DVD, DS9 S3 (Facets)
It gave the actors a chance to play someone completely different, and it gave viewers the chance to find out new things about Jadzia: she isn't always the confident, calm and all-round sorted person we see on the outside. Personally I found myself a little underwhelmed with some of the acting of the hosts this time. Nana Visitor excelled as Lela, the first host of Dax, portraying an old woman, squinting and hunched, her clipped, but friendly tones wise and reassuringly old. Seeing Leeta from the perspective of just this season I would agree that her appearance is rather unexpected and shoehorned in. It is a surprising deficiency that in all the recurring characters developed up to the third season there are so few females. Kasidy had only been in one story, and Kai Winn was the last person Dax would turn to for assistance ("You want to use my body for some sacrilegious ritual? Blasphemy!"), so Leeta was hurriedly drafted, not even having been given a name on screen in her previous episode. It's still good to see more of her from the perspective of hindsight.
O'Brien as Tobin was okay, but both he and Bashir (as Torias) didn't have meaningful scenes in which Jadzia learns something from or about them, yet there wasn't enough lightness to provide enough fun either so their depictions seem a little shallow and the accents and mannerisms are only so-so. Quark was very good as the female Audrid - we get to see Quark speak in a gentle, motherly way about children and nurturing! For me Joran, hosted by Sisko, is the standout performance, even above Odo/Curzon. Brooks plays the subtle menace, the damaging psyche that attacks mentally even when it can't physically, also providing one of the great shocks when the forcefield is off and Jadzia has to beat up Sisko with those Klingon martial arts we're always hearing about! The episode could well have been about Joran were it not for the fact that 'Equilibrium' had already made a sterling effort in that direction.
Meeting Curzon, like Jennifer Sisko, was one of those people you never expected to be presented with. It isn't quite Curzon, these are after all, only memories, there's no necromancy going on to resurrect dead people and it's all within the traditional confines of Trek, with it's sci-fi, but not quite unexplainable situations. What could be more sci-fi than the episode starting with someone asking her friends to borrow their bodies for a while! Dax lays to rest her own internal doubts as to her worthiness for joining, and it's a shame there wasn't much more to be done on her internal problems after this - she'd dealt with Joran, and now Curzon, the other hosts were all pretty decent and ordinary. Dax has often been one of the lesser used characters in these first three seasons possibly because she's difficult to explore simply. Her emphasis would move toward action in future.
Another character with an assured future was Nog, who gets to wear the uniform for the first time, though it's only one made to order for Rom by Garak. His entry into Starfleet Academy is inspiring because of who and what he was. The question of what happens if you shut down a holoprogram while sitting down is answered (you fall down), Nog's training program reminds me of Tom Paris teaching Kes in 'Voyager', and Rom shows the same fierce protection over his son as he did towards keeping the family together in 'Family Business'.
The memories seemed to have the power to take over the host. When Quark wants to speak, Audrid notifies Dax and then lets him talk. When Joran is in Sisko he takes over until Dax knocks some sense into him, and Curzon claims that Odo is as happy with the joining as he, and that they both don't wish to separate. How much input Odo had in the decision is unclear, though he apologises to Dax at the end so he must have some guilt over it. Curzon was an overwhelming personality, but Odo is so concerned with justice that it seems a stretch to accept he wanted to stay like that ('stretch' brings up another point - why didn't Curzon try out his new-found powers more?). It led to a lovely closing scene in which Dax and Odo share common ground now that she retains the memory of Curzon's shapeshifting.
****
Monday, 20 December 2010
Data's Day
DVD, TNG S4 (Data's Day)
The day to day running of the ship is not something we usually see - daily duties may not make for the most exciting stories, but once in a while a peak into shipboard life away from the battles, missions and spatial conundrums can be revealing and a delight as the constructed reality is brought further to life. Who better to take us through such things than Data, a simple, well-meaning outsider, trying to comprehend and anticipate other people's ways. His commentary on the experiences he goes through are enlightening to his view of the world, and his perfect mimicry of Dr. Crusher's dancing shows what feats he's physically capable of. But the episode is more than a slow-burner as the trials of wedding preparation, the confusion between Keiko and O'Brien and the haughty ambassador-turned-spy, T'Pel, all create diversions from Data's regular activities.
It's frustrating to see the Enterprise bested by the Romulans like that, but staying to engage with five Warbirds wouldn't have been a prudent move - even Picard retreats when it's necessary, which is a valuable lesson in itself. The enjoyment comes in the flourishing of O'Brien as a fully-formed character, and the introduction of his bride Keiko Ishikawa. It would have been better if she'd been seen before, as her appearance into shipboard life is very sudden, though Data has known her a long time. It must be remembered that the O'Brien's were recurring characters, not members of the main cast, easy to forget after their move to 'DS9'.
