where the petite Troi takes his hand and leads him off to sickbay like a great bear behind her. Crews going mad in response to alien stimuli or spatial phenomena is almost a regular thing, so they should really sort out some protocols for this eventuality, starting with not leaving it too long before they try out any plan to escape. John Vickery, the catatonic Betazoid, also played Gul Rusot in the last episodes of 'DS9'.
***
I like to imagine that this episode shows what the cast looked like at the end of a long week of shooting! The unsettling nature of the music helped to create the right sort of atmosphere for the crew's gradual descent into madness, but as a whole I didn't feel the story went far enough in upping the tension. There are some striking images that stick in the mind, most impressive of all were the corpses Dr. Crusher was examining in the morgue (was that the morgue or just a temporary space to store the bodies). She hears rustling then looking round she sees all the silent shapes, wrapped in their sheets, sitting bolt upright. Very effective indeed, without any need for gore. The snakes Riker sees enveloping his legs when in bed also worked well, but there weren't many of these moments, or enough to keep the uneasiness going.
Once we know it's a simple matter of not being able to dream, the solution gets all techy, slowing the story. Data again proves how handy he is with the ability to work normally while everyone else succumbs to irritability and tiredness, and Troi shows herself useful too, though this involves floating rather gracelessly through her dream - I bet Marina Sirtis cringed when she saw that sequence! I like it when they go to the trouble of showing the guest ship's name on it's hull, rather than just telling us its name, even if it was a reuse of the Reliant model. The aliens were a bit cryptic, as it would have been much simpler to explain what they meant, but this must have been the only way they could communicate. I just think that if they could speak English, they'd know the word 'hydrogen', but it's nitpicking really.
It was about time we had a look in on the newly-weds, Miles and Keiko, but sadly it was only an argument, presumably brought on by lack of REM sleep. They should really have had a scene to cap it off where Keiko forgives Miles for his outburst, but that's the price of not having a regular for a husband - when she did get that, on 'DS9', she went off to Bajor anyway, so there's no pleasing some people! Guinan's appearance too, was slightly off-kilter compared to her usual role - I never saw her as the type to carry around a hulking great gun, but she certainly knows how to keep order. It was also fitting that she didn't seem to show any effects of not dreaming, as she's so often 'above' whatever happens to the ship, existing almost separately to her colleagues on board.
I thought Worf was showing his Klingon strength by seemingly not becoming affected, but as usual he was bottling it all up until he bolts off the bridge to his quarters, planning to kill himself. An over-reaction? It was worth it for the scene where the petite Troi takes his hand and leads him off to sickbay like a great bear behind her. Crews going mad in response to alien stimuli or spatial phenomena is almost a regular thing, so they should really sort out some protocols for this eventuality, starting with not leaving it too long before they try out any plan to escape. John Vickery, the catatonic Betazoid, also played Gul Rusot in the last episodes of 'DS9'.
***
Resistance
DVD, Voyager S2 (Resistance)
For the most part this comes across as a standard planet-based story, with an Away Team captured or in hiding from the unfriendly local security force. The way it was shot, with close-ups and hardly any establishing shots of the locations, such as the prison or the market, makes the place seem claustrophobic and a bit small scale - would the head of security really be patrolling this small town market when there could be an entire planet of towns to hide in? So Janeway might have had difficulty getting out of the town, but it would have been good to see more of the place to give a larger perspective. The introspection does serve one particular character, who becomes the centre of our attention - Caylem, a little old man who has become slightly confused after his wife and daughter were both captured, and his gentle care of Janeway, thinking her his daughter is a sad, but warm thread running through the story, culminating in his unfortunate death in the prison break, though Janeway is able to set his mind at ease in the most touching way before he goes. I love the scene in her ready room at the end in which she holds the necklace he gave her, which belonged to his wife, showing without the need for words, how much the encounter meant to her, and how she will not forget his bravery. It's better to have a closing scene like that rather than just go off to the next stop.
Though Kes and the EMH don't feature at all, the other characters all get some good moments, whether it's Neelix being part of the shady goings-on to get the material they need, Chakotay in charge up on the ship with Kim as his right-hand man, or the unlikely pairing of Tuvok and Torres. She has to hold herself back a few times when provoked in the prison cell, and only Tuvok's calm reasoning stops her from launching a pointless assault that would probably get her killed. There's quite an uncomfortable moment as we see her in the cell when Tuvok's been taken for interrogation and she hears a loud cry - even a Vulcan can't withstand all levels of pain, as he later admits, though he never gives up the information the Mokra want. I wonder if Torres' Klingon blood would have been as effective?
The Mokra are standard black-clothed, booted, menacing villains, but their leader has a hint of humour, or is that cruel pleasure, in his eyes, his highly restrained demeanour and voice, belying his true power. I liked their biker outfits, with the large black helmets and fast-firing little guns. It was also good to see Neelix wearing his big coat from the pilot episode - it probably smells quite pungently, but in a comforting way, I like to think. B'Elanna appeared to be wearing her Maquis clothing from that episode, too, and Tuvok looks quite tough in his t-shirt, long before he got to dress so casually in 'Future's End'!
Joel Grey's performance as Caylem is the stand out attraction of the episode, as we learn to care about him over the course of our brief time spent with him, something which isn't always achieved with guest roles. Glenn Morshower who was the red-headed guard Janeway distracts had been in 'TNG' - he was Ensign Burke in 'Peak Performance', Orton in 'Starship Mine' and also the navigator of the Enterprise-B in 'Star Trek: Generations', so he certainly got around! Alan Scarfe, who played the leader of the enemy forces had also been in that series as Romulans Admiral Mendak in 'Data's Day' and Tokath, a Romulan in 'Birthright'.
***
For the most part this comes across as a standard planet-based story, with an Away Team captured or in hiding from the unfriendly local security force. The way it was shot, with close-ups and hardly any establishing shots of the locations, such as the prison or the market, makes the place seem claustrophobic and a bit small scale - would the head of security really be patrolling this small town market when there could be an entire planet of towns to hide in? So Janeway might have had difficulty getting out of the town, but it would have been good to see more of the place to give a larger perspective. The introspection does serve one particular character, who becomes the centre of our attention - Caylem, a little old man who has become slightly confused after his wife and daughter were both captured, and his gentle care of Janeway, thinking her his daughter is a sad, but warm thread running through the story, culminating in his unfortunate death in the prison break, though Janeway is able to set his mind at ease in the most touching way before he goes. I love the scene in her ready room at the end in which she holds the necklace he gave her, which belonged to his wife, showing without the need for words, how much the encounter meant to her, and how she will not forget his bravery. It's better to have a closing scene like that rather than just go off to the next stop.
Though Kes and the EMH don't feature at all, the other characters all get some good moments, whether it's Neelix being part of the shady goings-on to get the material they need, Chakotay in charge up on the ship with Kim as his right-hand man, or the unlikely pairing of Tuvok and Torres. She has to hold herself back a few times when provoked in the prison cell, and only Tuvok's calm reasoning stops her from launching a pointless assault that would probably get her killed. There's quite an uncomfortable moment as we see her in the cell when Tuvok's been taken for interrogation and she hears a loud cry - even a Vulcan can't withstand all levels of pain, as he later admits, though he never gives up the information the Mokra want. I wonder if Torres' Klingon blood would have been as effective?
The Mokra are standard black-clothed, booted, menacing villains, but their leader has a hint of humour, or is that cruel pleasure, in his eyes, his highly restrained demeanour and voice, belying his true power. I liked their biker outfits, with the large black helmets and fast-firing little guns. It was also good to see Neelix wearing his big coat from the pilot episode - it probably smells quite pungently, but in a comforting way, I like to think. B'Elanna appeared to be wearing her Maquis clothing from that episode, too, and Tuvok looks quite tough in his t-shirt, long before he got to dress so casually in 'Future's End'!
Joel Grey's performance as Caylem is the stand out attraction of the episode, as we learn to care about him over the course of our brief time spent with him, something which isn't always achieved with guest roles. Glenn Morshower who was the red-headed guard Janeway distracts had been in 'TNG' - he was Ensign Burke in 'Peak Performance', Orton in 'Starship Mine' and also the navigator of the Enterprise-B in 'Star Trek: Generations', so he certainly got around! Alan Scarfe, who played the leader of the enemy forces had also been in that series as Romulans Admiral Mendak in 'Data's Day' and Tokath, a Romulan in 'Birthright'.
