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Star Trek: Voyager – Rise (Review)

Rise is in many ways a very typical episode of Star Trek: Voyager.

It is an episode that certainly has an interesting premise. For all its myriad flaws, Voyager tended to have a genuine interest in playing with science-fiction concepts. At its worst, this attitude manifested itself through the various “anomaly of the week” stories that followed a familiar pattern of the ship encounter some sort of strange phenomenon with predictable results. Often this phenomenon involved time travel or interstellar dust clouds, a trend that could be traced back to early episodes like Time and Again or The Cloud.

That crashing feeling.

That crashing feeling.

However, Voyager did occasionally use its interest in science-fiction storytelling to construct interesting stories. Deadlock might have set a damning precedent for the show, but it was compelling television. Blink of an Eye is a very clever little story. In true Star Trek fashion, Voyager would even use these science-fiction ideas to construct engaging allegories like the exploration of holocaust denial in Remember or the meditation on creationism in Distant Origin.

These concepts gave the series a sense of texture. They served to distinguish the show from its siblings. For example, Star Trek: Deep Space Nine was generally less interested in science-fiction high concepts than in characterisation and politics. When those sci-fi elements did show up, they were usually to torture O’Brien in episodes like Whispers, Visionary, Hard Time and Time’s Orphan. Of course, Deep Space Nine had sci-fi concept-driven stories like Playing God or One Little Ship, but they tended to stand out more from the series around them.

Up on the roof's the only place I know...

Up on the roof’s the only place I know…

Rise has a suitably high concept, a core idea that could easily have been lifted from the pages of the same pulp magazines that inspired The Cloud Minders. The episode is essentially a paranoid thriller unfolding within a confined space, but that confined space just happens to be a giant elevator that stretches from the surface of the planet into orbit. The premise is ridiculous, feeling like it was lifted from forties or fifties periodicals with giant insects and half-naked men on the cover. In other words, it feels of a piece with Innocence or The Thaw or Tuvix.

It is too much to argue that Rise has a brilliant concept, but it at least has an intriguing one. While it might be hard to use the basic elements of Rise to construct a classic, it should be relatively straightforward to construct a thrilling episode of television. Unfortunately, Rise simply does not work. More than that, Rise does not work for the most boring of reasons. As with a lot of Voyager, the episode is an interesting premise undercut by both a deeply flawed (and half-hearted) execution and the show’s own long-standing structural weaknesses. This happens all too often.

A dark moment for the series.

A dark moment for the series.

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Star Trek: Enterprise – Fallen Hero (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This January, we’re doing the first season. Check back daily for the latest review.

Fallen Hero works quite well. While it isn’t sturdy or tight enough to stand with the very best of this first season, it is an engaging diplomatic thriller elevated by a fantastic guest performance, a nice focus on T’Pol and a surprisingly warm approach to the Vulcans. Easily the strongest episode between Shuttlepod One and Shockwave, Fallen Hero is a solid adventure that offers a glimpse of a more promising future.

I'll drink to that...

I’ll drink to that…

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