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New Escapist Column! On The Meaningless Conflict of the Third Season of “Star Trek: Picard”…

I am doing weekly reviews of Star Trek: Picard at The Escapist. They’ll be dropping every Thursday morning while the show is on, looking at the third season as the show progresses. This week, the season’s third episode.

There is a longstanding tradition within the Star Trek franchise of avoiding conflict between the primary characters, one rooted in Gene Roddenberry’s conception of Star Trek: The Next Generation. However, many of the franchise’s best stories have come from disregarding that basic rule, most notably a lot of Star Trek: Deep Space Nine. Seventeen Seconds is a frustrating piece of television because it demonstrates the appeal of Roddenberry’s rule, by generating sets of meaningless conflict between lead characters that have no depth and will inevitably be quickly erased and forgotten.

You can read the piece here, or click the picture below.

New Escapist Column! On the Strange Conservatism of “Star Trek: Lower Decks”…

I published a new piece at The Escapist this evening. We’re doing a series of recaps and reviews of Star Trek: Lower Decks, which is streaming weekly on Paramount+ in the States and on Amazon Prime in the United Kingdom. The first episode of the third season released this week, and it seemed like a good opportunity to take a look at the series.

There is something very interesting about how modern Star Trek treats the idea of Starfleet and the Federation as sacrosanct. It’s very different from how shows like Star Trek: The Next Generation or Star Trek: Deep Space Nine approached the idea of these authorities and institutions. It’s very strange to watch a television show in August 2022 that asks its black female protagonist to place her complete unwaivering trust in the system, and in particular in the judicial system.

You can read the piece here, or click the picture below.

New Escapist Column! On the Fetishising of the Federation in the Third Season of “Star Trek: Discovery”…

I published a new piece at The Escapist today. With the third season premiere of Star Trek: Discovery last week, it seemed worth taking a look at the new season of the Star Trek spin-off.

The third season of Discovery finds the characters thrown into the distant future, after the collapse of the Federation. This is interesting, because it represents both a clear extrapolation of the futures suggested by Star Trek: Voyager and Star Trek: Enterprise, and also a clear progression of the franchise status quo suggested by Star Trek: Picard. This is a franchise dealing with the decline and collapse of American exceptionalism. However, Picard and Discovery offer easy answers to hard questions, lacking the introspection that their premise deserves.

You can read the piece here, or click the picture below.

Star Trek: Voyager – Author, Author (Review)

Author, Author is a deeply cynical piece of Star Trek.

Author, Author is arguably as bleak as anything that Star Trek: Deep Space Nine ever produced. It is a story about how shallow and how self-centred the primary cast of Star Trek: Voyager can be, but also a showcase of how little the Federation has actually evolved in the twelve years since Star Trek: The Next Generation tackled the same themes in The Measure of a Man. Indeed, with production wrapping up and the series winding down, Author, Author seems to acknowledge the flip side of the “end of history.” There is no sense of material progress. Things have not improved. Things have not changed.

Doctor Demented.

Author, Author literalises this within its own narrative. Author, Author suggests that little has changed in the Federation’s worldview since The Measure of a Man, while also insisting that nothing will change in the immediate future. Author, Author acknowledges that The Measure of a Man was a desperate punt of a thorny issue, but also frames its own narrative as exactly the same kind of punt. The closing scene of the episode places any long-term consequences of the story four months in the future. In doing so, it places them squarely outside the purview of Voyager in particular and Berman era Star Trek in general.

The only problem with all of this is that Author, Author often seems entirely unaware of how unrelentingly cynical and bleak it is.

Write on!

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Star Trek: Voyager – The Void (Review)

The Void feels like a belated mea culpa on the part of Star Trek: Voyager.

