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Star Trek: Enterprise – Terra Nova (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.

Terra Nova is a rather unfortunate fifth episode for Star Trek: Enterprise. The show is in its first season, so there are bound to be mistakes and missteps along the way. However, Unexpected and Terra Nova provide a one-two punch of unfortunate back-to-back episodes, shows that aren’t just the result of an uncertain creative time stumbling while trying to find their groove. Like Unexpected directly before it, Terra Nova is an episode that is toxic from the ground up.

It is, in short, precisely the kind of story that you don’t want to tell about mankind’s first adventures into the cosmos. While the episode very much evokes the mood and style of classic Star Trek, it also inherits all the franchise’s worst colonial impulses. This is an episode that belongs alongside the more ill-judged entries in the first season of Star Trek: The Next Generation, like The Last Outpost or Lonely Among Us.

He's got faith, faith of the heart...

He’s got faith, faith of the heart…

Terra Nova takes a fascinating starting point – something very intrinsically tied to the premise of Enterprise – and twists it into a show about our human protagonists dealing with silly off-world people. Those silly off-world people happen to be humans, who need to be reminded of their humanity, in such a way that our protagonists can feel proud and superior about how advanced and sophisticated they are. Those silly humans who have “gone native” could really learn a lot from our super-advanced heroes.

Terra Nova feels like an episode that sets Star Trek back fourteen years, proof that some of the worst aspects of Roddenberry’s vision of the franchise have endured surprisingly well.

On yer bike, Reed...

On yer bike, Reed…

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Non-Review Review: Interstellar

Interestingly, Christopher Nolan seems to have generated a reputation as a rather detached director. Common wisdom around Nolan’s films suggest that the film-maker is perhaps too cold and clinical in his approach to the material; that his films lack warmth or humour. This reputation is probably a result of the director’s fascination with non-linear storytelling. After all, The Dark Knight is his only straight-arrow-from-beginning-to-end film.

Probably also due to the narrative contortions and distortions of films like Memento or The Prestige, Nolan is generally presented as a film-maker who constructs visual puzzle-boxes. His films are frequently treated as riddles to be solved. Consider the discussion of narrative “plot holes” in The Dark Knight Rises that fixates on how Bruce Wayne got around back to Gotham, or the discussion on the mechanics of the final shot of Inception. This approaches to his work tend to divorce the viewer from his films.

Everything burns...

Everything burns…

Interstellar will likely be Nolan’s most polarising film to date, replacing The Prestige or The Dark Knight Rises. The film offers an extended two-and-a-half hour rebuttal to accusations that Nolan is detached or distant. Much has been made about the attention to detail on Interstellar. The physics on the movie were so exact and precise that physicist Kip Thorne actually made theoretical advances while working on the film.

However, at the same time, one character posits love as a force more powerful than gravity or time. Interstellar might be precise and meticulous, but it is not a film that lacks for an emotional core; it is not a movie that lacks for warmth. Interstellar feels like a conscious attempt to cast off the image of a cynical and cold film-maker.

Out of this world...

Out of this world…

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