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Star Trek: Voyager – Time and Again (Review)

This September and October, we’re taking a look at the jam-packed 1994 to 1995 season of Star Trek, including Star Trek: Deep Space Nine and Star Trek: Voyager. Check back daily for the latest review.

It’s really remarkable the sense of self that Star Trek: Voyager had three issues into its run. It took Star Trek: The Next Generation two years to figure out what it wanted to be. Star Trek: Deep Space Nine only really settled down in its fourth season. Star Trek: Enterprise reinvented itself twice before it was cancelled. On the other hand, Voyager just seemed so aware of what it was and what it was going to be within only a few episodes.

Sure, there would be a few changes made in the years ahead. The Borg would appear in the third season; Seven of Nine would join the cast in the fourth. Janeway’s fickleness has yet to be firmly established; the Doctor hasn’t come to the fore. And, yet, three episodes in, it is quite possible to look at Star Trek: Voyager and get a sense of what the next seven years will be like. The shape of things to come.

Time and Again is a time travel story, but it’s also the first time that Voyager pulls a full-on end-of-episode reset. It will not be the last.

Guest starring: anomaly of the week!

Guest starring: anomaly of the week!

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Reset for Adventure: Has Stephen Moffat Salvaged the Reset Button?

Next week sees the season finale of Stephen Moffat’s first season as showrunner on the rather excellent Doctor Who. I have to admit that – with one or two minor misgivings – I’ve had a (space)whale of a time, just we’ll save that for the inevitable review. However, being the sort of meta-textual guy that I am, I love that Moffat has managed to balance both integrating this new iteration of the franchise (created and, despite what some naysayers would have you believe, served very well by Russell T. Davies) and connecting with the established history (note, for example, how many times we have seen flashbacks of the original eight versions of the character in these eleven episodes alone). What, however, has really grabbed me about this run of episodes is that fact that Moffat has seemingly decided to take one of the most common elements of Davies’ season finales – a reset button – and stretch it out over an entire season. In effect, he seems to be attempting to reclaim one the storytelling crutches that his predecessor arguably relied upon too heavily, but use it in an interesting and creative manner.

If the walls had eyes...

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