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Star Trek: Voyager – Bliss (Review)

Bliss is a textbook example of Star Trek: Voyager doing textbook Star Trek.

The episode feels like a stew composed primarily of leftovers, the residue of past meals thrown together to serve up something lukewarm and familiar. Bliss is not necessarily a bad episode of television, per se. It is rather lifeless and generic, but it is hardly the weakest episode of the season or the series. Instead, Bliss is the kind of episode that fades gently from memory, a hollow confection that doesn’t taste particularly nice, but which at least offers something to chew over.

Good Sheppard.

Bliss is a cocktail of familiar Star Trek plot elements. At the centre of the story is the sort of gigantic monstrous space entity that haunted earlier tales like The Immunity Syndrome or Datalore, a reminder of how weird and dangerous space can be. The “pitcher plant” in Bliss recalls the parasites from Operation — Annihilate! or the space vampire from The Man Trap. It feels like something almost Lovecraftian, a “beast” with tendrils that reach into the minds anybody near enough so that it might lure them to their doom. It is unfathomable to those caught within its grasp.

Qatai exists in opposition to this malign entity, caught in an immortal struggle with a force more vicious and more powerful than he could ever be. The EMH compares Qatai to Ahab, acknowledging the debt that Bliss owes to Moby Dick. Of course, the Star Trek franchise is populated with stories built upon that classic template; Obsession, The Doomsday Machine, Star Trek II: The Wrath of Khan, Star Trek: First Contact, Star Trek: Nemesis, Star Trek. It is hard to think of a more generic source of inspiration for an episode of Star Trek.

The show could use a shot in the arm.

Even beyond that, Bliss touches on plot ideas and elements that will be familiar to most Voyager viewers. As with episodes like Eye of the Needle or False Profits, the crew are tempted by a phenomenon that seems to promise the possibility of getting the crew home quickly. As in Hope and Fear and The Voyager Conspiracy, Seven of Nine becomes preoccupied with the notion that she is the only member of the crew with an objective perspective that allows her to see the truth. As with The Cloud or One, this might be deemed an “anomaly of the week” episode.

The result is something the feels very much like a representative distillation of Voyager, the statistical mean of the series derived to a decimal point. Bliss is perhaps the perfect encapsulation of Voyager as a television show. It is neither truly great or truly awful, it is merely there.

Coming down to Earth.

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