***
Upgrades
DVD, Stargate SG-1 S4 (Upgrades)
Wish-fulfilment technology gives the SG-1 team wings (not literally), but proves too good to be true, as usual. Is Vanessa Angel famous? I'd never heard of her but she's credited as a special guest star, playing Enys of the Tok'ra. We don't get to see Carter senior, which is a shame, but there's plenty to entertain as it is, when Jack, Sam and Daniel all find they have superpowers thanks to the Tok'ra's salvaged technology from an extinct people. Of course, the reason they became extinct turns out to be the fact the armbands wear off after a time, and the team picked just that moment to go off and take out a new ship that Apophis is having built. Fortunately Teal'c, who couldn't use the devices due to his symbiont (the reason the Tok'ra wanted humans, as they don't have symbionts), comes to the rescue.
There are elements of 'The Matrix' (when O'Neill takes on Teal'c at boxing and moves at superspeed), 'The Champions' (an old TV series from the 60s in which two men and a woman discover they've developed super-abilities and go off to complete missions using them), and even 'Spiderman' ('with great power comes great responsibility') and 'Smallville' (the effects of them dashing around are similar, as is the superior strength, sadly no x-ray vision though!), even 'Star Trek' (they seem to use Vulcan nerve pinches on members of the base to knock them out), so there's a great mix of opportunities to demonstrate their power, from reading an entire book in a few seconds, to writing one in a few minutes or typing so fast a computer can't keep up. Unfortunately they're kept walled up at the base until they break out and get into a barfight, sadly not seen - we just get the comedy sound effects and a view of the bar's entrance.
As ever there's plenty of humour with the four main characters trading plenty of banter in their restrained, ironic way, and though the story of people finding new technology, testing it out and getting hooked until it malfunctions is another tried and tested sci-fi plot, fun is the over-riding feature here, Jack especially getting to enjoy himself. The effects are pretty good, apart from the CGI view of the ship under construction, which doesn't look real enough, General Hammond gets to stick up for his people, and Dr. Fraiser shows she cares (not to mention we get to see Sergeant Siler knocked flying down the stairs by accident when O'Neill pats him on the shoulder, which, though chilling, was also funny).
***
Wish-fulfilment technology gives the SG-1 team wings (not literally), but proves too good to be true, as usual. Is Vanessa Angel famous? I'd never heard of her but she's credited as a special guest star, playing Enys of the Tok'ra. We don't get to see Carter senior, which is a shame, but there's plenty to entertain as it is, when Jack, Sam and Daniel all find they have superpowers thanks to the Tok'ra's salvaged technology from an extinct people. Of course, the reason they became extinct turns out to be the fact the armbands wear off after a time, and the team picked just that moment to go off and take out a new ship that Apophis is having built. Fortunately Teal'c, who couldn't use the devices due to his symbiont (the reason the Tok'ra wanted humans, as they don't have symbionts), comes to the rescue.
There are elements of 'The Matrix' (when O'Neill takes on Teal'c at boxing and moves at superspeed), 'The Champions' (an old TV series from the 60s in which two men and a woman discover they've developed super-abilities and go off to complete missions using them), and even 'Spiderman' ('with great power comes great responsibility') and 'Smallville' (the effects of them dashing around are similar, as is the superior strength, sadly no x-ray vision though!), even 'Star Trek' (they seem to use Vulcan nerve pinches on members of the base to knock them out), so there's a great mix of opportunities to demonstrate their power, from reading an entire book in a few seconds, to writing one in a few minutes or typing so fast a computer can't keep up. Unfortunately they're kept walled up at the base until they break out and get into a barfight, sadly not seen - we just get the comedy sound effects and a view of the bar's entrance.
As ever there's plenty of humour with the four main characters trading plenty of banter in their restrained, ironic way, and though the story of people finding new technology, testing it out and getting hooked until it malfunctions is another tried and tested sci-fi plot, fun is the over-riding feature here, Jack especially getting to enjoy himself. The effects are pretty good, apart from the CGI view of the ship under construction, which doesn't look real enough, General Hammond gets to stick up for his people, and Dr. Fraiser shows she cares (not to mention we get to see Sergeant Siler knocked flying down the stairs by accident when O'Neill pats him on the shoulder, which, though chilling, was also funny).
***
Monday, 14 March 2011
Mercy
DVD, Smallville S5 (Mercy)
There have been far too many nasty films in recent years featuring torture storylines in which people get kidnapped and have to play gory mind games in order to survive, and now this series has got in on the act. Thankfully it works reasonably well as a device to put Lionel on centre stage and gives him a strong role to play, culminating in the shock of Clark rescuing him and Martha from a plummeting lift in full view of the man, and there's no get-out clause in which he loses his memory of the incident as has happened several times before, to him and most of the other characters. Although there is a final scene in which Lionel is shown to be clutching his head in an 'I've got something seriously wrong with me' way, so there's still a chance he could be made to forget. I actually wondered if somehow Jor-el had taken over his mind as he has seemed different this season, less focused on the business dealings, in fact more like a 'good guy' than when he supposedly turned over a new leaf last season. I took it to be just a continuation of the oddness in the way certain characters have been written, but perhaps I'm not giving John Glover credit for subtly altering his performance?
As well as the horror film overtones I wonder if perhaps the writer had seen some of the series that 'Smallville' creators Al Gough and Miles Millar had worked on here in England - namely 'BUGS' in which a blue-faced avatar is used for extortion purposes, and to frighten via onscreen prompts? Perhaps 'Countdown' should use the idea of a victim in a water tank instead of the famous clock as that might get them more viewers...
As soon as the mystery kidnapper was introduced my mind was reeling through the possibilities, but I have the impression they used Michael Rosenbaum's voice in the mix, at least at first, because it really gave the impression of him. As time went on I began to wonder if it could be someone we haven't heard from in a while, such as Lex' half-brother Lucas, although it was a long shot. Once we see the security rep it became clear it was most likely to be him as no other non-regulars had appeared and it follows the pattern of most of the episodes, in which the unassuming minor role is revealed as the mastermind. Nil points for originality I'm afraid, but the intensity of the scenes made it rattle along quickly and gave John Glover the chance to act. I know the name Lauro Chartrand from the credits, it certainly rings a bell, and the bad guy looked familiar...
Clark doesn't feature much, but it worked fine, and Lionel made a good lead. We've rarely seen such major moments as Lionel knowing about Clark, Clark doing something so dramatic to save him and Martha, or when Lex overhears in front of Clark his Dad saying how special Clark is to the world! And then he gets a final slap in the face as his Dad basically says Clark's the kind of son a Dad would want! Lionel has known about Clark as Kal-el for over a year, we learn, so it's good to get that confirmed at last, the uncertainty had often been used to tease us. The big question is whether he was really acting selflessly, for so long an unlikely scenario, or did he know the gun wasn't loaded? Either way it worked for Martha, who was softer on him than she had resolved to be. I began to suspect it was all a set up by Lionel to confirm Clark's identity with his own eyes, but that wouldn't make sense if Cole had to be restrained after finding his plan hadn't worked. That doesn't guarantee Luthor senior can be trusted, as he's always out for himself, as Clark points out. Things are never simple with Lionel as we know, and only time will tell.
The episode was well shot, and because it was mostly psychological the effects weren't needed as much, with more on-set stunts used, such as the water tank. I did think the train crashing into the limo didn't look quite real, but on the whole the intense nature of the situation came across quite well. All it needed was a contemporary vocal track and some happy scenes to end with and it could almost be an episode from the glory days.
***
There have been far too many nasty films in recent years featuring torture storylines in which people get kidnapped and have to play gory mind games in order to survive, and now this series has got in on the act. Thankfully it works reasonably well as a device to put Lionel on centre stage and gives him a strong role to play, culminating in the shock of Clark rescuing him and Martha from a plummeting lift in full view of the man, and there's no get-out clause in which he loses his memory of the incident as has happened several times before, to him and most of the other characters. Although there is a final scene in which Lionel is shown to be clutching his head in an 'I've got something seriously wrong with me' way, so there's still a chance he could be made to forget. I actually wondered if somehow Jor-el had taken over his mind as he has seemed different this season, less focused on the business dealings, in fact more like a 'good guy' than when he supposedly turned over a new leaf last season. I took it to be just a continuation of the oddness in the way certain characters have been written, but perhaps I'm not giving John Glover credit for subtly altering his performance?
