Star Trek | the m0vie blog

Star Trek: Deep Space Nine – In the Pale Moonlight (Review)

Posted on May 3, 2017 by Darren

I can live with it.

I can live with it.

– Captain Benjamin Lafayette Sisko, Stardate 51721.3

In the Pale Moonlight is a masterpiece.

There is simple no way around it. It works beautifully as a morality play, as a thriller, as a character study. It has a powerful script, a set of brilliant performances, a memorable set-up and pay-off. In the Pale Moonlight is a fantastic piece of television production, something that immediately distinguishes itself from the episodes around it. Like The City on the Edge of Forever or The Inner Light, there is just something fundamentally different about In the Pale Moonlight from the establishing shots.

In many ways, In the Pale Moonlight is the flip side of the coin to Far Beyond the Stars. Both are spectacular episodes of television, and stand as some of the best entries in the franchise canon. However, there are clear differences. While Far Beyond the Stars would not work with any other lead character or actor, it is an episode that is arguably quintessentially Star Trek; it is a powerful allegory about racism and the power of an optimistic future. In contrast, In the Pale Moonlight is specifically Star Trek: Deep Space Nine.

In the Pale Moonlight is an episode of Deep Space Nine that simply could not exist in any other Star Trek show. This could never have been an episode of Star Trek: The Next Generation or Star Trek: Voyager. The episodes that edge closest to this – like The Pegasus or The Omega Directive – lack the same commitment to the premise. Star Trek: Enterprise arguably came closest with the script for Damage, but even that lacked the powerhouse focus of In the Pale Moonlight.

As the title implies, In the Pale Moonlight is a story about what it takes to dance with devil. It is told against the epic backdrop of the Dominion War, against the scale and spectacle of the sixth season of Deep Space Nine, but the real drama of In the Pale Moonlight unfolds in one man’s confession. This is the story in which the Romulans join the war effort, but it is not a story about the Romulans joining the war effort. It is a story about how Captain Benjamin Sisko sets a price for his own self-respect and his own self-regard.

In the Pale Moonlight is that most personal of dramas, the story of a man who bargains away his soul for a far cheaper price than he expects.

Continue reading →

Filed under: Deep Space Nine | Tagged: Avery Brooks, battlestar galactica, Benjamin Sisko, in the pale moonlight, romulans, ronald d. moore, star trek, star trek: deep space nine | 40 Comments »

Star Trek: Voyager – The Omega Directive (Review)

Posted on May 1, 2017 by Darren

The Omega Directive plays like Star Trek: Voyager is trying to push itself.

It is an episode which finds Janeway acting secretively and unilaterally, casually brushing aside the Prime Directive in service of some hidden agenda. This is a very big deal. On the original Star Trek, it frequently seemed like the Prime Directive was something for Kirk to outwit. However, since Star Trek: The Next Generation, the franchise has taken the rule to have a lot more moral weight. Even more precisely, since Caretaker, Janeway has emphasised that it is not her place to intervene directly in the affairs of alien civilisations.

The be-all and end-all.

So there sound be something very shocking about Janeway keeping secrets from her crew and forsaking the moral principle that had been the cornerstone of her first few years in command. Given how conventional Voyager has been, how carefully the show has pitched itself as the most archetypal of Star Trek shows, this should be a pretty big deal. What would get Janeway to consciously (and even enthusiastically) cross those lines? How far would she go? What else is she concealing from the people around her? It should be a powerhouse episode of television.

However, The Omega Directive falls flat. Part of the problem is timing, with The Omega Directive sandwiched between Inquisition and In the Pale Moonlight in terms of the overall franchise chronology. Star Trek: Deep Space Nine had been transgressing and subverting franchise norms for years at this point. The Omega Directive feels like something relatively small-scale, juxtaposed against the activities of Section 31 or Sisko’s complicity in murder. The Omega Directive thinks that it is playing in the same league, but it is not even the same sport.

An explosive new development.

More than that, there is a clumsiness to The Omega Directive. The episode touches on a number of interesting ideas, but the story’s thematic weight is quite consciously removed from the core premise. The Omega Directive works best as a weird episode touching on Borg spirituality, and on the question of the Collective’s motivations, but the episode invests so much energy in the black-ops norm-shattering framing device that these elements do not feel like satisfying pay-off. The core themes of The Omega Directive feel like they belong in another episode.