It is unfair and an exaggeration to say that The Void finally delivers on the potential of Voyager. After all, there have been several earlier episodes that flirted with following the basic premise of the show to its logical conclusion; Alliances, Year of Hell, Part I and Year of Hell, Part II, Night, Counterpoint, Equinox, Part I and Equinox, Part II. Of course, many of those episodes ultimately ended with a repudiation of that premise, a retreat back to the safety of a familiar formula. Voyager has always been a television show terrified of the implications of its own starting point.

Conflict aVoidant.

Nevertheless, there is a strong sense that The Void looks and feels a lot more like Voyager should have looked and felt from the outset. It is the story of explorers trapped in a strange environment with limited resources, facing tough choices in order to survive, and desperate to forge alliance to keep them afloat. The eponymous “void” feels like a metaphor for the Delta Quadrant itself, the teaser playing like a truncated version of Caretaker. An intrepid crew plucked from familiarity and thrown into a hostile world of scavengers and pirates, stripped of their comforts.

Of course, The Void ultimately retreats from this premise. Much like the eponymous anomaly is just a pocket universe, this exploration of the show’s premise is just an episodic diversion. If it took Voyager six-and-a-half seasons to find a way to explore its core premise, it only takes forty-five minutes to wrap a bow around it and return to business as usual. The Void is a fluke and an aberration. Even ten episodes from away from the finale, Voyager can only briefly imagine how things ever might have been different.

In the Void, here’s a ‘noid…

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Star Trek – Whom Gods Destroy (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.

Whom Gods Destroy is a mess.

In a lot of ways, Whom Gods Destroy is shoddy and lazy. In many ways, the episode plays like a collection of familiar Star Trek elements blended together to pad out forty-odd minutes of television with no regard for internal logic or plotting and with minimal regard for the characters caught in the middle of it all. There are very few ideas in Whom Gods Destroy that have not been done before, and done better. The episode is not only a rehash of familiar concepts, but it is an exercise in diminishing returns.

Dance with destiny.

Dance with destiny.

This is to say nothing of the chaos unfolding behind the scenes during the production of the episode. It seemed only appropriate that Kirk’s latest mission would take him to what is effectively a gothic asylum in outer space, because it seemed more and more that Star Trek was turning into a madhouse. Veteran staffers were leaving the show in droves, while tensions were mounting on the set, and Fred Freiberger was struggling to keep the budget under control. More than that, there was a clear sense that the series was over, and this was the end of the line.

Whom Gods Destroy really sounds like a disaster. It is certainly not a good episode of television. However, this is the third season. Whom Gods Destroy is interesting enough that it works much better than the season’s weaker episodes. It is elevated by a manic energy that goes some way towards covering for the more illogical elements of the plot, and three central performances that play into the high camp of the premise. Whom Gods Destroy is far from classic Star Trek, but it is much better than it has any right to be.

Absolute madness.

Absolute madness.

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Star Trek: Enterprise – In a Mirror, Darkly, Part II (Review)

This May, we’re taking a look at the fourth (and final) season of Star Trek: Enterprise. Check back daily for the latest review.

In a Mirror, Darkly, Part I and In a Mirror, Darkly, Part II are an indulgence.

That goes almost without saying, this indulgence standing as one of the most searing critiques of the two-parter. After all, Star Trek: Enterprise had only five episodes left at this point in its run. One of those episodes would be given over to Rick Berman and Brannon Braga to bring in Jonathan Frakes and Marina Sirtis as a way to allow Star Trek: The Next Generation to put a cap on the eighteen years of the Berman era. Devoting two of the remaining four episodes to the mirror universe was a choice that left the show open to criticism.

Archer's cosplay went down a treat.

Archer’s cosplay went down a treat.

After all, it is not as if the audience at home was crying out for more mirror universe episodes. Even hardcore Star Trek fans were still recovering from the trauma of The Emperor’s New Cloak, the seventh season episode of Star Trek: Deep Space Nine that had the audacity to combine a mirror universe episode with a Ferengi episode. Discounting the somewhat divisive (and mirror universe free) Resurrection, the last time that a mirror universe episode really worked had been Crossover, which had been broadcast before Star Trek: Voyager was on the air.

