Advertisements
    Advertisements
  • Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

  • Advertisements

Star Trek: Voyager – Unimatrix Zero, Part II (Review)

To be fair, the clue is in the title.

It is hard to overstate just how big a cultural impact The Matrix had. The film was the fifth highest grossing movie in the United States, the fourth worldwide and the highest-grossing R-rated film of 1999. The Matrix immediately entered the Internet Movie Database‘s top 250 movies of all-time at in the twentieth position, and only climbed from there. The Matrix was the first movie to sell more than one million copies on the the nascent DVD format.

Can’t see the forest for the trees.

More than that, The Matrix became a cultural shorthand. Phrases from the film (and its production) entered the popular lexicon; “I know kung-fu”, “the woman in the red dress”, “the red pill”, “bullet time.” Quentin Tarantino named it as one of his favourite movies of the previous quarter-century. The film lives on a context beyond its original production, its language coopted by fringe groups like incels or men’s rights activists or the alt-right. This just speaks to the impact that the film had upon an entire generation of young men.

To be fair, The Matrix did not necessarily articulate anything new, instead bringing together a wealth of science-fiction tropes with an Asian-influenced action aesthetic. After all, it was just one of a wave of films dealing with similar thematic ideas around the same time; The Thirteenth Floor, Pleasantville, The Truman Show, Dark City, eXistenZ, Harsh Realm. Even Star Trek: Voyager had riffed on similar ideas in stories like Projections or Course: Oblivion. Nevertheless, The Matrix seemed to speak to a particular millennial anxiety at the end of the nineties.

Love across light years.

The Matrix was the story of a future in which humanity had been enslaved, in which human bodies were treated as batteries for a vast and uncaring system. In order to keep humanity docile, this system fed mankind a shared illusion of life at the end of the twentieth century. This illusory world was reality for those dreamers trapped within it, touching on various anxieties about reality and unreality in the context of the late nineties. The Matrix packaged up a host of ambient fears about capitalism, virtual reality, illusion and the end of history in a clever and exciting action film.

It seems inevitable that Voyager would offer its own take on this concept. After all, the series had been playing with similar ideas dating back to its own first season. The fragility of reality and the dangers of convincing simulation are a recurring motif. Indeed, Unimatrix Zero, Part I and Unimatrix Zero, Part II are not even the only episodes that draw heavily from The Matrix. There are shades of it to Work Force, Part I and Work Force, Part II. Nevertheless, Unimatrix Zero, Part I and Unimatrix Zero, Part II are undoubtedly the most overt examples of this.

Unimatrix reloaded.

Continue reading

Advertisements

Star Trek: Voyager – Unimatrix Zero, Part I (Review)

Once again, Star Trek: Voyager takes its cues from Star Trek: The Next Generation.

The Next Generation bridged its sixth and seventh seasons with Descent, Part I and Descent, Part II. That season-bridging two-parter was focused on discord within the Borg Collective, with the crew coming into contact with a group of drones that had separated themselves from the hive mind. It was a somewhat underwhelming two-parter, and is unlikely to rank alongside anybody’s favourite episodes (or even favourite two-parter) from the run of The Next Generation.

Things come to a head.

Even then, Descent, Part I and Descent, Part II had a lot of weight behind them. Glossing over the quality of the episodes themselves, they marked the big reintroduction of the Borg into The Next Generation following their appearance in The Best of Both Worlds, Part I and The Best of Both Worlds, Part II. The only episode to feature the Borg in the three years between those two-parters was I, Borg, meaning that the return of the Borg at the end of the sixth season of The Next Generation was a big deal.

As such, this seems like a strange cue for Voyager to take from The Next Generation. After all, Voyager doesn’t have that same luxury of built-in anticipation. Voyager bridged its own third and fourth seasons with Scorpion, Part I and Scorpion, Part II, but the Borg have been a steady fixture of the series since then. Ignoring the addition of characters like Seven of Nine and Icheb to the core cast, the Borg have played important roles in episodes like Hope and Fear, Drone, Dark Frontier, Part I, Dark Frontier, Part II, Collective and Child’s Play.

Picking their brains.

