Scorpion Part II written by Brannon Braga & Joe Menosky
and directed by Winrich Kolbe
What’s it about: The alliance between the Federation and the
Borg is underway…
Hepburn-a-Like: Janeway is furious once she wakes up
and realises that Chakotay has circumvented her orders.
Tattoo: Whilst Chakotay is behaving entirely in character by
wanting to boot the Borg off of Voyager (he never wanted the alliance in the
first place) I still couldn’t help but think what a bastard he was for
disobeying Janeway’s express wishes. Since this is Voyager and there is no way
that Janeway will be written out (no matter how ill she is made to look) I am
willing to bet she is going to chew him out something rotten when she gets
better. At least he is conflicted in the decision and he tells Janeway on what
could be her deathbed that she is more than just a Captain to him.
Mr Vulcan: Both Tuvok and the Doctor have moments of dry
humour in this episode – don’t tell me they are developing too! I can’t handle
this! ‘The Nano Probes were successful…if not prompt.’
Borg Babe: This is where Voyager becomes the Seven of Nine
show! And why not? She’s far more interesting than two thirds of the regular
cast and manages to show real character growth and what’s more she is played by
the phenomenally good Jeri Ryan. In the coming season I will suffer from Seven
fatigue as I do think they focused on her character too much to the detriment
of others but that isn’t a problem at the moment. Having a spanking new
character join is exactly what the show needs to give it a lift and regardless
of how shallow shoving a Borg drone into a cat suit is, the character really
works and has made me pay attention to Voyager again. I love Seven’s
introduction as the tubes snap away and she steps out of the smoke and shadows
and declares ‘I speak for the Borg’. At this point you think how the hell can
this drone become one of the crew? Ryan plays the drone icy cold just as she
should be without a hint of emotion. Seven makes a wonderful observation that
every action and decision they make is debated and conflicted – perhaps they
could do with a little Borg uniformity.
Sparkling Dialogue: ‘They’ll push you. They’ll threaten you.
But they need you.’
‘There are two wars going on; the one out there and the one
in here and we’re losing both of them.’
The Good: Just about the most surprising thing I could
imagine happening is the Borg agreeing to work with Janeway to fight Species
8472 and I was basking in that moment because it is not often that this show
can genuinely floor me. Janeway seems shocked when the Borg suggest a weapon of
mass destruction to defeat Species 8472 – has she forgotten who she is dealing
with? Turning a cargo bay into part of a Borg Cube is such a fantastic idea I
am running out of superlatives – it really feels as though the show is moving
along with some style. Its astonishing that the Borg would sacrifice their
vessel (in a bloody great explosion – yee-hah!) in order to preserve the
knowledge of the nano probes. The script is continually unpredictable with the
Borg being blown out into space in an awesome visual effects sequence and then
Voyager is forced into fluidic space. I honestly had no clue where this story
was going and that sense of giddy thrill is like a slap in the face after season
three. We learn that this was just deserts for the Borg who started this war
themselves by attempting to conquer fluidic space and assimilate Species 8472
but didn’t count on them being stronger they were. The Borg consider them the
apex of civilisation and that their superior technology would have greatly
benefited theirs but instead of assimilating them they opened a door to normal
space. The Bio Ships tearing through the bubbling, green fluidic space offers
the chance to do a completely new type of visual. Proving themselves to be
without honour, the second Species 8472 are defeated the Borg attempt to take
over the ship and terminate their alliance with the Federation. We end the
episode with the ship damaged and perverted with Borg technology and a Borg
drone separated from the Collective…and we open the next episode in exactly the
same place without everything ship shape and hunky dory again! Colour me
impressed!
The Bad: Harry Kim is brought back from the brink of death
by some technobabble wizardry by the Doctor, how disappointing on both counts.
With Kes’ shocking hallucinations they are trying to make Species 8472 into
something truly frightening but I’m just not buying it because they look too
fragile and the CGI effects are strong enough to convince. By taking the sting
out of the Borg (they are made to look like pussy cats as their ships are torn
apart) and not replacing them with an even scarier race, Voyager has denied
Trek of its primary nasties which wasn’t necessarily a good move.
Moment to Watch Out For: The last surprise comes when
Chakotay links to Seven using the same technology from Unity – can Voyager
really be turning a corner if they can even remember past episodes and use them
in a surprising and imaginative way?
Result: Dynamic visuals, gripping character conflict, an
awesome new regular and show that feels as though it is genuinely moving
forward – this is the rarest of things on Trek; a concluding part that manages
to be better than the first! Its like somebody has flicked a switch and
suddenly the show is firing on all cylinders; the script is exciting and
genuinely unpredictable with some very dramatic twists and the conflict between
Janeway and Chakotay makes for blistering viewing. What could be seen as
a ratings ploy actually gives the series a real sense of purpose and drive and
although the Borg may be emasculated because of this story (TNG had done a
pretty good job of that by the end of their run) it is wonderful to have a
returning presence in a show that was starting to feel like variety week.
Scorpion Part II is one of the finest Voyager episodes and great choice to show
people who suggest that this show cannot match up to the others. If only
Species 8472 were more effective this would have been perfect: 9.5/10
The Gift written by Joe Menosky and directed by Anson
Williams
What’s it about: Seven becomes a member of the crew and Kes
departs…
Hepburn-a-Like: Janeway has always been the zealous type to
attack a problem without doubting herself but when it comes to changing a
person from what they are into what you want them to be that is a different
matter altogether. Janeway figures if she can reach Anika inside Seven then
half the battle is over but what she forgets is that even though she is a part
of the Borg collective she is literally stripping somebody of their identity.
I’m not sure where the line is drawn in how far Starfleet Captains can go but
I’m certain we are near the mark here. Chakotay mentions it is the only life
she has ever known and questions if they have the right to take that from her
but Janeway is adamant. When all the Starfleet bravado is stripped aside and
Janeway has to face up to the fact that Kes wants to leave the ship, Kate
Mulgrew is devastatingly good. Her retrained tears really make for affecting
viewing.
Brilliant B’Elanna: There are instant sparks between Seven
and B’Elanna which continue for many years to come I am pleased to say.
Borg Babe: The Doctor sums up Seven’s situation succinctly
when he says there is a battle going on insider her body between the biological
and the technological and he truthfully says he doesn’t know which is going to
win. Clearly Seven is frightened of having her human side dominate her
personality and demands that they leave her on the nearest planet for the Borg
to collect. Her parents were explorers who fancied themselves as explorers but
wanted nothing to do with Starfleet. Janeway tells Seven that she does
understand what the security and strength of a unified will without doubts must
have been but she is part of a human collective now. Individuals yes, but they
live and work together. The scenes between Janeway and Seven are loaded with
tension and I loved Seven’s cold ‘I’ll kill you’ when Janeway lets down the
force field and steps into the security cell. This will certainly be a
relationship to watch. We get to see Seven demand her freedom, try and effect
an escape of her own, her criticise humanity for keeping her prisoner and
finally hurt herself to prevent this transformation back to a human being.
Finally she realises she has no choice but to surrender to it. She can’t bear
the silence, the fact she can only hear one voice in her head.
Spotted Dick: There is a gorgeous scene between Kes and
Neelix which craps all over their awful sitcom handling in the past. If they
had always been written for with this much respect it could have been a
fascinating relationship. Neelix suggests he was holding her back all these
years but Kes wont accept that saying she would never come as far as she has without
him.
Elfin Alien: And so we say goodbye to Kes prematurely to
make way for Seven of Nine. Whilst I understand the purpose of keeping the
number of regulars the same I think it would have been more prudent to have
written out Harry Kim, Chakotay or Neelix because it is clear from this episode
alone that she had more to offer than that bunch of non entities. Kes’ extra
sensory powers are starting to grow out of control and she can see past the sub
atomic into a new realm, a new reality. The scenes between her and Tuvok trying
to focus her powers remind me of the best scenes of Cold Fire. She doesn’t know
what is happening to her but that is what makes it so exciting. What a shame
that when the character returns in season six it is handled so ineptly.
Sparkling Dialogue: ‘I’ve got an Ocampan that wants to be
something more and a Borg who’s afraid of becoming something less. Here’s to
Vulcan stability.’
‘You have imprisoned us in the name of humanity. Yet you
will not grant us your most cherished human right! To choose our own fate. You
are hypocritical. Manipulative’ – wow this is the sort of sizzling character
drama this show has been missing!
The Good: Its worth mentioning again because it is probably
the only time that it happens in the shows history but Voyager was damaged at
the end of Scorpion Part II and covered with Borg technology and at the start
of The Gift it is still damaged and covered in Borg tech! In any other show
this would be normal for consequences to spill from one episode to another but
for Voyager this is what we call a minor miracle. Perhaps it was slightly
undignifying for somebody as beautiful as Jeri Ryan to be introduced in two
episodes as a colourless, techno freak but the stages of her recovery are
remarkably well done with the make up getting softer with each stage of the
episode. I was so scared that her recovery would be dealt with in a ‘Dr Crusher
has turned me back to normal with her usual skill’ way and I never would have
thought Voyager would have devoted an entire episode to integrating Seven’s
human side. Already this character is a bringing a detailed and realistic new
approach to the show. There are several effects moments that took me entirely
by surprise such as Kes looking into Seven’s mind and discovering the Borg node
attached to her brain and the sudden cut to Seven’s POV when she spots the
Starfleet communication node. Its very appropriate that before she leaves that
Kes gets some lovely moments with those characters who were closest to her;
Janeway, Neelix, the Doctor and Tuvok. Nice to see an effects shot loaded with
meaning and Tuvok lighting a candle for Kes by the window is a poignant way to
end the episode.
The Bad: How many times can Janeway re-iterate that the crew
of Voyager is a family. We get it already. Kes’ gift to the crew that has
sheltered her for the last three years is to fling the ship out of Borg space –
it’s a touching parting gift but does rather spoil this run of episodes and the
feeling that the show is becoming more serial based. The party’s over folks and
we’re back to normal Voyager next week.
Moment to Watch Out For: The dramatic sweep through the
cargo bay that finally lands on Seven of Nine almost fully recovered and
dressed up in a cat suit that screams ratings winner. Suddenly the boys perk up
and thing this might be a great leap forward for the show after all.
Result: This is the only chance we get to explore Kes’
extraordinary powers and the drama and excitement that Seven brings to the ship
at the same time and it makes for an intoxicating blend. Once again Voyager
feels as if it is genuinely moving forward with the departure of Kes (not a
decision I agree with since there were about five regulars that were far more
boring) and the introduction of Seven being a bumpy, difficult road to begin
with. Like TNG, the end of season three and the first two episodes of season
four are a high point for the series and it is great to see Voyager performing
this spectacularly after a moribund third year. With Kes, Seven and Janeway the
focus Star Trek has never been so dominated by women and you begin to wonder
why not because this is a damn exciting episode that accomplishes a great many
things with sensitivity. Voyager should always be this good: 9/10
Day of Honor written by Jeri Taylor (didn’t we get rid of
her?) and directed by Jesus Salvador Trevino
What’s it about: B’Elanna has the day from hell…
Hepburn-a-Like: Still trying to reach out to Seven and give
her an identity, she tries to suggest she go by her given name but her designation
has all she can ever being remember being called.
Brilliant B’Elanna: I love it when Torres is in a bad mood
and add to that her distaste of working with Seven of Nine and we are on our
way to kick starting an enjoyable episode! Its interesting to see that B’Elanna
still thinks she has some swing when it comes to Chakotay because of their
history together but he dismisses her wishes and tells her that she will
be working with Seven. With the Caatati devastated by the Borg it didn’t need
to be said that Seven felt the hand of her race on their culture but B’Elanna
feels the need to point it out to her face anyway. For a second she seems quite
unlikable and it’s a nice feeling, after being ambivalent about most of the
crew throughout season three it is great to feel something for one of them even
if it is negative. The more time she spends away from the Alpha Quadrant, the
less hateful the Klingon traditions feel. Perhaps she is feeling as though she
needs to grasp hold of something individual this far away from home. When she
first met Tom she thought he was an arrogant, selfish pig but now she thinks he
is a stubborn domineering pig!
Borg Babe: A momentary look of discomfort on Seven’s face
when the Caatati tell the Bridge crew that most of their race were assimilated
by the Borg suggests having a Borg crewmember was the best step forward for
this series.
Spotted Dick: Neelix quite sweetly brings Blood Pie (ugh,
sounds even worse than his usual muck!) to B’Elanna and it’s a reminder that whilst he is very thoughtful sometimes
he is a bit dim. I’m sure that everybody must realise by now that Torres isn’t
especially proud of her Klingon side. His offer to let her take out all her ill
feelings on him so they wont effect the rest of the crew is brave and
cuddlesome – are they making a concerted effort to ensure Neelix is more
likable this year? He has always thought that traditions are good things worth
preserving.
Dreadful Dialogue: ‘I can’t imagine a time I wouldn’t have
found you fascinating’ – Taylor just cannot write dialogue!
The Good: Is this the last time that we see Vorik? Whilst it
seems a shame that genuinely interesting characters like Suder get kicked to
the kerb I am actually impressed (kind of shows you how desperate I am here)
that a guest star has managed to make it from one season to the next. Bravo!
The Bad: Jeri Taylor just isn’t Ron Moor when it comes to
writing for the Klingons and the opening ceremony of eating from the heart of a
Targ is more like an episode of Come Dine With Me. The early scenes between Tom
and B’Elanna are a bit too like an episode of Friends for me, forced
characterisation that doesn’t come
naturally to the actors. He pushes her into facing who she is, she pushes back
and lots of clichéd dialogue ensues (‘If this is how you treat people who try
and be your friends…’ ‘Fine!’). The Caatati are a little like the Vidiians (you
know, the ones you got rid of Taylor!) except nowhere near as exciting and with
blander makeup and a less interesting backstory. Way to go. I was hoping that
they wouldn’t go down the obvious route of having the Caatati crossing paths
with Seven but its as inevitable as B’Elanna completing the Day of Honor
ritual. Alan Altshuld has underplayed the role of Lumas to a snoozable degree
until that point and then he lets rip with melodramatic anger that makes for an
unintentionally funny moment. How could any race be so ungrateful with regards
to the aid Voyager has given them that they would attempt to steal their warp
core? Another shuttle bites the dust – surely they must have run out by now?
One of the more embarrassing aspects of Voyager is how it blatantly explains
things to its audience to drive its point home. Janeway says ‘unexpected acts
of kindness is one of things that define us as human beings’ when DS9 would
simply show an act of unexpected kindness and let the audience figure it for
themselves (see the end of Body Parts). Show, don’t tell. We cut to a
scene with Tom and B’Elanna floating in space with their backs to each other?
Surely this is the one circumstance where you would be clinging on to each
other for dear life – rank and feelings be damned! Its only when they share
each others oxygen that they turn to face each other. When the idiot Caatati
says that they want to take out their frustration on Seven was that a vague
rape reference? I cannot believe that Janeway gave the Caatati their technology
after their unreasonable bullying tactics! Kirk would have kicked the crap out
of them!
Moment to Watch Out For: Watch Tom and B’Elanna trying to
embrace wearing those bulky spacesuits is very funny. Their confessions to each
other would be much more effective if they weren’t caught in the most clichéd
situation imaginable. Dawson and McNeill are trying so hard to emote but the
very nature of the scene is working against them.
Fashion Statement: I realise it does accentuate all of her
curves Seven seriously needs to get out of that ridiculous figure hugging suit.
It looks as though it has been designed by a particularly horny pre pubescent
fan of the show and lacks any kind of elegance or style. Her breasts are so
apparent during any scene that she features it is astonishing that she doesn’t
collapse under the weight of them in that metallic suit!
Result: Character conflict and development? Dost my
eyes and ears deceive me? A shame it couldn’t have been packaged into a better
episode but credit where it is due, this is the fourth episode in a row that
wants to push the show onwards towards something a bit more interesting. Jeri Taylor
is the worst kind of writer to be handed this sort of episode because she
writes such obvious sitcom dialogue (‘Why is it that we have to be beamed into
space in environmental suits before I can initiate first contact procedures?’ –
groan) and surface characterisation where something a little deeper is
required (Rene Echevarria would go nuts with this episode). As a result Day of
Honor is always on the verge of being a good episode but often shies away from
the important material and focuses on nonsense like ejecting the warp core. In
the end they have to strip away the ship and the crew in order for Tom and
B’Elanna to admit how they feel for each other (I genuinely think there would
have been too many distractions otherwise) and whilst they are hardly the most
of couples it is wonderful to Voyager embarking on this kind of long term
relationship. The Caatati are dreadfully written and realised and Voyager
should have flung the refugees back to the Borg. Flawed with some exciting
possibilities but considering Trevino’s outstanding direction of Fair Trade
this is a visually unexciting episode: 4/10
Nemesis written by Kenneth Biller and directed by Alexander
Singer
What’s it about: Chakotay at war!
Tattoo: Isn’t it strange that as soon as you extract Chakotay
from Voyager he becomes an interesting character (Initiations, Manuveres,
Revolutions, Unity) but when we are on the ship he practically blends into the
wallpaper? He fits in just fine amongst these boys and their war offering a
sympathetic angle of their enemy and explaining that people say terrible things
about people they fear. He refuses to take up arms against an enemy he doesn’t
understand but he sympathises with their fight and compares it to his own
against the Cardassians. The moral of the story is hammered home in quite a
nice way at the conclusion as Chakotay comes face to face with the Kradin
ambassador after being manipulated into despising his species. He wishes it was
as a easy to stop hating somebody as it is to start. Remember that kids, things
aren’t always as they seem.
Parisian Rogue: Why does one character always spout some
heroic nonsense about leading a team on a suicide mission to save the regular
that has gone AWOL? Its such empty dialogue, just there to fill space. Besides
what ever happened to Paris and Chakotay’s rivalry and friction? It seems to
have been resolved off screen at some point which is a lazy waste of an
interesting dynamic.
Sparkling Dialogue: ‘They had you so mixed up they could
have convinced you your own mother was a turnip!’
The Good: The dialogue in this episode shows that the writer
has really thought through this culture in some detail before setting down to
hammer out the script. Footfalls (distance), colours (a form of
identification), fathom (understand), defenders (army), sphere (planet), new
lights (dawn), nullify (kill), trembles (scared), descend (go to heaven),
glimpses (eyes), fleet colours (Starfleet uniform), fast walk (run), glimpse
wide (eyes open), suffice (satisfy), brightly greeted (happily welcomed). Star
Trek has a better than average track record of matching up their studio forest
scenes with the real thing and in Nemesis it is seamless. Its nice to see real
guns with shells spitting from them during the action scenes rather than phasers.
It gives the shoot outs more of a sense of genuine warfare than the usual magic
show of pretty lights.
The Bad: The opening scenes are very awkwardly directed. Its
all very well shooting through trees but you still have to be able to see what
is going on! We don’t know where we are or who these people are…and we can’t
see what’s happening either! When we cut to a similarly shot sequence 15
minutes into the story it is fine because all the basics have been covered. Its
getting a bit beyond a joke now with how many shuttles Voyager has lost,
somebody really should make a joke about it like they did with the naming of
them on DS9. At least by acknowledging the fact that there is an unlimited
supply gives us the nod that the producers know they are taking the Michael.