The Omega Directive is a wasted opportunity, its underwhelming subversive trappings distracting from what might have been a compelling meditation on faith and belief.

That healthy blue glow.

Continue reading →

Filed under: Voyager | Tagged: borg, borg collective, janeway, new age, omega molecule, Prime Directive, religion, seven of nine, star trek: voyager, the omega directive, voyager | 9 Comments »

Star Trek: Deep Space Nine – Inquisition (Review)

Posted on April 28, 2017 by Darren

Inquisition is a superb piece of television, and a highlight of the sixth season of Star Trek: Deep Space Nine.

It is a very clever extrapolation of various themes and ideas that have been bubbling across the length and breadth of the series, particularly concerns about what happens when incredible power is concentrated in institutions that find themselves under threat. One of the underlying assumptions of the Star Trek universe is that mankind is somehow different than any other sentient life form, somehow more enlightened and more idealistic than the other major powers that make up the broader shared universe.

Luthless.

Deep Space Nine has always been wary of this assumption, in part because it is frequently made with no real exploration of what specifically makes mankind more evolved and more compassionate than the Romulans or the Klingons. More than that, Deep Space Nine has been openly suspicious of that idea because of the moral complacency involved. If Star Trek assumes that mankind is so special and so unique that it has evolved past all of its darker impulses, the franchise has a massive blindspot that could be readily exploited.

This is nothing new. Although the first season of Star Trek: The Next Generation leaned heavily into the idea of mankind as a hyper-evolved species with much to teach the wider cosmos, that series really came of age when it followed this train of thought to its logical conclusion in The Measure of a Man. A society that deems itself beyond moral reproach is capable of anything, because it lacks the introspection to really consider the moral weight of its actions. Even in peacetime, the Federation was only a single court case away from re-instituting slavery.

Imperialist leather.

Inquisition is very much a logical extension of this idea. Beyond the sprawling epic six-episode opening arc, the sixth season of Deep Space Nine arguably works best when it sits outside the Dominion War and explores the impact that the conflict has beyond the space battles. Statistical Probabilities ponders the war in numerical terms. Honour Among Thieves inquires about life in the underground and at the margins. In the Pale Moonlight touches on the backroom politics and the moral compromises. Inquisition looks at how the Federation itself has been changed by the war.

Like Homefront and Paradise Lost, Inquisition has aged well. Less than half a decade after the episode originally aired, the United States would be trying “enemy combatants” in secretive military tribunals, detaining suspected terrorists without trial in secretive holding facilities, and engaging in “enhanced interrogation” including sleep deprivation to make subjects more pliable. Although the production team could have no idea at the time, the image of a dark-skinned man being paraded in irons is a lot more evocative two decades after the fact.

“Not quite the parade that I had in mind.”

Continue reading →

Filed under: Deep Space Nine | Tagged: 9/11, Bashir, cynicism, due process, luther sloan, section 31, star trek, star trek: deep space nine, tribunals, war on terror, william sadler | 26 Comments »

Star Trek: Voyager – Vis á Vis (Review)

Posted on April 26, 2017 by Darren

Well, it was nice while it lasted.

The fourth season of Star Trek: Voyager had a nice little strand of continuity running through the fourth season, from the discovery of the relay stations and first contact with the Hirogen in Message in a Bottle through to the reaching of an accord with the Hirogen in The Killing Game, Part II. That six-episode run had demonstrated a remarkable attention to detail on the part of the production team. Even the relatively stand-alone episode Retrospect alluded to the ending of Prey and the threat of the Hirogen lingering from Hunters.

Ch-ch-changes…

However, Vis á Vis represents a return to business as usual for the series. It is a light stand-alone episode that completely eschews any sense of continuity or character development. Credited to production assistant Robert J. Doherty, Vis á Vis feels like a weird throwback to the middle of the second season, a retrograde character-driven episode rooted in a version of Tom Paris that has not existed since Investigations at the absolute latest. The result is a weird body-swapping episode where the regular cast member seems out of character to begin with.

Vis á Vis is an outdated Voyager episode, even beyond the lame body-swap premise.

Grease is not the word.

