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Star Trek: Voyager – Endgame (Review)

Appropriately enough, Star Trek: Voyager ends with a betrayal of itself.

Endgame even frames that betrayal in terms of its own internal logic. The first scene after the teaser finds what remains of the crew attending a tenth anniversary reunion following the successful completion of their mission and their return to Earth. Reginald Barclay, “adopted” member of the family and veteran of Star Trek: The Next Generation, offers a toast. “Twenty three years together made you a family, one I’m proud to have been adopted by. Let’s raise our glasses to the journey.” The room toasts, “To the journey.”

Toast of the town…

This is first point of betrayal. Her glass raised, Admiral Janeway suggests a modification of the toast. “And to those who aren’t here to celebrate it with us.” It is a fair toast given how many crew members Janeway had lost over the course of the journey. However, it also suggests the central thesis of Endgame, which is itself the central thesis of Voyager. It was never really about the journey, despite what any of the crew might say at any given point in the show’s run. It was never about the time spent together, or the family forged. It was never even about the people.

It was about getting home. It was about completing the journey. It was about reaching the end point at the designated time. The journey, the adventure, the exploration; these were never the focus. All that potential, all that possibility, was squandered. Endgame is the story of how Admiral Janeway erases sixteen years of exploration, sixteen years of growth, sixteen years of character development. Admiral Janeway does that so that Voyager can complete its journey after the designated seven years, the expected one-hundred-and-seventy-eight episodes.

Living with herself…

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New Podcast! The Time is Now – Season 1, Episode 18 (“Lamentation”)

As ever, a delight to stop by The Time is Now to talk about Millennium, this week as part of triptych with the great Kurt North and the wonderful Christopher Knowles.

An interesting installment this week. Kicking off a loose two-parter that effectively serves as Millennium‘s version of a mythology episode, Lamentation offers a clear escalation in the stakes of the first season. It’s a fascinating episode that seems to mark a clear transition in what Millennium is about, a strong signalling of creative intent from the production team. It’s a weird and eccentric episode of television, a real showcase of what Millennium could do when it set its mind to it.

I was pleasantly surprised at the variety of opinion on here, with each of the three of us having very different takes on the episode’s strengths and weaknesses. As ever, you can listen to the episode here, subscribe to the podcast here, or click the link below.

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Star Trek: Voyager – Homestead (Review)

Homestead represents the culmination of certain impulses within Star Trek: Voyager.

To be fair, some of those impulses were baked into the show from the outset. The end of Caretaker immediately and effectively established the central premise of the series. Voyager was to be a story about a crew trying to get “home.” Of course, the question of what “home” actually meant was always up for debate. Perhaps “home” could be the unlikely bond that this crew formed with one another, a strange alliance of misfits who found a way to belong together in a way they never could apart; the idea of “home” at the heart of Star Trek: Deep Space Nine, for example.

“Home.”

However, over the following seven seasons, the idea of “home” came into sharp focus. “Home” was not so much about finding an abstract place where a person might belong. “Home” was about returning to a point of origin. “Home” was a not place that could be created or developed, it was a nostalgic ideal. “Home” was not somewhere that could be found on “the final frontier.” In fact, it was the exact opposite. It was a fixed place that was (by definition) as far from the frontier as possible. This theme was heavily articulated in the show’s seventh and final season.

Of course, this very narrow and rigid definition of “home” creates a problem for one member of the cast. Voyager repeatedly and consciously assumes that all of its cast belong in the Alpha Quadrant, because they originated there. It does not matter that Tom Paris never fit in at home, or that the Maquis characters never integrated into Starfleet. It does not matter that Seven of Nine cannot remember Earth. These characters are going back to their point of origin, because that is what “home” means. What, then, of Neelix? How does Neelix get to go “home”?

“Home.”

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“Black Panther”, “Crazy Rich Asians”, and American Dreaming in 2018…

The silver screen is not just a window, it is occasionally a mirror as well.

The cinematic gaze reveals a lot. Not just about the object in focus, but about the filmmaker (and the audience) behind the gaze. Although independent and arthouse cinema is thriving in the twenty-first century, and though home media is fundamentally changing the way that people consume media, the cinema will always be a communal space. A group of people sitting in a room together, bathed in projected light. There are obviously debates to be had about to what extent cinema reflects culture as much as it acts upon it, but there is undoubtedly a symbiosis there.

Cinema reveals a lot about contemporary culture, and not just “worthy” cinema that tends to get cited by critics as “the most important” or “the most timely” media of its particular moment. Indeed, there is perhaps something more revealing in looking at media that doesn’t consciously invite these comparisons, that doesn’t trumpet the manner in which it speaks to a particular moment. Sometimes it is more revealing to look at the films that aren’t saying anything, or at least are not consciously or overtly saying anything, about the current political moment.

In fact, it’s often a lot easier to get a sense of what is bubbling through the popular consciousness (or even the popular subconscious) by looking at low-budget “disposable” fare like horror movies than it is be interrogating more respectable and self-conscious fare. It is no coincidence that the past decade has seen a resurgence in haunted house and home invasion horror like The Conjuring, The Strangers, The Purge or even Don’t Breathe, reflecting anxieties about the American home as a site of horror in the wake of the subprime mortgage crisis.

