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Star Trek: Voyager – Dragon’s Teeth (Review)

In many ways Dragon’s Teeth demonstrates the chaos that marked the start of the sixth season.

On paper, Dragon’s Teeth looks to be a big blockbuster episode of Star Trek: Voyager. It has top-notch production, a large guest cast, an impressive special effects set-up, a new alien menace, and an emphasis on momentum ahead of character or theme. Just looking at Dragon’s Teeth, it has the look and feel of an “event” story. It seems like an episode with a bold statement of purpose, from the opening teaser that suggests an epic scope by unfolding in the distant past of an alien world through to the ominous closing line that promises that Dragon’s Teeth is just the beginning.

Let sleeping dragons lie…

It seems like the sixth season’s answer to earlier mid-season two-parters like Future’s End, Part I and Future’s End, Part II, Year of Hell, Part I and Year of Hell, Part II, The Killing Game, Part I and The Killing Game, Part II, or Dark Frontier, Part I and Dark Frontier, Part II. It even broadcasts in roughly the same stretch of the season as Future’s End, Part I and Future’s End, Part II, Year of Hell, Part I and Year of Hell, Part II or Timeless. It is an early November episode, intended to help boost ratings during Sweeps.

However, what is most striking about Dragon’s Teeth is how much it feels like a non-event. The episode has all the markers of a big event story, from the promise of a shortcut home to the sight of the ship landing on a planet surface, but the story is actually incredibly generic. Dragon’s Teeth is not necessarily bad, it is simply competent. There is a strange sense watching Dragon’s Teeth that a phenomenal amount of effort has gone into ensuring that the episode works, rather than trying to make it excel.

Sweet dreams.

Of course, this makes a certain amount of sense. Dragon’s Teeth aired almost a third of the way through the season, but it was produced earlier. In terms of broadcast, it fell between Riddles and One Small Step. In terms of production, it came between Tinker, Tenor, Doctor, Spy and Alice. As such, it was produced in the midst of the chaos following the sudden departure of Ronald D. Moore and the reinstatement of Kenneth Biller. More than that, it was the first episode of the season to be written by Brannon Braga since that behind the scenes shake-up. As a result, it makes sense it should feel “off.”

Dragon’s Teeth is an episode that spends so much of its energy trying to remain upright that it never manages to take flight.

Oh, mummy.

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Star Trek: Voyager – Riddles (Review)

Riddles is very much a stock episode of Star Trek: Voyager.

Like Barge of the Dead and Alice before it, Riddles is a character-focused episode of the sixth season that largely retreads character dynamics that feel thorough explored by this point in the show’s run. One of the big issues with Voyager is that it never got past more than a single line of biography for many of its lead characters; Torres is angry, Paris is a restless rebel, Tuvok is logical, Kim is inexperienced. Indeed, in the case of Chakotay, the series even dropped that one-line character synopsis after Michael Piller departed and never bothered to draft a new one.

Stopping to smell the roses.

Riddles is a Tuvok-centric episode that brushes up against the fact that Voyager doesn’t really know (or care) that much about Tuvok beyond the existence of his pointy ears. Tuvok is a Vulcan, and so his stories tend to be about logic and the challenges that it presents. This is not a bad thing, with Tuvok’s repression and logic providing the basis for Meld and Gravity, two of the best episodes of Voyager ever produced. However, Riddles is somewhat underwhelming. It feels like the story has been done before. More than that, this feels like a particularly stock iteration of that story.

Riddles is not a bad episode of Voyager by any measure. It is also not an especially good episode of Voyager either. Instead, Riddles is a perfectly familiar episode of Voyager.

Putting the pieces together.

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Star Trek: Voyager – Alice (Review)

Alice is a misfire.

To be fair, the episode seemed doomed from its original set of premises. Star Trek: Voyager has never been particularly good at capturing the sense of Tom Paris as a restless unreliable rebel. The episodes of Voyager focusing on the character’s rebellious tendencies tend to be spectacular misfires; Ex Post Facto, Investigations, Vis à Vis, Thirty Days. These stories do not play to the strengths of either the writing staff or Robert Duncan McNeill, feeling largely incompatible with the character of Tom Paris as he developed in the wake of Caretaker.

I’ll never get used to not living inside of Alice.

However, Alice literally weds this familiar and unsuccessful premise to another recurring Voyager trope with a less-than-impressive rate of success. It is not enough for Alice to be another story about Tom Paris proving that he has a rebellious streak, that premise has to be woven into a broad science-fiction gothic horror in the style of Threshold or Macrocosm. Indeed, Alice is explicitly a psycho-sexual horror in the mode of Blood Fever or Darkling, inevitably butting up against the difficulties of constructing an episode that is about sex but can never discuss sex.

Alice is flawed from the ground-up, but those flaws are only further revealed in the clumsy execution and the disappointing storytelling. Alice is a very bad piece of television.

A deep-space dust-up.

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Star Trek: Voyager – Survival Instinct (Review)

Survival Instinct marks the beginning and the end of Ronald D. Moore’s involvement with Star Trek: Voyager.

Moore had been one of the most influential writers on Star Trek: The Next Generation and Star Trek: Deep Space Nine. Moore had famously been drafted into the Star Trek franchise with no outside experience; The Bonding was based upon a speculative script that he wrote, and he had been invited to join the staff when The Defector proved that he was not a one-script wonder. Moore had inspired producer Michael Piller to open the franchise to speculative scripts, a decision which led to the recruitment of writers like Bryan Fuller and Rene Echevarria.

Drone warfare.

