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Tuesday, 28 July 2020

New podcast episode! The Nimon Be Praised! Discuss The Woman Who Fell to Earth!



https://anchor.fm/nimon1

Join Jack & Joe as they broach the potentially controversial subject of the Chibnall/Whittaker era of the show. An episode we both enjoy, it gives us the chance to delve into the positives and the negatives of the era even if we have a very different opinion of the era as a whole. Was it finally time for a female Doctor? Is three companions too many? Was it time to return to simpler, character focussed Doctor Who? And was the shift from Capaldi to Whittaker the biggest tonal shift the show has ever taken? All this and much more as we take on one of the most divisive eras in modern Who...

Available on Spotify, Google Podcasts and all reputable podcast platforms...


Saturday, 25 July 2020

Nimon at War! New podcast: A Good Man Goes to War!


https://anchor.fm/nimon1

Nimon at War! Join Jack & Joe in their most combative episode yet, as they take opposing sides on the series six mid season finale A Good Man Goes to War. Is this a responsible criticism of the Doctor...or does Matt Smith simply not have the gravitas to pull off what is being asked of him? Are the characters written with a pleasant lightness of touch...or does nobody come across with any authenticity?And does the series deserve applause for attempting a season arc this structured...or is the whole piece fatally flawed? All this and discussion of the shows production, character assassination and potentially the sickest moment in all of Doctor Who. Hop on board as The Nimon Be Praised! tackle a Steven Moffat spectacular.

Available on Spotify, Google Podcasts and all good reputable podcast platforms! Simply click on the link above.

Monday, 20 July 2020

ENT – The Breach


Plot – This episode deals with prejudice and racism in a very subtle way, which seems to be the way of Enterprise but for once it works in the shows favour. By boiling down the conflict between two races to two well characterised people in a room we get up close and personal to the beleifs that both sides share and start to see them try and discover some common ground. This is not revelatory material, but it is thoughtful. I especially liked the ending that didn’t see a huge coming together of two species who have put their feelings aside but instead goes for the tentative first steps of two races sharing a space together. It offers hope for the future that both sides would consent to travel together, without stating that any kind of reconciliation would be easy.

Character – Good God, Travis Mayweather has a skill that is put to good use in this episode. Someone get these writers an exec producer credit as they have the ability to recognise that this show has a crew outside of the triumvirate of Archer, T’Pol and Trip. As the three men of the crew head off on a rescue mission you can see absolutely what they were trying to do with Enterprise. It’s a bit like what was happening with Stargate Universe, a chance to focus on the more human side of the Trekverse. Here we have the lads out to impress each other with their physical prowess. The trouble is these need to be hugely likable characters to make this sort of thing work. With Trip I would say they succeeded. Reed I cannot stand for a multitude of reasons (just go and watch Shuttlepod One and come back to me). Mayweather I barely register. Put them together like this and you have the better character (Trip) bringing something out of the lesser one (Mayweather) but unfortunately the reverse is also true. Proximity to Mayweather means that Trip is pretty dull. He needs a vivid character to bounce off to really come alive. The sad fact is that when you remove the alien presence from a Trek show (Enterprise only has Phlox as a true alien presence, T’Pol is like a moony teenager) it lacks the interest of the other shows. You may as well be watching a show set on Terra Firma.

Performance - Any episode that focuses on Phlox is automatically in the upper end of the Enterprise scale because it affords the show the chance to show off the dazzling acting talents of John Billingsley. There’s a terrific scene where Phlox refuses to treat his patient because the man refuses Denobulan help and his ethics state that he cannot save somebody against their will and Archer, ever the angry pragmatist, orders Phlox to do so and he refuses. It’s not exactly revolutionary Trek material but it is nicely written and played and shows that Phlox is a man of his word. Phlox is given some fine characterisation here, losing his temper when the racism directed at him reaches boiling point but revealing that he has taught his own children to respect all cultures, despite the past and the education his family gave him.