My favourite section is the dancing, in which Data proves very capable, although it is a mystery why he didn't simply download dancing routines into his program - he must have wanted social connection more than just details, and it did give him a chance to interact with the Doc in a different setting. I'd never seen the last third of the episode, so it was a little disappointing that it didn't quite live up to the rest, as Data's observations take a back seat to the unfolding Romulan plot. It might have been better not to have over-egged the pudding with that storyline.
It's really nice to hear Data's doing it all for Commander Maddox who wanted to disassemble him back in Season 2, and they have become correspondents. The idea was recycled at least once, when Dr. Phlox performed a similar experiment on 'Enterprise' which says the idea is one worth copying (not that everything 'Enterprise' copied was worth it!). Another link between the series' is mention of Andorians and that their weddings consist of four people, unless... but Data doesn't finish his sentence so we aren't treated to in-depth details of Andorian marriage rituals. The Romulan menace has woven through the series since the Season 1 finale, and though their appearance has been sporadic it's the closest thing to an ongoing arc the series has played with, along with the Borg and the Klingons.
***
The day to day running of the ship is not something we usually see - daily duties may not make for the most exciting stories, but once in a while a peak into shipboard life away from the battles, missions and spatial conundrums can be revealing and a delight as the constructed reality is brought further to life. Who better to take us through such things than Data, a simple, well-meaning outsider, trying to comprehend and anticipate other people's ways. His commentary on the experiences he goes through are enlightening to his view of the world, and his perfect mimicry of Dr. Crusher's dancing shows what feats he's physically capable of. But the episode is more than a slow-burner as the trials of wedding preparation, the confusion between Keiko and O'Brien and the haughty ambassador-turned-spy, T'Pel, all create diversions from Data's regular activities.
It's frustrating to see the Enterprise bested by the Romulans like that, but staying to engage with five Warbirds wouldn't have been a prudent move - even Picard retreats when it's necessary, which is a valuable lesson in itself. The enjoyment comes in the flourishing of O'Brien as a fully-formed character, and the introduction of his bride Keiko Ishikawa. It would have been better if she'd been seen before, as her appearance into shipboard life is very sudden, though Data has known her a long time. It must be remembered that the O'Brien's were recurring characters, not members of the main cast, easy to forget after their move to 'DS9'.
My favourite section is the dancing, in which Data proves very capable, although it is a mystery why he didn't simply download dancing routines into his program - he must have wanted social connection more than just details, and it did give him a chance to interact with the Doc in a different setting. I'd never seen the last third of the episode, so it was a little disappointing that it didn't quite live up to the rest, as Data's observations take a back seat to the unfolding Romulan plot. It might have been better not to have over-egged the pudding with that storyline.
It's really nice to hear Data's doing it all for Commander Maddox who wanted to disassemble him back in Season 2, and they have become correspondents. The idea was recycled at least once, when Dr. Phlox performed a similar experiment on 'Enterprise' which says the idea is one worth copying (not that everything 'Enterprise' copied was worth it!). Another link between the series' is mention of Andorians and that their weddings consist of four people, unless... but Data doesn't finish his sentence so we aren't treated to in-depth details of Andorian marriage rituals. The Romulan menace has woven through the series since the Season 1 finale, and though their appearance has been sporadic it's the closest thing to an ongoing arc the series has played with, along with the Borg and the Klingons.
***
Maternal Instinct
DVD, Stargate SG-1 S3 (Maternal Instinct)
Whenever Master Bretak arrives he brings gravity with him, but he also brings lots of Jafar words and a long line of plot developments, which, in this episode, get reeled off at the start, not in a confusing way, but in a way which you have to pay attention to keep up with. This time Apophis has attacked Chulak to destroy everyone - followers and rebels alike, now that he's got access to Sokar's army. Somehow this develops into a chance for Daniel to fufil his promise to Sharray, and see that her son, the Harseses is safe. It just sort of happens in an offhand way - so anyway, there's this place where Jafar don't go and which they don't talk about. Okay, so let's go there then, the child's sure to be there. Then it all goes a bit Buddhist, with 'Mother Nature' a real alien entity called Desala, probably because 'The Matrix' had inspired a bit of that kind of stuff at the time.
Daniel thinks he can now do Yoda stuff, but eventually realises it was Desala's way of communicating and the child is safe with her, so ends the quest. I did wonder how they were going to have a baby in the series, and one that would unlock the secrets of the Goa'uld. Jack's disbelief and wry observations, or lack of finesse, cause the usual chuckles, and it's nice to see Daniel getting all excited about an ancient culture again - we haven't seen that side of him for a while. The episode reminded me of the one with Ernest and his walls of wisdom, along with 'The Nox'. I don't know why, after such experiences with super-aliens like the Nox, they don't all expect the Goa'uld to be wiped out easily, but instead prepare for pitched battle. It was good to see Bretak, as ever the visuals were sumptuous, there were a few laughs, but in the end I felt it was all a bit hollow. The only development is that they now know the Harseses is safe, and it ends with Daniel going back for his shoes. A practical underlining - you can have your head in the clouds of wonder, but don't forget the needs of reality.