Unfortunately it is a little too easy to figure out that the ‘Ambassador’ who
is willing to help Voyager track down Chakotay is one of the Kradin. I wouldn’t
have even packaged that as a surprise since it is the most obvious route to
take the story. Things become far too simple and clichéd when we start dealing
with old men being dragged to extermination camps and children trying to send
letters to their family – all that early promise has bled into a most
predictable climax.
Moment to Watch Out For: With fighters screaming across the
sky and attacking the settlement I was starting to feel I had wandered into an
episode of Stargate but it sure looks good.
Fashion Statement: A colony of young, angry, buff lads – if
I were going to crash a shuttle anywhere this might be my chosen spot! I can’t
fathom why but when he gets into combats Chakotay looks more like he is wearing
pyjamas than ever.
Orchestra: David Bell’s dramatic scores have seeped into the
show since series three but this is the most vivid example yet with some of the
hunting scenes given real atmosphere thanks to the music. I can’t wait until we
reach the point that he joins DS9 because he really gets the chance to flourish
on the sister show.
Result: Kenneth Biller’s name isn’t one that is held up high
in fan circles but for me he is the most unusual writer on the Voyager staff
because he often writes the quirkiest, most memorable episodes (Tuvix, Before
and After and Nemesis all stick in the mind for positive reasons). This is a
simple, focused drama with some skill gone into the creation of the language
these boys speak and a rare chance to for Chakotay to do something other than
sit on the Bridge blend into the background. Nemesis works best for its first
20 minutes as we are sucked into the deception along with Chakotay but as soon
as Voyager turns up things take a more predictable turn. You could almost take
this as a treatise on Voyager as a show because war is very rarely black and
white but this show often is without any moral ambiguity whatsoever so of
course Chakotay is duped into believing that is the case. By the end of the
episode a lot of my early good will had been swept aside and it had gone down
the familiar Voyager plug hole of mediocrity but I will still champion this
piece for its first half in at least trying to do something a bit different: 6/10
Revulsion written by Lisa Klink and directed by Kenneth
Biller
What’s it about: The Doctor meets another of his kind who
has some dark secrets…
Hepburn-a-Like: The first time Janeway met Tuvok he dressed
her down in front of three Admirals – not exactly the conventional way to start
a lifelong friendship!
EMH: Its interesting to meet another hologram that hasn’t
had the luxuries afforded to him that the Doctor has enjoyed so we can compare
their lifestyles and see just how much better things have become for the Doctor
since Caretaker. When he was activated he was treated as little more than a
talking tricorder and he had to ask for the privileges that he deserved. Slowly
there has been a shift in the crews perception of the Doctor – no longer a tool
but functioning member of the crew. When the Doctor says it took him a few days
to master the social graces I would swap days and replace it with seasons
but it does remind me of how fabulously rude he was in those early days. I seem
t be comparing this episode rather a lot with DS9 but that is because I have
seen different elements done with so much more skill on the sister show: when
Laas asked Odo to leave in season seven’s Chimera it was a tempting,
heartbreaking choice that our favourite Shapeshifter had to make but when the
Doctor is asked to leave Voyager in Revulsion by the nut job hologram its
absolute joke. One you can take seriously and give some thought to, the other
is just words filling up time. Hmm perhaps that is the difference between the
two shows?
Brilliant B’Elanna: Tom and B’Elanna have been avoiding each
other ever since they admitted how they feel about each other and when they try
and discuss it here it winds up with the two of them snogging outside the Mess
Hall! Its nice to see this relationship continuing even if it doesn’t have half
the depth or passion of any of the relationships on DS9 (Sisko/Kassidy,
Dax/Worf, Kira/Odo).
Borg Babe: Seven of Nine is still trapped inside that
ridiculous ratings winning silver cat suit which Jeri Ryan somehow manages to
overcome and focus on her performance. She wastes no time in blaming her
humanity reasserting itself as the reason for errors in her work.
Mr Vulcan: Janeway seems to be promoting people at random on
Voyager these days (I guess that there isn’t that much to do on their long slog
home) and has chosen Tuvok this time round. I’m not sure why because he hasn’t
done anything spectacular of late that would earn him that commission! Still I
enjoyed his little speech, especially when he commented that he has tolerated
rather than enjoyed the company of some of the people in the room.
Parisian Rogue: Tom Paris serving as the Doctor’s new nurse?
Hey, that might just work…
Forever Ensign: This is the episode that seals the deal as
far as Harry being a useless chump is concerned…he had the chance to get down
and dirty with Seven of Nine but instead chose to run away little a frightened
little boy. Surely this guy cannot be any more wet? Every time Harry gets angry
or upset like he does in sickbay when Tom cracks some Borg jokes I always want
to slap him around the face with a wet halibut. I can’t decide whether it is
Garrett Wang’s performance or the character but he is so earnest about
everything you just want to make him do something really bad to make
sure he is definitely a human being. Only Harry Kim would have midnight
inspiration about reconfiguring astrometric projectors! Most normal guys just
have a wank. There’s only one reason I can think of for Harry not to peel off
his clothes in an instant and get it on with Seven and that is if he carried
secret affections for one of the male members of the crew. I’m starting to
wonder…
Sparkling Dialogue: ‘Nevertheless I am willing to explore my
humanity…take off your clothes.’
‘This could get tedious…’
Dreadful Dialogue: ‘Voyager isn’t all Jeffries Tubes and
Cargo Bays, you know’ – someone fetch me a bucket…
‘I’m going to have to de-activate you…’ – is somebody
actually thinking up this dialogue or is it being spat out of the cliché
machine?
The Good: Leland Orser is one of those actors that turns up
in everything and has played his fair share of serial killers in his time (his
turn in The Bone Collector was memorable) and he gives a fine, twitchy
performance as the hologram from hell in this episode.
The Bad: When you open a show with your main guest character
hauling a body through the ship and trying to wipe the evidence of the walls it
doesn’t come as any great surprise that he turns out to be the bad guy! I might
have introduced the hologram as desperately trying to send out the distress
signal as if there was still somebody on the ship trying to get him, perhaps
that might have been more convincing. Regardless – I never once thought that
this twitchy character wasn’t the killer. The recounting of the story
when Tuvok had to spend a whole day working with his console saying ‘Live Long
and Prosper’ says just about everything that you need to hear to prove that the
DS9 crew have a much more natural chemistry – its forced, unfunny and overdone.
You just know that when the Doctor heads over to a console at B’Elanna’s
command that the hologrammatic fish is going to be alive and well and
signposting the fruit loop holograms return. Storytelling should never quite be
this predictable.
Moment to Watch Out For: The best moment for me was when the
hologram turned on B’Elanna and reminded her of all the disgusting habits that
human beings are prone to. Orser’s performance is fabulously twitchy and it
feels as though the episode is on its way to saying something.
Orchestra: Hurrah for David Bell whose score is trying its
damdest to give this episode the atmosphere it needs. I love the vivid stings
as B’Elanna struggles to turn the hologram off as he pierces her stomach with
his hand. His work at the climax builds things to a dramatic crescendo which
would otherwise be a hologram walking slowly towards B’Elanna.
Result: I have a feeling that Revulsion should be better
than it is considering it gives most of its screen time to the Doctor and
B’Elanna (my favourites of this cast) and puts them into the spaceship
equivalent of Bates Motel. Also Seven of Nine offers her body to Harry Kim. Its
all a bit obvious from the word go so it makes the characters look a bit daft
that they can’t see what is blatantly obvious to the viewer and there aren’t
enough atmospherics to keep the slight story afloat (compare with DS9’s The
Darkness and the Light which sold its horror story on a very menacing
atmosphere). My biggest problem with this episode is that there is nothing
particularly clever about the set up (a murderous hologram) or the solution
(shove a cable in its chest) and it never quite finds out what it wants to say
about the hologram/human divide. The lighting and music are doing most of the
work and Leland Orser has a fair stab of creating a memorable psycho, its just
a shame the script gives him so little to work with. There a few nice character
moments that help this pass amiably but after Revulsion there really is no hope
for Harry Kim: 5/10
The Raven written by Bryan Fuller and directed by LeVar
Burton
What’s it about: Seven nicks a shuttlecraft and heads off to
learn something about herself…
Hepburn-a-Like: DaVinci was always a great inspiration to
Janeway when she was younger, a prolific artist and a scientist as well.
Janeway really has nobody to blame but herself for Seven’s rogue behaviour in
this episode and how it affects her negotiations with the Bomari since she was
the one who insisted they try and re-assert her humanity. Now that isn’t quite
working out and she is an embarrassment she sends her crew out to stop her by
any force necessary. The message here seems to be act like us or we will
destroy you. Janeway the Furher is back in business. Janeway’s other
contradiction seems to be that she will try to negotiate with alien species for
passage through their space but as soon as those relations break down she
throws respect out the window and uses force to bully her way through. She’s an
odd one, for sure. Sometimes I really admire her flawed behaviour (to err is
human after all) and at others I think she is the work of writers who cannot
consistently give her any kind of consistent characterisation. ‘You’ve left me
choice!’ she barks ‘I don’t have time for this…target their weapons array!’
What a nutter.
Borg Babe: I have noticed a streak of deadpan humour
emerging in Jeri Ryan’s performance that reminds me very much of Leonard Nimoy
as Spock – that sense that only we know how funny they are because they simply
don’t get the joke. When she sticks the clay on the statue and claims that
artistic leisure time is truly unproductive laughter stumbled from my mouth.
Imagination, creativity and fantasy all await her and like a child she has to
face these incredible experiences for the first time. Seven gently reminds
Janeway that she was not traumatised by the Borg, she was raised by them and
there is no need for her subconscious to now turn them into bogeymen. Watch
Seven eat for the first time is a very funny scene and Ryan derives a great
deal of humour from the slightest of facial expressions. I do find it odd that
the writers would make Seven quite this vulnerable so early in the season – I
seem to recall she is an ice cold bitch for much of season four but at this
stage she already seems to be fully human already. Whilst you sympathise with
her recounting of her ‘mama and papa’ being taken by the Borg it feels as if
she has already come as far as she needs to. So why the sudden backtrack in
subsequent episodes? Did the writers fail to plot out her development in the
series? Seven’s parents were revolutionaries that had some controversial
theories. I hope we get to learn more about them.
Forever Ensign: Harry’s little cameo is quite amusing. He
discovers a padd belonging to Seven that describes his behaviour as ‘easy to
predict.’ That’s what I’ve been saying all along!
Spotted Dick: Neelix disagrees that pleasure is irrelevant
and that a good meal is much more than just satisfying culinary requirements.
There is a wonderful moment of discomfort when Seven reveals that a small
freighter of Talaxians were assimilated by the Borg and the look on Neelix’s
face suggests just this once he isn’t quite sure how to react.
The Good: The imagery of the Seven running through a Borg
Cube in slow motion away from a screaming raven is genuinely disturbing. I
thought we were in for some more duller than dishwater aliens with the Bomar
until the course they have plotted through their space for Voyager was shown –
I realise that the shortest way from one point to another is by no means the
most interesting but this is ridiculous! Surely this is the first time one of
Neelix’s meals has caused a reaction so strong it has broken somebody out in
Borg spikes and forced them to beat him up? Its great to see some flashbacks to
Seven’s childhood and the moments when her parents where taken by the Borg. I
still love the DaVinci set (especially when it is lit atmospherically by
candles) – its so much better than that horrendous Hawaiian holodeck programme
last year.
The Bad: Seven’s little rebellion against the crew as she
heads of the shuttle bay is remarkably similar to Data’s in Brothers except it
isn’t directed with half as much dynamism. Its not often that you get an
effects shot on Voyager that fails to make the grade but the wreck of the Raven
looks suspiciously like it was put together in a hurry with Seven and Tuvok
superimposed on a flat plate shot. Is it just me or does this episode feel a
little low budget? The last few episodes have felt as though they are recouping
the money spent on the Borg two parter the introduced Seven and also saving
cash for the Year of Hell extravaganza to come. The episode overruns so there
isn’t the time for Janeway to chew out Seven in the way that she deserves for
her actions here so we get a token ‘learning about your parents might encourage
your imagination’ speech and off they warp into the great unknown.
Moment to Watch Out For: The very funny moment where Tuvok
beams onto the shuttle and does a weird clutching dance with Seven in which I
believe is supposed to be a fight.
Orchestra: After David Bell’s incredible score for Revulsion
how routine does Dennis McCarthy’s music sound in this episode? It’s a little
too quiet for its own good during the action scenes and fails to inject any
kind of pace into the turgid way these scenes are shot, it feels like beige
wallpaper covering a bland room.
Result: I don’t think LeVar Burton is one of the better
examples of an actor who has skipped from actor to director because his work
seems to move so ponderously and unless he is given a character drama to handle
(which doesn’t require much pace) his episodes are usually pretty dreary. The
Raven works to an extent because Jeri Ryan is so good at draining every nuance
from a script and bringing it to the screen and there are some enjoyable scenes
as Seven explores art and eating for the first time but when it tries to be an
action show it fails to muster any excitement. The climatic revelation
explaining the imagery of the raven is almost good enough to excuse this
ponderous exercise because it does add detail to Seven’s background. The Bomar
join the Caatati and the long list of truly forgettable alien races in the
Delta Quadrant – I think somebody should write a guide of which alien species
to avoid because this lot will bore you to death. It would seem that after the
initial dramatic developments of season four we are back into normal Voyager
territory – standalone stories that pass an hour but don’t linger in the mind.
The only difference I can see is that the episodes themselves are a fraction
better than the last season but the last four episodes are seeing the show
running on the spot and not going anywhere fast. You’ve proven you can evolve
and surprise, Voyager, so get back to it: 5/10
Scientific Method written by Lisa Klink and directed by
David Livingston
What’s it about: The crew begin mutating/acting out of
character/experimented on…it’s the ABC of Star Trek episodes!
Hepburn-a-Like: If I thought Janeway was scary before this
episode I was very much mistaken. Deprive this woman of sleep and she becomes
an irrational, violent, feral woman with little rationality. She’s terrifying
and the make up team do a fantastic job of making her look desperate for a lie
down and a deep sleep. I guess anybody would get a little tetchy with giant
needles sticking out of their head. Once the alien has been exposed Janeway
prowls around the security field like a hungry animal that hasn’t eaten in days
– Kate Mulgrew is clearly having a ball playing the Captain’s insecurities
turned up to the nth degree.
Brilliant B’Elanna: There is a lovely moment where B’Elanna
gives Seven a lecture about playing by the rules on the ship and she realises
just how brainwashed she has become by Janeway and her views. It starts out
aggressively but winds up being quite a gentle scene between them. I wondered
why Tom and B’Elanna were acting so covertly when they could just leave their
amorous activities until after work until I slowly came to realise that
everybody was acting a little bit out of character. Those first few violent
months of lust in a relationship are exciting and I could understand them
trying to clinch every moment together as possible but to go as far as breaking
protocol? Not this bland bunch! Again the writers go for the easy gag with Tom
and B’Elanna arguing over who should enter the briefing room first so they
don’t look suspicious. It’s the sort of dialogue you would expect in Saved by
the Bell not Star Trek.
Forever Ensign: Is this the season of insulting Harry Kim?
Firstly we have his complete failiure to bed Seven of Nine in Revulsion, then
he described himself as predictable in The Raven and now Tom Paris refers to
him as the most upstanding Ensign in Starfleet! Clearly the writers are aware
that this character is walking cardboard so why don’t they do anything about
it? This would have been the perfect episode to have shown Harry pushed to the
limit but clearly the aliens considered him too boring to experiment on.
Spotted Dick: He’s even more spotty than usual…
Sparkling Dialogue: ‘Sorry! These lab rats are fighting
back!’ – that’s so hokey it works!
The Good: Seeing Torres and Paris snogging through the eyes
of an x-ray scanner is seriously gruesome, what started out as a tender moment
becomes quite disturbing. The same with watch Chakotay’s coffee run down his
throat and into his stomach. Its strange how much more effective a good visual
can be – the evil hologram in Revulsion was trying to disgust us with his lurid
descriptions of human functions but actually being able to see what is going on
under the skin repulses in a much more visceral way. How funny is Janeway being
shaken up by the Doctor during her relaxing massage? Already this feels
better directed than The Raven with this disconcerting low angel shot. There’s
a great shot of a crewmember leaving a turbolift with a horrible device
strapped to his head unbeknownst to him.
The Bad: I think the scene in sickbay between Chakotay and
Neelix is supposed to be a laugh riot as they compare each others ailments and
sit there in the most ridiculous make up. I didn’t laugh, did you?
Moment to Watch Out For: There’s a great moment where Furher
Janeway starts ranting about everybody getting a little to comfortable of the
ship and demanding that Tuvok whip them all back into shape. Something tells me
that this isn’t the insomnia talking.
Anomaly of the Week: Its been ages since we’ve had a good
anomaly to have a moan about and unfortunately these pulsars don’t qualify
because they are introduced briefly during the teaser and then aren’t mentioned
again until the climax where Janeway goes suicidal (again this is hardly a
stretch because her standard persona activates the self destruct every third
week) and pilots the ship towards them. So they are a useful plot point on that
count and don’t get in the one so that’s one up for a decent anomaly. ‘I don’t
think you realise you are not in control here anymore!’ Go you wonderful
psychopath!
Result: Scientific Method is amiable filler but little more
and it is starting to concern me that the best material is being saved for the
two part spectaculars and the rest of the season will be hokey TNG knock offs.
The crew being experimented on is reminiscent of Genesis (without the shock
make up) and Janeway’s psychotic behaviour is only a few steps away from the
Federation warlord we saw in evidence on multiple occasions during season
three. I don’t want to sound too harsh because this is basically a very
competent piece of television with some gorgeous effects and nice set pieces
but I think this series should be stretching itself a little more. One of those
intense DS9 character studies would slip into this season beautifully right
about now but season four seems determined to make every episode an ensemble
piece with nobody is getting a memorable slice of the action. Certainly I have
lost track of what Tuvok, Harry Kim and Chakotay bring to the series. The idea
of an invisible threat that can prevent the crew from discovering them is a
frightening one but the lack of any revelation as to why they are doing this
chalks up another uninteresting Delta Quadrant species. These aliens are just
there because this is the sort of story the writers wanted to tell and beyond
their experimentation there is no evidence that they exist beyond it. This is
the sort of thing I would turn on if I wanted to watch a distinctly average
slice of Star Trek and there is nothing wrong with that every once and a while.
I just wish we could get on with some juicy storytelling and leave these
unchallenging concept episodes behind: 5/10
The Year of Hell Part I written by Brannon Braga & Joe
Menosky and directed by Allan Kroeker
What’s it about: Someone is tinkering with time and as a
result Voyager is about experience twelve months of hell..
