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Star Trek: The Next Generation – Dark Mirror by Diane Duane (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first and second seasons. Check back daily for the latest review or retrospective.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry.

Dark Mirror was released a few mere months before Crossover was broadcast – one of those moments of pop culture synergy where it turns out that two different individuals can have the same idea, but with infinitely different nuance or emphasis. Indeed, the timing syncs up so well that Crossover actually aired between the hardcover and soft cover printings of Dark Mirror, suggesting that a return to the mirror universe was something of an inevitability for Star Trek, in one form or another.

Duane’s approach to the mirror universe is markedly different to that of writers Michael Piller and Peter Allan Fields, with both Dark Mirror and Crossover taking the ending of Mirror, Mirror and running with it in opposite directions. Piller and Fields used the aftermath of Kirk’s meddling as a means to explore the consequences of interference in a culture that Kirk didn’t quite understand – a mechanism to explore the way that the original Star Trek didn’t seem to grasp moral relativity, and to explore political complexities outside Kirk’s value system.

In contrast, Dark Mirror is a more philosophical meditation on the nature of good and evil, a more metaphysical exploration of a fictional world built around the concept of selfishness and strength, and how such a universe would have to work on different physical laws than that of Star Trek: The Next Generation.

tng-darkmirror

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Star Trek: Deep Space Nine – Crossover (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first and second seasons. Check back daily for the latest review or retrospective.

At the time, Crossover must have seemed like a very odd choice for a late-second-season episode of Star Trek: Deep Space Nine. Of course, the mirror universe episodes would become a quasi-annual occurrence on the show, similar to the “O’Brien must suffer” adventures. However, in May 1994, it must have seemed like a really strange choice to do an entire episode as a sequel to a much-loved second-season installment of the original Star Trek.

Still, Crossover remains the strongest of Deep Space Nine‘s mirror universe episodes, most notably because it treats the rather absurd premise with a certain amount of weight and integrity, but also because it feels so delightfully weird.

Half the cast has been waiting two years to do that...

Half the cast has been waiting two years to do that…

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Star Trek: Mirror, Mirror #1 – Fragile Glass (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first and second season. Check back daily for the latest review or retrospective.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry.

One of the benefits and the curses of tie-in material is the ability to connect the dots – to tie together two parts of continuity separated by time and space, filling in the blanks in some character or plot arc. Often, this feels extraneous at best. In order for the televised stories to work, there must be enough information conveyed effectively to the audience so they can make their own leaps. Trying to plug imaginary and unnecessary holes is seldom satisfying.

On the other hand, there are occasionally gaps that are worth exploring. These are gaps that have been explained on the show, but which are still large enough that creators can fit their own interesting stories between them. The divide between Mirror, Mirror and Crossover is one such gap, as we go from the original Star Trek‘s version of the mirror universe to the very different iteration seen on Star Trek: Deep Space Nine.

Tom DeFalco’s Fragile Glass attempts to sketch in some of the details around this gap. While it’s not entirely satisfying as either a missing link or a story in its own right, it does offer some nice pulpy fun and gets considerable mileage out of the “Spock vs. Kirk” premise.

I am not Spock...

I am not Spock…

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Agents of S.H.I.E.L.D. – The Asset (Review)

Well, The Asset is certainly stronger than The Pilot and 0-8-4, not that those two episodes represent an especially high bar for the show to cross. The Asset is hardly the best episode of television in the history of the medium. It still suffers from many of the same problems as the first two episodes, involving the cast and formula and the constant name-dropping. However, it does tease the possibility of improvement. The Asset isn’t an episode of a brilliant piece of television, but it is an episode that shows the potential to develop into something far more exciting and compelling.

Coulson appreciates the gravity of the situation...

Coulson appreciates the gravity of the situation…

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Star Trek: Deep Space Nine – The Wire (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first and second seasons. Check back daily for the latest review or retrospective.

The Wire might just be the best episode of the second season of Star Trek: Deep Space Nine. In fact, it ranks with Duet and In the Hands of the Prophets as one of the best episodes of the show so far. Written by Robert Hewitt Wolfe and showcasing the dramatic talents of both Siddig El Fadil and Andrew Robinson, The Wire is a powerhouse of dramatic writing – an intimate character study capable of provoking tensions and ambiguities on par with the season’s universe-altering installments.

Garak has only appeared a handful of times so far. Indeed, considering how important he would become to the series, it’s interesting how rare his early appearances are. However, The Wire is really the episode that pins Garak down and tells us everything that we could possibly need to know about Garak, without ever actually telling us everything we might want to know. It’s a careful distinction, and Wolfe’s script walks that line skilfully while Andrew Robinson’s performance is perfectly modulated.

Bashir's bedside manner...

Bashir’s bedside manner…

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Star Trek: Deep Space Nine – A Stitch in Time by Andrew J. Robinson (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first and second seasons. Check back daily for the latest review or retrospective.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry.