Continue reading →

Filed under: Voyager | Tagged: Body swap, identity theft, star trek, star trek: voyager, steth, tom paris, vis á vis, voyager | 3 Comments »

Star Trek: Deep Space Nine – Wrongs Darker Than Death or Night (Review)

Posted on April 24, 2017 by Darren

Wrongs Darker Than Death or Night once again brushes up against the limits of Star Trek: Deep Space Nine.

Wrongs Darker Than Death or Night is essentially two episodes wrapped up in one. Most basically, it is a character-driven melodrama that focuses on Kira and her relationship to her mother. Dark secrets are unearthed, and betrayals are revealed. Kira finds that she is much closer to Dukat than she once believed, and finds her own moral certainty tested as she confronts the reality of who her mother was and the compromises that she had to navigate in the context of the Cardassian Occupation. It is a bold and provocative episode, daring and unsettling.

Everybody has scars.

However, Wrongs Darker Than Death or Night is also trying to be an exploration of the kind of moral compromises necessary against the backdrop of the Cardassian Occupation, about the toll that such a horrific event inflicts upon a population. It is a tale of sexual slavery and brutality, about manipulation and abuse. It is a tale about power and violence, and how those aspects of an enemy occupation do not always manifest in brute force. This is story about the scars that such horrors leave. This is a clumsy episode, revealing the firm limits that exist within Deep Space Nine.

Wrongs Darker Than Death or Night does not work as well as it should, suggesting that there are some stories that Deep Space Nine simply cannot tell.

Screening her calls.

Continue reading →

Filed under: Deep Space Nine | Tagged: comfort women, deep space nine, Kira Nerys, moral certainty, sexual violence, star trek, Television | 12 Comments »

Star Trek: Deep Space Nine – Change of Heart (Review)

Posted on April 21, 2017 by Darren

Change of Heart is another good episode that stops short of being a great one.

On paper, Change of Heart is a wonderful premise. Due to expedience, Worf and Jadzia are assigned on a covert mission that eventually leads to the potential recovery of a Cardassian defector. While trekking through a jungle world on their way to meet this high-value asset, a fire fight with the Jem’Hadar leaves Jadzia wounded. Without medical attention, she will bleed to death. As such, Worf finds himself caught between the oath that he swore to Starfleet and his duty to the woman that he loved. That is harrowing drama, right there.

A stain on his record.

The execution is also very solid. Ronald D. Moore is the perfect writer for a script like this, able to balance organic banter with high-stakes drama. David Livingston is a director who can certainly keep a plot moving. While Terry Farrell and Michael Dorn might not make sparks fly, they have an endearing chemistry that plays very well as a married couple. The script for Change of Heart plays to the strengths of its leading performers. It leaps through a lot of contrivances to get to that big central dilemma, but it moves quickly enough that they are not fatal flaws.

However, Change of Heart once again brushes up against the limits of what Star Trek: Deep Space Nine can do as a late nineties television series. It is an episode that suffers from the limitations imposed by the pragmatic realities of late nineties television production. Change of Heart is an episode that has very consciously learned from (and evolved beyond) the mistakes of earlier and clumsier episodes like Life Support and Rules of Engagement, but which still suffers because it cannot escape the constraints of contemporary genre television.

That’s a wrap.

Continue reading →

Filed under: Deep Space Nine | 10 Comments »

Star Trek: Voyager – The Killing Game, Part II (Review)

Posted on April 19, 2017 by Darren

In some ways, The Killing Game, Part I and The Killing Game, Part II feel like a perfect companion piece to Year of Hell, Part I and Year of Hell, Part II.

Building upon the high-concept large-scale template established by Future’s End, Part I and Future’s End, Part II during the third season, these two two-part episodes established a blockbuster template for Star Trek: Voyager going forward. They solidified Brannon Braga’s vision for the series, and effectively laid out a blueprint for his widescreen spectacle-driven reimagining of the final three seasons. Like Year of Hell, Part I and Year of Hell, Part II before them, The Killing Game, Part I and The Killing Game, Part II are blockbuster Star Trek.

Time’s up.

Star Trek: The Next Generation and Star Trek: Deep Space Nine had produced any number of two-part episodes over the course of their runs. In fact, The Best of Both Worlds, Part I and The Best of Both Worlds, Part II had helped to cement the two-part story as impressive tool in the franchise’s storytelling arsenal. On both VHS and blu ray, these two-part stories were constantly repackaged as mini-movies; Redemption, Part I and Redemption, Part II, Unification, Part I and Unification, Part II, Chain of Command, Part I and Chain of Command, Part II.