Hepburn-a-Like: ‘Unless you have something a little bigger
in your torpedo tubes I’m not turning around…’ You see what an uncompromising
Federation Nazi this woman has become? She doesn’t need to be deprived of sleep
for four days to make her irrational, it comes to her naturally. Maybe her
experiences in the Delta Quadrant have hardened Janeway but week on week in
season four it seems like she has abandoned those Federation principles she was
banging on about so much in the first two seasons and would again when the
story requires it. You could almost say all the horror they face in this two
parter is all down to her unreasonable bullying tactics. What’s wonderful about
all this is that Janeway is full of arrogance and bluster when the Krenim ship
is a pathetic scout ship but when it turns into a warship she is angry and
terrified – a worthy lesson in being polite to people methinks! After a while
you have to question Janeway’s belief that working together as a single family
unit is such a good idea since it seems to be making the situation worse for
everybody. She loses track of the time so much that she doesn’t realise that it
is her birthday.
Tattoo: Why is it that Chakotay ever becomes a independent
character in episodes written by Braga and Menosky? The last time he expressed
an opinion (I know I can’t believe it either), Nemesis aside, was in Scorpion
almost ten episodes ago! These writers enjoy having the Captain and the First
Officer at loggerheads and it’s a fine dynamic. I just wonder why they don’t
exploit it more often.
EMH: The Doctor having to shut a door on two crewmen to save
the ship is a ridiculously hammy cliché but given that his entire sense of self
is build around healing people it is easy to sympathise with his anger as he
tries to live with that decision.
Mr Vulcan: Whilst it is tragic seeing the ship slowly
wounded beyond repair it is not until Tuvok is blinded by the detonation of a chronoton
torpedo that you really feel the personal effects of these attacks. He develops
a nice rapport with Seven and its great to hear them both bitching about the
many flaws of co-habiting with humans!
Parisian Rogue: In the middle of a crisis Paris ingeniously
thinks to model their defences on the Titanic which sank and killed the
majority of its crew. Nice one, Tom.
Forever Ensign: When Harry says he is a true sports
aficionado, make that geek. This guy is even square in a crisis. Since
Tom and B’Elanna are trapped in a room together this might have been a great
time for them to talk about her relationship with his best friend. To show how
damaged Harry is by these events his hair falls out of place slightly – there’s
no character to chip away at so they have to dishevel his image slightly.
Spotted Dick: Neelix the Security Officer? Things must
be desperate…
Sparkling Dialogue: ‘If I told you to count the stars in the
cosmos would the task ever be complete?’
‘You have the Bridge. What’s left of it…’
‘He’s trying to erase us from history!’
‘Determination alone isn’t going to hold this ship
together…’
The Good: The opening effects shot as Androvax irons out the
timeline of an entire planet, turning it from a metropolis to a lush landscape
is quite extraordinary. Kurtwood Smith is a real acting coup for Voyager and I
have always enjoyed his turn as the cantankerous Red in That 70s Show and he
brings a real sense of importance and cohesion to an episode that could so
easily get lost in its twisting timelines. What’s great about this character is
that there is a solid personal motive behind what he is doing which makes him a
sympathetic figure whilst simultaneously being terrifying. He is in a league of
his own especially compared to non entities like the Caatati and the Bomar and
even when he has manipulated time to a point where the Krenim control vast
regions of space he still deems it a failiure because one of the outer colonies
where his wife was lost has not been restored. There is an intensity to Smith’s
performance, Androvax is a man that is driven and consumed by a purpose and you
have to wonder if he will ever be able to give up his Godlike role. I was
right! All that fiddling and technobabble in the previous less important
episodes so they can reveal the Astrometrics Array, fusing of Starfleet and
Borg technology so they can navigate a circuitous route home via the stars.
Think of the nebulae and anomalies they will be able to find with this baby! I
like the very subtle way the guy playing the Krenim warrior goes from a mouse
screaming at a lion before the shockwave hits to a smug dictator afterwards –
the shift in his performances tells you everything you need to know about what
has happened. I love how badly they destroy the sets after the first Krenim
attack with the Bridge and the Ready Room in pieces and scattered with rubble
and twisted furniture. Ingeniously the story manipulates Kes’ replacement,
Seven, into playing out the same scenes from Before and After with the
unexploded chronoton torpedo and the Mess Hall is once again a triage centre.
At least the writers haven’t forgotten everything about the prelude episode.
The systematic way the writers destroy the ship and the crews morale is very
convincingly done and makes for gripping viewing – can we have the ship almost
destroyed every week? The idea that the temporal shielding that protects them
actually maintains their destructive state when the Krenim Imperium is depleted
is a rather cruel circumstance. Their own ingenuity might turn out to be their
undoing.
The Bad: The Doctor’s speech at the opening of the lab is
funny (mostly it is the look of horror on Mulgrew’s face as he keeps on going
and her reaction to being called to the Bridge) but there is another reference
about them becoming a family. Janeway later tells Chakotay that she isn’t going
to break up the family. She promised that she would never give the order to
break up this family. We get it already, Braga. Umm…doesn’t anybody remember
Kes’ ominous warning about the Krenim last year – she returned to the ship with
a portent of doom about this year and news of the death of the Captain! Either
travelling backwards through your own timeline is a common occurrence on this
ship (and given the amount of anomalies they breeze through I wouldn’t be
surprised), the characters have the memory span of a goldfish (again a
possibility) or the writers just forgot. Any of these is pretty unforgivable.
As soon as the story started taking risks I stated fearing that everything
would be back to normal next week thanks to some form of anomaly. Voyager is
not known for its willingness to take risks and seeing the ship in such a state
of disrepair is about as far from the norm as you can get. Tuvok blinded?
Wouldn’t it have been wonderful had they hadn’t rewritten that development – it
would have opened up many dramatic possibilities for the Vulcan Security Chief.
Moment to Watch Out For: It’s special effects pornography as
Voyager destroys the Krenim ship and explosions burst along their hull – the
show hasn’t been this exciting since Scorpion!
Fashion Statement: Janeway has had her hair cut short and
whilst it isn’t as stylish as it will be in season five it still looks rather
fetching. Its certainly more feminine which has to be an improvement – perhaps
Mulgrew finally managed to wear the producers down! Grease up his hair, smear
some dirt on his face and give some stubble and Chakotay makes a nice bit of
rough.
Anomaly of the Week: ‘A massive build of temporal energy! It
seems to be some kind of temporal shockwave!’
Result: Shocking, exciting and nightmarish, The Year of Hell
encapsulates everything I expect from Voyager on a weekly basis but get about
twice a season. I refuse to complain about a piece of drama that drags the crew
through a hedge backwards and devastates half the ship in the process because
it is such a fascinating process of destruction to watch. What strikes me as
especially good is the characterisation on display, particularly from Janeway,
Tuvok, Seven and the Doctor. We get to see how they really cope in
extreme circumstances - people who are
usually very amiable under perfect conditions aren’t especially nice when
things get rough and those who are usually difficult prove extremely helpful.
Its clear the budget has been sucked out of the surrounding episodes into this
spectacular production and Kroeker’s direction is full of visceral flourishes
that make the experience all the more uncomfortable. The cliffhanger was
inevitable, it was just a matter of time of how much of a battering Janeway was
willing to let the ship take before she split up her precious family. It
doesn’t make the shot of the escape pods spitting from the remnants of their
once proud ship any less poignant. This is exactly the sort of thing Voyager should
have been trying a long time ago because it really encapsulates the feeling of
terror of being one ship alone in a hostile Quadrant. I would have loved to
have seen this story take place over an entire season with the ship getting
more and more desperate but as a compromise I will happily accept this
phenomenal episode: 9/10
The Year of Hell Part II written by Brannon Braga & Joe
Menosky and directed by Mike Vejar
What’s it about: Repairing Voyager proves to be a nightmare
for the crew as Chakotay is seduced by Annorax’s power…
Hepburn-a-Like: There is a wonderful physicality about Kate
Mulgrew’s performance this week. Now the sets are empty and damaged she can use
the space and suggest a frantic drive forcing Janeway on. As things go from bad
to worse she gets the feeling that Voyager is testing her. You have to admire
the bravery of a woman who is willing to leap into a burning room that will
roast her alive to ensure that he ship stays in one piece. Janeway is always
banging on about Voyager being their family home but I often find that actions
speak louder than words and this was the first time since Basics when the ship
was torn from her that I felt she had a connection with it. Its almost as
poignant as the moment Sisko takes one last look around the Defiant before it
is torn to shreds in The Changing Face of Evil (but of course there is no reset
in DS9. The ship is gone. Never mind the replacement that turns up two weeks
later). Unfortunately showing this act isn’t enough and before the episode is
over Janeway is explaining to the audience that the ship is the home which has
sheltered their family – argh! Trust you audience to see these things,
Braga, don’t hammer the point home with a sledgehammer. Janeway’s threat to
deactivate the Doctor permanently if he relieves her of command really hits
home because it shows that she will literally do anything to save her ship and
crew. Janeway is running entirely on instinct now and refuses to obey the
Doctor’s orders. It’s a scene that is loaded of tension because of how casually
she treats his advice – it’s a hard reminder of how she used to mistreat him
when he was first activated. Janeway saying goodbye to Tuvok is a genuinely
poignant moment because it really feels like this is the last time she is going
to see him and the image of her alone on the Bridge is as potent as a pipe.
Tattoo: Just when I was saying that Chakotay had lost his
way the writers come along and make him a cult worshipper of a man with Godlike
powers! Its not a shift in his favour and I was waiting patiently for the
script to hit me with its ‘he was pretending all along so they could escape’
which never came. No, he really is as daft as he appears. Beltran fails to
convince on any level and when I read recently that he felt contempt for how
the writers used his characters I could actually sense that in this episode.
The script seems to suggest that Chakotay has the ability to perceive the moods
of time but it plays out in a way that he was simply charmed and had his ego
stroked by an old man. When he starts playing about with simulations I was
convinced he was perfectly stupid. He believes that by removing the comet that
forced them into Krenim space Voyager would be restored back to its original
condition before the attacks. Clearly he hasn’t been watching The Aztecs of
late because as the Doctor says you can’t rewrite a single line of history. Did
he honestly think the only relevant thing that comet did was to divert
Voyager’s course home? Change the slightest thing and you effect everything
that ever went on around it. I wouldn’t play around with Annorax’s toys at all,
playing God is a messy business and you have to be willing to accept the
consequences. The thought of somebody as simple as Chakotay is presented here
changing the fate of entire worlds is horrifying.
Borg Babe: Seven makes a damn good point about her newfound
individuality. Just a few episodes back she was asked to explore her new life
to the full but when it comes to expressing an opinion she is told to button
her mouth up. She knows the Captain’s logic is flawed and is willing to say so
– I think the ship is definitely going to be a better place with her on
board.
Forever Ensign: Harry leaving Janeway on Voyager is
surprisingly restrained when I was expecting tears and cuddles from his
surrogate mommy.
Sparkling Dialogue: ‘It is offensive. Fortunately taste is
irrelevant’ – it looks like Seven has the same ability as Odo to cut through
all the pretence and say things as they are. This is how she describes Neelix’s
pureed ration cube with Talaxian spices drink!
‘Target Voyager…put Janeway out of her misery.’
Dreadful Dialogue: ‘Either we maintain our command structure
or we settle or differences that old fashioned way’ – this scene between
Chakotay and Paris is so strained I feared it might buckle! ‘Either you do it
my way or I’ll kick you in’ is what he is basically saying and he sounds like a
right spooner.
‘I thought we were working to avoid more destruction!’ –
Chakotay you nob jockey any changes you make will cause destruction
somewhere…
The Good: When Annorax says that the buffet he has laid on
consists of foods you wont find anywhere else in the galaxy he literally means
it. I love the idea of a spread of food from cultures he has erased from time.
Its using the idea altering history to imaginative effect. He chooses to tell
them after they have began eating that they are devouring the last remnants of
a civilisation. I mentioned it in the first episode but it is actually revealed
in the conclusion – Annorax working towards saving his wife is a laudable if
misguided goal. Mind you there is a flaw in that too because there is no
guaranteeing that his wife will still be his wife is he has fiddled about the
timeline so much. I’m glad Annorax got a happy ending because somebody needed
to. This viewer certainly didn’t.
The Bad: Taking refuge in nebulae is stating to become a
cliché all of its own – the Enterprise did that in The Best of Both Worlds Part
II, Odo hid away in one in Vortex, the Defiant tried to shield location in one
in Starship Down… Mind the resulting effect is the atmospheric purple smoke
filling up Voyager so its not all bad. It breaks my heart to see that Robert
Beltran and Robert Duncan McNeill were chosen to face off with Kurtwood Smith’s
Annorax because they are two of the weakest performers in a mixed regular cast.
McNeill makes Paris far too stubborn and don’t get me started on Beltran hero
worship of their host! It’s a shame because I think Kate Mulgrew and Jeri Ryan
(Seven would be able to see the logic in improving planets) would have
done a much better job. As a result these scenes are pretty flat despite
Smith’s efforts to make them work. Annorax should have realised after his first
crazy attempt to play God that the whole idea is ridiculous – the likelihood of
being able to reset everything with that many variables to handle is insanely
unlikely. He might dress it up as civilisations that have never existed but it
is murder, plain and simple. It would have been so much braver to have kept
Janeway scarred for the rest of the episode, a permanent reminder of their lost
security. A damaged Voyager forges a coalition with two other races and they
travel together in a convoy…why is this treated as a throwaway development when
this is exactly how the show should evolve? I don’t give a shit if they had a
studio that was requesting the show maintain its tone in order to help
syndication or whatever other bollocks is pulled out the excuses draw to
explain why this show never progresses. The Year of Hell presents a gripping
scenario and authentic development for this show in a very positive direction
and what do they do at the end of the episode? The reset button is flicked and
none of it ever happened in the first place. Its so bollocks clenchingly thick
its one of the few Star Trek endings that makes me physically shake with
anger. Its proof that all this show
wants to be is a light entertainment show and not a drama worth investing your
time in.
Moment to Watch Out For: The budget breaking effects shot of
Voyager colliding with Annorax’s ship. Glorious.
Anomaly of the Week: ‘Our condition has left us vulnerable
spatial anomalies…’ I don’t know why they should bother you, Kate, you usually
dive headlong into them anyway!
Result: And with painful whiplash we hit the ground and are
reminded that this Star Trek Voyager after all. Part II is directed by Mike
Vejar so by default there is going to some highly atmospheric and classy
moments (watch as the camera swoops around Annorax’s bridge as he plans to wipe
out another planet) but it’s the script that dive bombs spectacularly and is
unable to maintain the spiral of madness from the first episode. Kurtwood Smith
is the best thing about the scenes on his ship because the dialogue lacks
conviction and logic and Paris and Chakotay couldn’t be characterised any more
awkwardly. The Voyager scenes are better but only because of the ruthless
Janeway moments – its basically an exercise in running on the spot because the
writers have already taken the show to its limits by the end of the last
episode and the only way this story could progress is by destroying the ship.
Which they do with agonising predictability and all of the great work done to
push Voyager into difficult times is undone and everything is lovely again.
What a load of sweaty arse crack. Words fail me that that Braga and Menosky
could see the potential of this set up and pull away from it. Vejar excels but
he was fighting a losing battle with the script: 5/10
Random Thoughts written by Kenneth Biller and directed by
Alexander Singer
What’s it about: Tuvok gets to explore his dark on a planet
where there is no violence…
Hepburn-a-Like: ‘We can’t pick and choose which laws we’ll
respect and which we can’t…’ Pot. Kettle. Black! I cannot believe those words
came out Janeway’s mouth who at the beginning of the last story told a race
warning them to back off that she wouldn’t because they have better firepower!
I really wish I could get a handle on how this woman thinks; with Sisko and
Picard it is easy because they work to a set of principles and when they break
them it is acknowledged but with Janeway she seems to chop and change her mind
every week as to how she wants to behave. Its not really fair to blame the
character, lets blame the writers who fail to portray her consistently.
Brilliant B’Elanna: It was only going to be a matter of time
that B’Elanna’s aggression was going to get her in trouble. The look Torres
gives Nimira when she is carted off to be held looks like she is having another
murderous thought!
Mr Vulcan: He has grown accustomed to speaking aloud but
Tuvok is a very skilled telepath. Tuvok is enjoying a perfectly civil
conversation with the Chief Examiner when he decides to make a racial slur
telepathically, its interesting to note. I hate to keep harping on about missed
opportunities (actually no I don’t because its rather fun to imagine a show we
never got) but if Tuvok had remained blind as a consequence from the Year of
Hell (I’m still bitter…) it would have been great to see how he coped with the
anger of losing his sight in this episode which explores similar themes.
Instead of giving him a reason to be angry the episode chooses to remind us of
the anger that apparently bubbles beneath the surface of Tuvok’s cool exterior
all the time that hasn’t been mentioned since Meld in the middle of season two.
There is no point in bringing out these interesting character flaws every 50
episodes or so – I don’t think his restrained rage is ever mentioned again
after this. Why do these types of episodes end up with Tuvok and another man
sweaty and exhausted and lusting after each others violent thoughts? Maybe
there is another secret about Tuvok we have yet to discover…
Parisian Rogue: Neelix has some fun winding Paris by stating
the fact that now he is involved with B’Elanna he cannot avail himself of the
beautiful women they meet on their travels! For a moment I thought I was back
in the Year of Hell Part II as Paris suggests a prison break on the planet to
Chakotay who slaps down his idea. Its about as convincing as the revolution was
in the previous episode. I don’t know if McNeill has trouble acting emotionally
or if the writers give him too much ropey dialogue but this hasn’t been a great
year for his character who seems to become more sitcom each week. The very idea
that he would suggest this because they are a race of pacifist who wont fight
back is enough to toss him in the Brig to cool down for a few days!
Spotted Dick: Poor Neelix, he hasn’t been with anybody since
Kes (that doesn’t come as a great surprise) and the first woman whose eye he
catches winds up dead. And after she promised to tug on his whiskers too! Some
people just don’t get any luck. The juxtaposition of having Neelix rallying to
B’Elanna’s defence just seconds before his new beau is violently stabbed to
death because of her is almost comical.
Sparkling Dialogue: ‘Apparently outlawing violent thought
hasn’t made it go away. All you’ve done is force people to share it in back
alleys.’
The Good: You can see immediately the effect that Voyager’s
crew has had on this society through some very economic storytelling – the
Chief Examiner mentions that there is no crime because of their telepathy,
B’Elanna has a bad reaction to bumping into somebody and then that violent
response is repeated in another citizen with homicidal results. It might seem
like ABC plotting but it very quickly lets you get a handle on the situation so
we can explore its dark possibilities. The cross cutting interrogations of the
various crewmembers who were on the surface during the attack is nicely done
and saves the bother of having to listen to each of them being interviewed.
I’ve seen it done more humorously elsewhere but its still a useful device.
Gwynyth Walsh gives a wonderfully crisp and humourless performances as Chief
Examiner Nimira and I was completely unaware that she was the same actress who
played B’tor in various Trek Klingon episodes. She’s one of those actresses who
brings real intensity to the role and whenever she is on screen you have
to watch her. I love how her arrogance turns into guilt, criticising Voyager’s
penal methods and then having to return cap in hand to ask for Tuvok’s help.