**
Whenever Master Bretak arrives he brings gravity with him, but he also brings lots of Jafar words and a long line of plot developments, which, in this episode, get reeled off at the start, not in a confusing way, but in a way which you have to pay attention to keep up with. This time Apophis has attacked Chulak to destroy everyone - followers and rebels alike, now that he's got access to Sokar's army. Somehow this develops into a chance for Daniel to fufil his promise to Sharray, and see that her son, the Harseses is safe. It just sort of happens in an offhand way - so anyway, there's this place where Jafar don't go and which they don't talk about. Okay, so let's go there then, the child's sure to be there. Then it all goes a bit Buddhist, with 'Mother Nature' a real alien entity called Desala, probably because 'The Matrix' had inspired a bit of that kind of stuff at the time.
Daniel thinks he can now do Yoda stuff, but eventually realises it was Desala's way of communicating and the child is safe with her, so ends the quest. I did wonder how they were going to have a baby in the series, and one that would unlock the secrets of the Goa'uld. Jack's disbelief and wry observations, or lack of finesse, cause the usual chuckles, and it's nice to see Daniel getting all excited about an ancient culture again - we haven't seen that side of him for a while. The episode reminded me of the one with Ernest and his walls of wisdom, along with 'The Nox'. I don't know why, after such experiences with super-aliens like the Nox, they don't all expect the Goa'uld to be wiped out easily, but instead prepare for pitched battle. It was good to see Bretak, as ever the visuals were sumptuous, there were a few laughs, but in the end I felt it was all a bit hollow. The only development is that they now know the Harseses is safe, and it ends with Daniel going back for his shoes. A practical underlining - you can have your head in the clouds of wonder, but don't forget the needs of reality.
**
The Loss
DVD, TNG S4 (The Loss)
I thought perhaps this episode might only be noteworthy for one of the (and probably the), earliest references to the Breen - apparently they, like Ferengi, are difficult to read empathically. Or for the 2D race of beings. Things go a bit technical, Deanna's throwing tantrums, but it's scientifically interesting for the fact that Roddenberry didn't want his characters in conflict. For once Deanna's ratty to everyone, shouting and screaming (about as much as she's ever likely to), and throwing her toys out of the Counsellor's office. At first I had no sympathy for Deanna at all, for exactly the reason Riker confronts her with later: she always had an advantage and now she's on a level footing with everyone else. But somewhere in the middle I suddenly found that actually I was sorry for her, and did feel her pain (maybe I was becoming Betazoid?). Guinan's simple, but unexpected words did wonders, as usual saying the unexpected, but Picard didn't even get a chance to tell his story!
We learn some things about the structure of the personnel on board, such as there aren't any other counsellors, when I assumed Troi had a team. She's also close to insubordination to various people, but they kindly let it pass. Also, news doesn't seem to travel around very quickly. Her patient didn't know that she'd lost her powers or about her resigning, while Guinan did, and Deanna was still worrying over people being like flat holo-projections in the midst of a crisis in which the ship is drawn inexorably towards a destructive force. She was about to become a 2D entity herself, yet she's still moping about her powers? I can only put it down to no one letting her know what danger the ship was in. Then again most people were probably keeping away from her! Her own plight was sure to lead to the inspiration which would release the ship, and her powers were sure to return, but even though it ends too easily I was happy with the resolution and the chance to see Deanna on the back foot. There's even a lovely musical outro as the ship majestically glides on its way, and I don't care that it was only there to make up time. Look out for Picard's wife from 'Star Trek: Generations' as Ensign Brooks, whom Troi is counselling.
***
I thought perhaps this episode might only be noteworthy for one of the (and probably the), earliest references to the Breen - apparently they, like Ferengi, are difficult to read empathically. Or for the 2D race of beings. Things go a bit technical, Deanna's throwing tantrums, but it's scientifically interesting for the fact that Roddenberry didn't want his characters in conflict. For once Deanna's ratty to everyone, shouting and screaming (about as much as she's ever likely to), and throwing her toys out of the Counsellor's office. At first I had no sympathy for Deanna at all, for exactly the reason Riker confronts her with later: she always had an advantage and now she's on a level footing with everyone else. But somewhere in the middle I suddenly found that actually I was sorry for her, and did feel her pain (maybe I was becoming Betazoid?). Guinan's simple, but unexpected words did wonders, as usual saying the unexpected, but Picard didn't even get a chance to tell his story!
