Advertisements
  • Following Us

  • Categories

  • Check out the Archives

  • Awards & Nominations

Star Trek: Voyager – Equinox, Part I (Review)

Equinox, Part I works better than it should.

Equinox, Part I is sustained by three important factors. The most obvious is the premise itself. Equinox, Part I and Equinox, Part II tell a story that is baked into the DNA of Star Trek: Voyager, and it is surprising that it took the production team five years to tell it. Secondly, Equinox, Part I and Equinox, Part II have the luxury of a fantastic supporting cast with John Savage and Titus Welliver playing the two most senior officers on the eponymous ship. The third factor is a sense of momentum, with Equinox, Part I and Equinox, Part II moving at a tremendous pace.

A Captain’s Ransom.

These three factors compensate for a lot of potential flaws. Equinox, Part I is an episode of television that spends forty-five minutes consciously building towards its cliffhanger. There is nothing wrong with this approach. Many of the best Star Trek cliffhangers, especially season finales, are structured as relentless build-up. The Best of Both Worlds, Part I builds to Picard’s assimilation and Riker’s command. Call to Arms builds to the Dominion retaking the station and war being declared. Equinox, Part I builds to the reveal of what Rudolph Ransom did.

Equinox, Part I is an episode that works as sheer and unrelenting build-up.

Too many captains.

Continue reading

Advertisements

Star Trek: Voyager – 11:59 (Review)

The thing about experiments is that they don’t always work, but that doesn’t mean they should never be attempted.

Much like Someone to Watch Over Me, 11:59 represents a new departure for Star Trek: Voyager. It is an episode unlike any other episode in the run of series, unfolding primarily on early twenty-first (or, as one character wryly points out, maybe late twentieth) century Earth. As with Someone to Watch Over Me, there is a sense that 11:59‘s closest spiritual companion is an episode of Star Trek: Deep Space Nine. There are any number of superficial similarities between 11:59 and Far Beyond the Stars, another time-travel-to-close-to-modern-day-Earth-episode-without-the-time-travel.

Countdown.

Sadly, the experiment does not quite work out. Someone to Watch Over Me is one of the most charming episodes in the seven-season run of Voyager, while 11:59 is more than a little dull. Far Beyond the Stars is one of the most powerful and evocative episodes of Star Trek ever produced, while 11:59 is a competent piece of television that is almost immediately dated. For all that 11:59 represents a bold departure for Voyager, there is a sense that the episode has very little to actually say. It exists, but it never seems to exist for a particular reason. 11:59 is a frustrating piece of television.

However, none of this matters too much. Voyager has been such a safe and conservative show that any creative risk feels worthwhile, that any departure from the established template feels worth of celebration on those terms alone. 11:59 is an unsuccessful experiment, but it is an experiment nonetheless. For a series as risk-adverse as Voyager, that is remarkable.

“Time’s up.”

Continue reading

Star Trek: Voyager – Bride of Chaotica! (Review)

Bride of Chaotica! is an enjoyable mess.

As its title implies, Bride of Chaotica! is a celebration of nostalgic futurism. It is a culmination of a number of themes running through the series. Most obviously, this particular brand of retrofuturism has been a recurring gag since Night at the start of the fifth season, but it fits within a broader context. From the outset, Star Trek: Voyager has been engaged with a more nostalgic sci-fi aesthetic than Star Trek: The Next Generation or Star Trek: Deep Space Nine.

Bride of evil.

Voyager‘s retrofuturism has taken various forms; the old school “space western” tone established by Caretaker, the retro sci-fi trappings of episodes like Innocence or Rise, the monster mayhem of episodes like Phage or Macrocosm, the Cold War paranoia of Cathexis or In the Flesh, Tom Paris’ nostalgic holoprograms in Lifesigns or Vis á Vis, the abductees from the early twentieth century in The 37’s. However, perhaps the most basic is baked into the concept of the show. Voyager is literally a series about the desire to return to a safer and more familiar time.