The idea of making all violent thoughts illegal seems silly at first but when
it comes to a race that communicates entirely through their thoughts it is no
different from making a violent action illegal on Earth. Random Thoughts goes
beyond the mere concept of the piece (which makes a pleasant change because
half the time with these episodes a clever idea seems to be enough) and tackles
the scary idea of horrific emotions and violent thoughts being sold illegally
on a black market for those who want to experience them. The security personnel
are authorised to perform memory extraction too which has more than a touch of
1984 about it – what’s to say any of these people chose to live in a harmonious
society and maybe all of their violent thoughts have been erased.
The Bad: Braga isn’t writing this week so the budget
suddenly plummets and we are back to stock Star Trek alien planet sets in a
studio. They haven’t been used in a while so somebody probably thought they
could do with an airing. There is a very odd moment where Tuvok and Janeway
discusses the merits (or otherwise) of this societies low crime rate and they
are staring at their padds in an effort to look as if they are desperately
trying to find a way out of this for B’Elanna. The resulting effect looks like
Mulgrew and Russ had fallen out and couldn’t bear to look at each other (otherwise
known as the Tom and Lalla syndrome). It is amusing that there are so few
genuinely horrific moments in Voyager that they have to source current films to
provide the visuals for Tuvok’s dark thoughts. Somehow I don’t think that would
have been a problem on DS9.
Moment to Watch Out For: Seven of Nine I could kiss you! In
an episode full of little nuggets her criticism of the Voyager crew ignorance
of other species is the charmer. She states (and I quote): ‘You make contact
with alien species without sufficient understanding of their nature. As a
result Voyager’s directive to seek out new civilisations often ends in
conflict.’ Somebody give that woman a medal! Of course Neelix has some vomit
inducing retort about exploration being worth it but the point still stands. It
seems that even in the episodes where Seven isn’t the dominant character (which
to be fair isn’t that often for the remaining three and a half seasons) she
pops up with some fantastic words of wisdom.
Result: The idea of people enjoying violent thoughts as a
drug is quite a dark subject for Voyager to tackle and to their credit it is
done rather well. This society is told in very broad strokes but it is
established quickly enough to allow us to slip beneath the veneer and see what violent
acts are festering underneath. The same applies to Tuvok who once again is
revealed to be containing some unpleasant emotions beneath that Vulcan calm
that I personally feel could do with unleashing more often. In a way it is just
as formulaic Trek as most of the episodes this year but what elevates it is the
sudden moments of shock violence (including some gripping sequences inside
Tuvok’s mind) and a script that makes some interesting observations (especially
Seven’s take on the Federation’s creed). The performances are strong this week
with all the regulars on form and this some strong support from Gwynyth Walsh (sans
make up) and Wayne Pere. It might be a little controversial but I think I would
have preferred this to be the two parter rather than The Year of Hell because
it has a much more interesting premise and could have used the time to flesh
out its world and characters more (I would have loved to have seen the effect
of mass violent thoughts on the populace) and for all Braga’s fireworks and heavy
emotion in the previous story there isn’t a cheat at the end of this
episode. A quietly powerful piece: 8/10
Concerning Flight written by Jimmy Diggs & Joe Menosky
and directed by Jesus Salvador Trevino
What’s it about: Umm…‘Shall I beam DaVinci back to the
ship?’
Hepburn-a-Like: With these kinds of stories the writers
usually try and say something about the characters (in my recent review of Our
Man Bashir I discussed how it revealed that Bashir enjoyed playing the life of
his friend Mr Garak and how the Cardassian tailor objected to having his career
parodied) and I have just finished Concerning Flight but I fail to see what it
is trying to explore in Janeway. The Master/pupil relationship is ignored for
the most part and she doesn’t seem to want to achieve anything for a reason,
just for the kicks of hanging out with DaVinci. Which is fine but we know she
enjoys hanging out on the holodeck because she has been doing it ever since the
days of drippy Lord Burleigh. Kate Mulgrew is game in this episode and its one
of her more likable turns in season four but I just can’t figure out what it is
trying to say.
Tattoo: I was laughing my head off as Chakotay tries to be a
hardnut negotiator! What a joke! ‘There’s the door. Goodbye.’
EMH: The Doctor is once again trapped in sickbay and in a
mildly amusing sequence tries to extract the latest gossip from Seven. The
story she relates would have been great fun to watch.
Forever Ensign: Was that supposed to be sexual tension
between Seven and Harry in Astrometrics? The two sort of bump into each other
when disagreeing and share a momentary glance…but I didn’t buy it for one
second. I wonder why this potential pairing was dropped considering they have
played about with it a few times in favour of the even more unlikely
Seven/Chakotay nonsense. Mind it does give Seven the chance to be wonderfully
bossy (‘Now. Or you should leave’) which is always a laugh.
‘He is the perfect Prince! Intelligent but not overly so, in
awe of my talent but not threatened by it and above all and most importantly
his purse is inexhaustible!’ – DaVinci’s ideal patron!
‘Observe the construction. Like the veins and arteries of a
great animal. This is the way to build, using nature as your guide!’
Dreadful Dialogue: ‘Fire at will!’ ‘I have the will but not
the means, Captain!’ What?
‘I feel like we’ve just been mugged!’ – is this actually
being written?
‘They are mid air on what seems to be a crude gliding
apparatus!’ – trust Tuvok to take all the poetry out of the moment.
The Good: It’s a brilliantly distinctive opening to an
episode to Captain Kathryn Janeway and Maestro Leonardo DaVinci being assaulted
with insults but wouldn’t it be great if they could have mirrored that with an
identical scene taken place in the Mess Hall with Neelix being bombarded with
bread rolls and plates of Leola root stew? John Rhys-Davies is a more
charismatic and interesting performer than half of the regulars on this show
and I would have loved to have seen him become a semi regular ala Vic Fontaine
in DS9. Since he has use of the mobile emitter in this adventure they should
have enforced a time share with the Doctor!
The Bad: I’m sure there is a fantastic tale to be told of
Voyager being ‘mugged’ and the crew heading on a wild goose chase trying to get
the components back but it needs to be told in a far more exciting and humorous
way. Somehow they can even make a treasure hunt seem boring. What it needs is
the visual panache and naughtiness of a show like Farscape, imaginative camera
techniques and fast editing. This is all so stale. Like playing hunt the key
with your gran. Of all the characters that happens to come to life from the
stolen computer core and make use of the mobile emitter…it is the holodeck of
the moment! Had we been in season six it would have been one of those dreadful
mock Irish Fair Haven characters. On Memory Alpha there is a fascinating quote
from Joe Menosky where he states he didn’t care how Leonardo made it off the
ship and into the real world – he just wanted the adventure to begin. That’s
bollocks for a start, of course you need a logical reason for why
otherwise the whole story is based on an idiotic premise that is inexplicable.
He states that enforcing the reason for the mobile emitter being stolen pushed
the story in entirely the wrong direction – then make the most of it and do
something interesting with it! Grrr…so many Voyager writers blame the fact that
it is a shared responsibility for the storylines that pulls the stories in too
many directions and they wind up making no sense (indeed its one of the reasons
Ron Moore couldn’t stick around – too many cooks, not enough brains) but if you
are handed a restriction you don’t like then make something up to smooth it
over! You are supposed to be a writer after all! I’m not saying that Tau is the
least effective villain that Voyager has ever offered us (that would still have
to be the mutating Tom Paris in Threshold) but he is an uncharismatic, one
dimensional nomad who turns up whenever the story needs a shot of adrenalin
(which he fails to provide). I’m confused as to why Janeway is so obsessed with
getting this DaVinci back to the ship since she could just take the computer
core and make another. I hardly think he could do any damaged and what’s to
stop them making another holographic DaVinci when they’ve gone. I’m confused!
What does all this mean? Or surely she could just nab the mobile emitter, turn
him off and get to work in getting the computer core back and then turn him
back on again afterwards. Instead she chooses to take him with her and let him
distract her all the way! Watching her trying to explain a site to site
transporter to DaVinci is played so seriously it is hilarious! What were they
on writing this? You got imagine some poor Admiral in Starfleet reading up this
adventure in befuddlement once they get back to the Alpha Quadrant: ‘And
then there was this metal bird waiting for us at the top of the hill…’ How
rubbish is it that we don’t get to see the glider materialise in the cargo bay?
We could have seen it crash straight into some containers in a spectacular
stunt!
Moment to Watch Out For: The flying sequence is a rare
example of Voyager heading out on location and offers a glorious moment of
genuine sentiment as Janeway and DaVinci take off into the sky! Its warm and tender and pitched just right –
I wish the whole episode had been like this.
Result: Even DS9 with its doe eyes for Vic Fontaine didn’t
try anything as ridiculous as this! I just cannot get my head around the logic
of Leonardo DaVinci thinking that an alien city is America and being able to
negotiate with people from centuries in the future. Even if you buy into the
lazy excuse that he sees everything as the period he comes from (which I don’t)
how do the aliens understand him? Its such a bizarre set up (and it has Joe
Menosky’s fingerprints all over it) its almost watchable on a switch your
brains off level and Rhys-Davies is such a joy as the bombastic Maestro it
almost papers over the canyons of illogic. I’m not sure what the episode is
trying to say about Janeway’s character and there moments when she acts in a
terminally stupid manner despite Kate Mulgrew’s efforts to entertain.
Ultimately I couldn’t really get a handle on any of this, its neither
successful as a treasure hunt, a character study or a quirky adventure…it just
sort of exists making no sense but to fill 45 minutes with some warm
performances. If it wasn’t for the glorious flying sequence this would score at
least two points lower. More DaVinci please, less plodding madness: 5/10
Mortal Coil written by Bryan Fuller and directed by Allan
Kroeker
What’s it about: Neelix dies! What more do you need to know?
Hepburn-a-Like: Janeway almost tickled Neelix’s whiskers as
she jokes with him after he has been revived and it is a sweet chemistry that I
have never really felt between them before. More please.
Borg Babe: As the discussions about death ensue Seven
considers her own mortality now she has been disconnected from the Borg but
tells Tuvok that he memories will always exist within the Borg Collective so
she has attained a certain immortality. Neelix’s apology to Seven and the way
he tenderly tells her she has made a great addition to the crew is rather lovely.
Forever Ensign: Brilliantly Harry Kim even speaks in clichés
in Neelix’s vision quest!
Spotted Dick: We learn a little more about Talaxians and
their beliefs in life after death. They go to the Great Forest which is filled
with sunlight and all the people that you are gathered there to watch you
sleep. Its nice seeing Neelix in a paternal role and whilst it would cough a
truly loathsome episode in season five (Once Upon a Time) its another side the
furry fella that we don’t usually get to see. I like the way that he is
slightly uneasy around Seven whilst still trying to make her feel at home, no
matter how hard he tries to play the convivial host he is a little scared of
her. He took great comfort in the fact that all his dead friends and family would
all be together again one day and is horrified to learn that it was all a lie.
I genuinely believe if you did experience what Neelix does and had foreign
matter swimming around in your system you would feel as if you aren’t yourself
anymore and would question what you have become. It feels as though all the
certainties in his life have been torn away from him and what is left is a
frightening man trying to rediscover himself. The three items he brings to his
vision quest remind him of his sister, Kes and the customs of his people. 11
years ago he saw his world destroyed and his family killed and all that has
kept him going is knowing that he would see them again one day. He thinks he
can’t live without that hope and tries to kill himself but his love for Naomi
is too strong. Its twee for sure but considering Neelix has gone to such a dark
place nothing but a massive burst of sentiment would drag him out of it.
Sparkling Dialogue: ‘He’s dead!’ – I’m only including it in
this section because I’m sure there was a collective cry of joy when this
episode aired. What I find really disturbing is that as I have progressed
through season three and season four Neelix has actually been one of the more
appealing characters in the ensemble. He’s mostly overwritten and overplayed
but there is a gentleness and amiability to his character that I don’t find in
walking cardboard cut outs like Chakotay, Kim and Paris. Of all the characters
to go I wouldn’t choose Neelix. I know, its shocked me too!
Dreadful Dialogue: ‘Neelix you’ve just returned from the
dead. Take it easy on yourself’ – that’s almost as bizarre a line as ‘Get the
cheese to sickbay!’
‘I few days we almost lost a member of our family’ –
Okay, okay, okay I get it! You a freaking family! Now stop going
on about it! You’re the most irritating family since The Brady Bunch!
‘We’re your family now!’ – fuckaduck!
The Good: Firstly it is great for the Kazon to get a mention
as proof that Voyager hasn’t quite forgotten its own continuity and secondly
the joke about them being too indistinctive to be assimilated was a peach.
Allan Kroeker provides a memorably surreal and creepy vision quest for Neelix
to walk through with all the issues raised in the story being visualised and
revealing what his subconscious has been telling him all along. That he should
be dead, he should commit suicide. The last shot of Naomi in the Great Forest
is charming.
The Bad: Why do the writers feel the need to point out that
this episode is about Neelix by him suddenly becoming flavour of the month in
the pre credits sequence? Its like they don’t trust us to think that he is
invaluable without showing us. Seriously, every bugger and his dog needs him
for something in the opening five minutes! It would a far better jolt to the
system had he fallen ill in the course of a normal episode. If you treat the
audience like idiots you get an idiotic audience. I’m so naughty always
comparing this show with DS9 but opening an episode in the Mess Hall doesn’t
have the visual splendour or wit of an episode that opens at Quark’s and Naomi
Wildman just isn’t as cute as Molly O’Brien. Once again I am confused about the
logic of this episode – if a member of the crew has been declared dead isn’t it
a perversion to inject them with Borg nanoprobes and bring them back to life
like some freakish parody of Frankenstein’s monster? Putting aside the whole
thorny subject of raising the dead why has this only been mentioned now one of
the regulars have died because there have been a number of minor crewmen who
have suffered fatalities throughout the course of the season since Seven was
brought on board. In its own way this is a ridiculous a premise as Concerning
Flight had. How fucking stupid is Chakotay? Does he even have a brain filling
up his skull? Not only does he agree to let Neelix come with him to the
holodeck to discover what went wrong with the experiment when he should be
resting but he also lets the scenario play out to the moment of his death
without any thought to the emotional consequences! What a lousy Commanding
Officer! I hate to be grim but if Neelix had just hung himself nobody would
have known until it was too late. You just know we’ll never hear about Neelix’s
trauma again after this episode – just a mention that he is in therapy would be
nice.
Moment to Watch Out For: Seven’s attempt at chit chat with
Ensign Wildman and the Doctor is a thing to behold.
Result: Astonishing to think that besides Seven’s
transformation in The Gift this is the first character study of the
fourth season and we are almost halfway through it. I’m really pleased they
allocated an episode this dark to Neelix because it feels like an absolute age
since he last to cope with something beyond a Leola root stew. For the most
part Ethan Phillips gives a sensitive performance and manages to put an awkward
spin Neelix’s usual cheer which is quite uncomfortable to watch. Its when
Phillips tries to convey anger that I’m not convinced and unfortunately that
guts the climactic scenes of this episode. I’ve heard people really give Mortal
Coil a pounding favouring the brainless extravaganzas that this season favours
but it actually has more to say than a hundred Killing Games. It feels almost
DS9 in how Bryan Fuller takes the subject of death and explores it through
various characters and their different cultures. Pleasingly there is no
satisfactory answer given but lots of possibilities. Astonishingly the writing
staff let this episode play out without any shoehorned jeopardy plots to
distract and the result is quite an affecting piece. Its not the best character
drama I have seen Trek serve up but it’s a good step in the right direction and
well above average in this middling season: 7/10
Waking Moments written by Andrew Bormanis and directed by
Alexander Singer
What’s it about: So forgettable I can barely remember. Maybe
I dreamt it.
Parisian Rogue: What on Earth is all that utterly
functional, pointless dialogue about where he and B’Elanna are going to visit
on the holodeck next all about? The writers on this show have absolutely no
idea where this couple is heading, do they? They’ve made the decision to bring
them together (hurrah development) but now they are stuck having the most
clichéd and characterless of conversations because there is no where to take
them.
Spotted Dick: The only dream I would have liked to have seen
(so naturally it’s the one we don’t) is Neelix being boiled alive in a pot of
his own Leola root stew!
The Bad: I’m on the verge of giving up on this show if its
doesn’t try and do something more interesting with its main cast than this
idiotic concept of the week. Harry Kim getting off with Seven of Nine in secret
(featuring the less sensual kiss of all time), Tuvok heading to the Bridge
naked, Paris crashing a shuttle and Janeway killing her crew whilst a weird
alien looks on. Its another boring ensemble piece in exactly the same vein as
Scientific Method (just swap weird symptoms for bad dreams and its practically
the same episode) where they don’t bother to use the idea to truly probe the
characters (ala Meld) but just prick at the surface. The teaser is so utterly
functional and lacking in sparkle that it could just sum up the majority of
Voyager’s run. There’s so little happening on Voyager at the moment that
Janeway calls a meeting of the senior staff so they can all talk about their
dreams! Remember when TNG did this episode (Night Terrors) – at least they
bothered to have Troi floating in a green cloud with her bottom filling the
screen! Remember when DS9 did this episode (If Wishes Were Horses) – and it was
packed with amusing vignettes and told us something about the characters? Now
its Voyager’s turn and it add nothing to the mix, just a stagnant walk through
the dreams of these stagnant characters. The scene where the crew all assemble
to make up the fact of the alien has a similar feel to the holodeck scene in
Schisms as the TNG tried to put together the monster in their dreams. Except
the holodeck scene was excitingly and atmospherically directed. This is just
blah. Chakotay dreams of hunting a deer in the corridors of Voyager…this is a
dream episode of goodness sakes – get of the damn ship! Plus putting one
incongruous item on the standing sets does not constitute a dream. How about
some funky editing or imaginative camerawork? These sequences are filmed in
exactly the same way as this show is always filmed. Even the alien is dull
looking and his scrap with Chakotay can barely fall under the description of a
fight. A minor tussle perhaps. The basic premise is that on A Nightmare on Elm
Street with a sinister figure luring people into a sleep realm where he exists
– so why isn’t really frightening? Why does a creature that exists in dreams
feel as tiresome as the Caatati and the Bomari and all the other dull aliens
this year? When the initial dreams play out I would have laid money on the fact
that there would be an awkward conversation about Tuvok being naked in his
dream and Seven genuinely requesting Harry to help her out in a Jeffries Tube.
Predictably, depressingly I was right. More abysmal dialogue as Neelix,
Harry and B’Elanna try and goad Tuvok into admitting his dreams (when Harry Kim
is being sarcastic about you then you have some serious problems). Robert
Beltran’s brilliantly overdone ‘Am I awake? Are you sure!’ when he wakes up in
sickbay exposes his inability as an actor. So are you trying to tell me that
the whole crew are so used to aliens taking over the ship they all have exactly
the same dream about it? It just goes to show that Star Trek is even more dull
when it is told inside these characters heads!