As well as the horror film overtones I wonder if perhaps the writer had seen some of the series that 'Smallville' creators Al Gough and Miles Millar had worked on here in England - namely 'BUGS' in which a blue-faced avatar is used for extortion purposes, and to frighten via onscreen prompts? Perhaps 'Countdown' should use the idea of a victim in a water tank instead of the famous clock as that might get them more viewers...
As soon as the mystery kidnapper was introduced my mind was reeling through the possibilities, but I have the impression they used Michael Rosenbaum's voice in the mix, at least at first, because it really gave the impression of him. As time went on I began to wonder if it could be someone we haven't heard from in a while, such as Lex' half-brother Lucas, although it was a long shot. Once we see the security rep it became clear it was most likely to be him as no other non-regulars had appeared and it follows the pattern of most of the episodes, in which the unassuming minor role is revealed as the mastermind. Nil points for originality I'm afraid, but the intensity of the scenes made it rattle along quickly and gave John Glover the chance to act. I know the name Lauro Chartrand from the credits, it certainly rings a bell, and the bad guy looked familiar...
Clark doesn't feature much, but it worked fine, and Lionel made a good lead. We've rarely seen such major moments as Lionel knowing about Clark, Clark doing something so dramatic to save him and Martha, or when Lex overhears in front of Clark his Dad saying how special Clark is to the world! And then he gets a final slap in the face as his Dad basically says Clark's the kind of son a Dad would want! Lionel has known about Clark as Kal-el for over a year, we learn, so it's good to get that confirmed at last, the uncertainty had often been used to tease us. The big question is whether he was really acting selflessly, for so long an unlikely scenario, or did he know the gun wasn't loaded? Either way it worked for Martha, who was softer on him than she had resolved to be. I began to suspect it was all a set up by Lionel to confirm Clark's identity with his own eyes, but that wouldn't make sense if Cole had to be restrained after finding his plan hadn't worked. That doesn't guarantee Luthor senior can be trusted, as he's always out for himself, as Clark points out. Things are never simple with Lionel as we know, and only time will tell.
The episode was well shot, and because it was mostly psychological the effects weren't needed as much, with more on-set stunts used, such as the water tank. I did think the train crashing into the limo didn't look quite real, but on the whole the intense nature of the situation came across quite well. All it needed was a contemporary vocal track and some happy scenes to end with and it could almost be an episode from the glory days.
***
Outcasts
TV, Outcasts (2011) TV series, 8 episodes
I was initially resentful of this programme as I suspect it was the replacement for 'Survivors', a series I was enjoying quite a lot when its third season was cancelled, leaving with a cliffhanger. I hoped this would be a worthy successor, but after watching the first episode and almost falling asleep from the lack of explanation and interest, where you had to guess what was going on, not particularly hard as the characters had a habit of telling their story in the most banal way possible. Everyone was either serious and dull or cheeky and annoying, and there was nothing in it to make me think this was going to be a good series. I stuck with it anyway as I like to give things a chance, not to judge a series by its first episode, but I was not rewarded for my patience as the next two episodes were equally as dull so that I actually didn't look forward to watching it on the Monday and Tuesday evenings it was shown. The characters continued to irritate, the bad guy was so obviously the bad guy, and while much of the time the opposite of what might have been expected was the route chosen, the story remained deathly dull.
Episode 4 rolled around and for the first time I actually enjoyed an episode, the one with the 'AC' with mental problems. I began to care about some of the characters. President Tate's constant frown no longer bothered me, I liked Cass and Fleur and the story, while hardly gripping, did engage my interest. Sadly, most people don't have that level of patience to allow them to reach episode four when three have been so poor, so the ratings dropped and after episode 5 the series was shunted into the graveyard slot of Sunday evenings at 10:25, from the prime time 9:00pm slot on Mondays and Tuesdays. This was a shame, as episodes 5, 6 and 7 continued the enjoyment factor begun in episode 4. The mystery of the planet began to make sense, there were some nice scenes, such as the first pilot who had been living alone on this planet and had appeared in Fort Haven, then ended up walking into the sea in a sad death scene. Cass had become a fun and sympathetic character and the bad guy was being stonewalled and under suspicion by some, so that the irritation 'he's behind you!' factor was vastly decreased.
It may be that because people were savaging the series (when they were bothered to comment on it at all), saying mainly negative things, this attracted me to it even more. It had gone from being a flagship BBC series to a niche sci-fi show, relegated to a late slot that few people except those interested in finding out what was going to happen, would watch, and somehow this made it seem like a better proposition, as those still watching were the chosen, patient few, rewarded for sticking with it. I'm not going to say it was better than 'Survivors', (although it scored over other recent BBC sci-fi, such as submarine drama 'The Deep' and 'Paradox'), or that it was original, or even that it contained many strong science fiction ideas. But I will say that it was worth watching, remained pretty tasteful (little harsh language or innuendo, unlike, say, 'Life On Mars'/ 'Ashes To Ashes'), and made me want to see each new episode. I'd even like to see more of these characters, which is a big turnaround from my early impressions. Of course that's never going to happen now that it is officially a failure.
The series continued to take surprising turns even into the last episode where President Tate chose Jack, head of the expeditionary force, as his successor, over Stella. A wise move, as this allowed Julius Berger a chance to show what he really thought of the soldier man, leading Jack to realise where his true loyalty should lie. The last episode ended on a cliffhanger, something which shouldn't be attempted unless a second season is guaranteed or it becomes an annoyance to those still interested. I can guess that the new ship, crashing down towards Port Haven might have taken a few people out, meaning they didn't need to bring back all of the characters (thus saving money), and that Berger probably would have escaped in the chaos to cause trouble again.
The 'host force' of the planet was interested in seeing what the humans did next, which was a weak way of continuing the tension between them, since they would be more likely to just find another way to wipe out the population rather than effectively concede a temporary defeat. And with Fleur revealed to be an AC and joining her fellow enhanced men, she might have been a catalyst for detente between them and the humans. Regardless of the way it ended there was plenty still to tell about those characters - I'd have liked more flashbacks to their lives on Earth, as Tipper experienced - the 'mind machine' never came into it again for some reason - such as Cass' guilty actions for the cartels. Sadly, with such a weak opening gambit the series was doomed and it's about as likely of returning as 'Survivors' is of getting a Season 3. Having seen all eight episodes I would have to say that I'm disappointed it won't be coming back.
***
I was initially resentful of this programme as I suspect it was the replacement for 'Survivors', a series I was enjoying quite a lot when its third season was cancelled, leaving with a cliffhanger. I hoped this would be a worthy successor, but after watching the first episode and almost falling asleep from the lack of explanation and interest, where you had to guess what was going on, not particularly hard as the characters had a habit of telling their story in the most banal way possible. Everyone was either serious and dull or cheeky and annoying, and there was nothing in it to make me think this was going to be a good series. I stuck with it anyway as I like to give things a chance, not to judge a series by its first episode, but I was not rewarded for my patience as the next two episodes were equally as dull so that I actually didn't look forward to watching it on the Monday and Tuesday evenings it was shown. The characters continued to irritate, the bad guy was so obviously the bad guy, and while much of the time the opposite of what might have been expected was the route chosen, the story remained deathly dull.
Episode 4 rolled around and for the first time I actually enjoyed an episode, the one with the 'AC' with mental problems. I began to care about some of the characters. President Tate's constant frown no longer bothered me, I liked Cass and Fleur and the story, while hardly gripping, did engage my interest. Sadly, most people don't have that level of patience to allow them to reach episode four when three have been so poor, so the ratings dropped and after episode 5 the series was shunted into the graveyard slot of Sunday evenings at 10:25, from the prime time 9:00pm slot on Mondays and Tuesdays. This was a shame, as episodes 5, 6 and 7 continued the enjoyment factor begun in episode 4. The mystery of the planet began to make sense, there were some nice scenes, such as the first pilot who had been living alone on this planet and had appeared in Fort Haven, then ended up walking into the sea in a sad death scene. Cass had become a fun and sympathetic character and the bad guy was being stonewalled and under suspicion by some, so that the irritation 'he's behind you!' factor was vastly decreased.