Production – Robert Duncan McNeill has turned out to be a very proficient director and one who has spread his wings far beyond Star Trek. His four Voyager episodes were outstandingly brought to life and I am not surprised that he took his talents on to Enterprise. His work is flashy and full of memorable camera tricks, but he often gets some sterling work out of the actors too (Mulgrew in Sacred Ground, Jeri Ryan in Body and Soul…and those are the two of his weaker episodes). It doesn’t surprise me that he was offered a chance to direct an episode of Discovery.

Every Trek series needs to have a rock-climbing sequence, it appears. Blood Fever springs to mind as a notable example but DS9 is not immune either. The sequence is fairly ponderous until one of them slips and then it is one of the best action sequences this show has ever pulled out. They slip and slide down that rock face for what feels like an eternity and I wondered just how long McNeill could keep it going from. When Mayweather stops their descent with his foot all I could think was damn, that is going to hurt.

Best moment – I couldn’t see how anything could top the glorious scene at the beginning where Phlox reveals a Tribble amongst his menagerie and then promptly and savagely feeds it to one of his reptiles with a smile on his face. That’s a stellar use of continuity there.

Trip, dirty and sweaty. Oh my.

Worst moment – Of course it is Mayweather who is the first to be put out of action. Heaven forbid he got the spot light for long.

A reason to watch this episode again – Voyager did it better with Jetrel (two bitter enemies forced together and trying to find common ground) but this is still an above average Enterprise episode, primarily because it gives the focus to Phlox, who is always worth watching. Trek likes throwing in these ethical dilemmas and forcing its characters to face difficult choices (DS9 was especially adept at it but TNG and Voyager both had their fair share of successes too) and a man refusing treatment because of a conflict 300 years in the past is a juicy example. What shines from this story is what a rich character Phlox is, and what an incredible actor John Billingsley is and how the show is lucky to have both of them. He would be featured in stronger episodes (the subplot is desperately average) but the better scenes here shine bright because such a rich, marbled character is in the spotlight.

***1/2 out of *****

Clue for the next review: 


Sunday, 19 July 2020

New podcast episode: The Nimon be Praised! Discuss The Chase!




We come not to bury The Chase, but to celebrate it! 

Join Jack & Joe as they brave the sunny plains of Aridius, discover the truth about the Marie Celeste, step into the collective fears of humanity and witness all out robot war on Mechanus. The Chase has come in for a lot of flack over the years and we build a surprisingly positive case for the story, whilst generously acknowledging its faults. Does this story feature the ultimate Doctor Who ball sac monster? Should Morton Dill have skipped into the TARDIS instead of Steven? And we might have a very solid idea why these particular Daleks are so thick. All this and we say goodbye to Ian and Barbara in another exciting instalment of The Nimon Be Praised!

Available on Spotify, Anchor, Google Podcasts and many more platforms....simply click on the link above. 

Monday, 13 July 2020

VOY – Alliances


Plot – I think there is something of a misconception about early Voyager that I would like to dispel here, as far as I can see. Not all of the content of the first three seasons was rot and Seven of Nine was not the only reason that Voyager deserved any attention. She’s a great character that gave the show a new character focus for a few years but this show already had a ready-made, engaging cast who were perfectly capable of bringing decently written tales to life. Not only that but even though the Kazon have gone down in history as a bit of a misfire, that’s not to say that all the episodes that feature them are appalling. For the record I find Caretaker, State of Flux, Manuveres, Alliances and Basics Part One to all be terrific episodes. Yes, the Kazon do often come across as cut-price Klingons but there was a real effort made to make the stories that feature them into some kind of narrative (it was the only time this really happened on Voyager over a sustained period) and at their best it upped the action content of the show, which made for fun viewing. Alliances is over halfway through the second season of Voyager (a season that has an unfair reputation in my book) and is probably the most competent portrayal of the Kazon (it dares to make them victims rather than villains) and the most interesting step in Voyager’s journey through their narrative.