Moore had consistently pushed the envelope in terms of what Star Trek could be. Several of Moore’s scripts feel like trailblazers, expanding the storytelling language of an established science-fiction franchise; the Klingon-centric script for Sins of the Father, the quieter character drama of Family, the epic scale of Redemption, Part I and Redemption, Part II. Paired with Ira Steven Behr on Deep Space Nine, Moore really pushed the boundaries of what Star Trek could be; Soldiers of the Empire looked at life on a Klingon ship, In the Pale Moonlight stretched (and maybe broke) Star Trek morality.

All of the other writers on Deep Space Nine chose to bow out gracefully with What You Leave Behind, to part ways with the franchise having provided their own unique take on the Star Trek mythos. However, Moore was convinced to migrate across from Deep Space Nine to Voyager. There are any number of reasons why Moore might have chosen to stay when writers like Behr and Echevarria chose to take their exit; Moore was the longest continuous-serving writer on the Star Trek franchise to that point. In terms of second-generation Star Trek, only Rick Berman could have claimed to have a deeper impression.

Armed and dangerous.

Moore arrived on the sixth season of Voyager and immediately looked to make his mark. Like Brannon Braga, Moore had always been an extremely productive Star Trek writer. He was typically credited on six or seven scripts in a season of The Next Generation and Voyager, while also scripting Star Trek: Generations and Star Trek: First Contact. Although not credited on the script, Moore was actively involved in the back-and-forth over the script to Equinox, Part II. He scripted the second episode, Survival Instinct. He was working on the story to third, Barge of the Dead.

And then the unthinkable happened. Like so much of Voyager, Moore’s arrival proved to be something of a false dawn. In early July 1999, Ronald D. Moore left Star Trek. This was within a month of the broadcast of What You Leave Behind, and nearly three months before the premier of the sixth season of Voyager. Even before Moore and Braga elaborated upon the particulars of what had happened, it was clear that something had gone disastrously wrong.

What We Left Behind.

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Star Trek: Voyager – Equinox, Part II (Review)

Equinox, Part II works worse than it should.

Equinox, Part II is undercut by three key factors. The most obvious is the premise itself. Equinox, Part I and Equinox, Part II tell a story that is baked into the DNA of Star Trek: Voyager, but there is a sense that the production lacks the will to tell that story. Secondly, Equinox, Part I and Equinox, Part II struggle with consistent characterisation and clear narrative arcs. The third factor is a sense of inevitability, with Equinox, Part I and Equinox, Part II feeling like they reveal nothing insightful about Voyager before concluding, and that the show will no lasting impact.

Fish out of fluidic space.

These three factors squander a lot of raw potential. Equinox, Part II is telling a story that feels essential to Voyager, a story that the franchise arguably should have been telling immediately after Caretaker. This season premiere represents the chance for Voyager to have a full and frank discussion with itself, particularly in the context of its sixth season. Star Trek: Deep Space Nine had concluded at the end of its seventh season. For the first time in its run, Voyager was the only Star Trek series on television. This was the perfect opportunity for introspection.

Equinox, Part II is an episode that fails to deliver upon a fantastic opportunity.

“What are you looking at?”

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Star Trek: Voyager – Season 5 (Review)

It is hard to discern a central arc or purpose to the fifth season of Star Trek: Voyager.

There are certainly recurring preoccupations and ideas simmering through the twenty-six episodes of the fifth season, reflecting the interests of the creative team. Indeed, many of these themes culminate in Equinox, Part I, the fifth season finale. However, there is never a sense that any of these ideas are being assembled in service of anything, never a sense of what exactly the production team want to say about these themes or where they want to go with these concepts.

The fifth season of Voyager feels rather listless. This may be due to a combination of factors. Most obviously, the fourth season of Voyager was arguably the show’s best season, one marked by a sense of purpose and forward momentum. Thanks to the introduction of Seven of Nine and the miniature arc focusing on the Hirogen, along with the clever bookending of Scorpion, Part II with Hope and Fear, there was a sense that the fourth season of Voyager had ended in a different place than it began.

The big issue with the fifth season of Voyager is that it feels like the series is running in place.

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Star Trek: Voyager – Relativity (Review)

Relativity is perhaps the most Star Trek: Voyager episode that ever Star Trek: Voyaged.

Of course, there are better episodes of Voyager. Of course, there are episodes of Voyager that more effectively showcase the cast and the premise. Of course, there are episodes of Voyager that do a lot of things that Relativity does, only better. However, there is a sense the episode’s crushing mediocrity is a large part of what makes it so indicative of the show as a whole. Those other stronger episodes stand out from the crowd, and rank among some of the best episodes that Voyager ever produced. In contrast, Relativity is just kinda… there.

Ship of the line.

Relativity clearly belongs to the familiar Voyager subgenre of “timey wimey” action adventures that include epics like Future’s End, Part I and Future’s End, Part II, Year of Hell, Part I and Year of Hell, Part II and Timeless. In fact, the subgenre could be extended to include The Killing Game, Part I and The Killing Game, Part II, even if no literal time travel takes place. Relativity also borrows from the “let’s blow Voyager up!” school of plotting that includes Deadlock and Course: Oblivion. The episode also leans on the “reset” button that has been in integral part of Voyager dating back to Time and Again.

There is a sense that Relativity is a heady cocktail of Voyager storytelling tropes, a reiteration of many stock storytelling elements that have been employed in a variety of important and notable episodes earlier in the run. However, these episodes count among the finest example of Voyager‘s blockbuster storytelling. Relativity is most notable for taking all of these bombastic larger-than-life elements and finding a way to integrate them into a rather lifeless and stale piece of television. In this sense, Relativity is a quintessential Voyager episode.

Keeping those balls in the air.

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