In some ways, Bride of Chaotica! cements this nostalgia in the context of the larger Star Trek canon, embracing the anxiety that has become increasingly apparent in the years since the thirtieth anniversary. After all, the surrounding feature films all literalise the pull of the past. Star Trek: First Contact has Jean-Luc Picard literally journey back to twenty-first century Earth while revisiting his most iconic moment. Star Trek: Insurrection has the crew discover the fountain of youth. Star Trek: Nemesis confronts Picard with a younger clone of himself.

Radio Chaotica!

It is perhaps telling that Voyager was the moment at which the Star Trek franchise stopped pushing forward. During and after Voyager, the franchise would become increasingly backwards-looking. Star Trek: Enterprise would invite the audience to meet James T. Kirk’s childhood era, trying to recapture that old magic. JJ Abrams’ Star Trek reboot would focus on a young version of Kirk and Spock. Star Trek: Discovery will feature a central character who is something close to Spock’s sister. There is a conscious pull of nostalgia.

Perhaps the future was better yesterday.

Never too far afield.

Continue reading

Star Trek: Voyager – Latent Image (Review)

Latent Image is a powerful allegorical piece of Star Trek, a prime example of how Star Trek: Voyager could occasionally spin gold from its shift towards a more “archetypal Star Trek” template. It is a story that could easily have been told with Data on Star Trek: The Next Generation, for example.

At the same time, Latent Image is a story that touches on many of the core themes of Voyager, many of the show’s key recurring fixations and fascinations. It is an episode about the link between memory and identity, about the importance of preserving history rather than burying it; it touches upon both the metaphorical manipulation of history in stories like RememberDistant Origin and Living Witness and the literal manipulation of the past in stories like Future’s End, Part IFuture’s End, Part IIYear of Hell, Part I and Year of Hell, Part II.

Picture imperfect.

However, it filters that experience through Brannon Braga and Joe Menosky’s recurring fascination with themes of identity and self-definition. The writers have often used the artificial characters on Voyager to explore the malleability of self, how easily the sense of self might be eroded or decayed; the EMH grappled with this challenge in Projections and Darkling, while Seven wrestled with it in Infinite Regress. The artificial characters on Voyager frequently seemed on a verge of a nervous breakdown.

Latent Image is notable for wedding these two concepts together, for integrating these two concepts and exploring the manipulation of an individual’s history as the root of an identity crisis. What happens to the EMH in Latent Image is at once an extension of the dysfunction suggested in Projections and Darkling as well as a more intimate exploration of the cultural identity crises in episodes like RememberDistant Origin and Living Witness. Latent Image suggests that memory is the thread that ties identity together. Without that continuity of self, everything unravels.

A bone to pick with him.

As such, Latent Image exists in an interesting space. It is a story that works very well as a high-concept character study, focusing on the nature of the EMH has a computer programme. Although episodes like Pen Pals suggest that Starfleet has the power to remove memories from biological life forms, the plot of Latent Image could not work as well with a character like Kim or Paris. At the same time, it is a broader allegory about how important memories and experiences are in terms of defining who a person is, and how dealing with these memories defines a cultural identity.

Latent Image is a powerful and clever piece of television.

The camera never lies.

Continue reading

Star Trek: Voyager – Counterpoint (Review)

Counterpoint is a spectacular episode of Star Trek: Voyager, a highlight of the fifth season and of the seven season run in general.

Counterpoint is meticulously constructed, put together with a great deal of care and consideration. This is most obvious in the plotting and characterisation in the episode, in the way that the focus of the story remains constant while peeling back the layers on the characters involved. Too many Voyager episodes indulge in a contrived sequence of “… and then…” plotting, while Counterpoint is an episode that understands what it is about and is content to explore its ideas and its characters to their logical conclusions.

Playing it pitch perfect.

Counterpoint benefits from two superb central performances. Mark Harelik is one of the strongest one-shot guest stars to appear on Voyager, playing Kashyk as an endearingly ambiguous figure caught half way between a conventional romantic lead and a fascist thug. However, Counterpoint works best as a showcase for Kate Mulgrew as Kathryn Janeway. Mulgrew has always been one of the strongest members of Voyager‘s primary cast, but the production team always struggled to play to her strengths while building a consistent character.