That is a lot of focus, particularly in the context of a television series like Voyager, where there is less continuity from episode to episode. Including hallucinations, dead bodies, screen images and holograms, the Borg appear in twenty-three episodes of Voyager, as compared to six episodes of The Next Generation. By way of contrast, the Hirogen appear in between nine and ten episodes, depending on how one counts Flesh and Blood, Part I and Flesh and Blood, Part II. The Malon only appear in four episodes.

All of this is to say that Unimatrix Zero, Part I and Unimatrix Zero, Part II feel like a rather blatant rip-off of an already underwhelming two-parter, but without the core appeal. Voyager has reached the point where the appearance of the Borg is a source of dread, but not for the reasons that it should be.

She’s had some bodywork done.

Continue reading

Star Trek: Voyager – Dark Frontier, Part II (Review)

Star Trek: Voyager has a morbid fascination with the Borg. Quite literally.

Time and time again, the series returns to the image of the Borg dead and dying. Blood Fever ends with the discovery of a Borg corpse. Unity features the extended autopsy of that corpse. In Scorpion, Part I, Kes is haunted by the image of a grotesque mound of Borg drones, torn apart and reassembled. In Unimatrix Zero, Part I, the Borg Queen tears the heads off her drones and mounts them on spikes. There is a very similar image in Dark Frontier, Part I, where Janeway wanders casually through the wreckage of a Borg ship.

Queen of minds.

Star Trek: The Next Generation worked hard to establish the Borg as a credible threat. If the Borg were associated with death, it was only because they delivered something akin to it. In The Neutral Zone, the Borg scooped an entire outpost off the surface of a planet. In Q Who?, Picard had to literally beg Q to save the Enterprise after the loss of eighteen crewmembers. In The Best of Both Worlds, Part I and The Best of Both Worlds, Part II, the Borg tore through the Federation like it was made of tissue paper. The trauma of that invasion informed Emissary.

In contrast, Voyager seems preoccupied with the destruction and desecration of the Borg Collective. This is an interesting creative choice on a number of levels. Most obviously, it severely undercuts the menace and threat posed by the Borg Collective. Janeway seems to travel through the Delta Quadrant leaving a trail of broken Borg bodies in her wake. It is hard to believe that the Borg are a big deal, when Janeway seems to decorate her ship with their remains. The Kazon, the Vidians and the Hirogen have all taken Voyager at some point. The Borg have never.

Green light for reassimilation.

Perhaps this fascination with Borg corpses and remains simply speaks to their visual aesthetic. With their pale skin and their lack of individual identity, the Borg have always evoked the walking dead; Star Trek: First Contact was essentially a zombie movie in deep space. However, perhaps this desecration of the Borg speaks to something buried deeper within the psyche of Voyager. The Borg are perhaps the most iconic aliens of the Berman era; they represent the moment that The Next Generation came into its own. Perhaps their decay mirrors that of the Berman era itself.

Dark Frontier, Part I and Dark Frontier, Part II represent something of a final frontier for the Borg Collective. While the Borg had been in decline for some time, Dark Frontier, Part I and Dark Frontier, Part II marked a point of no return. Regeneration is an underrated return to form for the iconic cyborgs, but it is too little and too late. Dark Frontier, Part I and Dark Frontier, Part II is effectively a funeral for the most iconic adversaries of the Berman era. However, they would remain shuffling lifeless for another two-and-a-half seasons.

Subject to change.

Continue reading

Star Trek: Voyager – The Raven (Review)

Seven of Nine is something of a mixed blessing for Star Trek: Voyager.

In some respects, the character is a transparent ratings ploy designed to refocus media attention on and attract young male viewers to a television series facing major audience attrition. The series already has enough trouble serving the under-developed members of its ensemble like Chakotay, Tuvok and Kim. The arrival of Seven of Nine only compounds this issue, with the character serving as a focal point in five of the first six episodes of the fourth season. Seven of Nine is a very cynical addition to the cast, an awkward band aid applied to a patient with a chronic condition.

Enlightening.

Enlightening.

However, there is no denying that Seven of Nine works as a character. Even is early in the fourth season, Seven of Nine is more intriguing and compelling than most of the primary cast. As early as The Gift, Jeri Ryan demonstrated that she was one of the strongest members of the ensemble. Seven of Nine might be an awkward combination of the Spock and Data archetype with blatant fan service, but she already has a stronger character and a clearer arc than the vast majority of the regular cast. The production team know what they want from Seven, which is more than can be said of Chakotay, Tuvok or Kim.