However, Voyager represented a very clear evolution in the way that the production team approached these stories. Basics, Part I and Basics, Part II were the exception that proved the rule, the last holdover of the Michael Piller era. Largely driven by Brannon Braga and Joe Menosky, the later Voyager two-parters took on a decidedly more blockbuster sensibility. They could easily be packaged as mini feature films, and might even work better in those formats than as two standalone narratives. They were bigger and bolder than earlier two-parters had been.

Holo promises.

Future’s End, Part I and Future’s End, Part II provided the model for these big “event” two-parters. Scorpion, Part I and Scorpion, Part II applied to the Borg in order to offer an even bigger bang for their buck. Year of Hell, Part I and Year of Hell, Part II took the ship and crew to their limit to tell a story set over an entire year. The Killing Game, Part I and The Killing Game, Part II pushed the idea even further, with UPN opting to show both parts of the story on the same night as something like a television movie. It was a big deal.

Deep Space Nine had broadcast The Way of the Warrior as a television movie, but it was a season premiere and effectively a second (or even third) pilot. The Killing Game, Part I and The Killing Game, Part II comprised a high-concept mid-season two parter. They were arguably a stock Voyager episode, only bigger. In the years ahead, Dark Frontier, Part I and Dark Frontier, Part II would follow the same pattern. So would Flesh and Blood, Part I and Flesh and Blood, Part II. The Killing Game, Part I and The Killing Game, Part II established a trend.

Super evil alien space Nazi.

Continue reading →

Filed under: Voyager | Tagged: blockbuster, cgi, characterisation, spectacle, star trek, star trek: voyager, the killing game | 9 Comments »

Star Trek: Voyager – The Killing Game, Part I (Review)

Posted on April 17, 2017 by Darren

In some ways, The Killing Game, Part I and The Killing Game, Part II feel like a perfect companion piece to Year of Hell, Part I and Year of Hell, Part II.

As with Future’s End, Part I and Future’s End, Part II during the third season, these two two-part episodes are very much larger-than-life archetypal Star Trek storytelling. While Future’s End, Part I and Future’s End, Part II riffed on Star Trek IV: The Voyager Home, and Year of Hell, Part I and Year of Hell, Part II borrowed liberally from Star Trek II: The Wrath of Khan, The Killing Game, Part I and The Killing Game, Part II draw from a broader pool of franchise iconography for a Star Trek: Voyager spectacular.

A cut above.

As with Future’s End, Part I and Future’s End, Part II or Year of Hell, Part I and Year of Hell, Part II, The Killing Game, Part I and The Killing Game, Part II are very much concerned with themes of memory and history. Much like Henry Starling or Annorax, the Hirogen are presented as villains waging a war upon history. They have no history or culture, usurping that of the crew and distorting it to serve their own whims and desires. Of course, The Killing Game, Part I and The Killing Game, Part II features no literal time travel, merely holographic.

However, The Killing Game, Part I and The Killing Game, Part II is more than just archetypal Voyager. These preoccupations with memory and history are wrapped up in a whole host of broad and iconic Star Trek idea. Although the two-parter features a number of different plot threads, including the recreation of a classic Klingon conflict, the bulk of the action unfolds in a holographic simulation of the Second World War. Once again, the Star Trek franchise returns to that conflict as a formative and defining moment.

For the world is hollow and I have touched the sky.

Indeed, the two-parter even makes a point to weave the franchise’s core humanism into its sprawling epic pseudo-historical conflict. As much as The Killing Game, Part I and The Killing Game, Part II are driven by spectacle, writers Brannon Braga and Joe Menosky are careful to integrate classic Star Trek themes into the episode. While the story begins with the Voyager crew defeated and subjugated by the Hirogen, it ends with a peaceful settlement. Janeway grants the Hirogen a chance to save their people. Coexistence seems possible.

As such, The Killing Game, Part I and The Killing Game, Part II feels like an intentionally broad smorgasbord of Star Trek themes and iconography. It feels very much like the culmination of the journey that Voyager has been on since the start of the third season, with the production team aspiring to produce a show that might not have its own distinct texture or identity but which retains an archetypal “Star-Trek-ian” quality.