A Stitch in Time remains a fascinating read. Sure, Star Trek actors had written novels before. William Shatner had turned his Captain Kirk novels into something of a cottage industry, even turning in a Starfleet Academy novel to cash-in in the success of JJ Abrams’ 2009 Star Trek reboot. However, Andrew J. Robinson’s A Stitch in Time is the first tie-in novel written by a cast member without a ghost writer or a collaborator. A Stitch in Time is entirely about Robinson’s relationship with Garak, the character he played for seven years on Star Trek: Deep Space Nine.

It’s a very thoughtful, eloquent and beautiful piece of work – providing the reader a great deal of insight into how Robinson sees Garak as a character, stripping away a lot of the mystery and intrigue that surrounded the character during his appearances. It feels like an attempt by Robinson to offer Garak some measure of closure, to put the character to rest.

ds9-astitchintime

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The X-Files – Space (Review)

And so we go from what is possibly the strongest episode of the first season to what is definitely the worst. Space is a colossal failure of an episode, with even writer and creator Chris Carter conceding that it was “one of our most unloved episodes.” However, none of these spectacular failures occur for any particularly interesting reason. It’s the wrong idea with the wrong script with the wrong director, and a result that can’t even claim to be “so bad it’s good” like so many of the series’ other lesser hours.

At best, it’s a cautionary tale, a firm establishment of what The X-Files isn’t. Like The Jersey Devil, it’s an indicator that maybe Chris Carter should have been focused more on show-running than writing. Even factoring in the quite decent pilot, Carter is hardly batting a thousand here. However, it also offers some small measure of proof that – despite show’s fixation on extraterrestrials and UFOs – The X-Files is not really a show about space.

... and the stars look very different, today...

… and the stars look very different, today…

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Star Trek: Deep Space Nine – The Maquis, Part II (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first and second seasons. Check back daily for the latest review or retrospective.

Oddly enough, for an episode designed to serve as a launching pad for Star Trek: Voyager, The Maquis, Part II really feels like the point where Star Trek: Deep Space Nine becomes Ira Steven Behr’s show. Deep Space Nine had been created by Michael Piller and Rick Berman. While Berman oversaw the franchise as a whole, Piller had been a guiding influence during the first two seasons of Deep Space Nine. However, his attention would wander to both Voyager and the pending films based on the Star Trek: The Next Generation film franchise.

As a result, producer Ira Steven Behr would be left in the driving seat of Deep Space Nine. Behr had some experience with the franchise. he was part of the wonderful writers’ room responsible for the massive upswing in the quality of The Next Generation, but left after a year on that show – describing it as “the Connecticut of Star Trek.” Years later, he was aggressively pursued by Piller to work on Deep Space Nine, where Piller felt his philosophy might be more at home.

The Maquis, Part II is far from Behr’s first writing credit on the show, and it’s certainly not the first time his influence has been felt. It is, however, the point at which it feels like Behr’s creative vision is firmly cemented the show’s outlook. Piller would move further away over the course of the next year, and Behr’s influence would grow even stronger, but this is the point where Behr’s vision of Deep Space Nine really takes hold.

Burning bridges...

Burning bridges…

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Star Trek: Deep Space Nine – The Maquis: Soldier of Peace (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first and second seasons. Check back daily for the latest review or retrospective.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry.

The Maquis: Soldier of Peace is a rather interesting little miniseries, produced while Malibu comics held the rights to Star Trek: Deep Space Nine spin-off comics in the early nineties. Malibu owned the rights to the earliest comics, publishing just over thirty issues of the main Deep Space Nine title between August 1993 and December 1995. Due to Paramount’s desire to exploit the license as much as possible, Malibu only had access to the Deep Space Nine rights, and not to Star Trek: The Next Generation or the original Star Trek.

Malibu would eventually be bought by Marvel, allowing the company to briefly publish Star Trek comics related to all on-going series. However, the company managed to generate an impressive amount of content in the time that it held the rights. Cynics would suggest that company was trying to cash in on the comics boom of the nineties, trying all manner of gimmicks, including one-shots and even a “celebrity” prestige series featuring stories written by Mark Lenard or Aron Eisenberg.

As such, these comics offer an interesting snapshot of where Deep Space Nine was at this point in its history.

The three amigos...

The three amigos…

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The X-Files – Ice (Review)

Now we’re talking. It’s been a tough couple of episodes, but The X-Files bounces back with a strong contender for the best episode of the first season. Like the last collaboration between Morgan and Wong, Ice is one gigantic homage to a classic horror film. (Well, two classic horror films.) Shadows took its cues from The Entity, while Ice draws heavily from both John Carpenter’s The Thing and Howard Hawk’s The Thing From Another World, both based on the  John W. Campbell Jr. novella Who Goes There?

However, Ice works a lot better than Shadows. Part of that is down to the fact that Morgan and Wong seem genuinely enthused and engaged with their premise, rather than simply painting by numbers. Part of this is also down to the fact that this sort of horror and paranoia is more firmly in the show’s wheelhouse than the generic “protective avenging ghost” narrative from Shadows.

Ear, ear!

Ear, ear!

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