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Star Trek: Voyager – Q2 (Review)

Q2 is an episode very much in keeping with the ethos of Star Trek: Voyager, particularly at this point in its run.

It isn’t just the strange nostalgia that permeates the episode, opening with an extended oral presentation from Icheb on the heroic exploits of James Tiberius Kirk from the original Star Trek and extending through to the unnecessary return of a beloved recurring guest character from Star Trek: The Next Generation. Nor is it the awkwardness with which Q2 affects a half-hearted compromise in its final act, with the series paying lip service to the fact that its omnipotent (and mostly friendly) guest star could get the crew home with a click of his fingers, while refusing to do that because it would break the series.

“Q2 ratings are way up!”

The essential Voyager-ness at the heart of Q2 is much more profound than all of that. It has to do with how the series treats is returning guest star. Q has been a part of the Star Trek universe dating back to Encounter at Farpoint. John de Lancie has been a recurring guest star on the franchise for thirteen-and-a-half years. Although de Lancie has aged relatively well, and although suspension of belief easily allows for it, even Q himself seems much older between his first and last appearances in the television franchise.

However, Q2 takes a character who was introduced as an immortal and all-powerful trickster god in The Next Generation, and transform him into a stressed middle-aged parent by the end of Voyager. This is a very Voyager approach to characterisation and development. It is how the series has approach many of its characters. In Caretaker, Chakotay was a rebel, Paris as a rogue, and Neelix was a free-wheeling trader; within the show’s first season, all of those rough edges have been filed off. The decision to do that with a character who is effectively a trickster god speaks a lot to the central philosophy of Voyager.

Not kidding around.

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The X-Files – The Sixth Extinction II: Amor Fati (Review)

This November, we’re taking a trip back in time to review the seventh season of The X-Files and the first (and only) season of Harsh Realm.

My formula for greatness in a human being is amor fati: that one wants nothing to be different, not forward, not backward, not in all eternity. Not merely bear what is necessary, still less conceal it—all idealism is mendacity in the face of what is necessary—but love it.

– Friedrich Nietzsche, Ecce Homo

Everything burns...

Everything burns…

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The X-Files – Arcadia (Review)

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

Arcadia was originally produced directly after Two Fathers and One Son. It was moved later in the broadcast cycle because it needed more post-production work than Agua Mala or Monday. Looking at the finished product, one suspects that the garbage monster posed no shortage of problems for the production team. Whatever the reason, Arcadia was shifted down two slots in the broadcast order. This is a shame on multiple levels. Most obviously, “Mulder and Scully go undercover as a suburban couple” would have been a great sweeps episode.

More than that, though, there is something delightfully subversive in the idea that Arcadia is the first case that Mulder and Scully are assigned after reclaiming their iconic basement office at the end of One Son. The decision to reassign Mulder and Scully to the X-files would seem to promised a return to the status quo after a weird stretch earlier in the season (from Triangle to The Rain King) where The X-Files turned into a weird paranormal romantic comedy. Fan reaction to this stretch of the show was (and still is) polarised.

So happy together...

So happy together…

However, instead of reassuring those fans wanting a return to more traditional X-Files aesthetic, Arcadia reasserts the “quirky domestic comedy” tone of shows like Dreamland I, Dreamland II or How the Ghosts Stole Christmas. In fact, it’s telling how completely disinterested Arcadia is in the fact that Mulder and Scully are back on the X-files for the first time since the end of the fifth season. There’s a quick exchange referencing their reassignment, but no examination of the fallout of One Son. There is not even a single scene set in the familiar basement set.

As such, Arcadia seems quite cheeky. It celebrates the return to the show’s classic status quo by ignoring it almost completely. Arcadia is a silly little relationship comedy that could easily have aired in the first stretch of the season, its positioning here feeling like a playful tease of those fans clamouring for the return of a classical approach to the series. Unfortunately, a lot of that gets lost in the shuffling of the episode around in the broadcast schedule. Using Agua Mala and Monday to insulate Arcadia from Two Fathers and One Son undercuts its cheeky charm.

There goes the neighbourhood...

There goes the neighbourhood…

The post-production delay on Arcadia hurts the episode. Instead of a cheeky tweaking of fandom’s nose, Arcadia becomes a fairly middling mid to late season instalment. It is not as limp and lifeless as Agua Mala or Alpha, but not as insightful and fun as Monday. In fact, while Arcadia contains a few chuckles, the episode lacks the charm of something like Triangle or How the Ghosts Stole Christmas (or even The Rain King). Arcadia feels like it takes the cheesy teasing of a Mulder/Scully relationship just a little too far.

In many ways, The Rain King represented the point at which the show should have pressed forward with a romantic relationship between Mulder and Scully; regardless of whether the viewer is a shipper or a noromo, the teasing had reached critical mass, and it was time to commit one way or another. Arcadia instead insists that the show remains decidedly noncommittal, trying to have the best of all possible worlds. There comes a point where the show feels like it is just “trolling.”

"Well, this is easy enough..."

“Well, this is easy enough…”

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The X-Files – Terms of Endearment (Review)

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

Terms of Endearment is perhaps the most conventional episode of The X-Files to air between Drive and Agua Mala.

The early sixth season was generally quite experimental and playful, and Terms of Endearment stands out in this stretch of the season as an episode that is very much structured like a horror story and which conforms to the expectations of an episode of The X-Files. A local law enforcement official brings a case to the attention of the FBI; Mulder and Scully trade theories; Mulder pursues his hunches, while Scully offers pseudo-scientific rationalisations. There is a crime; there is a paranormal element; there is a secret.

Who said their marriage is lacking some fire?

Who said their marriage is lacking some fire?

Terms of Endearment is an episode that could easily have been written into the fifth or seventh seasons of the show without any real difficulty. Barring the brief appearance of Spender at the start of the episode, and the occasional references to the fact that Mulder is not technically on the X-files anymore, this is business as usual. Indeed, the episode’s themes of reproductive horror might have fit quite comfortably with the recurring infant-related horror stories that populated the fifth season.

Still, Terms of Endearment works. In a way, its somewhat conventional nature serves it well. As with the stand-alone monster of the week stories scattered sparingly through the fifth season, it is easier to appreciate an episode like this when it feels exceptional rather than generic. Featuring an intriguing central metaphor, a great guest performance, and a number of memorable visuals, Terms of Endearment is a clever and powerful little script. It is not a bad début from writer David Amann.

"Who loves you, baby?"

“Who loves you, baby?”

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