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Star Trek: Voyager – Tsunkatse (Review)

Tsunkatse is the crossover between Star Trek: Voyager and WWF that you didn’t know you needed. Mostly because you didn’t actually need it.

Tsunkatse is a delightfully bizarre piece of television, and perhaps the most cynical piece of Star Trek ever produced. That is saying something, considering that the franchise also includes Star Trek V: The Final Frontier, an episode that literalises William Shatner’s paranoid delusions about his fellow cast members. Separated from the episode by almost two decades, it is still hard to believe that Tsunkatse actually exists, even allowing for other “out there” premises for Voyager episodes like Threshold or Concerning Flight.

Somehow, the production team couldn’t secure Jean-Claude Van Damme as a guest star.

To be fair, Tsunkatse isn’t awful. It isn’t especially good either, but it never develops into the trainwreck suggested by the premise of making a Star Trek episode designed to cash-in on the popularity of wrestling. That might sound like damning with faint praise, but there is something to be said for the fact that Tsunkatse manages to be a truly memorable episode of Voyager based around a highly dubious premise, without ever collapsing into itself. Tsunkatse is better than it has any right to be, and that might just be enough.

Might.

Rock your world.

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Daredevil – New York’s Finest (Review)

This month, we’re doing daily reviews of the second season of Daredevil. Check back daily for the latest review.

The stock comparison for the first season of Daredevil was Batman Begins. There were certainly plenty of reasons. The yellow-ish colour scheme. The non-linear superhero origin story focusing on a protagonist who subsumes his anger into something greater. The erosion of the existing organised crime framework, replaced by something altogether weirder. The ninjas who plot to smuggle a potentially dangerous (and pseudo-mystical) weapon into the heart of the city through th docklands. It was a good comparison, and it served Daredevil well.

As such, it makes sense that the second season of the show would desperately want to be The Dark Knight.

That'll make a nice logo...

That’ll make a nice logo…

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Space: Above and Beyond – The Angriest Angel (Review)

This November (and a little of December), we’re taking a trip back in time to review the third season of The X-Files and the first (and only) season of Space: Above and Beyond.

Existentialism is something of a recurring theme in the work of Glen Morgan and James Wong.

It echoes through their work. Mulder’s choice of action ultimately serves to define him in One Breath, in contrast to the other more senior male characters in the narrative. The duo’s second script for Millennium, 5-2-6-6-6, opens with a quote from existentialist philosopher Jean Paul Sartre. Even the pair’s feature film work – The One and the Final Destination films – touch broadly on existentialist themes.

Pressed (up) on the issue...

Pressed (up) on the issue…

However, The Angriest Angel is perhaps the most candid of their scripts, with McQueen explicitly explaining how his actions are serving to define his identity. In his power-house opening monologue, McQueen describes these defining moments as make-or-break points. “Everyone, everyone in this life knows when the moment is before them. To turn away is simple. To ignore it assures survival. But it is an insult to life. Because there can be no redemption.”

This is perhaps the most elegant and effective summary of Morgan and Wong’s approach to character development. McQueen articulates it clearer than any of their characters, but the philosophy applies just as much to Scully in Beyond the Sea or Never Again as it does to Tyrius Cassius McQueen. Indeed, it would come to define their work on Millennium, with the second season repeatedly suggesting that the end of the world was as much a personal event as a massive social occurrence.

Slice of life...

Slice of life…

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