The episode opens on Voyager under Kazon attack, with manic activity, potential technological disaster and death. It’s certainly an episode that grabs you by the throat from the off.

The negotiations between the Federation and the Kazon were never going to get off the ground because Janeway walks into them with a look of disgust on her face and Cullah was always going to ask for more than he can get.

Character – Fascinating to see the Federation/Maquis debate rear its ugly head in this episode because by this point it felt as though those differences had been long forgotten. I applaud the Janeway/Chakotay conversation at the beginning of the episode with Chakotay suggesting they need more Maquis stance (using their wits, taking a more aggressive stance) and Janeway clinging onto her Federation principles (that of friendship, exploration and diplomacy). One of those approaches is failing the crew at the moment and I’m not surprised that they are vocal about it. I really like the idea of dissent amongst the crew like this because it adds a great deal of suspense to the idea of Voyager’s sustainability in the Delta Quadrant. If they are tearing themselves apart internally then how on earth are they going to deal with threats externally?

Janeway deserves a lot of kudos for daring to consider an alliance. If I were Seska I would be seething with rage because that is exactly what she was suggesting in season one. Chakotay outright asks Janeway is she is doing the best thing for the sake of her crew and she looks physically struck by the suggestion, hence seeking an alliance with a race that might bring stability to the quadrant.

The Janeway/Tuvok scenes were the bedrock of the early seasons and I really missed this relationship when the show essentially became the Janeway and Seven show. The warmth and humour that exists between them is palpable and rather than using him to sit each cast member in front of a candle and meditate, he dishes out some very pertinent advice about the current situation. Lucky, he had an orchid that was going through the same situation as the ship, otherwise he wouldn’t have a Trek-appropriate metaphor to hand.

At this point Voyager is gaining a large number of secondary characters that don’t get a huge amount of focus (like a whole episode) but help to flesh out the Ship. Michael Jonas, Hogan, the Irish engineer whose name I have forgotten. It means for episodes like this there are people who can voice opinions who aren’t complete nobodies. Here Hogan is the loudest anti-Janeway mouthpiece and Jonas begins his traitorous communications with Seska. I like Voyager when there is stuff bubbling below decks like this.

The Kazon scenes might be a bit of a bore (even though Cullah does chew the scenery very well) if it weren’t for Seska, who makes them terrifically watchable. She manipulates Cullah in such a forceful way, using her guile and her sexuality as a weapon.

Great Dialogue: ‘I don’t think we can afford to keep doing business as usual…’ Chakotay throws some cold water in Janeway’s face.

Production – Very, very rarely did Voyager venture into particularly exotic climes (that was something that Enterprise did surprisingly often) and so a trip to a seedy bar with whacko lighting and a sexy dancer is about as far as they are willing to push it. I’ll take what I can get.

Best moment – It’s very clever how this episode explores both the possibility of Janeway forming and alliance with the Kazon and then their more likable enemies. It goes some way to tricking you into thinking that the latter will be the better option before the awesome twist moment when Janeway realises she has been tricked into bringing all the leaders of the Kazon together by the Trabe to massacre them. Voyager went for the action jugular like this far more in its latter years but this has real impact because it is entirely unexpected. I like how Seska instructs Cullah to use the negotiations to execute the Trabe once and for all because that is what we are looking out for. When the complete opposite happens, I was slack jawed. It leaves an already violent situation in even more disarray.

Worst moment – It’s very odd that we haven’t heard from the Trabe before given their important place in Kazon history.

The final scene rankles because Janeway decides that because this alliance hasn’t worked out that she was right all along and that no alliance will be possible. The ideals of the Federation are paramount and no argument will be allowed. Seek Heil. Even Jeri Taylor regrets putting these words into her mouth.

I wish they hadn’t done that – This is the last time we get any real exploration of the potentially awesome conflict at the heart of this crew. This feels like Jeri Taylor’s attempt to put it to bed once and for all. That’s squandering a wealth of dramatic possibilities. DS9 made better use of the Maquis threat in its Eddington trilogy and that is wrong because the tools were there for Voyager to use throughout its entire run.