Indeed, The Raven further solidifies the character’s purpose and arc in the larger context of Voyager. Indeed, The Raven very cleverly and very literalises Seven of Nine’s character arc, doing so in a way that integrates her into the larger broader themes of Voyager. With The Raven, Seven’s journey to reclaim her lost humanity is rendered as a literal homecoming. Like everybody else on the ship, Seven is ultimately trying to find her way back home.

"I shall become a bat... er... a human."

“I shall become a bat… er… a human.”

Continue reading

Star Trek: The Next Generation – The Best of Both Worlds, Part II (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.

The Best of Both Worlds, Part II was always going to feel like a bit of an anti-climax. After all, the show had spent so much time building up the Borg as this implacable and undefeatable adversary. In Q Who?, it had taken the interference of a god-like entity to allow the Enterprise a chance to escape their unstoppable foe. In The Best of Both Worlds, Part I, the Enterprise had been able to run for a while – but the Borg eventually caught up with them and took what they wanted.

Since The Best of Both Worlds, Part II was never going to end with the Borg destroying Earth, and since Star Trek: The Next Generation was never going to be a show willing to exact a dramatic cost high enough to justify victory against such overwhelming odds, the resolution to the two-parter was never going to live up to the heightened drama and impossible stakes suggested by The Best of Both Worlds, Part I.

Still, the second part of the adventure is charming and exciting enough that it never completely falls apart. While the resolution to the crisis does seem a little trite and convenient, The Best of Both Worlds hangs together as the show’s best two-part adventure until at least Chain of Command in the sixth season.

A Number One fan?

A Number One fan?

Continue reading

Star Trek: The Next Generation – The Ron Jones Project & The Best of Both Worlds OST (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.

In 1991, The Best of Both Worlds got a CD soundtrack release. It was incomplete, running just under forty-seven minutes. (Five minutes music would be included on The Ron Jones Project and 2013 would see a release of a more complete two CD set running fifty-five minutes.) However, this was the first soundtrack album released for Star Trek: The Next Generation since Dennis McCarthy’s score to Encounter at Farpoint in 1988.

The music for The Best of Both Worlds is iconic. In the Regeneration documentary included with the blu ray release of the episode, Seth McFarlane jokes about hiring Ron Jones on the strength of that closing sting. The impressive orchestral score to The Best of Both Worlds remains one of the most instantly recognisable soundtracks in the Star Trek canon. And yet it was written by a composer who was on his way out the door.

Of the twelve discs in The Ron Jones Project soundtrack collection covering the episodes scored by Jones, only three include scores for episodes that aired after the second part of The Best of Both Worlds. (And the third-to-last disc only features one episode from the fourth season.) So, what happened?

tng-ronjones12

Continue reading

Star Trek: The Next Generation – Season 3 (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.

The third season is on a very short list of contenders for “the best season of Star Trek ever produced.” Maybe one or two other Star Trek: The Next Generation seasons make the list, maybe the first two seasons of the original Star Trek and maybe two seasons of Star Trek: Deep Space Nine. From beginning to end, the third season of The Next Generation hangs together remarkably well, churning out consistently entertaining adventures and several runs of truly classic episodes.

There are two main stretches in the season where the show produces episodes that could legitimately be ranked as the best of The Next Generation. The first comes around the midpoint of the season, from Yesterday’s Enterprise through to Sins of the Father, all episodes that would not look out of place on a “top ten episodes of The Next Generation” list. The second runs from Tin Man through to Sarek. And that’s ignoring the wonderful gems scattered throughout the season, from The Defector and The Hunted through to The Best of Both Worlds.

Of course, one of the most impressive aspects of the third season is the fact that the consistent quality visible on the television screen belies the chaos unfolding behind the scenes. The third season was a deeply troubled year of television, with plenty of unfortunate conflicts and moments of sheer desperation from the creative team. Perhaps the most wonderful demonstration of how far the show has come is obvious in the consistent professional quality of the output.

tng-bestofbothworlds1n

Continue reading