It may be that because people were savaging the series (when they were bothered to comment on it at all), saying mainly negative things, this attracted me to it even more. It had gone from being a flagship BBC series to a niche sci-fi show, relegated to a late slot that few people except those interested in finding out what was going to happen, would watch, and somehow this made it seem like a better proposition, as those still watching were the chosen, patient few, rewarded for sticking with it. I'm not going to say it was better than 'Survivors', (although it scored over other recent BBC sci-fi, such as submarine drama 'The Deep' and 'Paradox'), or that it was original, or even that it contained many strong science fiction ideas. But I will say that it was worth watching, remained pretty tasteful (little harsh language or innuendo, unlike, say, 'Life On Mars'/ 'Ashes To Ashes'), and made me want to see each new episode. I'd even like to see more of these characters, which is a big turnaround from my early impressions. Of course that's never going to happen now that it is officially a failure.
The series continued to take surprising turns even into the last episode where President Tate chose Jack, head of the expeditionary force, as his successor, over Stella. A wise move, as this allowed Julius Berger a chance to show what he really thought of the soldier man, leading Jack to realise where his true loyalty should lie. The last episode ended on a cliffhanger, something which shouldn't be attempted unless a second season is guaranteed or it becomes an annoyance to those still interested. I can guess that the new ship, crashing down towards Port Haven might have taken a few people out, meaning they didn't need to bring back all of the characters (thus saving money), and that Berger probably would have escaped in the chaos to cause trouble again.
The 'host force' of the planet was interested in seeing what the humans did next, which was a weak way of continuing the tension between them, since they would be more likely to just find another way to wipe out the population rather than effectively concede a temporary defeat. And with Fleur revealed to be an AC and joining her fellow enhanced men, she might have been a catalyst for detente between them and the humans. Regardless of the way it ended there was plenty still to tell about those characters - I'd have liked more flashbacks to their lives on Earth, as Tipper experienced - the 'mind machine' never came into it again for some reason - such as Cass' guilty actions for the cartels. Sadly, with such a weak opening gambit the series was doomed and it's about as likely of returning as 'Survivors' is of getting a Season 3. Having seen all eight episodes I would have to say that I'm disappointed it won't be coming back.
***
Maneuvers
DVD, Voyager S2 (Maneuvers)
This tale, which brought Seska and her master, Maje Cullah of the Kazon, back into the series is quite good, but unremarkable in terms of what there is to say about it. Chakotay gets to be a hero, there's an exciting attack on Voyager and a daring raid in which transporter technology is stolen, and Torres gives some impassioned (but not beyond the bounds of protocol - she seems more acclimatised to Starfleet working than Chakotay for a change!) defences of her friend and first officer, and the Kazon arc gets going this season with various sects coming into play and mention of the Trabe, the Kazon's first enemies. Deep Space Nine also gets a brief mention when a Federation signal is discovered, and at this relatively early stage certain people still get excited and hopeful about the prospect of Starfleet finding a way to contact them.
Seska appears for the first time in her true Cardassian identity after she was unmasked as a spy in Bajoran disguise last season. She still has concerns for Chakotay, B'Elanna and some of the Maquis, though we might choose to disbelieve what she says, she does go to the trouble of impregnating herself with some stolen DNA of Chakotay, as if in a desperate desire not to lose contact with those on Voyager. And if there is that connection she wishes, it is set to provide more trouble both for Voyager and the Kazon. Chakotay acts more in the vein of the Maquis with his decision to sort out Seska alone, but he stops at destroying the stolen component, handing himself in to Seska. Why didn't he keep moving, attempt to disable the Kazon vessel and steal one of their own shuttles? It might not have got him very far, and if Voyager was alerted that he had a chance they would be more likely to disregard his warning and come after him. He may also have had a long term plan to gain Seska's trust and get her to see that the Kazon would kill her once she was of no more use, perhaps initiating a plan for both of them to escape?
I may be putting more thoughts into Chakotay's head than were there, but Janeway and the crew were there to save him, despite Tuvok's logical advice to follow the first officer's plan and not come after him. This was the logical thing to do, but is it a continuance of the distaste between the two officers that existed at first. Tuvok also points out to Chakotay that while Seska used him thanks to her intimate knowledge, perhaps he could do the same. Chakotay fortunately accepts this with a grim smile, knowing it's true, so he seems to accept Tuvok doesn't really have a personal vendetta against him, whereas at one time he would have done. Another crewmember lets Janeway down in the footsteps of Tuvok and Harry Kim, and others would take that sheepish walk into her ready room for a dressing down at one time or another. Even Janeway herself would let the side down on one or two occasions ('Night'; 'Equinox'). All the characters appear, but only Chakotay, Torres and Janeway feature heavily, although Tuvok gets to take on the Kazon when they board, and the occasional action scenes do keep the momentum going.
***
This tale, which brought Seska and her master, Maje Cullah of the Kazon, back into the series is quite good, but unremarkable in terms of what there is to say about it. Chakotay gets to be a hero, there's an exciting attack on Voyager and a daring raid in which transporter technology is stolen, and Torres gives some impassioned (but not beyond the bounds of protocol - she seems more acclimatised to Starfleet working than Chakotay for a change!) defences of her friend and first officer, and the Kazon arc gets going this season with various sects coming into play and mention of the Trabe, the Kazon's first enemies. Deep Space Nine also gets a brief mention when a Federation signal is discovered, and at this relatively early stage certain people still get excited and hopeful about the prospect of Starfleet finding a way to contact them.
Seska appears for the first time in her true Cardassian identity after she was unmasked as a spy in Bajoran disguise last season. She still has concerns for Chakotay, B'Elanna and some of the Maquis, though we might choose to disbelieve what she says, she does go to the trouble of impregnating herself with some stolen DNA of Chakotay, as if in a desperate desire not to lose contact with those on Voyager. And if there is that connection she wishes, it is set to provide more trouble both for Voyager and the Kazon. Chakotay acts more in the vein of the Maquis with his decision to sort out Seska alone, but he stops at destroying the stolen component, handing himself in to Seska. Why didn't he keep moving, attempt to disable the Kazon vessel and steal one of their own shuttles? It might not have got him very far, and if Voyager was alerted that he had a chance they would be more likely to disregard his warning and come after him. He may also have had a long term plan to gain Seska's trust and get her to see that the Kazon would kill her once she was of no more use, perhaps initiating a plan for both of them to escape?
I may be putting more thoughts into Chakotay's head than were there, but Janeway and the crew were there to save him, despite Tuvok's logical advice to follow the first officer's plan and not come after him. This was the logical thing to do, but is it a continuance of the distaste between the two officers that existed at first. Tuvok also points out to Chakotay that while Seska used him thanks to her intimate knowledge, perhaps he could do the same. Chakotay fortunately accepts this with a grim smile, knowing it's true, so he seems to accept Tuvok doesn't really have a personal vendetta against him, whereas at one time he would have done. Another crewmember lets Janeway down in the footsteps of Tuvok and Harry Kim, and others would take that sheepish walk into her ready room for a dressing down at one time or another. Even Janeway herself would let the side down on one or two occasions ('Night'; 'Equinox'). All the characters appear, but only Chakotay, Torres and Janeway feature heavily, although Tuvok gets to take on the Kazon when they board, and the occasional action scenes do keep the momentum going.
***
Galaxy's Child
DVD, TNG S4 (Galaxy's Child)
One of those episodes where nothing much happens, but in such a nice, comfy way that you can watch in a dozing state and it's never going to challenge you or excite or do much of anything really - it just happens. That might sound like a real bore, but it's more like a well-worn blanket, cosy and pleasant. It's a sequel to the previous season's 'Booby Trap' in which La Forge called up a hologram of the Enterprise's main designer and became attached to her. This time it's the real deal, Dr. Leah Brahms herself, and from the moment she steps on board you can imagine what she's going to say when she inevitably finds out about Geordi's holographic version of her! That was the stand out moment of the episode, as funny as it is excruciatingly uncomfortable for Geordi. Thankfully he's such an easygoing sort that he's not one to bear a grudge at her outburst, and they make up their differences in the time-honoured way of joining together to save the ship from destruction in a sort of off-hand, five minute job.
