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Star Trek: Voyager – Shattered (Review)

Shattered was the first episode of Star Trek to be broadcast in the new millennium, premiering in January 2001.

Of course, there is some debate about when the new millennium actually began, even as Star Trek: Voyager mailed its colours to the mast with 11:59. However one might feel on the issue, Shattered seems more deserving of the claim than Fair Haven. This is an episode that captures a real sense of the moment that which the nineties technically gave way to the twenty-first century, a transition defined in very literal terms. It was a moment that was simultaneously about great cultural, social and technological change while also reflecting on how little had actually changed.

Say it, don’t hypospray it.

The nineties were (and remain) a paradox. They are easily defined by any chronological measure, with a neatly delineated start and end date. However, like any other decade, they are fuzzier when defined in a cultural sense. In some ways, the nineties began with the fall of the Berlin Wall and ended with the attack on the World Trade Centre. In another way, the nineties are still happening in terms of culture and fashion. They are at once present in the way that we make and consume art, but also something so absent that we long for the comfort of their trappings.

Shattered captures that weird fractured sense of time, the uncanny feeling that time is out of joint, that the past and the future are all overlapping in the same physical space without any sensation of linear progression. Shattered suggests that Voyager‘s past, present and future can all share the same physical space and that they can be navigated with relative ease. Despite the fact that this ship has been on a seven-year journey home, its past and its future are never distant.

“I am Commander Chakotay, and I endorse this cider.”

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Star Trek: Voyager – Flesh and Blood, Part I (Review)

In its seventh season, Star Trek: Voyager gets nostalgic.

It happens naturally when long-running shows begin the process of wrapping up. It is inevitable that the production team will look back with affection and sincerity towards the early years of their shared adventures. The seventh season of Star Trek: The Next Generation made a conscious effort to tie up loose ends and to handle long-dangling plot threats. Daimon Bok made a surprise return in Bloodlines, seven years after his first appearance in The Battle. In fact, All Good Things… even sent Picard back in time to relive the events of Encounter at Farpoint.

Going off the grid.

That nostalgia simmers and bubbles through Flesh and Blood, Part I and Flesh and Blood, Part II. The two-parter is openly nostalgic, consciously harking back to the middle seasons of the show. Both parts were aired in a single evening, recalling the broadcast of The Killing Game, Part I and The Killing Game, Part II or Dark Frontier, Part I and Dark Frontier, Part II. More to the point, the two-parter brought back the Hirogen for their first appearance since the fourth season, acknowledging that they were perhaps Voyager‘s most successful recurring alien menace.

Unfortunately, Flesh and Blood, Part I and Flesh and Blood, Part II are a flawed recreation of the past. They are a fake, a simulation, an illusion. They are crafted from a fading memory of the show’s short-lived glory years, and rooted in a number of fundamental misunderstandings about what exactly worked when Voyager was at its best. The result is deeply unsatisfying and frustrating.

They were never really here.

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Star Trek: Voyager – Live Fast and Prosper (Review)

Live Fast and Prosper is a reasonably adequate mid-tier episode of Star Trek: Voyager.

It is not awful. It has an interesting premise, with some interesting potential for development and exploration. It fits with some of the larger fascinations of Voyager – in particularly recurring themes of identity and narrative, and the intersection of the two. More than that, unlike a lot of Voyager episodes, it has a story that feels somewhat original. This is not a dull rehash of a familiar story, a shiny new exterior hastily assembled over a familiar storytelling engine.

“Get this… whatever it is… to Sickbay!”

At the same time, it is also not very good of itself. Although Live Fast and Prosper has an absolutely ingenious premise, it never seems to push itself beyond that point. It never makes the leap that the best stories make, from an interesting premise into a satisfying execution. Live Fast and Prosper is pretty much exactly the episode that every audience member would anticipate given the one-line plot description of “Voyager encounters a group of con artists who have been impersonating them for shady business deals.”

The result is an hour of television that is solid, if not impressive. Live Fast and Prosper feels like a middling delivery on a fantastic promise, to the point where its status as merely adequate is almost as severe a disappointment as some of the spectacular misfires around it.

Unfamiliar faces…

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Star Trek: Voyager – Good Shepherd (Review)

Good Shepherd is a terrible execution of a potentially interesting premise.

There is something interesting in speculating what the Star Trek universe must look like for those characters who exist outside the senior staff of a given series. This premise has been explored and touched upon in a number of episodes; most notably in the basic premise of Star Trek: Discovery, the primary plots of Lower Decks and Learning Curve, even the sections of Strange New World focusing on Novakovich and Cutler. Still, these are only a handful of episodes in a franchise that spans half a century and over seven hundred installments.

Looking out for her crew…

As such, the basic plot of Good Shepherd is compelling. The teaser visuals the appeal of such a story in a playful and innovative way, with the camera following a command all the way from the top of the ship to the bottom; from Janeway’s ready room to Astrometrics to Engineering to the lowest viewing port on the ship. It is an interesting way of demonstrating how anonymous and disconnected individuals can feel, even on board a ship with a crew numbering around one hundred and fifty. What does it feel like to be anonymous, on a ship as isolated as Voyager?

Unfortunately, Good Shepherd awkwardly bungles the question. In doing so, it fails to provide any satisfying answers.

Running rings…

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Star Trek: Voyager – Fair Haven (Review)

Well, at least it’s better than Up the Long Ladder.

We’ll take what we can get.

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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.

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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.”

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