Result: Take standard Trek plot A (bad dreams) and add
standard Trek plot B (aliens board the ship) and get out of that situation with
standard Trek plot device C (create a diversion and conjure up some
technobabble) and add in ‘I can’t believe you’ve tried to use that hoary old
twist again’ (‘I’m still asleep!’) and you have Waking Moments…To call this
episode functional is to give that word a disservice. It’s a clichéd premise
that has already been flogged to death in Trek (season two’s Projections did
the same kind of labyrinthe dream plotting with much more efficiency) and the
tone, pace and style of this episode is almost an exact replica of Scientific
Method a few episodes back. Voyager desperately needs to get out of this rut of
telling tedious ensemble pieces and start looking at its characters
individually in some depth because it is fast turning into a ship of vacuous
Trek stereotypes. The most uncharismatic aliens board the ship and are easily
quelled and we head on our merry way with just a little time to have another of
those interminable ‘we’re really awake this time!’ scenes. I’m starting wish
Janeway really did crash the ship into Annorax’s in The Year From Hell if this
is the best Voyager can cough up in its fourth year: 2/10
Message in a Bottle written by Lisa Klink and directed by
Nancy Marlowe
What’s it about: ‘They wanted you to know…you’re no longer
alone’ ’60,000 light years seems a little closer today.’
Hepburn-a-Like: Janeway started letters home about a year
ago – one to her family and one to Mark – an now she has the opportunity to
finish them since they might be able to reach their loved ones.
EMH: Robert Picardo and Andy Dick make a gorgeous double
act, a pair of useless EMH’s trying to bring down a Romulan threat and save the
brightest new Federation starship. Like all the best comic acts they compliment
each other whilst having completely different personalities that clash all the
time. The closest parallel I can think of (although it is a little grandiose) is
the 2nd and 3rd Doctor coming together in The Three
Doctors. A violently turbulent but ultimately very effective partnership. I
would suggest that the Doctor doesn’t ever put himself up for ships detective
because he walks past two corpses as he notices a scorch on the wall! His
programme is now considered obsolete and the new EMH recognises him by his
beady eyes and terrible bedside manner! Its fascinating to compare one EMH to
another and I realised just how much this character has been developed (just
not for a long while – most of his development occurred in series two and the
first half of series three) and he has done plenty of things that a normal
hologram would never have the opportunity to do (travel in time, roam the ship,
having romances…). At the same time technology has moved on in the Alpha
Quadrant (they don’t use ‘leeches’ anymore) and the Doctor doesn’t understand
the full range of medical tools. I’d say he’s had the better deal. The EMH2
boasts that the Prometheus has holographic equipment built into every deck so
he has free reign of the ship so the Doctor counters that with mobile emitter
that allows him to leave the ship!
Brilliant B’Elanna: Isn’t it funny how the camera suddenly
favours close ups of B’Elanna rather than long shots and that she is wearing an
open uniform these days? She’s also put on a bit of weight around the face and
spends a great deal of time hiding behind consoles! In one shot can literally
see Roxan Dawson’s stomach! Suddenly that transporter pregnancy on DS9 doesn’t
seem like such a bad idea, does it?
Borg Babe: Seven’s rather wonderful response to the Hirogen
threat of cutting their communications is to send a feedback pulse and knock
him out. Well she is right, he wasn’t responding to diplomacy!
Spotted Dick: Why is Neelix only brushing up on American
cuisine in case they get back home? He should have said I made them an extra
strong vindaloo! Its great to see him thinking ahead though and trying to find
ways that he could contribute back in the Alpha Quadrant.
Sparkling Dialogue: ‘You’re just…you’re rude!’ – you
can count on Torres to say it how it is.
‘Doctor something just went offline!’ ‘Specifically?’
The secondary gyrodyne relays in the propulsion field intermatrix have
depolarised!’ ‘In English?’ ‘I’m just reading what it says here!’ –
technobabble gags always had the spot for me!
‘Two holograms alone! Romulans on the one side, Starfleet on
the other! Alarms beeping everywhere!’ ‘EMH2, newborn but filled with courage!’
‘EMH Mark I armed with years of experience!’ ‘Together they emerged
triumphant!’ ‘The End!’
The Good: A Starfleet vessel found in the Delta Quadrant?
Finally a concept that is worth getting excited about! Oh no wait its in the
Alpha Quadrant…excitement over. The idea that Seven has located a relay point
that can extend their sensors all the way home is a fascinating one and sees
season four finally push the show in the right direction towards home. I kept
wondering what the twist of this episode would be…a time distortion effect or a
fake ship but no for once things are exactly as they appear to be! The idea of
sending the Doctor as a messenger all the way to the Alpha Quadrant is
ingenious and it really feels quite special that those back home will know that
their loved ones are still alive. The episode makes you believe it is going
along one path and then its suddenly as if Voyager is gatecrashing a completely
different show (let’s call it Prometheus) in which the Romulans having
taking over the title ship and killed half the crew! Shockingly (and perhaps
predictably) this show looks and feels far more exciting than Voyager! Its
fascinating to have a completely new set design for the Prometheus (its so
light!) and by the end of the episode you really wish we could transfer
everybody from the (functional but dull) Voyager sets over to this ship. Its
fascinating to learn that since the advent of the Dominion war Starfleet ships
now have a built assault mode. A ship that splits into three separate dart like
warships! Why would we ever need to return to the flying toilet lid after
seeing that? Loved the mention of the Dominion and how the writer manages to
skip over the conversation about the war (‘Long story’). Its almost DS9 like to
introduce a new element to the series (the Hirogen) in an episode that
excitingly offers a very different sort of progress. Bravo on that count
although I will save my discussion of the Hirogen for the upcoming episodes. I
love the fact that the Doctor’s story about being from the Delta Quadrant is so
absurd the Romulans don’t believe him! I think more Voyager episodes could do
with that kind of slack jawed refusal to admit the implausibilities of the
plots! The Doctor discovering the helm and uncaringly tossing away an
unconscious Romulan officer is very funny. With glorious effects and Federation
and Romulan ships blasting away you might be forgiven for thinking you have
stumbled in on a DS9 season six or seven episode! Brilliantly the EMH2 fires a
torpedo at the wrong ship…confirming that Romulans are on board the
Prometheus! Voyager was declared lost 15 months ago but the Doctor set the
record straight – bloody hell actual honest to good development! Whoo-pee!
Families will be contacted and they wont stop until they can figure a way to
get Voyager home (which is beautifully picked up in season six’s Pathfinder – I
shame that couldn’t be this years Pathfinder but all the same…). The
last scene is genuinely touching – this is how good this show can be when it
wants to be!
The Bad: All the Romulans are utterly bland, show little
character or the quiet menace I associate with the species. They could have
tied this show brilliantly in with DS9 with having Bashir be the new EMH
programme (as was touted in Dr Bashir, I Presume) – it really feels as though
they have missed a trick. As funny as he is Andy Dick’s character is utterly
implausible as a replacement programme – he’s even more irritating than the
Robert Picardo one was back in season one! Still it could be worse…imagine a
Gates McFadden programme! Run for the hills! It’s a shame to cut back to
Voyager halfway through the episode because things were chugging along very
nicely without the regular cast! As my husband in a true moment of geekdom
pointed out there is a goof in this episode that relates to Living Witness
later in the season. In this episode Tom Paris asks Harry Kim to design a new
Doctor for sickbay so he can escape and yet in Living Witness there is talk of
a backup EMH programmed that is stole – if there is a backup why would they
need to build a new Doctor? I did tell him he was a saddo and then he pointed
out that I have reviewed over 250 Star Trek episodes in less than a year. How
rude.
Myth Building: This episode is set at some point before In
the Pale Moonlight because the Romulans haven’t joined the war yet.
Result: Why can’t Voyager be this good every week? Message
in a Bottle is a delightful hour of comedy hi-jinks and a genuine sense of
Voyager being shoved wholeheartedly into the future. Both the idea of being
able to communicate with home and the introduction of the Hirogen are massive
bonuses but the real delight here is in watching Robert Picardo and Andy Dick
spar as the EMH’s take on a Romulan incursion of a spanking new Federation
vessel. The story never gets too heavy thanks to the witty dialogue and light
direction (its not often you see a female directors name on a Star Trek episode
and perhaps after this that should be rectified) and for once all the ideas
that are being tossed around are both original and highly entertaining. Add in
some gorgeous new sets for the Prometheus, characters thinking about what they
will do when they get home and a sly DS9 reference you have an episode that
works on practically all counts. My criticisms are the Romulan fodder is
vanilla ice cream bland and there were too many stop offs on Voyager when the
fun stuff was all going on on the Prometheus but when an episode can be this
fluffy and determined to see the show develop I really cannot complain. This
was the sort of episode they were knocking out every week in the second half of
series two, I hope its not too long before we get another of this quality. Even
the title is brilliant: 9/10
Hunters written by Jeri Taylor and directed by David
Livingston
What’s it about: Letters from home! Oh, and the Hirogen but
who cares about them…
Hepburn-a-Like: Once they know that Starfleet is trying to
get in touch all the usual chumps like Harry Kim and Chakotay are excited that
they will be able to get home and Janeway seems to be the only sensible to
remember that we have been here before and they might be disappointed. There is
a gorgeous moment from Kate Mulgrew as she reads the letter from Mark smiling
at his introduction and then her face gradually dropping as she reads the
content. I have never wanted to know what a letter said so badly! Mark held out
hope that she was alive longer than most people did but was forced to start
living his life again, meeting people and letting go of the past. About four
months ago he married a woman he works with and now they are very happy. She
knew he would eventually move on with his life but there was such a finality to
his letter that really shook Kathryn.
Tattoo: There’s a wonderfully awful moment when Chakotay
tries to explain how the array is powered which exposes that he really doesn’t
have the Tom Baker ability to make technobabble sound convincing.
EMH: Because of his role in Message in a Bottle the Doctor
wonders if he will become quite the hero when he gets home, the EMH that
assured Voyager’s safe journey to the Alpha Quadrant! Seven rather wonderfully
puts him in his place and suggests he will be deleted and the latest EMH update
will be installed in his place! Talk about putting a pin to an ego!
Brilliant B’Elanna: Her blind anger at the news of the
Dominion wiping out all of her friends is a powerful moment. I can’t believe
how suddenly the conditions for these characters have changed and we have gone
from the sort of sickly sitcom romance between Tom and Torres a few episodes
back to real drama. Here we see Tom comforting B’Elanna over her devastating
news from home and gone is all the horrendous sitcom romance dialogue and they
are talking about how they really feel about each other. They better keep this
up.
Borg Babe: D’you know I seem to remember Seven being
examined in some detail in season four but aside from her opening episodes she
has slipped quite effortlessly into the crew very little consequence. Seven is
given pause for thought when Janeway reminds her that she may have family on
Earth, it is something that had never occurred to Seven.
Mr Vulcan: Neelix is astonished that Tuvok wants to finish
his tactical review before reading his letter from home! It confirms what I
have always believed that Tuvok does a lot of his brooding for show and the
second people are out of the way he behaves like a normal person. The second
Neelix pisses off Tuvok picks up his letter.
Parisian Rogue: Its fascinating to hear Paris mention the
Rehab colony because I had forgotten that that was how we were introduced to
him! He was supposed to be this series’ bad boy, wasn’t he? When did he become
another bland Starfleet drone? I think it was just after his ‘Tom goes rogue’
arc in season two, the last time any of these characters were especially
interesting! Can de-evolve as a character? At least his admission that what he
has on Voyager is so much better than anything he had back home is a nice one.
But the point still stands. Its reminded me that aside from Seven there is
nobody on this ship generating any conflict anymore.
Forever Ensign: Harry is like a dog without a bone waiting
for his letter to arrive. Am I the only person who wanted there to be a letter
for everybody else but not Harry or is that too cruel? Torres tells the little
gimp that he might as well wear a badge that says ‘I’m in love with Seven’
because everybody sees it except him.
Spotted Dick: Neelix gets a great role in being the official
mail carrier – who wouldn’t want that job? Although before long he is annoying
again by reading the content of some peoples letters and being irritatingly
pompous when it comes to rumours.
The Good: Making this episode’s goal first contact with home
in over four and half years gives the crew some tangible to fight for this
week. Chakotay makes a great point (I know – I was shocked too!) that people
may have done their mourning and moved on with their lives. This might be the
only point in this shows history that Voyager rides DS9’s coat tails but the
news that the Marquis have been all but
wiped out is a direct link to the developments in season five’s For the
Uniform, By Inferno’s Light and Blaze of Glory.
The Bad: The opening scene is supposed to show a
communication from Starfleet reaching Voyager but it doesn’t have quite the
imagination to pull it off so it looks instead like clips from the title
sequence. Such a shame that after their introduction last week the Hirogen turn
out to be so uninteresting. They are basically Klingon copies (not unlike the
Kazon except without the melodrama and the Sects) with an emphasis on fighting,
honour and grim decorations! There is a very good reason this arc does not
extend beyond four episodes because this is a pretty empty species without much
to be discovered. The idea of the Hirogen completely gutting their victims is
horrible but the rubbery skin suit that Janeway examines is not in the
slightest bit convincing. The Seven/Tuvok scenes really bug me because they
distract from first episode to deal with character development all season. Its
devastating enough to hear this news that Mark has moved on and found someone
else and what it means for Janeway but it would have been even more effective
had we been able to see his reaction when he found out that she was alive. That
goes for the rest of the crew. I would have dumped the Hirogen nonsense and
split this episode in two – one half dealing with the families reactions back
home and one half dealing with the crew. That would have been an absolute
classic. What’s more frustrating is that this news leaves Janeway a chance to
pursue a romance (ideally with Chakotay regardless of protocol) which is never
seized upon. That’s Voyager, throw up interesting ideas and then never do
anything with them! Who does she end up pursuing? A custom made holodeck
character! An electronic male whore! The Hirogen are so huge its almost a joke
– I just couldn’t take them seriously. I thought I had wandered into an episode
of The Goodies! They’re so rubbish they can’t even hold on to two hostages for
ten minutes…they get wiped out in less time! Hardly the new ‘Big Bad…’ Trust
stupid, silly, idiotic Voyager to threaten to develop its show by making
contact with home and then snatching it away at the end of the same episode.
Bloody Jeri Taylor, I bet she thought there was too much growth for the show!
This angers me even more than The Year of Hell reset because this meant
something important to the show. It proves that they aren’t interested in truly
exploring these characters but just feeding us little titbits each season. How
frustrating.
Moment to Watch Out For: Enjoy the delicious discussion
about home because they wont last long.
Myth Building: Is it my imagination or does the Hirogen
array look just like the Caretakers one?
Result: A tale of two halves (I’m not complaining – that
Jeri Taylor can write half a good episode is pretty shocking), Hunters balances
the exploration of the crews feelings about going home with our first meeting
with the Hirogen. Its astonishing how the possibility of contact from home
turns these Star Trek ciphers into real people with lives back home which they
miss and fear. Suddenly this show is actually talking about something important.
What I love is how excited everybody is to hear from their loves ones but most
of the news is heartbreaking – loves have moved on, friends are dead and the
Alpha Quadrant is in the grip of a fierce war that is slaughtering millions.
Where Hunters bombs is in trying to add a jeopardy plot to these fascinating
developments and the second half of the episode is a very dull meeting with the
new ‘Big Bad’ of the Delta Quadrant. The Hirogen have nothing new to offer
aside from their size and their grunting dialogue and slapstick designs fail to
make an impression. Besides you know we will be warping away from their space
shortly because this show has no desire to explore any new race in any great
detail so there is no point in getting attached to them. Lumbered with a
cartoon villain, Hunters only achieves mild greatness when it could have been
the standout episode of the year. It gets things completely the wrong way round
at the climax by confirming the return of the Hirogen and cutting short the
communication with home. It frustrates me that this show can get it so right
and so wrong in the same episode: 6/10
Prey written by Brannon Braga and directed by Allan Eastman
What’s it about: A wounded Species 8472 (they really need to
think up a better name for these aliens!) seeks refuge on Voyager…
Hepburn-a-Like: You know Janeway always says all the right
things about opportunities and showing compassion when approaching an enemy
ship but there is something about Seven’s conviction that makes her sound a bit
naïve and dumb. Plus she’s shockingly didactic when she is proved right about
her hunch (its like she has activated Kryten’s ‘smug mode’ from Red Dwarf!) but
a parting shot by Seven keeps her in her place. Janeway attempts to teach Seven
that sometimes it is necessary to show compassion to a species even when they
are your bitterest enemies and tries to illustrate this with a tale from her
childhood about a wounded Cardassian. Since when were they deadliest enemies?
Coming from Kira this story would have had some punch but from Janeway it’s a
bit meh. Apparently a single act of compassion can put you in touch with your
own humanity…a nice moral but for some reason Janeway is too flexible with her
own rules to be a convincing teacher. Besides Janeway was more than happy to
work with the Borg in Scorpion to wipe out Species 8472 – what a screaming
hypocrite the woman is! Janeway tries asking, then appealing to Seven’s better
nature and finally makes it an order. Its glorious to see her get so wound up
she can’t get her own way! There’s a glorious shot of the Furher Janeway
marching into Seven’s cargo bay with her hands clasped behind her back ready to
dish out some punishment! She needs to remember that she encouraged this
individuality so actually she is to blame!
EMH: Whilst it is amusing to think of the Doctor having to
practice being polite with Kes in order to make the crew feel at ease
(something that he found painful incidentally) but I do find it unusual that
Zimmerman created the EMH without any of the social graces.
Borg Babe: The Doctor makes a good point that Seven is a lot
like him when he was first activated. I hope she never loses that acerbic wit
though because it is all part of her charm. I’m glad Seven told Janeway that
she refuses to help the dying creature to get home. Its nice to have somebody
on board this ship with an ounce of individuality. Janeway is wrong you know, that
is the thing that makes her most human – her prejudice and stubbornness. She’s
so busy trying to justify her own decisions she cannot see it. Her eventual
decision to beam both the Hirogen and Species 8472 off the ship is the smartest
thing I have seen anybody do in this whole episode – it really isn’t their
problem and they are compromising themselves by getting involved. I love her
role as thorn in Janeway’s side, I hope she keeps it up!
Sparkling Dialogue: ‘You should know I’m a hologram and
can’t be bent, spindled or mutilated so don’t bother trying!’
‘I think you are punishing me because I do not think the way
that you do!’ – spot on love! She’s got the hang of these primitives!
The Good: Leave to Tony Todd to try and find some subtleties
in the least profound Star Trek species ever created! He’s never going to
succeed but he’s the one actor to try. The opening scenes are rather wonderful
with the Hirogen hunting a member of Species 8472 into an asteroid belt. Its
odd how whenever this show pretends that it isn’t Star Trek Voyager (the way
the teaser follows two characters we have never before is very similar to
Distant Origin and almost as strong) that it gets rather good! As soon as the
crew realise that the Hirogen were hunting Species 8472 and there is one on
board the episode suddenly steps a level and everybody is taking this threat
very seriously. I love the moment when artificial gravity is ‘compromised’ and
Tuvok floats calmly into the air. If in doubt break out the space suits and the
giant weapons with torches because they suddenly make the ship a far more
striking place. The Star Trek VI steal of having zero G blood hanging in the
air is a lovely touch. The Hirogen blasting Chakotay and Tom and then trying to
murder Species 8472, Tuvok pumping bolts into the Hirogen – this is exciting
stuff!