The peril wasn't important, and neither was the child of the title, a space-borne organism that becomes rather attached to the Enterprise. It looked real enough, as did the asteroid field which they transport it to, with others of its kind waiting there. It must be pre-CGI, but it looks like a computer model rather than a physical one - those production bods were geniuses; in their own way they were the Starfleet engineers of real life! I'm not sure how Dr. Brahms was so easily able to join the Enterprise when in a short space of time it's come to an unexplored region and an unknown creature, but who cares?. Susan Gibney would later be on 'DS9' in another role, but this was probably her best-known 'Star Trek' piece, and another downer for Geordi as he sits alone in the corner of Ten-Forward.
**
One of those episodes where nothing much happens, but in such a nice, comfy way that you can watch in a dozing state and it's never going to challenge you or excite or do much of anything really - it just happens. That might sound like a real bore, but it's more like a well-worn blanket, cosy and pleasant. It's a sequel to the previous season's 'Booby Trap' in which La Forge called up a hologram of the Enterprise's main designer and became attached to her. This time it's the real deal, Dr. Leah Brahms herself, and from the moment she steps on board you can imagine what she's going to say when she inevitably finds out about Geordi's holographic version of her! That was the stand out moment of the episode, as funny as it is excruciatingly uncomfortable for Geordi. Thankfully he's such an easygoing sort that he's not one to bear a grudge at her outburst, and they make up their differences in the time-honoured way of joining together to save the ship from destruction in a sort of off-hand, five minute job.
The peril wasn't important, and neither was the child of the title, a space-borne organism that becomes rather attached to the Enterprise. It looked real enough, as did the asteroid field which they transport it to, with others of its kind waiting there. It must be pre-CGI, but it looks like a computer model rather than a physical one - those production bods were geniuses; in their own way they were the Starfleet engineers of real life! I'm not sure how Dr. Brahms was so easily able to join the Enterprise when in a short space of time it's come to an unexplored region and an unknown creature, but who cares?. Susan Gibney would later be on 'DS9' in another role, but this was probably her best-known 'Star Trek' piece, and another downer for Geordi as he sits alone in the corner of Ten-Forward.
**
Cold Fire
DVD, Voyager S2 (Cold Fire)
This is an ideal episode to resume Season 2 from if you've been away from 'Voyager' for a while as it begins with a brief recap of their situation stranded in the Delta Quadrant thanks to the alien known only as the Caretaker. One of the goals set by Janeway at the end of the pilot was to find the Caretaker's mate who, he told them, had left for new places, and here early in the series we meet her already! If anyone thought it was going to be a quick ticket home then they were mistaken, the ship wasn't going to be swept back so easily as that, even if Suspiria, as she called herself, had the ability to do so. Turns out she's a bit of a nasty type, though she might be reacting to the undeserved rumours that have been spread by persons unknown that Voyager is a ship of death that kills and plunders as it sees fit. No guesses who might be responsible for those!
While we learn a little more about the Caretaker, his race named as the Nacene, and the reputation of the ship, we also explore Kes a bit more. Her telepathic abilities aren't the only powers she has the potential for, as Tanis, leader of the band of Ocampa that live with Suspiria, helps her to see. Not only that, but he gives hope that her character could survive beyond the allotted nine years that is the span of an Ocampan life - he himself is fourteen, while his Father lived to the grand old age of twenty. Played by Gary Graham, a few years before his recurring role on 'Enterprise', Tanis suits his style a little more than Soval the Vulcan, in my view. His strength is in his emotive, but mysterious delivery as if so much more is going on behind his eyes, whereas Soval was a bit one-note, mostly coming across as an irritated high-up sort. Vulcan culture is tapped into in this episode thanks to Tuvok aiding Kes in the exploration of her mental abilities, giving some humour when we see the most experienced, serious member of the crew, trying to keep the youngest and most gleeful on track.
A shock comes from Kes' lack of control of her power, turning her liquid-heating onto Tuvok inadvertently, almost killing him. This is more frightening because it occurs in the domestic, peaceful setting of the Vulcan's quarters, in which the episode, in a pleasing symmetry, begins and ends. Though Kes' power diminishes once Tanis is no longer there to magnify it, he has shown her what she could be capable of, a signpost for the future, and not just the good qualities it could bring, but the dark side that comes with it - a warning and a lesson. Though Tuvok claims at the end that the dark side is important to us all, and without it we couldn't see the light, that's all nonsense. The darkness can't understand the light, and the light evaporates the darkness. I just thought I ought to point that out as it's easy to let comments like that wash over you, and the danger is they can seep into your sub-conscious and influence you into wrong ways of thinking.
Visually the episode is as good as ever, with both prosthetic work in Kes' damage to Tuvok, and visual effects, seen in the airponics bay where seeds bloom into colourful plants or are withered by the 'fire in your mind'! Suspiria who appears as either a little girl or a writhing serpentine creature, morphs very effectively between the two. Characters speaking in a voice that doesn't fit their appearance is always unsettling, but her presence with the Ocampa made me wonder what role she actually plays. Was she actually not such a bad sort, just out to protect and enhance them, or were they her servants that she kept in thrall for all those generations in the three hundred years she'd been there? That side of the equation isn't explored, the only information is gleaned from what Tanis says about her, and the fact that she takes him with her when fleeing the ship. I also wonder if the writers were hoping for a return at some point which may have been their reasoning for Suspiria to show wonder at Janeway's decision not to harm her when she was in her power. This could have led to peace between them in a future meeting, but it never happened. I believe this was also the last we ever saw of Ocampa other than Kes. Tanis reminded me of a Vorta, his graceful, but sly movement similar, as well as his face. He was about as trustworthy as one of them too!
This is a definite Kes episode, with Tuvok and Neelix as secondary - the Talaxian shows more restraint in his jealousy after the experience with Tom Paris in 'Parturition'. Before, he would have exploded at the suggestion Kes should go and live with her Ocampan brethren, but he remains most restrained for Neelix. All the characters were a part of it and it combines the best elements of the series - its initial goal, a possible way home, with new details on some of the races they had encountered and how they are viewed at this current stage of the grand journey.
***
This is an ideal episode to resume Season 2 from if you've been away from 'Voyager' for a while as it begins with a brief recap of their situation stranded in the Delta Quadrant thanks to the alien known only as the Caretaker. One of the goals set by Janeway at the end of the pilot was to find the Caretaker's mate who, he told them, had left for new places, and here early in the series we meet her already! If anyone thought it was going to be a quick ticket home then they were mistaken, the ship wasn't going to be swept back so easily as that, even if Suspiria, as she called herself, had the ability to do so. Turns out she's a bit of a nasty type, though she might be reacting to the undeserved rumours that have been spread by persons unknown that Voyager is a ship of death that kills and plunders as it sees fit. No guesses who might be responsible for those!
While we learn a little more about the Caretaker, his race named as the Nacene, and the reputation of the ship, we also explore Kes a bit more. Her telepathic abilities aren't the only powers she has the potential for, as Tanis, leader of the band of Ocampa that live with Suspiria, helps her to see. Not only that, but he gives hope that her character could survive beyond the allotted nine years that is the span of an Ocampan life - he himself is fourteen, while his Father lived to the grand old age of twenty. Played by Gary Graham, a few years before his recurring role on 'Enterprise', Tanis suits his style a little more than Soval the Vulcan, in my view. His strength is in his emotive, but mysterious delivery as if so much more is going on behind his eyes, whereas Soval was a bit one-note, mostly coming across as an irritated high-up sort. Vulcan culture is tapped into in this episode thanks to Tuvok aiding Kes in the exploration of her mental abilities, giving some humour when we see the most experienced, serious member of the crew, trying to keep the youngest and most gleeful on track.
A shock comes from Kes' lack of control of her power, turning her liquid-heating onto Tuvok inadvertently, almost killing him. This is more frightening because it occurs in the domestic, peaceful setting of the Vulcan's quarters, in which the episode, in a pleasing symmetry, begins and ends. Though Kes' power diminishes once Tanis is no longer there to magnify it, he has shown her what she could be capable of, a signpost for the future, and not just the good qualities it could bring, but the dark side that comes with it - a warning and a lesson. Though Tuvok claims at the end that the dark side is important to us all, and without it we couldn't see the light, that's all nonsense. The darkness can't understand the light, and the light evaporates the darkness. I just thought I ought to point that out as it's easy to let comments like that wash over you, and the danger is they can seep into your sub-conscious and influence you into wrong ways of thinking.