We learn some things about the structure of the personnel on board, such as there aren't any other counsellors, when I assumed Troi had a team. She's also close to insubordination to various people, but they kindly let it pass. Also, news doesn't seem to travel around very quickly. Her patient didn't know that she'd lost her powers or about her resigning, while Guinan did, and Deanna was still worrying over people being like flat holo-projections in the midst of a crisis in which the ship is drawn inexorably towards a destructive force. She was about to become a 2D entity herself, yet she's still moping about her powers? I can only put it down to no one letting her know what danger the ship was in. Then again most people were probably keeping away from her! Her own plight was sure to lead to the inspiration which would release the ship, and her powers were sure to return, but even though it ends too easily I was happy with the resolution and the chance to see Deanna on the back foot. There's even a lovely musical outro as the ship majestically glides on its way, and I don't care that it was only there to make up time. Look out for Picard's wife from 'Star Trek: Generations' as Ensign Brooks, whom Troi is counselling.
***
Shakaar
DVD, DS9 S3 (Shakaar)
For once one of Quark's schemes goes right for him. It's only a charming little B-story, but it's worth pointing out. Usually he's jumped on by Starfleet or Odo, but this time, with the Chief 'in the zone', everyone's excited about his darts prowess. Until Quark messes up his own opportunity, and does so at the worst possible moment, too, in front of a Vulcan, the worst race to be shown up in front of. Vulcans are rarely seen on 'DS9', but they usually arrive in time to rub someone's nose in it! The real story is an excuse for a runaround on Bajor, Kai Winn's chance to grab even more power, and Kira to realise life is actually better now than when she was in the resistance, just in case she was developing romantic notions of that time. Not that she would, but sneaking around in the hills certainly cooled her ardour for the life.
We get to meet the man who formed the resistance cell Kira belonged to, and a couple of her close friends, though they can't be that close as she's hardly seen them in recent years. Shakaar wouldn't come into the series as much as he should have done - the friendly giant and his friends Furel and Lupaza were all great characters that could have really done with more exploration. A taste of William Lucking's ability comes in the story he tells of losing his arm. He's a stranger to us, but we instantly warm to him, the mark of a strong actor. Other members of the cell are mentioned, including Mobara (later to appear in 'The Darkness and The Light'). The lighting is so good in the planet scenes I'd forgotten some of the ones outside Shakaar's house were filmed on an indoor set! Visiting a farm on Bajor completes the set of visits to the main character's homeworlds this season, and recalled Season 1's 'Progress', another time Kira was put in the difficult position of having to convince someone to do what the authorities wanted. Winn should have realised that Kira's sympathies with these farmers would turn her to their way of thinking, but all she sees is Kira as a servant who happens to have a connection to Shakaar making the Major useful to her. Speaking as sweetly and as convincingly as she can, she gets Kira to do what she wants despite getting off a few barbs throughout the episode.
Winn has rarely looked more dangerous, seizing power, thinking it's all a test by the Prophets (and who's to say it wasn't - Bareil once said Winn's position as Kai would lead further than even she knew). Is there any likelihood that she induced the First Minister's heart attack somehow? There's no hint of suspicion from Sisko or Kira when discussing it, but when you think back to her plot to kill of Bareil to make sure she became Kai it fits the pattern and makes you think... Worse still, all the other times Winn has come through and won, getting what she wanted, and afterwards has proved relatively gracious, but this time things don't go her way, she's thwarted. Not only that, but Sisko refuses to help her (the Prime Directive proves useful for once!), and Kira, ever her arch-enemy is the one to deliver the news, leading to some payback for all the wrong Winn's done her. So Winn ain't gonna be happy. She looked like she was shaking with rage at the end there, and that isn't good for anyone.
Whether Kira found the honest, wholesome Shakaar appealing at this time is hard to say for certain, but her blowing out of the candle for Bareil is very symbolic, but so subtle that we wouldn't know what it really meant until later. If she wasn't in Winn's bad books she most certainly is now, and all semblance of potential for friendly relations are nixed. Winn was happy to bring Bajor to civil war as long as she crushed all opposition to her rule, but the people weren't quite ready for that kind of tyranny. Honourable mention should go to Super Bajoran - one of the soldiers chasing the Shakaar group flings himself from a hilltop to land on a gravelly hillside. Whether he was showing off or not he was clearly having fun. With Bajor being a peaceful planet the military must not get out much...