A reason to watch this episode again – One of my favourite Jeri Taylor penned Voyager episodes…and it’s a Kazon episode too! There is far more substance here than you have been led to believe by the naysayers, it is a dense episode with a lot of interesting discussion, development and even a shocking twist at the climax. The character work is razor sharp too, with some pertinent questions being asked about Janeway’s command decisions and approach, some lovely scenes with Chakotay and Tuvok and promising arc developments that suggest this show is venturing into serialisation. There’s no real right or wrong here, which is a grey area that DS9 likes to pay about in and it feels pleasingly unusual for Voyager to venture there. It comes back to the central premise of a ship alone and under threat and a crew that are scared and vulnerable. My biggest regret is that this did not lead to any further developments down the line – the ideas of an alliance are touted here and go spectacularly wrong and it is never brought up again. But without this episode then none of these huge ideas would have been brought up at all and that would have been a crime. This is Voyager playing politics and doing it rather well. Only Janeway’s speech at the end mars.

****1/2 out of *****

Clue for tomorrow's episode: 


Friday, 10 July 2020

New podcast! The Nimon Be Praised Episodes 1-5!



The Nimon Be Praised! has now released five episodes and they are available across seven platforms for you to enjoy. Jack & Joe (that's me) have plumbed the from the highs of The Ribos Operation to the lows of Underworld and taken in our guilty pleasures, the character of Ace and the first half of series one along the way. Join us for the fun. Ideal listening if you are on the move, or simply seek to take an hour or two out and listen to two huge fans of the show discuss it in their own inimitable way. You can check out the synopses of the individual episodes below.

Anchor - The Nimon Be Praised
Spotify - The Nimon Be Praised
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RSS - The Nimon Be Praised


The Nimon Be Praised! discuss The Ribos Operation

In their debut episode, Jack and Joe tackle the opening story of series sixteen. Discussion of Robert Holmes, the season arc, the production, the double acts and shine much light on why they love this story.

The Nimon Be Praised! discuss Underworld

Jack & Joe bring all their deductive powers to the fore and study the 1977 story Underworld to try find some positives to say! In this episode we are interrupted by the postman, discuss whether the enjoyment of special effects spoils or enhances our experience of watching Doctor Who, try and come to the conclusion of whether watching Underworld adds enjoyment to our week and figure who would play certain characters if this was a New Series episode today! You might think it is impossible to spend two hours talking about Underworld...but never underestimate The Nimon Be Praised!

The Nimon Be Praised! discuss Ace 

This week Jack and Joe tackle the apparently unstoppable companion known as Ace. Was she the secret weapon of the Sylvester McCoy era on television? Did anyone like this actually exist in the eighties? Should she have been locked up as a modern day vandal? Just how many stories HAS she featured in? And do her books and audios count? All this and more fabulous Nimon quotes, Joe battling with his phone alarm and Jack using his finest charm to consider how he would get on on a date with Ace. The Nimon Be Praised! is back!

The Nimon Be Praised! discuss Their Guilty Pleasures 

It's time for Jack & Joe to confess their sins and reveal their Doctor Who guilty pleasures. Much laughter ensues as they attempt to convince one another that Time and the Rani, The Girl Who Died, Planet of the Daleks and The Husbands of River Song are all deliriously enjoyable. Which story is the campest? Does one feature a Doctor Who can make you believe in any scenario? Why is everything in a Jamie Mathieson story so rubbish? And would Husbands have been a good place for Steven Moffat to step off? All this and much, much more. We had a riot recording this episode...we hope you all enjoy it. There are a few moments (just moments) where the time lagged but it shouldn't affect your enjoyment.

