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Star Trek: Deep Space Nine – Bar Association (Review)

This February and March, we’re taking a look at the 1995 to 1996 season of Star Trek, including Star Trek: Deep Space Nine and Star Trek: Voyager. Check back daily Tuesday through Friday for the latest review.

The politics of Star Trek can occasionally be difficult to pin down.

There are obvious reasons for this, of course. Television is a collaborative medium, the result of lots of different creative voices. It is hard to argue that Star Trek has an consistent set of politics, because those creative voices have very different politics. Even on the original show, episodes like Errand of Mercy and The Omega Glory suggested that Gene L. Coon and Gene Roddenberry had very different perspectives on the Vietnam War. Certainly, Star Trek: The Next Generation and Star Trek: Deep Space Nine have very different viewpoints.

Don't beat yourself up, Quark...

Don’t beat yourself up, Quark. We have some Nausicaans to do it for you.

However, it is also the case that the franchise has always been quite careful when engaging with political discourse, particularly in the context of its nineties incarnation. The myth of Star Trek paints the show as progressive and liberal, but the truth is that the series rarely broke new ground in the nineties and into the new millennium. Episodes like Rejoined and Judgment were very much the exception rather than the rule, engaging with big political and social issues in a very clear manner. A lot of the time, the franchise played it fairly safe.

That is part of what makes Bar Association such an interesting episode of television. As with Rejoined, there is a sense that the Star Trek franchise should take the liberal politics of Bar Association for granted. After all, while there is some ambiguity as to exactly what form of economic theory is employed by the Federation, it certainly isn’t capitalism. However, it is interesting to hear the franchise (perhaps literally in this case) put its money where its mouth is, allowing a major character to quote Marx and Engels.

Strike while the bar is hot...

Strike while the bar is hot…

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The X-Files – Travelers (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.

For all that the fifth season of The X-Files is building towards a major summer movie release, the production team seem surprisingly relaxed about it.

The fifth season is as experimental and as loose as the show ever got. Patient X and The Red and the Black suggested that Chris Carter didn’t even feel beholden to the continuity of The X-Files: Fight the Future, introducing new characters and concepts to the mythology that could not possibly be inserted into the film at this late stage. Similarly, the show was willing to play around with special guest writers like Stephen King and William Gibson, film an entire episode in black and white, focus on relatively minor characters, and reveal two separate secret histories of the X-files.

What do you call a baby Fox?

What do you call a baby Fox?

Of course, some of these innovations were driven by necessity or large goals. Patient X and The Red and the Black represent the beginning of the end for this stage of the mythology. Stories like Unusual Suspects and Travelers focus on characters other than Mulder or Scully because David Duchovny and Gillian Anderson were otherwise engaged. Nevertheless, there is a very relaxed vibe to the fifth season, as if the show is taking an extended moment to enjoy the peak of its popularity. As well it should.

Travelers is an episode that is far from essential in many respects. It is clunky in places, indulgent in others. It feels like the production teams are just happy to root through the old costuming wardrobe and prop departments, delighted to compose over-written monologues and stock characters. Travelers is light and fun, with its indulgence and its relative lack of substance making it more enjoyable than it would otherwise be.

He'll (Garret Dilla)hunt you down...

He’ll (Garret Dilla)hunt you down…

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Tintin: Tintin in the Land of the Soviets (Review)

In the lead-up to the release of The Adventures of Tintin: The Secret of the Unicorn, I’m going to be taking a look at Hergé’s celebrated comic book character, from his humble beginnings through to the incomplete post-modern finale. I hope you enjoy the ride.

The two earliest Tintin adventures, Tintin in the Land of the Soviets and Tintin in the Congo, are looked back upon as the black sheep of the Tintin novels produced by Hergé. While Tintin in the Land of the Soviets is shameless anti-Communist propaganda (and does contain a hint of the foul racism we’d see a lot more of in Tintin in the Congo), one can detect a lot of the charm that Hergé brought to his iconic creations, scattered throughout the work, from the surreal sense of humour to the writing style to the love of ridiculous suspense, seemingly for the sake of suspense. The best was definitely yet to come, but it all started here.

The collection isn't Tintin at his finest...

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