Popular cinema is similarly a fascinating prism through which to examine contemporary American culture, to get a sense of how the United States sees both itself and its relationship with the rest of the world. It’s a glimpse into the nation’s psyche, offering a messy and dynamic dive beneath the polished exterior. It cuts through a lot of contemporary politics, foregoing accuracy in favour of a general aesthetic. It is a sketch more than a portrait, but that sketch can be instructive and revealing of itself.

In particular, the twin releases of Black Panther and Crazy Rich Asians over the past year suggest something interesting about modern conceptions of the American Dream.

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Star Trek: Voyager – Child’s Play (Review)

Interesting, isn’t it?

What?

With all their technology, their opportunity to explore the galaxy, the thing they want most is to get home.

A Trek away from the Stars.

Child’s Play is a fascinating episode of Star Trek: Voyager, in that it might be seen as a firm rejection of some of the show’s core conservatism.

Voyager has always been the most conservative of the Star Trek franchise, the series most likely to panic about gang violence for two whole seasons starting in Caretaker or to rail against immigration in Displaced or to voice its anxieties about refugees in Day of Honour. More than that, what are episodes like Remember or Distant Origin or Living Witness or Memorial but expressions of literal anxieties about the erosion of the certainty of history to postmodernism and moral relativism? At its core, Voyager is a series about nostalgia, about the yearning to recapture what once was, how the only journey is the journey home.

“Everything the light touches is your kingdom…”

Child’s Play is interesting as a firm rejection of the idea of the traditional family unit in favour of a more modern (and less rigidly defined) idea of a “found family.” It is a story about how a child’s best interests do not always lie with their biological parents, and about how some of the strongest and most loving bonds in a young person’s life can be forged by chance rather than biology. Child’s Play is essentially an ode to the kind of complicated family dynamics that were entering the mainstream at the turn of the millennium, a staunch defense of a liberal and inclusive definition of family.

More than that, the episode also seems to be making several very pointed jabs at Voyager‘s traditionally conservative outlook.

“I want to be out there…”

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Star Trek: Voyager – Cold Fire (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.

Cold Fire is an episode that exemplifies the feeling that second season’s treading water.

Cold Fire opens with a somewhat unconventional recap of Caretaker. Unlike most “previously on…” sections of Star Trek: Voyager (or the Star Trek franchise as a whole), this block is narrated by Majel Barrett in-character as the ship’s computer. It becomes clear that Cold Fire is interested in following up on the dangling threads left by Caretaker, with the crew of Voyager encountering the female mate alluded to in Janeway’s conversations with the eponymous Nacene character from Caretaker.

Everything burns...

Everything burns…

This should be a big deal. After all, the Caretaker is the character responsible for plucking Voyager and the Val Jean out of the Alpha Quadrant and depositing them on the other side of the galaxy. Finding another being with a similar amount of power presents a very real and tangible opportunity for Janeway to get her crew home. If the Caretaker could pull them all the way across the Milky Way, then it stands to reason that Suspiria could send them all the way back. Cold Fire presents a potential end to Voyager’s journey.

Unfortunately, Cold Fire never really does anything with that storytelling angle. Even when Janeway comes face-to-face with Suspiria at the climax of the episode, she never asks the powerful entity to send her crew home. So Cold Fire feels like an episode that spends forty-five minutes walking in circles, accomplishing little of note.

"It's probably just the inertial dampeners acting up..."

“It’s probably just the inertial dampeners acting up…”

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Millennium – Wide Open (Review)

This February and March, we’re taking a trip back in time to review the fourth season of The X-Files and the first season of Millennium.

The middle stretch of the first season of Millennium is preoccupied with suburban horror.

In The Well-Worn Lock, Wide Open and Weeds, Millennium presents the audience with threats to supposedly “safe” suburban families. In each case, the threat is shown not to come from outside these homes, but is instead nestled snugly inside. In The Well-Worn Lock, Joe Bangs is a respected family patriarch and a monster. In Weeds, Edward Petey is both an active member of his gated community and a predator. Wide Open is perhaps a little more sensationalist, featuring a serial killer who sneaks into houses that are on display, hiding inside until after dark, and then brutally murdering any adults in the home.

Home (in)security...

Home (in)security…

There is an intriguing thematic continuity here between what might loosely be termed “the suburban trilogy.” Indeed, Weeds was shuffled around in the broadcast order so it would not air directly after Wide Open, perhaps because of this similarity. This thematic continuity is quite striking, like the presence of Scully proxies and surrogates in the stretch of the second season of The X-Files running from One Breath to Irresistible or the subtle fixation on “cancer” from the end of the third season into the fourth season of The X-Files.

Like The Well-Worn Lock before it and Weeds after it, Wide Open is not particularly elegant in its meditations about suburbia under siege. The story is a bit clunky, prone to the same trashy exploitative excess that can be found in some of the weaker moments of the first season. Nevertheless, Wide Open largely works – it manages to tap into a fairly universal fear in a decidedly unsettling manner, inviting the audience to wonder whether there may actually be monster lurking in their own closets or under their own beds.

Standing guard against the world...

Standing guard against the world…

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