Visually the episode is as good as ever, with both prosthetic work in Kes' damage to Tuvok, and visual effects, seen in the airponics bay where seeds bloom into colourful plants or are withered by the 'fire in your mind'! Suspiria who appears as either a little girl or a writhing serpentine creature, morphs very effectively between the two. Characters speaking in a voice that doesn't fit their appearance is always unsettling, but her presence with the Ocampa made me wonder what role she actually plays. Was she actually not such a bad sort, just out to protect and enhance them, or were they her servants that she kept in thrall for all those generations in the three hundred years she'd been there? That side of the equation isn't explored, the only information is gleaned from what Tanis says about her, and the fact that she takes him with her when fleeing the ship. I also wonder if the writers were hoping for a return at some point which may have been their reasoning for Suspiria to show wonder at Janeway's decision not to harm her when she was in her power. This could have led to peace between them in a future meeting, but it never happened. I believe this was also the last we ever saw of Ocampa other than Kes. Tanis reminded me of a Vorta, his graceful, but sly movement similar, as well as his face. He was about as trustworthy as one of them too!
This is a definite Kes episode, with Tuvok and Neelix as secondary - the Talaxian shows more restraint in his jealousy after the experience with Tom Paris in 'Parturition'. Before, he would have exploded at the suggestion Kes should go and live with her Ocampan brethren, but he remains most restrained for Neelix. All the characters were a part of it and it combines the best elements of the series - its initial goal, a possible way home, with new details on some of the races they had encountered and how they are viewed at this current stage of the grand journey.
***
The Other Side
DVD, Stargate SG-1 S4 (The Other Side)
Better than the season opener, this one gives us a proper moral story for the team, though not an original one: that of trading for superior technology with someone that may not use their gains to the right ends. The series gained a reputation as a dumping ground for 'Star Trek' actors that had left their series, and that tradition continues with Rene Auberjonois, better known as Odo on 'DS9', coming a couple of years after that series ended. Without his mask and Odo persona I've always felt the actor to be naturally prone to evil characters. Perhaps it's the cultured voice, so often an association with the suave villain, or perhaps the intense blue eyes and mannerisms he often plays with. Whatever the reason I didn't ever quite feel comfortable with him and his war. Although we aren't shown anything beyond what he tells us, the idea of only hearing one person's side of the story, added to the title of the episode, flagged up something fishy.
A first for the series is that some descendants of Earth are calling home, but the Stargate team are at first put on the back foot thanks to three people trying to reach Earth and dying when hitting the protective Iris. This didn't put them in an objective mood, at least Carter felt guilty and O'Neill was too concerned about the advanced technology to see the signs that all might not be well. The conflict between the military side of the team and Daniel's scientific or moral viewpoint, taken apart from strategic goals, was quite strong in the early episodes, but had been softened quite a bit as the friendships developed between all four characters. So it's slightly shocking to see Daniel and Jack so vehemently against each other again, but adds a bit of drama to what might have been a staid 'alien planet' episode without it. Alars' uncaring attitude to a mentally deficient pilot who damaged his brain thanks to overuse of the remote control fighter pilot technology is the first sign that these people may not be the noble afflicted they claimed to be.
'The Matrix' appears to be an influence, both visually, as we see thousands of people held in stasis pods, and narratively, as the planet's atmosphere was deliberately destroyed. The virtual reality simulation that actually transmits a drone fighter's view and control to a passive user is also very 'Matrix'. These flight sequences looked really good, as did the extensive sets, either corridors filled with detritus, or the campaign room with the fighter control units, or the meeting hall with its chandelier and lavish table. The episode really earns its stripes towards the end as Jack begins to smell a rat at Alar's wish that Teal'c doesn't return to his planet because the Jaffa is different.
O'Neill goes from only caring about the technology that would bring such advantage to Earth (General Hammond getting in a reference to Apophis being alive for those that can't remember what's going on with the Goa'uld), silencing Daniel, to giving him full permission to find out what's really going on, and discovering the Aryan-race kind of thinking that has meant anyone physically different to those in control are the enemy. It's not very original, but it's the kind of stories 'Star Trek' so often handled, and one of the aspects that always has elevated it above most other science fiction. 'Stargate' has toyed with such concerns before, but I'm all for them doing more of it, beyond mere action adventure, especially when costume, CGI, and guest actors combine as well as they do in this episode.
***
Better than the season opener, this one gives us a proper moral story for the team, though not an original one: that of trading for superior technology with someone that may not use their gains to the right ends. The series gained a reputation as a dumping ground for 'Star Trek' actors that had left their series, and that tradition continues with Rene Auberjonois, better known as Odo on 'DS9', coming a couple of years after that series ended. Without his mask and Odo persona I've always felt the actor to be naturally prone to evil characters. Perhaps it's the cultured voice, so often an association with the suave villain, or perhaps the intense blue eyes and mannerisms he often plays with. Whatever the reason I didn't ever quite feel comfortable with him and his war. Although we aren't shown anything beyond what he tells us, the idea of only hearing one person's side of the story, added to the title of the episode, flagged up something fishy.
A first for the series is that some descendants of Earth are calling home, but the Stargate team are at first put on the back foot thanks to three people trying to reach Earth and dying when hitting the protective Iris. This didn't put them in an objective mood, at least Carter felt guilty and O'Neill was too concerned about the advanced technology to see the signs that all might not be well. The conflict between the military side of the team and Daniel's scientific or moral viewpoint, taken apart from strategic goals, was quite strong in the early episodes, but had been softened quite a bit as the friendships developed between all four characters. So it's slightly shocking to see Daniel and Jack so vehemently against each other again, but adds a bit of drama to what might have been a staid 'alien planet' episode without it. Alars' uncaring attitude to a mentally deficient pilot who damaged his brain thanks to overuse of the remote control fighter pilot technology is the first sign that these people may not be the noble afflicted they claimed to be.
'The Matrix' appears to be an influence, both visually, as we see thousands of people held in stasis pods, and narratively, as the planet's atmosphere was deliberately destroyed. The virtual reality simulation that actually transmits a drone fighter's view and control to a passive user is also very 'Matrix'. These flight sequences looked really good, as did the extensive sets, either corridors filled with detritus, or the campaign room with the fighter control units, or the meeting hall with its chandelier and lavish table. The episode really earns its stripes towards the end as Jack begins to smell a rat at Alar's wish that Teal'c doesn't return to his planet because the Jaffa is different.
O'Neill goes from only caring about the technology that would bring such advantage to Earth (General Hammond getting in a reference to Apophis being alive for those that can't remember what's going on with the Goa'uld), silencing Daniel, to giving him full permission to find out what's really going on, and discovering the Aryan-race kind of thinking that has meant anyone physically different to those in control are the enemy. It's not very original, but it's the kind of stories 'Star Trek' so often handled, and one of the aspects that always has elevated it above most other science fiction. 'Stargate' has toyed with such concerns before, but I'm all for them doing more of it, beyond mere action adventure, especially when costume, CGI, and guest actors combine as well as they do in this episode.
***
Fragile
DVD, Smallville S5 (Fragile)
About once a season Clark gets to show how good he is with children, and this is that time again. Somehow the children always know he's not like the other adults they've met, and he's always full of cheer and fun, the kind of big brother you'd like to have, always a kind word or full of ideas for things to do. This little girl is at first portrayed as a nasty little creature, the teaser very much in the mould of Season 1 - a freak-of-the-week who doesn't like what she's told and then bad things happen to the teller, in this case her foster Mum experiencing all the glass in the room exploding at her. So what does she do? The natural thing would be to run from the house screaming for help, but she prefers to walk over to the only bit of glass that hasn't yet exploded into shards, namely the mirror, and open her mouth to scream. No wonder she didn't last long.
Only Clark, once he learns of little girl Maddie's power, takes her side, standing up for the weak in that Superman way that shows his credentials to be the man in red and blue without yet wearing the suit. The teaser, with horror music and tone helped us think Maddie was one of those evil children that we've seen so many times before, even her look helping to reinforce initial impressions, but this time Clark's trust is proved correct, it's the Father, newly released from a ward, that caused the major damage, Maddie only responsible for breaking a few jugs or glasses. There's a positive tone to the story from then on and as soon as you see the Grandmother who never knew she had a granddaughter, you can see how things will come together. The episode seems to end early with Maddie rescued and the Father caught, only for him to escape from a lift that reminded me of the killer's escape from similar circumstances in the film 'The Untouchables' only with a bit less blood. Then it's all up for a showdown in the Kent barn, but instead of Clark having to prove himself, it becomes a lesson for Maddie as she realises she mustn't kill her Father, even though he's done what he's done, meaning she can go on to have a life with other people, perhaps a message about Clark as much as her.