The Bad: Species 8472 are still woefully conceived and
design and since this is only their first outing since their introduction it
probably wasn’t wise to see one of them so weak and hunted. These are the
creatures that nearly brought down the Borg? There really is nothing restrained
at all about the Hirogen is there? They boil up their victims for dinner and
Braga is not above using shock tactics to even when they are dead in the
amusing sequence where he finds a decapitated head! There is something of the
exploration of the Borg Cube about these scenes exploring the attack Hirogen
ship except they are no where near as atmospheric or frightening. I’m not sure
if it was wise to show the Hirogen in such a weak state on their sophomore
outing either – it took a season and a bit before we saw a weak Jem H’adar
(Hippocratic Oath) and even then they were quite scary and there’s a reason why
they stuck around and the Hirogen didn’t! When Tuvok starts having Kes style
flashbacks of the creature you know that Brannon Braga has run out of tricks.
Even the central dilemma of Seven having to save the race she hates is a direct
steal from Worf’s decision not to save the Romulan in The Enemy only no where
near as effective.
Moment to Watch Out For: A cut to Engineering where Roxan
Dawson is so heavily pregnant it is a joke that they are bothering to hide it
anymore! As shite as Species 8472’s design is (their floppy little arms make
them the campest aliens in the Delta Quadrant) the shot of one of them crawling
along Voyager’s hull is pretty impressive.
Orchestra: An unusually strong score for Dennis McCarthy who
has gotten a little predictable at this stage, really punctuating the action
with some strong notes and stirring excitement.
Result: Perhaps by turning one badly designed misconceived
monster against another cancels their flaws out because for the most part Prey
works as the atmospheric thriller it wants to be. Mind you I think Allan
Eastman has something to do with that and his direction is a cut above what I
have come to expect from this show. It reminds me of David Livingston’s
direction in season two when he was still excited about Voyager; pacy and
dramatic with some visual stunning moments. Don’t get me wrong it doesn’t have
anything deep to say in the slightest, in fact Hunters was far important in
respect of the shows ‘arc’ but this is much more successful as an hour of
entertainment because it doesn’t have an illusion other than to provide some exciting
moments and visceral thrills. None of it is entirely original though – it plays
out like a ‘best of Star Trek action moments’ with steals from The Undiscovered
Country, First Contact, The Enemy and even Voyager’s own Scorpion and Distant
Origin. The Hirogen continue to be as dull as sin and why they have chosen to
humanise Species 8472 (previously billed as the show’s most badass villains)
baffles me. But the atmosphere is almost enough to pull this one through
although I doubt if I will be as kind next time (with The Juggernaut and The
Haunting of Deck Twelve still to come which try to pull off a similar trick I
know that to be true!). Its gripping in parts but also derivative so we’ll call
this one a: 7/10
Retrospect written by Lisa Klink and directed by Jesus
Salvador Trevino
What’s it about: Seven is violated by a weapons dealer…
Hepburn-a-Like: Janeway makes quite an impressive barterer
in the first scene, giving away some dodgy old chips in favour of a weapon that
could make them a powerful force in the Quadrant! Her management style however
is lacking – at least from the audiences point of view – what was the point of
that fantastic scene at the end of Prey if at the beginning of the next episode
Seven is forgiven and can go back to her normal duties? They’ve established
that the tradition disciplinary actions will not knock Seven into the shape of
a Starfleet drone so Janeway has to consider a stronger punishment in order to
force her to comply. Yep, sounds like a Borg ship to me!
EMH: The Doctor, like Garak, replies to feelings of anger
with a devastating quip rather than a left hook. He understands that most
species wont reach his high standards and so he tries to be tolerant of them
and accept them for what they are! Its rather sweet how the Doctor sticks up
for Seven when Tuvok suggests she may have been making her story up. They are
beginning to develop a friendship that would endure until the end of the series
with the Doctor mentoring her in humanoid behaviour and slowly falling for her
charms.
Borg Babe: So it couldn’t be that Seven attacked Kovin
because he was a misogynistic, bullying pig…no there has to be some ridiculous
scientific reason for her striking him and we discover in laborious fashion
what happened.
Dreadful Dialogue: ‘Our investigation has suddenly turned
into a manhunt!’ – this should be a really exciting line but there is nothing
exciting enough happening to warrant it!
The Good: Its quite nice to meet a race that think that
Voyager is the least sophisticated they have ever seen rather than the other
way around. In the first two seasons everybody treated it as though it was a
modern day wonder when I was expecting to see more stylish technology in the
Delta Quadrant.
The Bad: I’m not certain why the pre titles sequences ends
on a cliffhanging note since Micheal Horton’s Kovin was acting in such a
patronising way he deserved a punch on the nose! If anything there should have
been celebratory music! I’m having real problems this year with finding any
great originality in this show and the scenes of Seven remembering her ordeal
are extremely reminiscent of similar scenes in TNG’s Schisms. Have they simply
run out of plots and are just doing the TNG rounds? Is this supposed to be some
kind of rape allegory? Because having Borg implants removed from Seven against
her will doesn’t quite cover it…in fact its so oddly inoffensive I find the
implications of the theme quite offensive. The flashbacks should have been
disturbingly shot in dark, cramped sets but instead feel as though we are
watching regular Voyager through a blue hazy lens. Seven simply doesn’t
understand what all the fuss is about and yet the Doctor manipulates her into
expressing at anger her violation – its almost a violation of medical practices
surely to deliberately wind up your patients so? Surely this is the job of a
counsellor? Plus to have scenes played out publicly where anybody could walk in
and in such a casual manner? Kovin’s reaction when the evidence stacks up
against him is pure nonchalance (he steps backwards and goes ‘No….no….no…’).
That is one dodgy actor. The Doctor suddenly backtracking when the evidence
goes against Seven is a joke, he was the one that pushed and pushed… I think he
should have an overhaul once this sorry little tale is over to touch up his
ethical subroutines. The final action scene is so ponderous and pointless it
has clearly just been included because the studio likes a spaceship blowing up
in every episode. Irritatingly the episode doesn’t even bother to confirm
whether Kovin was guilty or innocent – we assume the latter but then we don’t
get an adequate explanation or exploration for why Seven suffered the
flashbacks that she did. Instead the episode wants to focus on the Doctor and
his poor decisions! This is just sloppy, sloppy writing. Who is script editing
this show?
Result: I was discussing this episode with my husband and I
could not remember a single thing about it and now I know why having just
watched it. The opening scenes suggests a screwball tale of Voyager trying to
obtain superior weapons technology and I think had they gone down that route
this could have been a lot of fun. Instead it’s a slothenly, slightly offensive
rape allegory with a drawn out plot that could have been wrapped up in ten
minutes and tedious scenes of Seven trying to learn how to feel violated by
such actions. I can imagine that this was one of those ‘let’s stick that one in
to pad out the season’ episodes that nobody really gave much of a damn about
because there is a real feeling of tiredness in the writing and execution.
Retrospect wants to be a hard hitting episode but Seven’s shoulder shrugging
despondence and the flatly directed investigation scenes means we plod plod
plod to a limp conclusion. If you want to see how this sort of thing can be
done well, go watch TNG’s Violations: 3/10
The Killing Game Part I written by Brannon Braga & Joe
Menosky and directed by David Livingston
What’s it about: ‘Allo ‘Allo vs. Predator?
Hepburn-a-Like: Well now this is a turn up for the books. Kate
Mulgrew looks extremely comfortable embodying the role of Katrine, the almost
androgynous bar owner and leader of the French resistance. It’s a chance for
her drop all that restricting Starfleet protocol and allow her to charm the
audience.
Tattoo: Amazing, Chakotay is even more of a bore as a
holodeck character. Who would have thought it possible?
Brilliant B’Elanna: Hurrah! We finally get a look at Roxan
Dawson’s pregnancy instead of tucking her away behind consoles and lab coats
(or not bothering to do either and just blatantly showing it without explaining
it!). Boo! It just so happens that the character that Tom Paris is playing is
her old sweetheart from long ago! I think the writers have forgotten the sort
of fun you can have with these episodes…again why not make Harry Kim the ex
lover? Or Chakotay? Something a bit different? Instead what plays out is a
dribbling subplot about her American sweetheart that would be enough to make
the romance fans let go of their breakfast.
Borg Babe: There’s absolutely no reason why Seven and
Janeway’s long running feud should bleed into this programme and pay out
between the French characters. It would have been more fun to perhaps give one
of the more neglected characters this season Seven’s role – does Harry Kim even
exist anymore?
Parisian Rogue: Hah! Remember before when I complained that
whatever subject matter the writers wanted to explore that Paris was suddenly
an expert in that field…are they having a laugh at their own expense in this
episode? Within the holodeck programme, as a completely different character he
is now an expert in the French town they are visiting! I would like to think
that this is a dig but experience has taught me that this just a lazy writer
who can’t quite get out of the habit. Made me chuckle.
Forever Ensign: Every now and again we meet up with a
sweaty, greasy Harry Kim for about 30 seconds to reminds us that he still
exists. It looks as though he has been playing tarmac wrestling with one of the
Hirogen. He does get beaten up a little bit so that’s fun.
The Good: Ask a set designer to conjure up an alien city
then you get the usual stock Trek interior exterior sets (usually featuring a
lot of triangles or hexagons to make it a little more spacey) but ask them to
bring to life WWII France and suddenly they come alive with inspiration. The
sets for Katrine’s is exquisitely detailed and atmospheric and they also have a
fair stab at turning the Paramount backlot into a cinematic rendition of the
streets of France. I was thrilled to see Neelix being shot at and Seven was a
vision of beauty emerging with her own gun in possibly the episodes best
sequence. We’re not used to such sunny locations and breathless action in
Voyager and it is the ultimate refreshment. Janeway’s ready room looks a lot
more exciting with bloody skulls and weapons hanging from the walls! She should
keep them! Tuvok with a Tommy gun? Yes please! The destruction of the Nazi HQ
is a top notch effect, Janeway and Seven are imposed in front of the effect
seamlessly.
The Bad: Here are today’s lessons…
Lesson One – Never turn Janeway into a growling, snarling
Klingon. It might have worked with Avery Brooks in Apocalypse Rising but then
he is a pretty growling, snarling actor at times so the glove fits! It doesn’t
automatically mean that all leading actor/resses can manage it. I wonder if
this was on the drawing board when they decided to make Janeway an empowered
female Captain. ‘I know lets give her fangs, a lumpy forehead and a ton of
muscle and she can go ‘ug ug ug’ a lot!’ It feels less like ‘ooh what’s going
on?’ and more ‘what is Voyager trying to pull this week to avoid getting back
to the main storyline?’
Lesson Two – Don’t introduce a new ‘Big Bad’ and treat them
so disrespectfully. Introduce them in an episode when they aren’t the least
interesting thing about it (that goes for Message in a Bottle and Hunters),
take some time to give them an interesting backstory (they are just scavenging
nomads) and don’t allow their capture of the ship to take place off screen!
Finally once they have got the ship don’t attempt a ludicrous plot of having
them transform the crew into various different species (when there are is
enough multi cultural differences on this crew to keep them as they are) and
play out war games in the holodeck to learn more about them. Just kill them,
get their ship and move on. Plus I really don’t understand why the Hirogen were
a bunch of backward, primitive, grunting thugs in their first three stories and
suddenly we are introduced to a sophisticated, charming member of their race.
The Hirogen leader here reminds me of the hyper intelligent Gremlin from Gremlins
2 who takes the brain potion and dazzles with a rendition of New York, New
York! It feels as if the writers haven’t sat down and decide exactly what this
species is going to be like and just made it all up as they’ve gone along.
Compare and contrast to the Borg for TNG and the Jem H’adar for DS9 that
remained pretty consistently and instantly memorable from the outset. Watching
the Hirogen breaking open one of Neelix’s French sticks as though he has
watched too many episodes of ‘Allo ‘Allo (wouldn’t it be wonderful if the
Fallen Madonna with the Big Boobies were inside?) is farcical. The Hirogen –
don’t mess with them or they’ll snap your bread sticks in half! Instead of
enhancing Voyager’s weapons array the Hirogen decide to enlarge their pleasure
facilities? What is this race on? The idea of one Hirogen trying to change the
ways of his entire species is laudable but since we never see the species again
after this episode (at least until series seven if I’m much mistaken) its
entirely pointless. Don’t bring up the possibility if you’re not going to do
anything with it! It would be like the end of season five of DS9 suggesting a
huge war a’coming and then opening season six going ‘well that was a pretty
hard war, is that a temporal anomaly coming out of the wormhole?’
Lesson Three – Don’t have too much of a good thing. There is
barely enough plot here to sustain one episode so whoever thought of stretching
it out for two should be whipped a few times so they don’t do it again.
Lesson Four – When you are writing a quirky tale where your
main characters are playing different parts, remember that! A change of
location, different fashion…but these are essentially the same characters.
Lesson Five – Stop making your main characters look so
easily duped! How many times has Voyager been besieged and the crew duped? The
Kazon managed it, the Vidiians, the Hirogen, soon another Federation ship would
subdue them too! Dammit I thought Starfleet were supposed to be the best of the
best!
Lesson Six – Stop copying your own plots! The crew subdued
and helpless with two characters on the ship trying to resist…its Basics Part
II all over again!
Lesson Seven – Don’t turn Neelix into a Klingon. Just don’t.
Lesson Eight – Think through your cliffhangers. How does a
simulated explosion rip through into the ship? Surely that is impossible even
with the safeties off. And why do we care that several decks of the ship are
exposed? At least the crew can escape now! I’m baffled as to why this moment
was chosen to end the episode. Plus the fact that the episode is ending without
a resolution means we have to put up with a second. Joy.
Moment to Watch Out For: Neelix gets shot in the back. Best
scene of the episode.
Fashion Statement: Seven of Nine in a slinky dress (that’s
almost a parody of her original catsuit) singing a sultry number is probably
enough to keep a certain demographic extremely happy. She looks absolutely
beautiful. I love Janeway in a shirt with her hair coiffured, what a classy
bird. J. Paul Boehemer makes for a pretty hot Nazi!
Anomaly of the Week: Episodes like this make me miss the old
‘anomaly’ episodes. Strange how nostalgic the current garbage can make the old
garbage.
Result: I’m starting to wonder about the Brannon Braga’s
sanity. He has apparently unlimited funds (according to the look of this
episode) and the scope of a two part story and this is what he wastes it
on? The Killing Game is bound to popular because it throws the regulars in
different roles and has a lot of action and style but its possibly the most
brainless episode of the year with enough holes in the (saggy) plot to make a
small canyon. I’m really confused as to why so much time was invested in the
French Resistance story when it has absolutely nothing to do with anything and
its all played out totally straight as if this is the show we normally watch
week in, week out. The characterisation lacks any substance and for the most
part it is only slightly looser versions of their regular characters and the
Hirogen continue to be the ultimate bores of the Delta Quadrant. Why should we
give a damn about this species when there is no consistency to them, no
defining features and no longevity. They are just space thugs and this episode
attempts to dress one of them up as something more and fails. This might have
made an intriguing one part story but setting this belly button fluff over two
episodes is interminable. Visually this is stunning and it has some nice action
sequences but somewhere along the line the writers have lost their minds: 5/10
The Killing Game Part II written by Brannon Braga & Joe
Menosky and directed by Victor Lobl
What’s it about: More of the same with a lame conclusion…
Hepburn-a-Like: Are we really supposed to think that Janeway
has a new nemesis in the Hirogen Leader? A Moriarty to her Holmes? They try and
suggest that this is a cat and mouse game but nobody is doing anything remotely
smart and their dialogue scenes together are functional and lack any sparkle.
Compare with Janeway’s scenes with Kashyk in Counterpoint next year and you’ll
see what I’m getting at. That’s how good this could be.
Tattoo: The mere thought of listening to Robert Beltran trying
to play a butch American war hero is enough to make me howl but to see it in
practice with lines like ‘listen honey, this is war!’ had me in stitches!
‘You’re a gung-ho kind of girl, aren’t you?’ Hahaha!
Brilliant B’Elanna: ‘Not the movie…but I do remember the
kiss!’ Oh vomit, Paris and Torres play out a romantic scenario that’s going to
make nobody’s heart bleed. I still don’t understand why we are watching this
scenario play out when apparently we should be focussing on getting the ship
back. Why are these scenes relevant? ‘There’s never been anybody else but you…’
pass me the bucket. Actually it has just occurred to me…how is B’Elanna
pregnant in the holodeck? Did they get the Doctor to surgically add a baby? How
much more ridiculous can this story get?
EMH: ‘Oh by the way Doctor we gave the Hirogen technology so
they could create and torture a load of holograms. I hope you’re okay with
that.’
Spotted Dick: Can you imagine anything more annoying than
Neelix drunk made up as a Klingon. These scenes are as painful as they are
supposed to be funny. Its probably the worst performance Ethan Phillips ever
gives in the show – so far over the tip he’s gone right over the rainbow! Plus
Neelix makes a damn ugly Klingon!
Dreadful Dialogue: ‘Loosen up, baby doll. The War’s almost
over…’ – no more 20th Century slang please, Tom.
The Good: The one scene in this whole episode that did
impress me was when Janeway was being hunted through the ship. It’s the only
point I felt anybody was in any real jeopardy and Mulgrew plays these moments
for real. A small consolation is that the sequel to this story, Flesh and
Blood, is far superior but we have to wait until season seven for that.
The Bad: Nazi’s firing on the decks of Voyager…its like one
of those old TOS episodes where they went down the rabbit hole and did some
really surreal stuff except this is played deadly straight and thus sucks all
the charm out of it. Every scene is so predictable…Tom meeting Harry and not
knowing him, Tuvok suspecting Seven. There isn’t a single moment that can’t be
foreseen. Its not even as if Janeway does anything particularly clever to
defeat the Hirogen take back her ship so once again these space thugs are the
wettest bunch of villains we have seen so far in the Delta Quadrant. Seven was
right in Hunters when she said the only thing formidable about them is their
size. Its certainly not their intellect! Even the Kazon thought to toss Janeway
and her crew off the ship (mind you that brings back memories of Basics Part II
so lets not go there…). Spare me the Hirogen/Nazi parallel – on the one hand
you’ve got a frightening fascistic group hell bent on dominating the world on
the other you’ve got a bunch of daft lizards who would have trouble flying a
ship on autopilot. I don’t understand the point of trying to turn the Hirogen
way of life into a fake by using holograms – what exactly does that achieve?
Haven’t we established on this show that holograms have feelings too? I think
the Hirogen Second should murder his clearly fruitloopy Leader and get back out
there to do some more raping and pillaging. If he were in charge this would be
a lot more fun – no holodeck bollocks, just a straight action adventure with
lots of juicy space fights. I can’t believe I’m rooting for the character who
is there to be a spanner in the works! Frankly I can’t believe it took him
until ten minutes before the finale to turn on his Leader! Had Janeway flushed
them all out into space and patted her hands as though she had done a good days
work I would have been much more impressed but the compromise they reach is
insulting. They’ve just been torturing your crew for the past couple of weeks,
disfiguring and impregnating them and you just let them go on their way with
some of your technology… You picked a fine time to lose your backbone, Janeway!
