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Star Trek – Plato’s Stepchildren (Review)

This July and August, we’re celebrating the release of Star Trek Beyond by taking a look back at the third season of the original Star Trek. Check back every Monday, Wednesday and Friday for the latest update.

Another third season episode. Another iconic episode.

As with a lot of third season episodes, Plato’s Stepchildren is easily reduced to a selection of imagery and iconography. It is one of the episodes most likely to be cited as an “important” moment in the cultural evolution of Star Trek, full of clips that are likely to pop up on documentaries covering the history of television. Plato’s Stepchildren is an episode that has permeated popular culture, in large part due to a singular and memorable image that ultimately has very little to do with what the story is actually about.

"A kiss can be even deadlier, if you mean it."

“A kiss can be even deadlier, if you mean it.”

There is something frustrating about this. It feels inappropriate that Plato’s Stepchildren should have become such an important part of the history and the mythology of Star Trek. Not only is Plato’s Stepchildren offensive in ways that deliberately and brutally cut against the imagery that is so lauded, it is also a terrible piece of television in its own right. As with a lot of the third season of Star Trek, it seems like the mythology of the show is brushing up against the quality of the show itself.

Plato’s Stepchildren is memorable and important, but it is all boring and offensive. It encapsulates a lot of the third season, all in all.

"I can see you."

“I can see you.”

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The X-Files – The Post-Modern Prometheus (Review)

This May and June, we’re taking a trip back in time to review the fifth season of The X-Files and the second season of Millennium.

The Post-Modern Prometheus is a decidedly strange little episode.

As the title suggests, it is a stunningly indulgent piece of television. Written and directed by Chris Carter, The Post-Modern Prometheus is an off-beat adventure shot in black-and-white, stylistically referencing everything from James Whale’s Frankenstein to the work of Cher to the iconic dance sequence from Risky Business. The script is chocked full of literary and cinematic references, stitching them together in a way that suggests the monster alluded to in the title of the episode.

Once upon a time...

Once upon a time…

There are more than a few moments of awkwardness in the script. As with Small Potatoes, there seems something a little awkward about a comedy episode that treats a serial rapist as the jumping-off point for a wacky comedy adventure. (“This is a very serious crime,” Mulder asserts at one point, but the script never seems too bothered by it.) There is something quite knee-jerk and reactionary about how The Post-Modern Prometheus plays into the stereotype of scientific development and research as morally questionable by default.

And, yet, despite these fairly sizable problems, there is a lot to love here. It has been suggested that Carter considers The Post-Modern Prometheus as a deeply personal work – it is not hard to see why. The Post-Modern Prometheus is a story obsessed with the act of creating – whether through biological reproduction or scientific experimentation or even by way of storytelling. It is an episode engaging with a story that has long since slipped out of the control of its creator, and which is free to evolve and develop in infinite directions.

Drivin' to Memphis...

Drivin’ to Memphis…

There is a joy and energy to The Post-Modern Prometheus that almost compensates for the more unpleasant aspects of the script. There is a lot of fun to be had here, whether listening to the creature singing along with Cher or simply watching Mulder and Scully dance as they provide a monster with a (literal) storybook ending. There is a sense that The Post-Modern Prometheus was written almost entirely without cynicism, an incredible celebration of Chris Carter’s own thoughts on storytelling and mythmaking.

The Post-Modern Prometheus is perhaps too deeply flawed to be the classic that it desperately wants to be, but it is a fascinating and bold piece of nineties television that demonstrates just how much enthusiasm and verve The X-Files could bring to proceedings when it wanted to.

It is never a happy mob...

Basement dwellers…

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Non-Review Review: Divergent

As far as adaptations of popular young adult novels go, Divergent lacks the strong charismatic lead of The Hunger Games or even the campy pleasure of The Mortal Instruments. Working with a premise that feels like it would have made for a delightfully cheesy piece of sixties socially-conscious science-fiction, Divergent proceeds to take absolutely everything far too seriously. Cliché moments play to an over-the-top soundtrack, terrible dialogue is delivered with earnest profundity, the movie failing to take any joy in anything that it does.

There’s a sense of cynicism in Divergent, with the sequels already mapped out, and the studio committed to their release. The result is a movie that never feels compelled to rush, instead spending most of its runtime spinning its wheels, covering familiar ground. It’s over-long and poorly paced, with the first two acts often feeling like a hyper-extended training montage, meaning that by the time anything starts happening the audience can’t wait for it to end. The result is a heavy-handed and over-cooked attempt at social commentary, one reeking of anti-intellectualism and simplistic pandering.

Don't worry, her training covers this...

Don’t worry, her training covers this…

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