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Star Trek: Voyager – The Cloud (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.

The Cloud feels more like a first season episode than Time and Again and Phage did. Star Trek: Voyager has ploughed fairly effectively into its first season, primarily by treating it as the eighth season of Star Trek: The Next Generation. However, the first season has been falling into a regular pattern so fast that pausing for forty-five minutes to do some awkward and ill-defined character work doesn’t feel like a bad idea.

The Cloud is an awkwardly constructed piece of television that feels like it’s interested in building up this ensemble. As such, the pacing suffers, and the episode makes a number of awkward mistakes along the way, but it still feels like it is at least trying to do something worthwhile.

Shaking things up around here...

Shaking things up around here…

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Star Trek: Voyager – Phage (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.

Phage is far from perfect. It is very far from perfect. However, there’s something rather endearing about this cheesy B-movie throwback written by Brannon Braga from a pitch by Timothy DeHass and first draft by Skye Dent. The Vidiians are probably the most memorably and effective aliens from the first three seasons of Star Trek: Voyager, feeling like they could have wandered into the show from some trashy late-night horror movie on another channel.

There’s a pulpy quality to the episode that makes it more enjoyable than many of the surrounding Voyager episodes, albeit one undermined by some of the more awkward resonances in the script.

The Vidiians survive by the skin of their teeth...

The Vidiians survive by the skin of their teeth…

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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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Star Trek: Voyager – Parallax (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.

Parallax feels like a seventh season episode of Star Trek: The Next Generation nested inside a first season episode of Star Trek: Voyager. It’s Brannon Braga’s first script for the show, having opted to join Star Trek: Voyager rather than moving over to Star Trek: Deep Space Nine. Braga would go on to become one of the longest-serving creative forces on televised Star Trek, becoming an executive producer on Star Trek: Voyager and creating (and producing) Star Trek: Enterprise.

Braga is a fantastic high-concept science-fiction writer. His scripts for The Next Generation count among the best the show ever produced – Cause and Effect, Parallels, Frame of Mind. The team of Brannon Braga and Ronald D. Moore ranks as one of the most consistently great collaborations in the history of Star Trek. On his own, Braga writes fascinating sci-fi concepts. His scripts for the various shows support that.

The problem is that Braga isn’t the franchise’s strongest character writer. Indeed, among the staff writers working on the first season of Voyager, Braga seems like the worst candid to draft in to write the big “establishing character dynamics” episode directly following the pilot. The problem with Parallax is that it’s a nice premise featuring a bunch of characters we don’t care about yet, and the script is more interested in the anomaly of the week than it is in getting us to care about those characters.

"It's like looking into the future..."

“It’s like looking into the future…”

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Star Trek: Voyager – Caretaker (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.

So, Star Trek: Voyager.

Where do we begin? Voyager is probably the most divisive and controversial of the Star Trek spin-offs, the one that carries a lot of the blame for the franchise’s decline and decay in the mid to late nineties. It is the series that connects the tail end of the success story that was Star Trek: The Next Generation to the start of the dying gasp that was Star Trek: Enterprise. This spin-off had the misfortune to launch at the height of a revived franchise’s popularity and to finish as public interest waned.

Feels like going home...

Feels like going home…

Star Trek: Voyager felt like an act of hubris. It was positioned by Paramount to be the studio’s highest-profile television show. It was a feature of the television landscape, finally allowing Paramount the chance to leverage its own television network – a plan delayed since the late seventies, but deemed feasible in the mid-nineties. UPN branded itself “the first network of the new century”, a rather arrogant declaration. Caretaker was the first thing broadcast on UPN in early 1995, débuting to an audience of more than 21 million. However, Voyager would never reach those figures again.

Despite that success, things fell apart quickly. None of the shows that aired on UPN’s second night received a second season. The only shows to limp on to renewal from the network’s rocky first year were Voyager, The Sentinel and Moesha. Of these meagre freshmen hits. Voyager lasted the longest, with one more season to its name than Moesha. Over the summer of 1995, it was identified by The Los Angeles Times as the network’s “star survivor”, and the show upon which all of the network’s hopes rested. By 2000, five years later, the network had run up a debt of $800,000.

"I hope you don't mind, our tailors measured you while you were unconscious. It's all part of a standard probe."

“I hope you don’t mind, our tailors measured you while you were unconscious. It’s all part of a standard probe.”

That’s a lot of pressure for any television series to bear. Following (and, in the eyes of many, replacing) an illustrious predecessor, supporting the weight of a new television network, pushing into the future while remaining anchored to the past, it’s no wonder that Star Trek: Voyager wound up the confused mess that it became. Indeed, one can recognise many of the problems that would haunt the show through to its final season tied up in this pilot episode.

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Star Trek: The Next Generation – Up the Long Ladder (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

It’s been a while since Star Trek: The Next Generation has been openly offensive. So, just in case you’d forgotten that this was the same production staff that gave us “Riker beams down to a planet of beautiful women and screws their heads on straight” or “Troi’s womb is occupied by an alien intelligence, isn’t that cute?”, the writing staff have conspired to remind us that just because prejudice doesn’t exist in the 24th century (tell that to the Ferengi!) doesn’t mean that it can’t exist inside a late twentieth century writing room.