When the Klingons leapt into the Nazi occupied France programme I thought I had
taken a dose of mind altering drugs. Somebody get Brannon Braga away from the
typewriter! And tie up Joe Menosky and put him in a cupboard while you’re
there! This is the same team that brought us Scorpion? Piss off! Just like in
those cheesy old films the villains falls from a great height to show his fall
from grace. What’s on the other side? ‘Captains Log…the damage to Voyager has
been extreme but never fear gentle viewer because it will all be back to normal
next week.’
Orchestra: The one person who deserves kudos is David Bell
who provides a really hearty score that was so dynamic I almost got excited a
few times. I would love to listen to the score independent of the episode
because such quality music shouldn’t be hampered by these cartoon antics.
Result: Its basically the same as part one but take out the
well executed action scenes and period detail – so basically the only things
that made it worth watching! The whole point of this two parter is for Janeway
and company to boot the Hirogen off the ship from a takeover that we never
originally saw? The status quo was always going to be maintained so it was just
a matter of sitting through the gunplay and melodrama and waiting for things to
get back to normal. Some people might call this entertainment, I call it
treading water when there are far more interesting things to do. DS9’s mid
season two parter saw a the Dominion threat reach Earth, the Voyager epic is
the regular cast farting about playing ‘Allo ‘Allo. Victor Lobl makes it
all look pretty but if you want to see what this director can really do check
out DS9’s In the Pale Moonlight where he is given a much smaller budget and
shows infinitely more skill. The Killing Game proves there is nowhere for
Voyager to go and nothing particularly interesting is ever going to take place
in the Delta Quadrant, the best we can hope for is quirky episodes like this to
see us through to season seven. Dreadfully dull: 3/10
Vis a Vis written by Robert J. Doherty and directed by Jesus
Salvador Trevino
What’s it about: Tom Paris is having a mid life crisis…
Tattoo: When precisely did Tom Paris and Chakotay make up?
They went from bitter rivals in the first season to uneasy allies in the second
season (during Paris’ faux tardy period) and then all of sudden they are the
best of chums without explanation. Their conflict in Caretaker was extremely
engaging – I wish the writers were brave enough to keep it up. It would be like
just forgetting the Odo/Quark rivalry and having them being super nice to each
other all the time.
EMH: The Doctor is written like a total chump when he
realises that Tom has an inferiority complex when it comes to his superior abilities.
Borg Babe: Has Robert J. Doherty ever watched an episode of
Voyager. The characterisation is all over the place – after being told off for
ignoring the chain of command and telling Janeway she will never be like her
and always express her individuality suddenly she is giving lectures to other
people about familiarising themselves with Voyager’s hierarchy?
Parisian Rogue: It would appear that in the future the Alpha
male still can’t resist getting under the hood of a car and tinkering! Of all
the regulars I would definitely put Tom Paris in that category! In fact I’m not
sure when I have seen Robert Duncan McNeill look more comfortable in his role
than the motor pornography that kick starts this episode. I don’t buy that Tom
is getting restless on Voyager…he’s been fine for the past four seasons and has
found himself a girlfriend, a best friend and just a few episode back he was
telling Harry Kim that what he has on Voyager is far better than anything he
could ever find at home. It strikes me that the writer decided undermine all
that for the sake of this one episode. Its out of character and pointless for a
one episode interlude – if we had seen some build up and this had gone on for
perhaps half season (like when he went ‘bad’ in season two) I might have bought
it. And he and B’Elanna have had the shortest honeymoon period ever.
They’re already rowing about wanting to spend time apart! Well Tom is and
that’s another moment of inconsistent characterisation. Their fight is hideous
daytime soap dialogue again (‘You’re overreacting!’ ‘I’m not overreacting!
There is obviously something going on I you refuse to admit it!’ ‘If you can
carry on an adult conversation without all the histrionics!’) – I hope they
realise people don’t speak in this way beyond Australian soap operas. How piss
poor is the ‘drunk’ scene with Tom and Seven? McNeill doesn’t even bother to
inject the scene with any humour. Like the rest of the episode it just isn’t
trying. Tom learns to appreciate his role on Voyager again – It’s a Wonderful
Life it aint.
The Good: In her few seconds as the baddie Kate Mulgrew has
more fun than McNeill does in the whole episode. Suddenly a completely
different episode seems possible…
The Bad: What happened to all that Hirogen damage to the
ship from the last episode? Did they clear it all up before this one began? The
show opens with Tom Paris under the hood of a classic car and the episode is
about the hottest vehicle in the Quadrant – you see what they did there? Blimey
this show has lost all sense of subtlety. I know I’ve been asking for character
development all season but Tom Paris’ obsession with mechanical parts wasn’t
exactly what I had in mind. Still its not all bad…at least its not season six’s
Alice which takes Tom’s lust of vehicles to a whole new level of bad. Watching
Robert Duncan McNeill try and act bad is almost as bad as Alexander Siddig in
DS9’s The Passenger, he plays every line as though he is auditioning for a
hissable panto baddie (‘I’ll never be half the healer you are!’). Considering
how often entities jump into peoples bodies around here you would think that
the regulars would know the out of character signs displayed (Possessed Tom
doesn’t know how to get to sickbay but Harry thinks this hilarious, he is
courteous to Chakotay, sucks up to the Doctor and tries to romance B’Elanna –
classic signs!). It takes Tom actively threatening Seven before anybody
suspects there is something wrong. Irritatingly the episode cuts away from what
could have been its best scene – Tom attacking Janeway and instead we wander
back in moments later when he is throttling her in the most inept fashion! Its
quite the funniest thing all season! Talk about a bad choice of fresh writer -
just look at the episodes Robert J. Doherty penned after this one: Bliss,
Riddles, Tsunkatse, Ashes to Ashes, Lifeline, Imperfection, Critical Care,
Inside Man, Repentance, Q2 and Endgame! I’ve never seen such a list of middling
to poor episodes grouped together! Hilarious – we haven’t had an easy wrap line
like this one in ages: ‘The Doctor has figured out a way to return us all to
our right bodies!’ Umm, how exactly? Like the way he de-evolved you and Tom in
Threshold?
Anomaly of the Week: ‘It looks like space is being folded in
on itself!’ – the closest we have come to the faithful anomaly all season! It
just doesn’t feel like Voyager without them.
Result: Is this really one of the best seasons of Voyager?
The only difference I am seeing between seasons three (possibly the worst
season of Star Trek) and four is that the episodes this year are marginally
better (ranking 4s and 5s rather than 2s and 3s with the odd winner thrown in
for good measure). Aimless, incoherent storytelling, inconsistent
characterisation and a complete absence of intelligence, that’s how I would sum
this show up since Michael Piller jumped ship. This is another dud and this
time it appears that the writer has never seen an episode of Trek before in his
life. Seeing a new writers name should be a cause for celebration but Vis a Vis
plays like a watered down version of every other possession story with some
particularly out of character moments for practically all of the regulars. The
sex changing alien woman is just bizarre because the show seems to want to
flirt with the idea of homosexuality (the male flirts outrageously with Tom and
she seems very interested in Seven) but doesn’t have the balls to go through
with anything to make it in anyway memorable. There’s nothing original to see
here, nothing deep, nothing especially entertaining and with McNeill camping it
up as Steth it’s a stupefyingly weak episode to add to this years failures: 2/10
The Omega Directive written by Lisa Klink and directed by
Victor Lobl
What’s it about: Has Voyager discovered the infamous Omega
molecule?
Hepburn-a-Like: I almost cheered when Chakotay said that
Janeway makes a reasonable argument but that she isn’t a reasonable woman! Why
can’t he be this succinct every week? For once Janeway thinks outside of the
box and pulls the senior staff in on the big secret. The Omega Device seems
tailored to suit Janeway’s character because she has always been a keen
scientist but I wish it had been something more exciting for her to get
passionate about.
Tattoo: I can’t believe they gave Chakotay the line ‘I
always believed that Starfleet was run by duty crazed beaurocrats!’ when he is
the worst example of that kind of rigid dogma on the ship! In the last few
episodes there has been an alarming amount of transference self description!
Brilliant B’Elanna: Torres is missing from her one scene
because Roxan Dawson is off having her baby. Finally she can take an active
role in the season!
Borg Babe: Opening in Seven’s alcove on the cargo bay it was
only at this point that I realised that introducing Seven to this show has
changed nothing on Voyager as far as the show itself is concerned. True it has
introduced a little more conflict because of her acerbic remarks and rebellious
attitude but ultimately the show is still producing exactly the same sort of
shows as it was in its third year. When Worf moved onto DS9 it came with an
advent of political change, a greater action content and a strong focus on the
already established regulars. It felt as though the show had shifted a gear
from good to excellent. So it does make me wonder was she merely an addition to
titillate the audiences? Since when did Seven start to call people ‘six of
ten’? Omega is infinitely harmonious but complex and represents
perfection to the Borg and Seven is similarly beguiled by its properties.
Forever Ensign: Brilliant, almost as if to highlight how
nothing in the slightest has changed for Harry in an entire year he can be seen
in the Mess Hall playing Kalto with Tuvok in exactly the same manner as he was
in Alter Ego at this point in season three. Get a girlfriend man! At least he
won this time with Seven’s help. Harry’s ridiculously hopeful guess as to what
Janeway is being secretive about says everything you need to know about this
naïve character. Seven demoting Harry is a moment that might make you smile.
Sparkling Dialogue: ‘The final frontier has some boundaries
that shouldn’t be crossed…’
The Good: The secrecy surrounding the symbol that appears on
all the screens on the Bridge means this is probably the best pre titles
sequence in an age. Janeway’s caginess leads you to believe this might be
something quite exciting. The molecule only existed for a fraction of a second
but it wiped out 126 scientists and opened up dangerous subspace ruptures.
Should they get out of control warp travel would be impossible and space travel
would cease to exist. To lose the ability to go to warp forever is quite a
frightening prospect for this crew because it would mean they would have to
limp their way home and it would take countless generations to make it back to
the Alpha Quadrant, if ever. Tying Omega to the creation myth does add to its
interest, had they revealed that this was the molecule that kick started the
universe it would have given this episode more of a boost but they merely flirt
with the idea.
The Bad: To learn that the Omega Directive is all about a
deadly particle of matter is a little anti-climactic. Couldn’t it have been a
super weapon or a deadly ship or something that we could get excited by? What’s
next weeks episode going to be about? A deadly DNA strain? Season four really
has been the year of the unmemorable alien and Allos is another boring example.
A shame that this all powerful Omega molecule is represented by nothing more
than a harsh blue spotlight. Its hardly the most visually arresting threat
Janeway has ever come across. The effects shot of the molecule leaking through
to the planets surface is quite poor. Does there have to be an obligatory space
chase in every single episode? They
seem to include one in every episode this season whether it is needed or not,
as if they think the audience wont feel satisfied unless one is included.
Moment to Watch Out For: Seven shows some character growth
by doing as she is told rather than what she wants.
Orchestra: The weakest composer on Trek that I can remember,
Paul Baillargeon instils every episode he scores with the same kind of wishy
washy fantasy music that adds very little oomph or atmosphere. Which is odd
since he provides one of my all time favourite scores in The Siege of AR-558 but
that is an exceptional one off. You can basically take his music from this
episode and transplant into any of his others (go listen to the soundtrack to
DS9’s When it Rains and it is identical).
Result: The Omega Particle feels like its halfway there to
becoming a good episode but it never really gets out of orbit. Its extremely
talky but considering the topic of conversation is technobabble heaven its
hardly anything to get thrilled about. But at least the episode is about something
rather than just digging up long dead Trek clichés and the reverence with which
Janeway and Seven hold the Omega molecule is almost enough to suggest something
truly devastating might happen should they discover it. What would have helped
this episode would have been to have escaped Voyager for a little while but
this is the fourth primarily ship bound episode in a row and the show is
starting to feel claustrophobic. In some ways I wished that Janeway had made
the whole thing up to get the crew worked up and pass another week of perpetual
travel through the Delta Quadrant go by more swiftly. The Omega Directive feels
like Voyager is trying again but its not quite hard enough: 5/10
Unforgettable written by Greg Elliot & Michael Perritone
and directed by Andrew J. Robinson
What’s it about: Chakotay falls for a mysterious alien that
already knows him…
Tattoo: A Chakotay romance almost seems like a contradiction
in terms. The guy is a robot, plain and simple and all of his actions are
fairly mechanical so to suggest that there is a heart beating underneath all
that New Age mysticism and Starfleet procedure is a joke. Hampering the already
plainly written episode is the fact that Robert Beltran and Virginia Marsden
share no chemistry whatsoever and despite what is coming out of their mouths
there is a constant impression that they would rather be elsewhere. Beltran
makes the plea ‘don’t go’ with all the passion of a Speak’n’Spell reading
poetry. Look at him acting tough in the
Brig, grabbing that guy by the shirt and pretending to breathe heavily…
Forever Ensign: The way they keep harping on about Harry and
Seven it seems as though they are going to develop a romance between the two.
Odd that it never seems to happen. I beg of you to watch the scene where Harry
offers advice on which security team to work with, you’ll never see such bland
dialogue played by two unconvincing actors.
Spotted Dick: A late night conversation between Neelix and
Chakotay should be very sweet…although we did see something similar in the
season when half the crew were suffering from insomnia. The main drawback is
Robert Beltran, he just isn’t convincing as the lovesick Commander despite
Ethan Philips giving a warm performances. His advice that Chakotay doesn’t
trust his own feeling for Kellin and is projecting them onto her is
surprisingly thoughtful for the cartoon Talaxian.
Dreadful Dialogue: ‘This is Commander Chakotay! Who are
you?’ – I don’t know if it was the delivery but that line was bloody funny and
made me spit out my cheerios!
The Bad: There must be a more interesting way to start an
episode than to have some random ships engaged in fighting on the viewscreen.
In fact didn’t Basics Part I start with a ‘Chakotay I need your help!’ message?
If Vis a Vis and Unforgettable are anything to go by I am now banning any new
writers joining the staff – we’ll stick with the Braga’s and the Taylor’s
because no matter how bad their stories are…they aren’t this bad. The
idea of a race that once you have seen you forget as soon as you look away is a
good one but only when that race is called the Silents. When used to tell a
dreary romance its just a plot contrivance. I wonder if Kellin’s people were
Star Trek fans and that was why they chose to stick on a pair of Spock ears and
pretend she was from another species. Did anybody care that the Tracers had
found Kellin? Janeway should have handed her over and we could have gotten on
with something more interesting – although given the evidence of this season I
can’t guarantee that. We get our standard space fire fight about halfway
through the episode so the writer can tick that off his checklist.
Result: Now this really is the limit! They were just asking
for trouble with that title, weren’t they? The biggest problem with
Unforgettable is that we know how Voyager works as a show now so there was
always going to be a clunky twist that reveals that all is not what it seems
and we’ll never hear from Kellin ever again. So whilst we’re being driven to
insomnia with the passionless, comatose romance scenes there is an added
feeling of despondence that we just don’t care anyway because its never going
to be relevant to show. If you compare and contrast (I like doing this, don’t
I?) with DS9’s His Way (which aired on the same week as Unforgettable) and you
can see a show that has style, humour and genuine character development and not
only that but bringing two of the regulars together in a way that impacts the
rest of the series. That’s how to do it. It feels as though Robert
Beltran has given up trying on the show that has him tied in for another three
years and every moment with Chakotay is one that is likely to make your eyelids
heavy. There’s underplaying and then there’s phoning it in and this is a
tedious example of the latter. Where’s the cuteness that would make this work?
Why aren’t Chakotay or Kellin remotely likable? Why am I still putting myself
through this? This is tedium of the highest order the weakest episode yet of a
terribly inconsistent year of Trek: 1/10
Living Witness written by Bryan Fuller, Brannon Braga &
Joe Menosky and directed by Tim Russ
What’s it about: Step on board the warship Voyager for more
torture, executions and genocide…
Hepburn-a-Like: Tucked into a Starfleet uniform and some
dominatrix black gloves, Janeway finally drops the pretence of being a
civilised human being and admits that she is a Nazi dictator! Its what I’ve
been saying all along! Frankly some of her methods here aren’t that far removed
from the Janeway we usually get and her sledgehammer tactics to get people to
comply with her wishes are spot on! Just goes to show you can get the emphasis
right but the details wrong! Either way Kate Mulgrew has great fun chewing up
the scenery as Furher Janeway! I love the way that Janeway refuses to let her
crew have all the fun and when there is an execution to be had she’s right in
there pulling the trigger and relishing the corpse falling to the floor. Making
the parallels with Hitler complete there is a myth about Janeway’s ‘personal
Almanac’, obviously the Starfleet version of Mein Kamph! She deals with
squabbles amongst her crew with a phaser blast to the console! Janeway prefers
to attack the general population rather than simply targeting military
outposts, its far more effectively. In reality the death of Tedrin is a
‘tragic, needless death’ rather than at the hands of the bloodthirsty Nazi Janeway which is nowhere
near as fun!
Tattoo: Typically the least interesting ‘bad’ character is
Chakotay whose performance is barely different from normal (ie not very good).
I guess that’s why they gave the massive tattoo on his face to make at least
appear visually that there is a difference.
EMH: What a sinister version of the Doctor plugged into the
medical console with freaky, cat like eyes! Robert Picardo could teach Beltran
and the other a good deal about playing menace, he underplays it but his calm
anger is spine chilling. He steps into a inadequately acted scene in sickbay
shows his fellow slouches how it is done by attempting the dissolve the
prisoners optic nerve. Emphasising just how different the Doctor is to his
crew, here he is centuries after they have all died still going strong and
forced to new a new path in life. He wonders if he is going to have to live his
life as a holographic Rip Van Winkle but instead is exploited as a living
witness to the events that took place in the past.
Brilliant B’Elanna: A shame that Roxan Dawson was away this
week so she could be with her baby because a murderously aggressive Torres
would have been a joy to watch. That Doctor states she had a vulnerability that
made her quite endearing.
Borg Babe: In this version of history Seven is still a Borg
drone and is only woken up when Janeway requires an assassin to do her dirty
work. There are number of other drones they have assimilated into the crew and
Janeway lets her increase their numbers when there is a boarding.
Mr Vulcan: The massive eared, sinister Tuvok is much more
fun than the usual dour get we have to hang with. This is the sort of character
I would have liked Tuvok to have developed into if they had allowed the Meld
storyline to evolve. Someone who smiles sadistically when people are being
tortured.
Parisian Rogue: There’s real tension between Paris and
Chakotay, fist fighting in a staff meeting! This is how it should have been since
Caretaker! Way to show us what we’ve been missing out on!
Forever Ensign: Harry Kim as a violent bully is so extreme I
was almost horny when he was on screen! This is definitely the way to go with
this character.
Sparkling Dialogue: ‘The best way to bring down a ruler is
to make his people suffer!’ – Janeway gets lots of camp, evil statements like
that that are a joy to listen to. ‘Defeat/genocide…why quibble semantics?’ is
another powerhouse line in the same vein.
‘Watch you mouth, hedgehog!’