So In a Mirror, Darkly, Part I and In a Mirror, Darkly, Part II are both episodes that feel excessive and gratuitous. And, for all their flaws, that is a huge part of the charm.

Gorn again.

Gorn again.

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Star Trek: Enterprise – Babel One (Review)

This May, we’re taking a look at the fourth (and final) season of Star Trek: Enterprise. Check back daily for the latest review.

It seems entirely appropriate that the United trilogy sits in the middle of the fourth season.

The three-parter is not the strongest of the season’s multi-episode epics, abandoning the clean three-act structure that made the Kir’Shara trilogy so successful in favour of a disjointed two-parter-and-coda format that prevents the story from feeling as cohesive as it might. It jolts and starts, never really finding the proper flow for the story that it wants to tell. There is a sense that the production team’s desire to do both a “birth of the Federation” story and a “visit to Andoria” story within the same three-part narrative ultimately hinders the storytelling.

"What do you mean I'm not in the third part?!"

“What do you mean I’m not in the third part?!”

However, there is something satisfying in watching Star Trek: Enterprise commit to the idea of the birth of the Federation. It could be argued that this is an example of the fourth season’s continuity pandering, but the Federation is far more fundamental to the fabric of the franchise than something like Klingon foreheads or that ghost ship from that third season episode. If Enterprise is to be a prequel, it should devote some attention to building the fabric of the shared universe. The Federation is an essential part of the idealistic future of Star Trek.

However, the most compelling aspect of the United has nothing to do with continuity and history. Instead, it is simply reassuring to see Enterprise embracing the franchise’s utopianism and hope for the future, particularly in the context of January 2004.

Shran, Shran, he's our Andorian...

Shran, Shran, he’s our Andorian…

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Star Trek: Enterprise – Zero Hour (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This August, we’re doing the third season. Check back daily for the latest review.

There was a very real chance that Zero Hour might have been the last episode of Star Trek: Enterprise to air.

In fact, it was entirely possible that Zero Hour‘s distinctive (and downright provocative) closing shot of an evil!alien!space!Nazi might have been the last shot of Star Trek to air on television for quite some time.

Time is running out...

Time is running out…

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Star Trek: Enterprise – The Council (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This August, we’re doing the third season. Check back daily for the latest review.

From a technical standpoint, The Council is the third last episode of the third season. From an arc-based standpoint, the third season Xindi arc is not completely resolved until the events of Home three episodes into the fourth season. However, there is an argument to be made that The Council represents the logical conclusion of the third season arc. Sure, Countdown and Zero Hour provide a suitably bombastic resolution to the year-long story, but The Council is the story that really resolves the central conflict driving the season.

After twenty-one episodes of moral ambiguity and ethical compromise, The Council exists to assure viewers that Star Trek: Enterprise has not forgotten the optimistic humanism that has guided the franchise. The Council confirms what most even-handed fans had probably deduced from The Expanse and what had been rendered explicit in The Shipment. The third season was never about getting away from the core utopian values associated with the Star Trek franchise; instead, it was about an attempt to get back to those hopeful ideals.

"I told you not to interrupt me when I'm working on my tan!"

“I told you not to interrupt me when I’m working on my tan!”

As the name implies, The Council is a rather talky script; it is certainly the most talky script between this point and the end of the third season. The episode’s plot finds Archer making his case to the Xindi Council, appealing for a peaceful resolution to the escalating crisis. Archer puts aside his anger and his thirst for retribution, in the hope of finding common ground that might accommodate both sides without resort to warfare or attempted genocide. Naturally, Archer is not entirely successful; the season needs an action climax. However, he is close enough.

Much like The Forgotten, it turns out that The Council is a script about moving beyond grief and hatred towards reconciliation and understanding. It affirms that the third season of Enterprise is (and was always) following a very traditional Star Trek arc.

"Et tu, Dolim?"

“Et tu, Dolim?”

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