The Nimon Be Praised! discuss The Russell T. Davies era 0.5 

Join Jack & Joe as they take a waltz through the Russell T. Davies era. Well, that was the idea. Instead we only got halfway through season one AND singularly failed to remember The Long Game (which we will come back to). It’s an era with plenty to unpick and we will be come back to it in half season segments. Was Rose the ultimate audience identification character? Is The Unquiet Dead quite unmemorable in retrospect? And are the Slitheen the secret weapon of series one? All this is and much much more as we both learn that when talking about Doctor Who, we can’t do things by halves.

ENT – Judgment


Plot – Rip off or homage? There is always such a fine line. This is the courtroom scenes from Star Trek VI elongated into a whole episode and the parallels are in your face and unconcealed. Does that make this unoriginal? I guess so. Does it matter? Only if you’re concerned with making comparisons (I know, I know…I do it a lot). Judgement does stand up on its own two legs and dares to make a TV episode as cinematic as a movie. That’s an impressive achievement. Not only that but it serves to bridge the gap between Enterprise and TNG by including pleasing continuity episodes that bolster not only this episode but the series as a whole (because it invites further clever uses of the Trek back catalogue). The use of Duras

Judgment features one of those Trek stand-bys where the teaser makes a great deal of promise. Archer pleads not guilty to conspiring against the Klingon Empire but would could have happened for them to think that he has? The structure of the episode, with in-built flashbacks to piece the puzzle together, means that this isn’t your usual static Trek courtroom show but an episode of Enterprise that is being told in quite an imaginative way.

Character – This is a much better use of Archer than what the audience is used to at this point. He can, at times, be seen as the least effective of the Captain’s due to some inexplicably stupid decisions and behaviour the verges on irrational and biased. By taking out of his normal environment and forcing him to be the one to defend his actions and his species he is given space to be smart, erudite and eloquent. It’s a look that suits him. At the mercy of the Klingon justice systems he has to seek out allies, understand his captors and try and figure out a defence that they will understand. His relationship with his consul is a delightful one because (for once) there is no subterfuge involved. They are both intelligent, honourable men working in the same direction. It’s a shame that Archer couldn’t see more of Kolos. He could have been this shows equivalent of Martok.

Performance – Sometimes it seems that there is a very small pool of actors in the Trek canon pool when certain reliable actors show up again and again (I’m sure we all have our favourites – I’m especially sweet on James Sloyan) but sometimes it feels like the huge body of actors that exist in America aren’t being given opportunities because of it. That’s one argument. The other is that J.G. Hertzler is such a proven commodity to the franchise that to not use him would be a crime. He took what could have been a forgettable role (the original appearance of General Martok) and turned it into one of the most nuanced Klingons that I have ever met. His voice is instantly recognisable in a different Klingon role and his look is strikingly unlike what we are used to but the gravitas, shade and entertainment value are all still there.

Production – Remember that debate I was having about the use of CGI in Enterprise and how it can sometimes overstretch itself and attempt visuals that were beyond the current level of technology at the time? Well scrap all that because the pan across Kronos is something else, a spectacular CGI effort that brings the Klingon home world to life like never before. Sometimes Enterprise is over ambitious but sometimes they get it just right and when they do it is some of the most arresting effects the franchise has ever put out.

The ice caves look impressive in themselves but there is no attempt made to make it look frosty or cold enough for smoke to leave the actors mouths.

If Star Trek is to continue to do trial episodes well into the noughties then at least they bothered to make this one a little energetic and visually interesting. Naturally a Klingon trial consists of a growling jury banging staffs and making a whole bunch of noise. I’m starting to wonder with Klingons that they make so much noise because if they didn’t nobody would notice them.

Best moment – I love the scene where Kolos (Hertzler in fine form) accuses Archer of being little more than a nuisance and hardly worth any attention. I’ve often felt that way myself.

Worst moment – It irritates me that the Klingon Empire can be realised so well here and yet Enterprise has failed to deliver an original species of their own that are so vivid and detailed. If you can do it with a race that is well established, why not with the ones unique to this show.