I was surprised to see the episode was directed by none other than Tom Welling, possibly his first time as Director! It must have been a tough assignment as he's in it quite a lot, and as well as having to act and direct, he was working with children and animals! I can't say I noticed anything much to signify a style or signature camera move, but I liked the way the camera swept around when Clark first gives Maddie a tour of the barn. Her presence adds a new dimension to the old meteor freak plot, since it reveals she is a second generation 'mutant' having inherited her power from her Father. Perhaps further revelations will be forthcoming about meteor-infected people?
I so wanted the episode to end in the sunshine as Maddie is driven away to her new life while Martha, Clark and Shelby the dog wave her off. But such an idyllic ending was not to be - the sub-plot of Lana and Lex having fallen/falling/about to fall for each other, and Chloe's concern on the matter, almost dragged the episode down into the dumps, but thankfully those scenes were fleeting and didn't interfere too much. The other plots are also tapped into briefly, with mentions (and definite AOL product placement!) of Milton Fine being seen in different places at once, and the fact that Clark hasn't yet disclosed his fears about Lionel knowing his secret to Martha, who still considers the man a friend, foolishly. There's still no sign of the new Sheriff, though another deputy is offed, and the confrontation in the barn recalled Season 1's 'Crush' which featured another meteor freak who had the power to move sharp objects around at will. I would say on this occasion the uppers outweighed the downers, for there was enough happiness and problem resolution to be enjoyed for the most part. I wonder how much detail goes into these stories though - was that picture, which cunningly (read: obviously) contained the stolen diamonds, always in the Talon, or a recent addition? If it was always there then that level of attention to detail is to be applauded!
***
About once a season Clark gets to show how good he is with children, and this is that time again. Somehow the children always know he's not like the other adults they've met, and he's always full of cheer and fun, the kind of big brother you'd like to have, always a kind word or full of ideas for things to do. This little girl is at first portrayed as a nasty little creature, the teaser very much in the mould of Season 1 - a freak-of-the-week who doesn't like what she's told and then bad things happen to the teller, in this case her foster Mum experiencing all the glass in the room exploding at her. So what does she do? The natural thing would be to run from the house screaming for help, but she prefers to walk over to the only bit of glass that hasn't yet exploded into shards, namely the mirror, and open her mouth to scream. No wonder she didn't last long.
Only Clark, once he learns of little girl Maddie's power, takes her side, standing up for the weak in that Superman way that shows his credentials to be the man in red and blue without yet wearing the suit. The teaser, with horror music and tone helped us think Maddie was one of those evil children that we've seen so many times before, even her look helping to reinforce initial impressions, but this time Clark's trust is proved correct, it's the Father, newly released from a ward, that caused the major damage, Maddie only responsible for breaking a few jugs or glasses. There's a positive tone to the story from then on and as soon as you see the Grandmother who never knew she had a granddaughter, you can see how things will come together. The episode seems to end early with Maddie rescued and the Father caught, only for him to escape from a lift that reminded me of the killer's escape from similar circumstances in the film 'The Untouchables' only with a bit less blood. Then it's all up for a showdown in the Kent barn, but instead of Clark having to prove himself, it becomes a lesson for Maddie as she realises she mustn't kill her Father, even though he's done what he's done, meaning she can go on to have a life with other people, perhaps a message about Clark as much as her.
I was surprised to see the episode was directed by none other than Tom Welling, possibly his first time as Director! It must have been a tough assignment as he's in it quite a lot, and as well as having to act and direct, he was working with children and animals! I can't say I noticed anything much to signify a style or signature camera move, but I liked the way the camera swept around when Clark first gives Maddie a tour of the barn. Her presence adds a new dimension to the old meteor freak plot, since it reveals she is a second generation 'mutant' having inherited her power from her Father. Perhaps further revelations will be forthcoming about meteor-infected people?
I so wanted the episode to end in the sunshine as Maddie is driven away to her new life while Martha, Clark and Shelby the dog wave her off. But such an idyllic ending was not to be - the sub-plot of Lana and Lex having fallen/falling/about to fall for each other, and Chloe's concern on the matter, almost dragged the episode down into the dumps, but thankfully those scenes were fleeting and didn't interfere too much. The other plots are also tapped into briefly, with mentions (and definite AOL product placement!) of Milton Fine being seen in different places at once, and the fact that Clark hasn't yet disclosed his fears about Lionel knowing his secret to Martha, who still considers the man a friend, foolishly. There's still no sign of the new Sheriff, though another deputy is offed, and the confrontation in the barn recalled Season 1's 'Crush' which featured another meteor freak who had the power to move sharp objects around at will. I would say on this occasion the uppers outweighed the downers, for there was enough happiness and problem resolution to be enjoyed for the most part. I wonder how much detail goes into these stories though - was that picture, which cunningly (read: obviously) contained the stolen diamonds, always in the Talon, or a recent addition? If it was always there then that level of attention to detail is to be applauded!
***
Small Victories
DVD, Stargate SG-1 S4 (Small Victories)
As expected this season opener was a bit limp. The Replicators have never really threatened the Goa'uld as being a good replacement villain. For one thing they don't have a leader or a face, they're just little robotic spiders with a sub-Borg ethic of consuming everything. Season 3 ended fairly excitingly with the Asgaard ship plummeting to Earth and Colonel Jack O'Neill, Major Carter and Teal'c trapped aboard, but this turn of events is quickly resolved without explaining how much time has actually elapsed when they suddenly appear through the Stargate. Carter says it took them a week to dial home, but was that the full time they were gone? If so how come she had time to grow her hair (let alone style it!), and for Teal'c to develop a tiny blonde beard, if such a small strip of hair could be granted such a title. Daniel, left behind back at base is once again relegated to watching events unfold on monitors without any real input, but I can't deny it's good to see them all back at this business again.
The titles have reverted to the close-up view of a pharoah's sarcophagus or death mask or whatever, which are the titles I most remember from when I watched it regularly, so this may be the season I began seeing each week (though I certainly hadn't seen this one before). I think that title sequence, without clips of previous episodes, probably works better, as it isn't as cheesy, but I wonder if the motivation was to save money rather than put together a new sequence for the new season as it had been used once or twice before.
The CGI is mostly quite good, the close-ups of the replicators, all CG, looking particularly realistic, though the designers' vision may have exceeded their resources as the ships and Asgaard city didn't have the same weight to them. Using an actual submarine is always a good move in terms of making an episode look more real, but it doesn't really work too well as a place to run around in the dark with guns, since there isn't much room to run, it's more about climbing up and down ladders than anything pacy. Still, the idea of a mother-bug was good, but the finding of a couple of pieces from the Asgaard ship's crash seemed like it might be setting up for a sequel if only a few more bits were to end up getting collected and stored together.
Many of the recurring characters get to show their faces, such as Dr. Fraiser, Sergeant Siler and the guy with glasses who operates the Stargate. I don't know why a season-opener should be so underwhelming, but I can see the cause - there's too much discussing, talking, working out, on the one hand, and on the other, the action scenes never quite worked up the threat level. I never believed O'Neill and Teal'c were truly threatened and there was little to no horror in the replicants taking over the Russian sub - the one moment when one of them claws the face of the Russian sailor was about it, and there should have been a real foreboding about going down into the depths of the lair of these creatures, when the escape route could be cut off at any moment, but it didn't ever seem that difficult. Hopefully things will pick up and we can get back to deserts and forests and maybe some good sci-fi stories.
**
As expected this season opener was a bit limp. The Replicators have never really threatened the Goa'uld as being a good replacement villain. For one thing they don't have a leader or a face, they're just little robotic spiders with a sub-Borg ethic of consuming everything. Season 3 ended fairly excitingly with the Asgaard ship plummeting to Earth and Colonel Jack O'Neill, Major Carter and Teal'c trapped aboard, but this turn of events is quickly resolved without explaining how much time has actually elapsed when they suddenly appear through the Stargate. Carter says it took them a week to dial home, but was that the full time they were gone? If so how come she had time to grow her hair (let alone style it!), and for Teal'c to develop a tiny blonde beard, if such a small strip of hair could be granted such a title. Daniel, left behind back at base is once again relegated to watching events unfold on monitors without any real input, but I can't deny it's good to see them all back at this business again.
