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Star Trek – Operation Assimilation (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

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

In many ways, Operation Assimilation feels like a cynical cash-in. It’s a one-shot Marvel comic book published in the wake of the release of Star Trek: First Contact that doesn’t seem to go anywhere, doesn’t seem to seed any story points that might pay off later and doesn’t seem like it has anything particularly insightful to say. It really feels like Marvel just wanted to reaffirm the fact that they had the license to publish Star Trek comics towards the end of First Contact‘s theatrical release cycle and before the film’s home media release.

The cover does little to help this impression. Several months before Star Trek: Voyager would introduce the world to a sexy Borg drone, the cover of Operation Assimilation features a female Borg drawn in a pose (and with a costume) intended to emphasise her cleavage. “Collector’s Item Issue!” the cover boasts, reminding the reader that it is a product of the late nineties comic speculation boom that almost destroyed the industry. The shiny “1” on the cover makes it feel like more of a marketing exercise, along with a fairly light interview with Jonathan Frakes on the last few pages.

It feels almost like Operation Assimilation says more about late nineties comic books than it does about Star Trek.

Cue cheap joke about implants...

Cue cheap joke about implants…

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Star Trek: The Next Generation – The Survivors (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

Michael Wagner remains something of a forgotten figure among Star Trek fans. While anybody familiar with the behind-the-scenes workings on Star Trek: The Next Generation is aware of the contributions made by the wonderful Michael Piller, and quite a few would be familiar with the work of Maurice Hurley during the first two seasons, Wagner’s four-episode tenure as executive producer and head writer is something of a mystery.

Situated right in the middle of that four-episode run, and the only Star Trek script on which Wagner does not share a credit, The Survivors seems like the most obvious indicator of what Wagner’s version of The Next Generation might have looked like. Of course, it’s impossible to extrapolate from a single episode of television, let alone a single episode of an era that was over before it already began, but it is interesting to look at how Wagner’s work here differs from the style that would be imposed by Piller.

The Survivors is a decidedly high-concept science-fiction mystery, feeling almost like an episode of an anthology featuring the regular cast. Built around a guest star, The Survivors is very much radically opposed to Piller’s vision of character-driven Star Trek.

"Nice house. Can't see much about the neighbourhood, though."

“Nice house. Can’t see much about the neighbourhood, though.”

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Star Trek: The Next Generation (DC) Annual #3 – The Broken Moon (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry. This is actually supplementary to the first season of the Next Generation, specifically the episode Conspiracy.

If you were to construct a list of the most niggling unresolved plot threads in the history of the Star Trek franchise, “what was up with those things from Conspiracy?” would likely rank up there alongside “so, did Bajor ever join the Federation?” Funnily enough, author S.D. Perry would tie those two dangling plot points up in her Deep Space Nine relaunch book, Unity.

However, several other writers have tried to figure out what exactly was going on with those mind-controlling parasites who appeared at the end of the first season of Star Trek: The Next Generation and were never heard from again. According to Ronald D. Moore on Inside the Writers’ Room on the third Next Generation blu ray box set, various writers for the show tried to revisit the idea, but Roddenberry hated that episode so much nothing was ever developed.

The Broken Moon, the third annual for DC’s Next Generation comic book series, offers its own take on the mind-controlling parasites. While writer Michael Jan Friedman wisely avoids revealing too much about these creatures, the story suffers because it never figures out anything interesting to do with them.

It always bugged me...

It always bugged me…

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Star Trek: The Next Generation – The Ensigns of Command (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

The Ensigns of Command is a Data-centric script from Melinda Snodgrass, the writer responsible for The Measure of a Man. It was the first episode produced in the show’s third season, even if it was the second to air. As with so many third season episodes, The Ensigns of Command was beset by behind-the-scenes difficulties. These issues plagued the episode through all stages of production – from the script through to post-production.

It is a wonder that The Ensigns of Command turned out watchable. While it certainly can’t measure up to Snodgrass’ earlier Data-centric story, it is an intriguing character study that benefits from a focus on character and an understanding of Star Trek: The Next Generation works. While far from an exceptional or defining episode of The Next Generation, it’s a demonstration of how far the show has come that even an episode as troubled as this could look so professional and feel so satisfying.

A fun shoot...

A fun shoot…

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Star Trek: The Next Generation – The Ensigns of Command by Melinda Snodgrass (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

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 of the internet age is the wealth of material that it makes available with comparative ease. Interviews are widely distributed, clips are circulated, and it’s often not too hard to find primary or well-sourced secondary materials available with a simple search. As such, it’s a lot easier to pry into the history and legacy of cult film and television than it has ever been before. Leaping back in Star Trek: The Next Generation more than two decades after it originally aired allows the viewer more insight than they would ever have had back then.

The third season of The Next Generation is widely (and rightly) regarded as one of the strongest seasons in the history of the franchise. Only the first two seasons of the original Star Trek, a few more seasons of The Next Generation and couple of years of Star Trek: Deep Space Nine can claim to compete on a level of quality and consistency with this twenty-six episode rejuvenation of the series that had faltered in its first two years.

Watching The Ensigns of Command, it’s hard to fathom how deeply troubled the production was. The episode was plagued by problems from scripting through to post-production. Writer Melinda Snodgrass has made no secret of her dissatisfaction with the episode. Although her name appears on the finished script, the episode had been heavily re-written. Snodgrass has made her original script available on-line via her website, and it makes for an interesting glimpse at what might have been.

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Star Trek: The Next Generation – Evolution (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

Evolution kicks off the third season of Star Trek: The Next Generation, and marks the point at which the spin-0ff really comes into its own. It’s remarkable how consistent in quality the third season is, despite the trouble brewing behind the scenes. It’s also remarkable how quickly the show finds its footing after two years of stumbling clumsily in the right direction. Within the first five episodes of the third season, The Next Generation has clearly found its voice.