****
For once one of Quark's schemes goes right for him. It's only a charming little B-story, but it's worth pointing out. Usually he's jumped on by Starfleet or Odo, but this time, with the Chief 'in the zone', everyone's excited about his darts prowess. Until Quark messes up his own opportunity, and does so at the worst possible moment, too, in front of a Vulcan, the worst race to be shown up in front of. Vulcans are rarely seen on 'DS9', but they usually arrive in time to rub someone's nose in it! The real story is an excuse for a runaround on Bajor, Kai Winn's chance to grab even more power, and Kira to realise life is actually better now than when she was in the resistance, just in case she was developing romantic notions of that time. Not that she would, but sneaking around in the hills certainly cooled her ardour for the life.
We get to meet the man who formed the resistance cell Kira belonged to, and a couple of her close friends, though they can't be that close as she's hardly seen them in recent years. Shakaar wouldn't come into the series as much as he should have done - the friendly giant and his friends Furel and Lupaza were all great characters that could have really done with more exploration. A taste of William Lucking's ability comes in the story he tells of losing his arm. He's a stranger to us, but we instantly warm to him, the mark of a strong actor. Other members of the cell are mentioned, including Mobara (later to appear in 'The Darkness and The Light'). The lighting is so good in the planet scenes I'd forgotten some of the ones outside Shakaar's house were filmed on an indoor set! Visiting a farm on Bajor completes the set of visits to the main character's homeworlds this season, and recalled Season 1's 'Progress', another time Kira was put in the difficult position of having to convince someone to do what the authorities wanted. Winn should have realised that Kira's sympathies with these farmers would turn her to their way of thinking, but all she sees is Kira as a servant who happens to have a connection to Shakaar making the Major useful to her. Speaking as sweetly and as convincingly as she can, she gets Kira to do what she wants despite getting off a few barbs throughout the episode.
Winn has rarely looked more dangerous, seizing power, thinking it's all a test by the Prophets (and who's to say it wasn't - Bareil once said Winn's position as Kai would lead further than even she knew). Is there any likelihood that she induced the First Minister's heart attack somehow? There's no hint of suspicion from Sisko or Kira when discussing it, but when you think back to her plot to kill of Bareil to make sure she became Kai it fits the pattern and makes you think... Worse still, all the other times Winn has come through and won, getting what she wanted, and afterwards has proved relatively gracious, but this time things don't go her way, she's thwarted. Not only that, but Sisko refuses to help her (the Prime Directive proves useful for once!), and Kira, ever her arch-enemy is the one to deliver the news, leading to some payback for all the wrong Winn's done her. So Winn ain't gonna be happy. She looked like she was shaking with rage at the end there, and that isn't good for anyone.
Whether Kira found the honest, wholesome Shakaar appealing at this time is hard to say for certain, but her blowing out of the candle for Bareil is very symbolic, but so subtle that we wouldn't know what it really meant until later. If she wasn't in Winn's bad books she most certainly is now, and all semblance of potential for friendly relations are nixed. Winn was happy to bring Bajor to civil war as long as she crushed all opposition to her rule, but the people weren't quite ready for that kind of tyranny. Honourable mention should go to Super Bajoran - one of the soldiers chasing the Shakaar group flings himself from a hilltop to land on a gravelly hillside. Whether he was showing off or not he was clearly having fun. With Bajor being a peaceful planet the military must not get out much...
****
Monday, 13 December 2010
Lexmas
DVD, Smallville S5 (Lexmas)
I can't decide if I like this or not. Maybe I can talk myself round one way or the other. A Christmas episode was completely unexpected and something I could never have foreseen - the series just isn't that type of show, it doesn't do 'special' themed episodes like that. Not that that's a bad thing, but it was a bit jarring at first, and I have to say that as far as the twinkling lights and sparkling glows went I found them rather garish, a strange admission to make watching it in the run up to Christmas time! Lex' fall into a coma wasn't the sort of thing to impress, but a standard writer's device for carrying off an 'It's A Wonderful Life' or 'A Christmas Carol' style of story (both of which are referenced, Clark says Lex has a wonderful life, and Lex mentions Ebeneezer Scrooge). Again, it doesn't matter that it's not inventive because of the way it shows an alternate future, one we know will never happen, in which Lex finds love and happiness by turning his back on money and power, only for it to blow up in his face and become the lynchpin in his turn to the dark side.
I don't get what the intentions were with this story, beyond having some fun with the 'what if?' scenario. Is it telling us that Lex has no prospect for a happy life whatever he does? Is he destined to self-destruct whatever happens? It's a bleak message wrapped up in a big, red ribbon, which is the hardest thing to swallow in the story. It isn't hard to accept that Lex has realised what he wants and slowly is letting his grip on real life slip away as he moves towards the evil figure he should become, but it is hard to accept that he would dream of his Mother telling him that this was the only way he could go - short-lived happiness was all he could get in exchange for riches and status. Or is it all just something conjured up in his mind, and he's so bent towards his own wants that he came up with this scenario to convince himself he should stop at nothing to protect himself in life? Or did it all mean nothing and it was just a dream he's decided to take seriously?