Counterpoint is an episode that plays perfectly to the strengths of all involved, creating a symphony where all of the orchestra is playing both in key and in time with one another. At this point in the run, Voyager should be producing episodes like this with much greater consistency.

Near kiss.

Continue reading

Star Trek: Voyager – Nothing Human (Review)

Nothing Human is very much an example of Star Trek: Voyager doing archetypal Star Trek, those abstract morality plays with elaborate prosthetics that offer commentary on contemporary conundrums.

Nothing Human is essentially a story about scientific ethics, about the question of what to do with information that was gathered through amoral means. Is knowledge tainted by the mechanisms through which it was acquired? Is the use of that research an endorsement of the means through which it was conducted? At the very least, does employing such information erode the user’s moral high ground? Does the use of such data make them a hypocrite, demonstrating a willingness to reap the benefits of such monstrous work, but without getting their hands dirty?

Something inhuman.

These are tough questions, with obvious applications in the modern world. These are the sorts of abstract ethical queries that are well-suited to a Star Trek episode, and there is something very endearing in the way that Nothing Human often comes down to two characters debating scientific ethics in a room together. To be fair, Nothing Human is a little too cluttered and clumsy to be as effective as it might otherwise be, its conclusions a little too neat, its developments just a little bit too tidy.

However, Nothing Human is a great example of the way in which Voyager tried to offer a version of Star Trek reflecting the popular perception of it. Nothing Human is a little clumsy in places, but it is an episode that is very much in line with what casual viewers expect from Star Trek in the abstract.

A Cardie-carrying monster.

Continue reading

Star Trek: Voyager – Night (Review)

Star Trek: Voyager typically bridged its seasons with epic two-parters, a sprawling single narrative told over two forty-five minute episodes separated by the three-month summer hiatus. In fact, it was somewhat striking when the production team chose to end the fourth season with Hope and Fear, a standalone episode with a very definite conclusion. However, it becomes even more ironic once the fifth season opens with Night. Rather than one story split over two episodes, Night feels like two narratives compressed into a single chunk of television.

Of these two narratives, one is definitely more interesting than the other. The first half of Night essentially focuses on the ship and crew as they venture through an empty (and starless) section of space known as “the Void.” No light can get in. Nothing seems to live in there. There are no anomalies to investigate. “Anything to report?” Tuvok asks Kim. Kim responds, “Not even a stray electron.” It is so dull that even Tom classifies the detection of “a sudden increase in theta radiation” as “excitement.”

Starless, starless night.

This is an interesting approach to storytelling, particularly for a show so focused on plot. More than any other series in the franchise, Voyager runs on plot beats. Stories tend to progress from one revelation and escalation to the next, affording little room for character development or exploration. As such, the first half of Night seems like a very ambitious piece of work, an introspective character-driven drama where there are no plot beats to distract from character. It is a very brave and compelling set-up.

Of course, Night somewhat fumbles the ball in this first half. The thread is never explored as thoroughly as it might be, the character never allowed to properly express themselves. There is far too much emphasis on the holodeck, and the ship’s ability to simulate comforts and illusions even in this most depressing of surroundings. However, compared to the way that Voyager usually tells stories, the first half of Night is refreshing. Ironically, it is genuinely exciting, because it feels like the writers are pushing outside their comfort zone.

A darker side of Janeway.

Unfortunately, it cannot last. Night can only resist the comfort of plot for so long. Eighteen minutes into the hour, the second plot kicks into gear. It is a much more conventional Voyager episode, particularly for these later seasons. There is a broadly drawn piece of social commentary that ties into the both Voyager‘s New Age sensibilities and its attitude towards the Delta Quadrant as a whole. There are new aliens introduced, that will become recurring foils. It is all very standard, and all very rushed. The second half of Night makes up for those missed plot beats.

The result is an episode that is deeply frustrating, a game of two halves were each horribly undercuts the other.

A black-and-white issue.

Continue reading