However, a change is obvious even from Evolution. Michael Piller would take over the reigns four episodes into the season, but he also co-wrote the script to the season premiere. While Piller polished quite a few of the scripts passing through The Next Generation‘s third season, it is interesting that his credited work book-ends the season, setting the tone and leaving a clear impression.

While Evolution is not the strongest episode of the season to come, it does have a much stronger sense of self and purpose than anything that has really come before. It isn’t a bold or ground-breaking script by any measure; it’s actually a relatively simple story. It just tells that story with a wonderful resonance, clarity and efficiency, commodities that have been sorely lacking from The Next Generation to date.

Hold on, it's time for a change...

Hold on, it’s time for a change…

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Star Trek: The Next Generation (DC Comics, 1989) #1-2 – Return to Raimon/Murder, Most Foul (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

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

DC Comics’ limited six-issue tie-in to the launch of Star Trek: The Next Generation might have made an interesting read, but it was a success for the company. It was such a success that the company decided to launch an on-going monthly series tying into Star Trek: The Next Generation. It launched in October 1989, just as the show’s third season was starting on television. It continued throughout the show’s run, wrapping up eighty issues later in February 1996, when Marvel bought the license.

For the bulk of its run, The Next Generation was written by Michael Jan Friedman. Barring a couple of fill-ins scattered across the six-and-a-half year run, Friedman churned out monthly stories with remarkable consistency. Indeed, DC’s second volume of Next Generation would be the most consistent comic book tie-in published during any of the spin-off shows, with the licence for the franchise bouncing around Marvel, Malibu, Wildstorm and IDW in the late nineties and early years of the twenty-first century.

There’s something strangely appropriate about publishing Return to Raimon in tandem with the launch of The Next Generation‘s third season. The third season of The Next Generation is generally regarded as the point where the show really came of age, and the season that laid the foundation for that entire generation of Star Trek spin-offs. It was the point at which the vision of Star Trek proposed by The Next Generation finally came into its own, so it seems fitting that it’s also the point at which one of the franchise’s most consistent and long-running tie-ins begins.

New worlds...

New worlds…

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Star Trek: The Next Generation – Season 2 (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

Although, as Rick Berman argues in the documentary Making It So, the first season of Star Trek: The Next Generation “was at least in syndicated ratings terms, extremely successful”, there was trouble brewing behind the scenes. The show lost two-thirds of its regular female cast members, and the season ended with a whimper rather than a bang as the 1988 Writers’ Strike cutting into the development of the final couple of scripts.

The second season was no less plagued by problems, even as the show proved a ratings and commercial success. The show’s writers’ room was in disarray, with conflicts erupting between Tracy Tormé and Maurice Hurley over scripting for the show – leading to the use of both of Tormé’s WGA-approved pseudonyms on consecutive scripts from the writer. Episodes were coming over budget and behind schedule, necessitating a clip show to round out the season.

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Even on the set itself, new cast member Diana Muldaur had difficulty fitting in the cast, and did not wish to return after the second season. Katherine Pulaski would disappear from the show (and the franchise) with little fuss – her last appearance being in the rather disappointing Shades of Grey. While The Next Generation was successful by just about any objective external measure, it had yet to really find its own internal balance.

Still, the second season of The Next Generation did show hints of improvement. The show was finding its feet. While the average quality of the episodes was nothing like what it would become in the show’s third season, even the more middling instalments of the show’s second season (like Contagion or Where Silence Has Lease or Peak Performance) were leaps and bounds ahead of where the show had been in the first season. It was getting where it needed to go, but not nearly fast enough.

tng-timesquared19

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Star Trek: The Next Generation – Shades of Grey (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

Well. That’s over now. Star Trek: The Next Generation limps across the finish line of its second season with a compilation clip show designed to save money and keep the season’s episode count up. Shades of Grey is frequently cited as the worst episode not just of the second season of The Next Generation, but of the show as a whole. While it’s hard to entirely agree with this assessment – Shades of Grey is cynical and lazy, but it’s neither as sexist as Angel One or The Child nor as racist as Code of Honour or Up the Long Ladder – it is possible to see where that argument comes from.

Like the first season before it, there’s a sense that the second season of The Next Generation might have been better had it ended an episode earlier. Indeed, the second season could have ended with Q Who? and the only episode anybody would really miss would be The Emissary. Unfortunately, one imagines the syndication agreements and network policy made this impossible. While one suspects many of those involved would be happy if Shades of Grey simply faded from existence, it remains part of the show’s syndication package.

This is a little like what this episode feels like...

This is a little like what this episode feels like…

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Star Trek: The Next Generation – Survivors by Jean Lorrah (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry. This is actually supplementary to the first season of the Next Generation, specifically the episode Skin of Evil.

Writing tie-in fiction is tougher than a lot of people seem to think it is. There’s a notion that you’re playing in somebody else’s sandbox, and that you’re confined and restricted by what has and what has not appeared on screen, knowing that your work will always be secondary. As such, I can’t imagine how tough it must have been for Jean Lorrah to write Survivors. Only the fourth tie-in novel for Star Trek: The Next Generation, it was released in January 1989, around a quarter of the way through the show’s second season. Given the time it would take to edit and publish a paperback, it seems that Lorrah likely had to have the novel ready quite early in the life of The Next Generation.

It’s one thing to try to accurately capture the voice of well-defined characters on a long-running show, but it must be infinitely more difficult when writing based off sketchy early episodes that aren’t always consistent in their own characterisation.

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