Begosh and begorrah! The space Oirish are coming!

"Wait, we're actually filming this?"

“Wait, we’re actually filming this?”

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Star Trek: Strange New Worlds VI – The Beginning (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry.

The Borg are, quite possibly, the most significant addition to the Star Trek mythos since the Klingons. They are one of the few modern pieces of Star Trek lore that will be instantly recognisable to a broader audience. They have featured, in some way, in all four of the Star Trek spin-off series. They are constantly rumoured and suggested as a viable antagonist for the rebooted film series. The Borg are a pretty big deal.

And yet, like so many pop culture villains, they seem less threatening the more we know about them. One of the more frequent complaints about the use of the Borg in Star Trek: Voyager was that it made the aliens more familiar, more understandable, more relatable. Continuing to build off the premise of the Borg Queen in Star Trek: First Contact, the Borg became an alien species that Janeway would reason and negotiate with, in stark contrast to Q’s characterisation of the collective in Q Who?

Although Star Trek: Enterprise did manage to turn the Borg’s fascination with mankind into a causal loop, televised Star Trek never managed to produce an origin story for those cybernetic monsters. Ever ready to fill in a perceived blank in the canon, the expanded Star Trek universe has actually proposed a number of origins for the Borg.

st-strangenewworlds6

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Star Trek: Deep Space Nine (Marvel Comics) #3-4 – The Cancer Within (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry.

Poor Doctor Pulaski. She seems to have just disappeared from the canon. First season casualty Tasha Yar seemed to haunt to the show, returning for Yesterday’s Enterprise while her daughter become a recurring foe from The Mind’s Eye onwards. Even Wesley popped back every once in a while following his departure from the series. Pulaski, on the other hand, remains something of a phantom.

Barring an audible reference to her made in the background during the Star Trek: Voyager finalé Endgame, she disappears from the franchise without so much as a peep at the end of Shades of Grey.  She isn’t even referenced by name in the first episode of the third season to air (Evolution) or the first produced (The Ensigns of Command). While Beverly Crusher’s return is used as a plot point for Wesley, we only get the most fleeting of references to Pulaski in Who Watches the Watchers?

While this can easily be explained by the complex relationship that Diana Muldaur seems to have with Star Trek: The Next Generation. She has suggested the atmosphere on set was decidedly unfriendly, so the fact that Pulaski doesn’t return should not be that much of a surprise. What is interesting is the general apathy that the expanded universe seems to have for Pulaski. While even guest characters seem to get their own back stories and development in novels and comics, Pulaski is treated as a decidedly minor character in the Star Trek canon, reduced to guest spots and small appearances.

I like my family reunions generic and bland...

I like my family reunions generic and bland…

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Star Trek: Deep Space Nine – The Maquis, Part I (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first season. Check back daily for the latest review or retrospective.

The Maquis is an interesting episode, because it really illustrates the weird place that Star Trek: Deep Space Nine holds in the pantheon. It’s the middle act of an arc designed to play out across the final season of Star Trek: The Next Generation, the second season of Deep Space Nine and into the first year of Star Trek: Voyager. This was all part of gigantic lead-up to Voyager, a way for the producers to generate friction between the regular cast of the show.

However, with The Next Generation ending and Voyager being set on the other side of the galaxy, Deep Space Nine wound up stuck with this plot thread. As Michael Piller concedes in The Deep Space Log Book: A Second Season Companion, “DS9 is the true inheritor of the Maquis since there is no long term benefit to Voyager.” And so – despite the fact the Maquis were never intended for the show – they wind up become a perfect vehicle to explore the show’s world view.

Picard's not the only one who can get a good face palm going on...

Picard’s not the only one who can get a good face palm going on…

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Star Trek: Deep Space Nine – Shadowplay (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first and second seasons. Check back daily for the latest review or retrospective.

Shadowplay is a great example of the kinds of things that Star Trek: Deep Space Nine is beginning to do very well. While the main plot works very well (so well, in fact that Star Trek: Enterprise would borrow it – and Rene Auberjones – for their first season episode Oasis), it’s remarkable how much of Shadowplay is given over to the two character-development subplots unfolding back on the station. Indeed, Dax and Odo have effectively solved the mystery of the missing villagers by about two-thirds of the way into the episode.

The character-development stuff in Shadowplay is interesting because the two subplots are not written with resolutions in mind. Indeed, they don’t even kick off the respective character arcs. Kira and Bariel have been waiting to become a couple since The Siege at the latest. The last episode, Paradise hinted that Jake might not be cut out to be a Starfleet officer.

In short, what is interesting about Shadowplay is the fact that it’s really just demonstrating that the show has reached the point where it is doing the things that it does relatively well. Deep Space Nine has found its groove, that point in a show’s history when it seems like it’s relatively easy to produce an hour of television of reasonable quality.

A holo crowd...

A holo crowd…

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