The sad thing is that the need to control everything, even for good intentions such as the protection of loved ones, is what real people aspire to, and what can make people evil in real life. Yet they, and Lex, aren't seeming to see the truth of living - no matter how much money, how much control, you can never control everything. It's surely better to be happy in obscurity than trying to take hold of 'destiny' or the environment around you to the detriment of all else. Put it down to the madness Lex experienced in Season 3. He never went back to the totally friendly, true guy he had been and his own dark childhood has twisted him almost completely.
The other side of the story, the 'real world' as you might call it, features some fun little moments, such as Clark saving an old man from jumping off a building, and for the fact that Clark actually becomes Father Christmas for a bit, dashing round to deliver presents. I wonder if he left a trail of smashed in locks in his wake?! I wasn't quite so keen on the old guy turning out to really be Father Christmas, and, maybe this was a comment on the 'magic' of Christmas, but I found at times I almost wasn't sure if we were in Lex' head or in reality, so surreal was the episode, and so bright and twinkly were both settings! It pushes the envelope out even further, to suggest FC really was there, and that was one thing I thought might be explained away - he had special powers from meteorite-laced Vodka, or whatever. The other bit was why the girl shot Lex. He'd already handed the keys over to her boyfriend, and she actually seemed taken aback when he pulled a gun. I was sure there was going to be some explanation, some clever reason why she had been the one to shoot him instead of her boyfriend, beyond the immediate surprise of where the shot came from.
Dr. Scanlan is back again in the SMC, and I think the name Dr. Litvack had been mentioned in other stories, or seen. I still don't buy Lex' obsession with Lana, which came out of nowhere, even if he says he always loved her, and Mr. Kent's running for office seems more and more like it was only created to get rid of him, even though Jonathan being interested in political office is about as far from the character as you can go. No wonder John Schneider wanted out. Most of what I've written has been negative, mainly because those are the easier things to notice and remember, but I think I did edge towards thinking favourably overall - seeing Lex struggle with a baby seat, or driving some cramped old car, wearing jeans, was so far from his usual slick image adding moments of joyful oddness to the story.
Whether it would have been better to make the episode from the point of view of the coma as reality until we find out otherwise may not have worked as well, since we'd know it wasn't real and he was going to wake up at some point, and also would have negated the option for Clark Claus to show up. He'd better watch out - already Chloe's using emotional blackmail to take advantage of his skills! So I can't give any points for originality, or even style, but whether it's the Christmas spirit coming through or the smaller elements that popped up here and there, I'm going to be generous and officially mark it as a good episode. Up until the totally unhappy ending.
***
I can't decide if I like this or not. Maybe I can talk myself round one way or the other. A Christmas episode was completely unexpected and something I could never have foreseen - the series just isn't that type of show, it doesn't do 'special' themed episodes like that. Not that that's a bad thing, but it was a bit jarring at first, and I have to say that as far as the twinkling lights and sparkling glows went I found them rather garish, a strange admission to make watching it in the run up to Christmas time! Lex' fall into a coma wasn't the sort of thing to impress, but a standard writer's device for carrying off an 'It's A Wonderful Life' or 'A Christmas Carol' style of story (both of which are referenced, Clark says Lex has a wonderful life, and Lex mentions Ebeneezer Scrooge). Again, it doesn't matter that it's not inventive because of the way it shows an alternate future, one we know will never happen, in which Lex finds love and happiness by turning his back on money and power, only for it to blow up in his face and become the lynchpin in his turn to the dark side.
I don't get what the intentions were with this story, beyond having some fun with the 'what if?' scenario. Is it telling us that Lex has no prospect for a happy life whatever he does? Is he destined to self-destruct whatever happens? It's a bleak message wrapped up in a big, red ribbon, which is the hardest thing to swallow in the story. It isn't hard to accept that Lex has realised what he wants and slowly is letting his grip on real life slip away as he moves towards the evil figure he should become, but it is hard to accept that he would dream of his Mother telling him that this was the only way he could go - short-lived happiness was all he could get in exchange for riches and status. Or is it all just something conjured up in his mind, and he's so bent towards his own wants that he came up with this scenario to convince himself he should stop at nothing to protect himself in life? Or did it all mean nothing and it was just a dream he's decided to take seriously?
The sad thing is that the need to control everything, even for good intentions such as the protection of loved ones, is what real people aspire to, and what can make people evil in real life. Yet they, and Lex, aren't seeming to see the truth of living - no matter how much money, how much control, you can never control everything. It's surely better to be happy in obscurity than trying to take hold of 'destiny' or the environment around you to the detriment of all else. Put it down to the madness Lex experienced in Season 3. He never went back to the totally friendly, true guy he had been and his own dark childhood has twisted him almost completely.
