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Star Trek: Voyager – Good Shepherd (Review)

Good Shepherd is a terrible execution of a potentially interesting premise.

There is something interesting in speculating what the Star Trek universe must look like for those characters who exist outside the senior staff of a given series. This premise has been explored and touched upon in a number of episodes; most notably in the basic premise of Star Trek: Discovery, the primary plots of Lower Decks and Learning Curve, even the sections of Strange New World focusing on Novakovich and Cutler. Still, these are only a handful of episodes in a franchise that spans half a century and over seven hundred installments.

Looking out for her crew…

As such, the basic plot of Good Shepherd is compelling. The teaser visuals the appeal of such a story in a playful and innovative way, with the camera following a command all the way from the top of the ship to the bottom; from Janeway’s ready room to Astrometrics to Engineering to the lowest viewing port on the ship. It is an interesting way of demonstrating how anonymous and disconnected individuals can feel, even on board a ship with a crew numbering around one hundred and fifty. What does it feel like to be anonymous, on a ship as isolated as Voyager?

Unfortunately, Good Shepherd awkwardly bungles the question. In doing so, it fails to provide any satisfying answers.

Running rings…

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Non-Review Review: Collateral

Collateral is a masterpiece. I think the only Michael Mann movie I’d rate against it would be Heat, which puts it in very good company. It’s probably my favourite neo-noir film, and I actually ranked it as my favourite film of 2000-2009. There are a lot of reasons for that: I think it’s the best example of digital video cinematography I’ve ever seen, the script is superb, the two leads are fantastic and it’s an utterly compelling examination of urban isolation. The screenplay was originally set in Manhattan, but I think the decision to transpose the story of a cabbie and his client to Los Angeles was actually quite clever – there’s generally an eerie emptiness and anomie to how life in Los Angeles is portrayed, and Collateral captures it perfectly.

Top gun...

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