The titles have reverted to the close-up view of a pharoah's sarcophagus or death mask or whatever, which are the titles I most remember from when I watched it regularly, so this may be the season I began seeing each week (though I certainly hadn't seen this one before). I think that title sequence, without clips of previous episodes, probably works better, as it isn't as cheesy, but I wonder if the motivation was to save money rather than put together a new sequence for the new season as it had been used once or twice before.
The CGI is mostly quite good, the close-ups of the replicators, all CG, looking particularly realistic, though the designers' vision may have exceeded their resources as the ships and Asgaard city didn't have the same weight to them. Using an actual submarine is always a good move in terms of making an episode look more real, but it doesn't really work too well as a place to run around in the dark with guns, since there isn't much room to run, it's more about climbing up and down ladders than anything pacy. Still, the idea of a mother-bug was good, but the finding of a couple of pieces from the Asgaard ship's crash seemed like it might be setting up for a sequel if only a few more bits were to end up getting collected and stored together.
Many of the recurring characters get to show their faces, such as Dr. Fraiser, Sergeant Siler and the guy with glasses who operates the Stargate. I don't know why a season-opener should be so underwhelming, but I can see the cause - there's too much discussing, talking, working out, on the one hand, and on the other, the action scenes never quite worked up the threat level. I never believed O'Neill and Teal'c were truly threatened and there was little to no horror in the replicants taking over the Russian sub - the one moment when one of them claws the face of the Russian sailor was about it, and there should have been a real foreboding about going down into the depths of the lair of these creatures, when the escape route could be cut off at any moment, but it didn't ever seem that difficult. Hopefully things will pick up and we can get back to deserts and forests and maybe some good sci-fi stories.
**
The Seventh
DVD, Enterprise S2 (The Seventh)
Not as strong an episode as I remembered, but it has its moments. It certainly has high production values (a sign they were blowing the budget too early in the season, or simply the improving general standards of TV?), with a nice snow-bound landing pad reminiscent of the one in 'Broken Bow'. The stylised yellow flashbacks were also extremely well done and the mystery added a different kind of slant to the episode, as did T'Pol's trust in and dependence on Archer, marking another step forward for their friendship. Travis Mayweather wasn't as well used, only there as a make-weight, his piloting skills not shown off and getting ordered around throughout. The other characters also suffered from the focus on T'Pol and Archer, the troubles Trip has as acting Captain not explored in great enough detail - it's set up to be quite a humourous B-story, but is over before it got anywhere, Trip easily able to convince the Vulcan Captain he was Archer. They should either have cut back on the humour completely and concentrated on ramping up the tension with T'Pol's repressed memories, or gone the whole hog and really put Trip through the wringer, for example if he had to pretend to be Captain with a visit from the Vulcans or to their ship.
There were plenty of aliens, a whole roomful of shady characters, a bit like the Cantina bar in 'Star Wars', but the place seemed very small, and the aliens didn't give the strangers any trouble or take much interest in them, so opportunity for more danger or difficulty was lost. The story itself had a bit of a 'so what?' element to it, as the descent of T'Pol into the memories doesn't go very far. Menos merely trots out the sympathetic family hologram, makes a plea for innocence and T'Pol develops a crisis of confidence in her judgement. This isn't very Vulcan-like behaviour (and don't get me started on how un-Vulcan-like Menos was - sure he's an undercover operative, but he must still repress his emotions?).
The V'Lara must be a potent ritual for T'Pol to be reacting so strongly against it. At first it seems to be a dark moment in Vulcan ways, covering up the retrieval of the agents, but it's dismissed by T'Pol, and Menos is shown to be guilty anyway, so there's no great moral quandary! T'Pol even hesitates to shoot the guy in the back, but he's only going to be stunned - I know it's about whether she can let him go or take him to the Vulcans where he'll be incarcerated, but you don't get much tension from holding up a safe weapon like a phaser. If she'd been forced to kill him or forced into a real moral quagmire then the episode could have gone somewhere, but it remains a 'close to good' type of show without making the most of what it had.
The aliens in the meeting hall were a bit useless, as the place gets set on fire (cleanly, too cleanly!) and they all hightail it out of there when all it needed was a couple of buckets of water! It can't help but feeling like an artificial stage when such things happen, the only 'real' people being Menos and his captors. If the aliens seen weren't up to much (except in the excellent makeup), there were plenty of pleasing references to peoples and places: the seventeen years younger T'Pol seen in flashback chases Menos on Risa, Andoria is mentioned, as are Tellarites, and we even get one of those fish-faced lumpy blokes commonly seen on 'DS9' (do they have a name?). I think there may have been other inconsistencies and lack of ambition for the story, but I still liked it in its way. A mystery thriller is shown to work with these characters, but next time it needs to be taken to a deeper level. Other minutiae: called 'The Seventh', this was also the seventh episode of the season; and Bruce Davison also appeared in 'Remember' a Season 3 episode of 'Voyager'.
**
Not as strong an episode as I remembered, but it has its moments. It certainly has high production values (a sign they were blowing the budget too early in the season, or simply the improving general standards of TV?), with a nice snow-bound landing pad reminiscent of the one in 'Broken Bow'. The stylised yellow flashbacks were also extremely well done and the mystery added a different kind of slant to the episode, as did T'Pol's trust in and dependence on Archer, marking another step forward for their friendship. Travis Mayweather wasn't as well used, only there as a make-weight, his piloting skills not shown off and getting ordered around throughout. The other characters also suffered from the focus on T'Pol and Archer, the troubles Trip has as acting Captain not explored in great enough detail - it's set up to be quite a humourous B-story, but is over before it got anywhere, Trip easily able to convince the Vulcan Captain he was Archer. They should either have cut back on the humour completely and concentrated on ramping up the tension with T'Pol's repressed memories, or gone the whole hog and really put Trip through the wringer, for example if he had to pretend to be Captain with a visit from the Vulcans or to their ship.
There were plenty of aliens, a whole roomful of shady characters, a bit like the Cantina bar in 'Star Wars', but the place seemed very small, and the aliens didn't give the strangers any trouble or take much interest in them, so opportunity for more danger or difficulty was lost. The story itself had a bit of a 'so what?' element to it, as the descent of T'Pol into the memories doesn't go very far. Menos merely trots out the sympathetic family hologram, makes a plea for innocence and T'Pol develops a crisis of confidence in her judgement. This isn't very Vulcan-like behaviour (and don't get me started on how un-Vulcan-like Menos was - sure he's an undercover operative, but he must still repress his emotions?).
The V'Lara must be a potent ritual for T'Pol to be reacting so strongly against it. At first it seems to be a dark moment in Vulcan ways, covering up the retrieval of the agents, but it's dismissed by T'Pol, and Menos is shown to be guilty anyway, so there's no great moral quandary! T'Pol even hesitates to shoot the guy in the back, but he's only going to be stunned - I know it's about whether she can let him go or take him to the Vulcans where he'll be incarcerated, but you don't get much tension from holding up a safe weapon like a phaser. If she'd been forced to kill him or forced into a real moral quagmire then the episode could have gone somewhere, but it remains a 'close to good' type of show without making the most of what it had.
The aliens in the meeting hall were a bit useless, as the place gets set on fire (cleanly, too cleanly!) and they all hightail it out of there when all it needed was a couple of buckets of water! It can't help but feeling like an artificial stage when such things happen, the only 'real' people being Menos and his captors. If the aliens seen weren't up to much (except in the excellent makeup), there were plenty of pleasing references to peoples and places: the seventeen years younger T'Pol seen in flashback chases Menos on Risa, Andoria is mentioned, as are Tellarites, and we even get one of those fish-faced lumpy blokes commonly seen on 'DS9' (do they have a name?). I think there may have been other inconsistencies and lack of ambition for the story, but I still liked it in its way. A mystery thriller is shown to work with these characters, but next time it needs to be taken to a deeper level. Other minutiae: called 'The Seventh', this was also the seventh episode of the season; and Bruce Davison also appeared in 'Remember' a Season 3 episode of 'Voyager'.
**
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