The other side of the story, the 'real world' as you might call it, features some fun little moments, such as Clark saving an old man from jumping off a building, and for the fact that Clark actually becomes Father Christmas for a bit, dashing round to deliver presents. I wonder if he left a trail of smashed in locks in his wake?! I wasn't quite so keen on the old guy turning out to really be Father Christmas, and, maybe this was a comment on the 'magic' of Christmas, but I found at times I almost wasn't sure if we were in Lex' head or in reality, so surreal was the episode, and so bright and twinkly were both settings! It pushes the envelope out even further, to suggest FC really was there, and that was one thing I thought might be explained away - he had special powers from meteorite-laced Vodka, or whatever. The other bit was why the girl shot Lex. He'd already handed the keys over to her boyfriend, and she actually seemed taken aback when he pulled a gun. I was sure there was going to be some explanation, some clever reason why she had been the one to shoot him instead of her boyfriend, beyond the immediate surprise of where the shot came from.
Dr. Scanlan is back again in the SMC, and I think the name Dr. Litvack had been mentioned in other stories, or seen. I still don't buy Lex' obsession with Lana, which came out of nowhere, even if he says he always loved her, and Mr. Kent's running for office seems more and more like it was only created to get rid of him, even though Jonathan being interested in political office is about as far from the character as you can go. No wonder John Schneider wanted out. Most of what I've written has been negative, mainly because those are the easier things to notice and remember, but I think I did edge towards thinking favourably overall - seeing Lex struggle with a baby seat, or driving some cramped old car, wearing jeans, was so far from his usual slick image adding moments of joyful oddness to the story.
Whether it would have been better to make the episode from the point of view of the coma as reality until we find out otherwise may not have worked as well, since we'd know it wasn't real and he was going to wake up at some point, and also would have negated the option for Clark Claus to show up. He'd better watch out - already Chloe's using emotional blackmail to take advantage of his skills! So I can't give any points for originality, or even style, but whether it's the Christmas spirit coming through or the smaller elements that popped up here and there, I'm going to be generous and officially mark it as a good episode. Up until the totally unhappy ending.
***
Final Mission
DVD, TNG S4 (Final Mission)
Having the episodes on DVD, the slip-in-and-out format, where you can watch all the stories in order at your own convenience, has been an affordable way to get in touch with the 'Star Trek' series' like never before. It's given me the chance to reappraise the episodes, stories and characters, particularly ones that I didn't much like on original viewing. One of those who reversed my opinions was Kes on 'Voyager', the other was Wesley Crusher. I never much cared for him, with his experiments and his bland behaviour and his lack of development, but becoming reacquainted with the 'TNG' characters on a regular basis has shown the young man in a new light.
His reputation as the child genius that's always saving the ship is undeserved - such an occurrence rarely happened. The development I thought was missing has woven itself subtly through the first four seasons, from barely being acknowledged by Picard, through to gradual acceptance, earning his position on the ship and eventually following the footsteps of his deceased Father, with Captain Picard becoming almost a mentor. What I took for blandness I see as restraint, uprightness and a hard-working temperament learning to live with his own high expectations, yet being presented with the special brand of the Traveller to mark him out as exceptional. He also represents youth, 'at the beginning of the adventure' as Picard puts it, the Captain's envy of such a time in his life that will never come again is more powerful and affecting even than Wesley's admission that all he ever wanted to do was make Picard proud of him.
He had a strong episode to finish with, and one that showcased his growing up, taking charge, to an extent, from the rumpled Captain Dirgo, a no-good type who deserved his fate through ignorance. Wes' courage is shown strongly in the way he tries to defeat the sentry technology even after seeing the gruesome fate of Dirgo. Nick Tate doesn't do a bad job, but the character wasn't as compelling as his other role, mob member Bilby in 'DS9' episode 'Honour Among Thieves'. He's played as a lowly, scruffy drifter who doesn't take authority well and only looks out for himself. Having recently got into the old Amiga game 'Frontier - Elite II' I can vouch firsthand for the difficulty of landing a shuttle from space manually. The music in this sequence was very 'Star Wars' and it made for a good scene, even if the jiggling motion of the set didn't fit the rotating, floaty inertia of the model's trajectory. The visuals throughout are attractively bathed in golden light and although the shuttle crash is a downer there's a sense of a proper adventure with the three of them tramping off into the barren surround. They should have moved in a straight line from the arrow, I would point out, instead of veering off to the right, but perhaps they made up for the veer later! I also felt the neatly chiselled steps in the cave were a little too convenient, though for the most part the set looked good, and differed well from the familiar cave set.