‘History has been abused! We keep blaming ourselves for what
happened in the past!’
The Good: The way the story cuts to a lesson being explained
to a class in a museum is beautifully done because it is exactly at the point
where we want to see some prime destruction! They say that history is written
by the victors and here is an episode that shows a menacing slant on the
Voyager crew from the point of view of a race they encountered on bad terms.
It’s an outstanding premise for a show and probably the most original piece of
the entire season. Voyager now is a warship with a compliment of over 300
soldiers that went around attacking worlds to exploit them for resources to try
and get them home. Tim Russ shows great skill in his direction of the episode
especially in the transition scenes from the evil Voyager to the museum – in an
early scene we slide back from an effects shot that pauses to show it on a
viewscreen and later he pans across a room to show the observers watching from
one of Voyager’s windows. It’s a visual creativeness that we aren’t used to on
this show. Being set centuries after the end of the show is intriguing – I wish
we could have learnt something of Voyager’s eventual fate. Its fascinating to
me because my husband is very much of the opinion when he walks around museums
that state as fact how things were in the past through a few insignificant
artefacts that there is no way of ever knowing if that is the truth. History as
we know it has been magicked up through the surviving evidence but the chances
are the many events that are taught in school could have been very different
had the emphasis been different. I’m pleased that a Voyager episode is
provoking this kind of intelligent questioning as it proves to me that it is
still capable of producing something with substance. I even like the scenes
that see Quarren working in a simulation of Voyager, watching him work alone in
the confines of Engineering shows what a great space that set is to film in
when it isn’t being ignored in favour the latest ridiculous plot. Henry
Woronicz gives a thoughtful performance as Quarren and manages in a short space
of time to make him a likable and yet flawed character. Somehow the Doctor’s
appalled reaction to the psychotic versions of the crew make it even more
amusing! Events have been re-interpreted to make this race feel better about
themselves, the only ones who can’t see are the Kyrrians. What’s even funnier
is that as soon as the Doctor rewrites the programme t show what really
happened (and thus what would happen in a normal Voyager episode) its nowhere
near as entertaining! The episode also throws light on how damaging it can be
if you do start rewriting history, centuries of peace can turn into war when
the foundations of a culture are thrown into a new light. The attack on the
museum is shocking and Russ employs an impressive to cut to the morning so we
can survey the wreckage in the dawn light. Even a small touch such as focussing
on the tricorder during the attack so we know where it is when the Doctor and
Quarren don’t (and it’s the vital piece of evidence that could stop the
fighting) is well thought through by Russ. The clever ending that hops forward
into the future once again offers hope for the future of these people and a
happy ending for the backup Doctor.
The Bad: Do you remember the Red Dwarf episode Angels and
Demons? Living Witness reminds me desperately of this. You have the normal,
holier than thou, goody two shoes Voyager crew (you know the one we spend every
week with) and then their sadistic, evil, completely irredeemable counterparts
making an appearance here. There is no middle ground, it goes from one angelic
extreme to a demonic other. Somewhere between these two sets is where you’ll
find the DS9 crew with lots of shades of light an dark (some call it ambiguity)
and as such the are far more interesting than the Voyager crew that have no
flaws and thus are loaded with them. Don’t get me wrong I think Living Witness
is a classic episode but it strikes me as odd that the writers should have to
leap from one extreme to the other in order to make an entertaining episode of
Voyager, it kind of exposes where the show is going wrong in the character
department. I thought Voyager didn’t have a back up? Or did they construct
after the Message in a Bottle debacle.
Moment to Watch Out For: All the scenes set on Voyager are
top notch and its not often I get to say that!
Fashion Statement: Janeway’s fierce spiky haircut in the
simulations makes her look like the ultimate feminist lesbian!
Result: Take a fun, interesting premise (a race remembers
Voyager as a ship of villains), one of the best regulars (Robert Picardo on
great form), a strong political stance (proving that people don’t want their
established version of history to be altered) and work in some delicious ‘evil’
alternatives of the crew and a director who is sweating blood to make the show
visually and emotionally effective and you have a Star Trek masterpiece. I call
it Living Witness! Given Robert Duncan McNeill’s astonishing direction of Unity
and Time Russ’ work here on Living Witness directing is clearly where their
talent lies and I would happily lose both Paris and Tuvok if it meant we could
have episodes of this quality on a regular basis. It pleases me that Voyager
can still produce gold like this because I was starting to wonder and Living
Witness is a stunning episode sandwiched by two of the worst. Voyager was lucky
that the Doctor was on hand to set the record straight but it makes you wonder
how many established historical events were corrupted by the victors (or the
victims) to paint an ugly picture of the past. Frankly this would have made a
far better two parter than The Killing Game because there is so much more of
this culture and the malevolent crew to explore and the sweeping reforms in
Kyrrian society almost feel rushed confined to 45 minutes but regardless this
is still an impeccably written, powerful piece that makes its point well and
provides top class entertainment as it goes. It’s the best episode of Voyager since
Scorpion Part II: 10/10
Demon written by Kenneth Biller and directed by Anson
Williams
What’s it about: Voyager has run out of fuel but fortunately
there is a Demon class planet nearby…
Tattoo: Don’t Chakotay and Seven dally in a little romance
in season seven? You would never know that he had desires for her the way he
talks to her!
Forever Ensign: Is this the ‘Harry Kim gets assertive’
episode of the year? They crop up sporadically when its been an entire season
since we focussed on the non entity (other thrilling examples include
The Disease in season five and Nightingale in season seven). Unfortunately
Garret Wang doesn’t have the charm to make it seems cheeky enough so he comes
across as a petulant child and boasting in the corridor to Tom about standing
up for himself reminds me of wimpy boys in the playground boasting about
talking back to the school bully when you know in reality it was quite
different. Harry suggests that when he joined Voyager he was pretty green,
young, inexperienced and acting totally naïve which I can follow precisely but
then he goes on to mention how all the things he has been through (back from
the dead, fighting the Borg, etc) has changed him and made him more assertive
and adult. Oh fuck off Harry. You’re the same chump you ever was and this
blinding character revelation holds no weight because there has been no
evidence of it at all this season. Garret Wang’s ‘I belong here! I don’t want
to leave!’ should have seen him written out of the show, hottest Asian television
actor or not (not my view but apparently it saved his job).
Dreadful Dialogue: ‘Captain I find I might be able to help!’
‘Harry the bicycle thing was a joke!’ – again I cannot believe a human being is
writing this atrocious dialogue. At least Harry mention it is a stupid joke.
The Good: Go with me here…its not the worst premise for a
show I’ve ever seen. I mean the idea of getting off the ship (hurrah!) into a
hostile environment can only be a good thing, right? Whilst erring on the side
of the first season TNG studio alien worlds there is at least an attempt to
make this planet look volcanic and hostile and the lighting is exceptional.
The Bad: Its taken them four years to run out of fuel?
Surely that should have happened at some point in the first or second season?
Its been such an easy ride for this crew slouching their way home in comfort
that it almost seems churlish to bring up the issue at a point where we know it
is going to be irrelevant in the next episode. Harry is such a chump he somehow
manages to fall into a small pool of mercury – if I were Tom I would have
headed back to the ship and confirmed his death while I had the chance. Then he
was just stupid once his own suit is compromised to keep trying to save his
idiotic friend. Let them both die, the show wont lose anything. Whoever
conceived of a sitcom with Neelix moving into sickbay and annoying the hell out
of the Doctor ought to be covered in strawberry jam and left to the mercy of
hungry ants. Neelix is trying to get to sleep and the Doctor deliberately goes
about his daily chores to annoy him so Neelix decides to start a sing along to
distract him – oh how ticklesome! Look at how low we’ve sunk in order to get
some entertainment. Its not quite as abysmal as Enterprise’s A Night in Sickbay
but that was absolutely unwatchable but its still forced, unfunny and utterly
pointless. What the hell is Vorik doing in this episode? He hasn’t been seen
since season three! McNeill and Wang’s lack of oxygen acting has to be seen to
be believed. Janeway works tirelessly to prevent Tom and Harry being left
behind…is she mad? And did anybody not believe that the terrible twosome weren’t
duplicates? After a season embarrassingly bad aliens Voyager faces the threat
of an evil silvery goo this week! We never think that the ship wont escape the
planet so the suggestion otherwise is pointless. They really need to think of
new ways other than pure action to put these characters in peril because I just
don’t buy it. I don’t understand how Janeway could ever agree to have the
entire crew duplicated to live out their life on this inhospitable planet! Its
absolutely ridiculous! How did she get everybody to agree to that? How would
anybody feel about another version of yourself out there living in hellish
conditions? Its ridiculously stupid and improbable. The ending where the
duplicate crew are left on the planet is begging for a sequel and unfortunately
it’s the one time you’ll wish they hadn’t bothered.
Moment to Watch Out For: Voyager landing on the planet looks
cinematic but since that is the purpose of the entire episode it ought to
be.
Result: The overdue premise is merely an excuse for some
nifty effects work and set design and whilst the episode scores highly on those
points it loses more for its horrendous characterisation (Harry Kim is growing
some balls? Give me a break!) and daft, burdensome storytelling. Its one of
those rare episodes that manages to combine a flaccid main storyline and an
awful subplot too – I’d like to say that Neelix and the Doctor having a bitch
fight in sickbay is not the standard I have come to expect from this show but
given the past two seasons it is precisely the sort of diabolical material I
have come to fear. I fail to see what the point of the ‘Voyager has run out of
fuel’ plot because as ever we know that they will be chugging along at warp
again next week without a thought for their trials here. Its an extended
jeopardy narrative with duplicates thrown in for good measure but since both
have already been done (marginally) better this year there’s no interest to be
found. Last week it was tough, thoughtful storytelling but now we’re back to
Voyager ploddage and with two episodes left before the end of the season it
doesn’t look as if season four is going to go out on a high. Even worse, Demon
spawns a sequel that somehow manages to be even worse: 3/10
One written by Jeri Taylor and directed by Kenneth Biller
What’s it about: Seven is left alone on the ship and
succumbs to the madness of solitude…
Hepburn-a-Like: There’s an instinct in Janeway, something
inside her that believes Seven wants to be redeemed and to prove herself and
she is taking a massive gamble by leaving her in charge of the crew. Indeed
they have locked horn over how reckless Seven can be this season so this must
feel like an ever greater risk.
Borg Babe: Watching Seven trying to make small talk with
Harry and B’Elanna is cringeworthy because she is so lacking in the social
graces that she asks a personal question and doesn’t even wait for the answer before
she moves on, interrupting the person talking! To help her get through this
experience Seven creates an efficient daily routine a bit like Odo does on DS9
to get over the fact that he longs to be with his people. Gloriously Seven
integrates her technobabble problem into her social graces lesson with the
Doctor much to his chargin! Jeri Ryan adjusts her performance subtly to suggest
Seven’s growing isolation and vulnerability. That cold, icy Borg attitude is
replaced by that of a little girl who is afraid of the dark and its extremely
endearing. The thought of imagining somebody that frightens her is more
terrifying to Seven than being left on her own, its another negative effect of
her individuality. Seven makes a very brave choice to keep the crew alive and
cut life support to the ship and take her own life. It’s the ultimate sacrifice
and it hope it is enough to convince the crew that she is on their side. Seven
approaches the crew once they have awoken because she now understands the value
of spending time with people socially after such a terrifying experience alone.
Forever Ensign: Wow Garrett Wang really is a bad actor,
isn’t he? He cannot even taunt convincingly! Watch Kate Mulgrew, she shows you
how it is done!
The Good: The idea of shoving the entire crew into suspended
animation and leaving only the Doctor and Seven awake for a month is such an
appealing notion (no Harry, no Tom, no Chakotay…oh bliss!) I wish they had had
the guts to have this take place over four episodes to close the season!
Astonishing how interesting Voyager feels when there is nobody about spouting
functional dialogue, its just a dark, empty space full of menace. Suddenly even
boring technobabble jeopardy sequences on Voyager are quite exciting because
there are only two people to deal with them! Whispering crewmembers haunt Seven
through the soulless corridors of the ship in a disturbing sequence. The warp
core turning a shade of Borg green is a nice hallucinatory effect. Love the
Borg pursuing Seven through Voyager’s corridors, the green lighting gives the
ship a wonderfully creepy hue. When
Seven wakes up at the end I was convinced that it would all be an illusion as
it always seems to be when this sort of thing happens and was pleased that just
this once Voyager ducked out of being clichéd!
The Bad: I have to be honest – nobody does especially good
‘poisoned by the nebula’ acting, especially Mulgrew who sounds like she is
enjoying herself a little too much. If Paris has left his stasis chamber
and is unconscious for a while how comes he doesn’t have any of the lesions
that the others suffered in the pre titles sequence? Minus points for
superimposing Seven in an unconvincing snowy wastes backdrop. Trajis knows a
little too much about Seven’s psychological state to be anything other than a
projection of her fears. You never at any point think this is an actual
character because his behaviour and dialogue is purely there to frighten Seven.
His lingering voice following her through the corridors is almost as camp as
Garak frightening O’Brien in Empok Nor but that has a creepier setting and is
directed with more atmosphere.
Moment to Watch Out For: I really love the shot of Seven in
Engineering when the camera pulls away dramatically as the Doctor finally
vanishes and she is finally all along. It’s the most helpless we get to see
Seven all season and Jeri Ryan conveys that horror superbly.
Anomaly of the Week: Yay! An honest to God nebula with
horrific properties! I thought we were never going to see one again its been so
long! For a moment I was starting to wonder of this was the Demon crew from the
episode with the same name since they all started acting just like Harry and
Tom did on the transporter pad. It might have been quite clever that they
fooled you into thinking that was a one parter but was in fact a double episode
(although a second episode of Demon doesn’t bear scrutinising!) but nope things
are exactly as they seem of course. Janeway is damned if she going to be
stopped by a nebula, don’t you know!
Foreboding: Seven talks about being severed from the Borg
for two hours and I believe we get to experience that in the only Ron Moore
script for Voyager, Survival Instinct in season six.
Result: Again there is nothing original in this episode, we
have seen an empty ship bound show time and again and the way the various Trek
shows can feel more claustrophobic with nobody about but there is an atmosphere
and tension to this piece that is missing from much of the rest of the season
that elevates One considerably. Anything that gives Robert Picardo and Jeri
Ryan the lions share of the action is doing something right and both actors
acquit themselves beautifully. It makes me long for a show where the two of
them head off in next years Delta Flyer and we follow their sitcom antics
instead of the monotonous crew of Voyager. My only issue is the very nature of
the show means that not a great deal happens and because there is nobody around
to discuss Seven’s isolation complex with we can’t dig too deep beneath the
surface. But I wont complain too much because it is a show that jettisons most
of what makes this show suck (the majority of the cast) and for a Jeri Taylor
script it is well above average: 7/10
Hope and Fear written by Brannon Braga & Joe Menosky and
directed by Winrich Kolbe
What’s it about: A new ship? A message from Starfleet? A way
home?
Hepburn-a-Like: Finally Janeway has come to realise that
these glimpses of hope to get home aren’t exactly what they seem. Whilst her
modestly stupid crew all get excited at a carrot dangled in front of them
Janeway steps back and wonders if all of this is just a little too perfect.
Furher Janeway is back and when Seven reveals that she doesn’t want to live on
Earth she pretty much informs her that she is a human being and she is
coming. I realise this is fear on Seven’s part and she should make the trip but
there is something about Janeway’s unwavering force that really bugs me. People
should be allowed to make their own choices in life otherwise they just become
mindless drones like the Borg with a hive leader that does all their thinking
for them. She even starts swaggering at her when she highlights the
deficiencies in her argument and character! Seek Heil Janeway! I wonder how many other races Janeway has
caused to suffer through her decisions as she races home through the Delta
Quadrant?
Brilliant B’Elanna: She jokes that as ex Marquis and ex
Borg, she and Seven will be outcasts together on Earth. I get the impression
that if only they could put aside their aggressive attitudes that these two
could be great friends in the Miles/Julian vein. But alas the writers never go
down that path.
Borg Babe: Even in a game of sport Seven doesn’t like to
lose and her rivalry with Janeway bubbles over as she is taken down by Janeway.
Chakotay suggests that the pupil is outgrowing the mentor but I think Janeway
just doesn’t like having her orders and opinions questioned. Seven is quite
forceful in her opinion but sometimes a little creative tension is good for a
command structure. Seven wonders whether she will adapt in sector 001, a single
drone amongst billions of individuals. The prospect of becoming a drone was not
appealing which is definitely a step in the right direction.
Sparkling Dialogue: ‘The only thing that’s missing is chocolates
on the pillows…’
The Good: I love the idea of a living universal translator
simply because the study of language and how it differs from race to race is so
fascinating. The opening scenes of this episode suggest something very exciting
is going to happen with the message from Starfleet finally decrypted and a
treasure map found. What are they being pointed towards and why? Hope and Fear
seems to be following up on the potential suggested in Hunters and its about
time. Even better is the idea of a new Starfleet ship being sent to the Delta
Quadrant and the possibility of a move onto a completely new bunch of sets for
the rest of the show. After four years of the claustrophobic Voyager sets a
change of scene would be most welcome. The Dauntless is stylish, bright,
functional and kick ass – shows up Voyager for the limp toilet bowl that it is!
I especially love the raised set and camp electric globe for the engine core.
The Bad: Whilst it is nice to see Janeway and Seven doing
something fun on Voyager for a change wasn’t there a few TNG episodes that
started with Picard and Guinan playing exactly the same game? Are they not even
bothering to disguise the similarities now? As soon as Arcturus wonders why
Janeway isn’t more excited by the discovery of the ship warning bells sounded –
none of this is going to be as innovative as promised and the crew are walking
into a trap. The idea that Arcturus could have designed such an elaborate trap
is absolutely ridiculous – designing a Starfleet ship, faking the
massage…surely there was a simpler way of taking his revenge on the Voyager.
Just plant a bomb near the wrap core and watching them turn into pretty
fireworks! With no holodecks and only one shuttle craft I should have realised
that they would have never moved permanently to the Dauntless – that would have
cut out two of their three storytelling possibilities! There’s a very odd
montage with voiceovers from Janeway and Seven which almost seems to confirm
that this show now belongs to them and the rest of the cast are just
superfluous. Arcturis’ plan seems to be full of holes – his fabulous new
Starfleet ship is a bit like one of those ghosts that turn up on Scooby Doo
that when you give a little tug on the mask reveal some bit part player in the
episode! Give this technology a little inspection and a hologram is revealed!
Ray Wise as Arcturis makes an unconvincing villain because he is far to quiet
and uncharismatic to make an impact. His dialogue is serviceable but
unmemorable and his plan was never likely to succeed. In this season of
underwhelming adversaries he ranks somewhere in the middle but that isn’t
exactly high praise. If this bald headed non entity had brought Voyager what an
undistinguished end it would have been! So no new ship, no help from Starfleet,
no way home and no slipstream drive…so this was basically one big fat waste of
time and the status quo is resumed. Ugh.
Moment to Watch Out For: The hilarious cartoon moment when
Arcturis finds himself surrounded by the Borg. Sums this episode up
beautifully.
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