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291. Star Trek: The Motion Picture – The Director’s Edition (#—)

Hosted by Andrew Quinn and Darren Mooney, The 250 is a weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT.

So this week, Robert Wise’s Star Trek: The Motion Picture.

When a mysterious entity appears at the edge of Federation space, Admiral James Tiberius Kirk finds himself recommissioned as commander of the Starship Enterprise. When his former Science Officer, Spock, is summoned from across the cosmos by the creature’s psychic cries, the crew find themselves on a desperate mission to save Earth from a creature that exists beyond human comprehension.

At time of recording, it was not ranked on the list of the best movies of all time on the Internet Movie Database.

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New Podcast! The Time is Now – Season 3, Episode 16 (“Saturn Dreaming of Mercury”)

Last year, I was thrilled to spend a lot of time on The Time is Now discussing the second season of Millennium. Since the podcast has moved on to the third season, I have taken something of a step back as a guest. That said, I was flattered to get an invitation to discuss Saturn Dreaming of Mercury with host Kurt North.

To describe Saturn Dreaming of Mercury as a “strange” episode is something of an understatement. It’s an ambitious and thematically rich meditation on the idea of parenthood, and the responsibilities and fears that come with that, but framed through a lens close to abstract surrealism. It’s one of the most distinct and unusual episodes in the larger Ten Thirteen canon, even if I am not entirely sure that I can explain what exactly happens in it.

As ever, you can listen directly to the episode here, subscribe to the podcast here, or click the link below.

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Star Trek: Voyager – Q2 (Review)

Q2 is an episode very much in keeping with the ethos of Star Trek: Voyager, particularly at this point in its run.

It isn’t just the strange nostalgia that permeates the episode, opening with an extended oral presentation from Icheb on the heroic exploits of James Tiberius Kirk from the original Star Trek and extending through to the unnecessary return of a beloved recurring guest character from Star Trek: The Next Generation. Nor is it the awkwardness with which Q2 affects a half-hearted compromise in its final act, with the series paying lip service to the fact that its omnipotent (and mostly friendly) guest star could get the crew home with a click of his fingers, while refusing to do that because it would break the series.

“Q2 ratings are way up!”

The essential Voyager-ness at the heart of Q2 is much more profound than all of that. It has to do with how the series treats is returning guest star. Q has been a part of the Star Trek universe dating back to Encounter at Farpoint. John de Lancie has been a recurring guest star on the franchise for thirteen-and-a-half years. Although de Lancie has aged relatively well, and although suspension of belief easily allows for it, even Q himself seems much older between his first and last appearances in the television franchise.

However, Q2 takes a character who was introduced as an immortal and all-powerful trickster god in The Next Generation, and transform him into a stressed middle-aged parent by the end of Voyager. This is a very Voyager approach to characterisation and development. It is how the series has approach many of its characters. In Caretaker, Chakotay was a rebel, Paris as a rogue, and Neelix was a free-wheeling trader; within the show’s first season, all of those rough edges have been filed off. The decision to do that with a character who is effectively a trickster god speaks a lot to the central philosophy of Voyager.

Not kidding around.

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My 12 for ’14: The Babadook and Living With Demons…

With 2014 coming to a close, we’re counting down our top twelve films of the year. Check back daily for the latest featured film.

The Babadook is a delightfully well-executed Australian horror film for most of its run-time, an uncomfortable and occasionally harrowing exploration of guilt, resentment and motherhood. The scares are executed cleanly and efficiently, and director Jennifer Kent does an admirable job of ratcheting up the tension as the movie ticks along. However, the most interesting and clever aspects of The Babadook are found nestled in the movie’s final few minutes, providing a satisfying and thought-provoking conclusion to the allegorical horror film.

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Note: This “best of” entry includes spoilers for The Babadook. You should probably go and see the movie, particularly if you are a horror fan. Don’t worry, we’ll wait for you. Still there? Good. Let’s continue. Continue reading