Evil alien space Nazis!

Continue reading →

Filed under: Voyager | Tagged: Brannon Braga, hirogen, holocaust, Holodeck, identity, memory, second world war, star trek, star trek: voyager, the killing game, voyager | 13 Comments »

Star Trek: Deep Space Nine – Honour Among Thieves (Review)

Posted on April 14, 2017 by Darren

Honour Among Thieves is effectively Star Trek: Deep Space Nine pitching itself as a nineties crime film.

One of the luxuries of Star Trek is the sheer flexibility of the format week-in and week-out, the capacity to tell different sorts of stories depending on the tastes of the writers. The franchise can do comedy episodes like The Trouble with Tribbles or House of Quark, political thrillers like Sins of the Father or Homefront and Paradise Lost, weird science-fiction like Whispers or Threshold. The possibilities are endless, the variety incredible. It is a remarkable flexibility, to the point that the audience is never entirely sure what genre they will end up with in a given week.

To Bilby or not to Bilby…

The writers on Deep Space Nine have long been fascinated with the darker side of the Star Trek universe, the pulpy aspect of the franchise that was largely downplayed in the Rick Berman era. Episodes like Necessary Evil played with the conventions of noir storytelling, while Whispers hinted at some postmodern paranoia. The Orion Syndicate were brought back into twenty-fourth century continuity in The Ascent. Occasionally, the strands would come together, most notably in A Simple Investigation, a cyberpunk noir that blended “net girls” with bantering assassins.

Honour Among Thieves very much continues along that evolutionary line. It picks up the Orion Syndicate thread from earlier episodes like The Ascent or A Simple Investigation. However, it also positions itself very much in the context of nineties gangster cinema. This is Deep Space Nine channelling Donnie Brasco, casting O’Brien as a mob informant finding himself sympathetic to his target.

Miles ahead of the enemy.

Continue reading →

Filed under: Deep Space Nine | Tagged: crime, deep space nine, donnie brasco, honour among thieves, o'brien must suffer, orion syndicate, prodical daughter, star trek, star trek: deep space nine | 18 Comments »

Star Trek: Voyager – Retrospect (Review)

Posted on April 12, 2017 by Darren

Star Trek: Voyager is a very nineties show. Sometimes that is endearing. Sometimes it is not.

Retrospect is an episode that made a great deal more sense in the context of the nineties. It was still troublesome and reactionary, structuring its central allegory in a way that was deeply problematic. However, Retrospect made a certain amount of sense when considered in light of the McMartin Preschool scandal and the satanic panic driven by regression hypnosis in the early part of the decade. Retrospect is very clearly an attempt to turn that talking point into a twenty-fourth century allegory about witch hunts and persecution.

Assimilate this…

However, there are a number of poor choices made over the course of the episode. The most obvious is build the episode around the character of Seven of Nine. There are any number of reasons why this would be written as a Seven of Nine episode, given that she is the breakout character of the fourth season. However, episodes like The Gift and The Raven have made a conscious effort to portray Seven of Nine as an abuse surviving living with genuine trauma. To put her at the centre of an episode about false allegations of abuse feels ill-judged.

Similarly, the emphasis on the subject of these accusations and his ruined life feels more than a little tone-deaf, even in the context the nineties satanic panic. Retrospect is not an episode about Seven of Nine processing abuse or even coping with distorted memories. It is ultimately the story about how the falsified accusations of abuse (from a character who is a verified abuse victim) can serve to destroy the lives of innocent men. Indeed, the emphasis on the EMH as a proxy for Seven of Nine downplays her own agency in this plot.

Memory Beta.

These aspects are troubling even in the context of an episode about the dangers of using hypnotherapy as the basis of these charges. However, the scandal has slipped from public consciousness in the years since Retrospect was initially broadcast. When the audience hears about women false accusations against men, it evokes the long-standing myth that men are frequent victims of falsified reports about sexual assault that ruin lives. This was creepy and uncomfortable subtext was obvious at time of broadcast, but has only become more pronounced in the years since.

Retrospect would have been a very clumsy and ill-judged allegory in the context of the mid-to-late-nineties. Decades removed from that original context, it seems almost reprehensible.