The Enterprise is coincidentally called away at the crucial moment (like that 'TOS' one which I can't remember the name of right now), and I always thought the Malon in 'Voyager' were quite an original concept. Here we see the Enterprise having to deal with a radioactive waste scow, so maybe it drifted out of a wormhole in the Delta Quadrant? The aliens on the planet (they're always a peaceful, non-violent people without any form of weapon or defence - so not too intelligent either, or did they not consider the need for a contingency plan in case large objects collided with their planet?) actually looked like they'd already been contaminated with extreme radiation poisoning, or is that a racist slur?
The episode could have been stronger or more heartfelt or given Wes a bigger send-off, but for a messy, dirty alternative to the sparkling halls and ambassadorial dinners more familiar to Picard, it worked a treat. It's always sad when a character leaves a series, even though in 'Star Trek' there are always possibilities, as a famous pointy-eared legend once said. The adventures of young Crusher would be occasionally dipped into, but never mapped out properly which is a great shame. The series lost something when Tasha, then Beverly, then Wesley left, but at the same time the series was tightened up and I think Season Four is the next stretch of an upward curve, with a great start. Strangely, watching through the series again, Wesley will indeed be missed.
***
Having the episodes on DVD, the slip-in-and-out format, where you can watch all the stories in order at your own convenience, has been an affordable way to get in touch with the 'Star Trek' series' like never before. It's given me the chance to reappraise the episodes, stories and characters, particularly ones that I didn't much like on original viewing. One of those who reversed my opinions was Kes on 'Voyager', the other was Wesley Crusher. I never much cared for him, with his experiments and his bland behaviour and his lack of development, but becoming reacquainted with the 'TNG' characters on a regular basis has shown the young man in a new light.
His reputation as the child genius that's always saving the ship is undeserved - such an occurrence rarely happened. The development I thought was missing has woven itself subtly through the first four seasons, from barely being acknowledged by Picard, through to gradual acceptance, earning his position on the ship and eventually following the footsteps of his deceased Father, with Captain Picard becoming almost a mentor. What I took for blandness I see as restraint, uprightness and a hard-working temperament learning to live with his own high expectations, yet being presented with the special brand of the Traveller to mark him out as exceptional. He also represents youth, 'at the beginning of the adventure' as Picard puts it, the Captain's envy of such a time in his life that will never come again is more powerful and affecting even than Wesley's admission that all he ever wanted to do was make Picard proud of him.
He had a strong episode to finish with, and one that showcased his growing up, taking charge, to an extent, from the rumpled Captain Dirgo, a no-good type who deserved his fate through ignorance. Wes' courage is shown strongly in the way he tries to defeat the sentry technology even after seeing the gruesome fate of Dirgo. Nick Tate doesn't do a bad job, but the character wasn't as compelling as his other role, mob member Bilby in 'DS9' episode 'Honour Among Thieves'. He's played as a lowly, scruffy drifter who doesn't take authority well and only looks out for himself. Having recently got into the old Amiga game 'Frontier - Elite II' I can vouch firsthand for the difficulty of landing a shuttle from space manually. The music in this sequence was very 'Star Wars' and it made for a good scene, even if the jiggling motion of the set didn't fit the rotating, floaty inertia of the model's trajectory. The visuals throughout are attractively bathed in golden light and although the shuttle crash is a downer there's a sense of a proper adventure with the three of them tramping off into the barren surround. They should have moved in a straight line from the arrow, I would point out, instead of veering off to the right, but perhaps they made up for the veer later! I also felt the neatly chiselled steps in the cave were a little too convenient, though for the most part the set looked good, and differed well from the familiar cave set.
The Enterprise is coincidentally called away at the crucial moment (like that 'TOS' one which I can't remember the name of right now), and I always thought the Malon in 'Voyager' were quite an original concept. Here we see the Enterprise having to deal with a radioactive waste scow, so maybe it drifted out of a wormhole in the Delta Quadrant? The aliens on the planet (they're always a peaceful, non-violent people without any form of weapon or defence - so not too intelligent either, or did they not consider the need for a contingency plan in case large objects collided with their planet?) actually looked like they'd already been contaminated with extreme radiation poisoning, or is that a racist slur?
The episode could have been stronger or more heartfelt or given Wes a bigger send-off, but for a messy, dirty alternative to the sparkling halls and ambassadorial dinners more familiar to Picard, it worked a treat. It's always sad when a character leaves a series, even though in 'Star Trek' there are always possibilities, as a famous pointy-eared legend once said. The adventures of young Crusher would be occasionally dipped into, but never mapped out properly which is a great shame. The series lost something when Tasha, then Beverly, then Wesley left, but at the same time the series was tightened up and I think Season Four is the next stretch of an upward curve, with a great start. Strangely, watching through the series again, Wesley will indeed be missed.
***
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