I wish they hadn’t done that – In order to tell a riveting episode of Enterprise in season two the writer has to jettison the entire Enterprise crew (aside from some cameos). That speaks volumes. I think Mayweather gets a handful of lines. Who the hell is this guy? I kid you not we get closer to Kolos and learn more about his backstory and go on an arc with this character more in one episode than some the regulars on this show do in four years.

To have a story set around a Klingon trial is enough to invite comparisons with The Undiscovered Country but to then move the action to Rura Penthe is a direct steal of the movies plot. One can be forgiven but both feels like selling out to Trek fans who love the movies.

A reason to watch this episode again – There is a fresh visual style and dramatic structure to Judgment that is very refreshing in the sea of mediocrity that is Enterprise season two. It’s proof that even in the darkest of times for the franchise that fine pieces of work can emerge. Judgment is an episode for all of you with a Klingon obsession; it’s beautifully steeped in Klingon history and continuity. It’s also a clever narrative that promises a lot and goes a long way to delivering that by refusing to give you all the answers outright and having Archer on trial for crimes yet undisclosed. That way we can spend the episode finding out what he has done. Compare that to DS9’s Rules of Engagement which spells out Worf’s crime from the start and thus loses all sense of mystery and suspense. Archer is on top form here and is given some great lines and how the episode panders to the fans whilst forging its own path through this latest of iteration of Trek deserves respect. Had it been entirely original it might have secured full points but since it is borrowing so heavily from a cinematic source…

**** out of *****

Clue for the next episode:


Tuesday, 7 July 2020

DS9 – Second Skin


Plot – For a moment Second Skin is remarkably similar to Face of the Enemy in that it features a member of the regular cast waking up in heavy make-up. The difference here is the TNG reveals its hand straight away (Troi is never under the illusion that she is a Romulan) whereas Second Skin is making an entire episode out of the effort to convince you that Kira was going to be a Cardassian all along.

The way the script accumulates evidence that Kira is a surgically altered Cardassian sent into the Bajoran resistance as a spy is compelling and presenting in an entirely believable way. There’s a man who recognises her from the Cardassian labour camp, the records confirm it, she’s effortlessly transformed back into a Cardassian, her lost memory is put down to the brilliance of Cardassian technology that allowed her to create a whole new persona in the form of Kira Nerys, her father is being effortlessly kind and patient with her whilst the interrogators want information from her. In every way she is presented as a Cardassian agent returning home. The most shocking moment comes when she is presented with a corpse of the real Kira Nerys. That’s got to fuck with your head somewhat.

Character – This is another important moment in Kira’s transition from PTSD suffering ex-terrorist to a woman who makes peace with her anger and prejudices. What could possibly be worse than waking up to be told that you are a member of a species that you loathe and have spend most of your life fighting. Suddenly you would be at war with yourself. In a moment of frightening self-loathing, Kira pulls at her face as if she is trying to tear the Cardassian mask off. It’s fascinating to watch Kira resist what she thinks is Cardassian conditioning in trying to convince her that she is one of them; she’s witty and silly and defiant. It brings out the playful side of her. What finally breaks her are two things; one is she cannot find the answer to the question of what good could this possibly do to the Cardassians to convince her that she is one them…and why is Ghemor so willing to risk his career and reputation to free her. Those two things simply do not make sense.

Here’s a big question; was Garak bisexual? I think this is a question that is open to interpretation depending on your individual perspective. For my part I would say an unequivocal yes, and he and Bashir certainly have a flirtatious chemistry that is terrific to watch. It’s the fault of the show (as Ira Steven Behr confirms) that it was never said out loud because the studio wanted them to shy away from it. He is certainly also attracted to women, as his dalliance with Ziyal attests but there are just too many overtly theatrical characteristics (not exclusive to straight men, I know) and hints to a wider sexuality that cannot be ignored. He first approaches Bashir with come to bed eyes, he buys him chocolates, he’s overtly creative and flamboyant and more importantly his creator Andrew Robinson outright states that before they became good friends Garak simply wanted to fuck Bashir. What does any of this have to do with Second Skin? Nothing at all but Garak does feature prominently (and brilliantly) in this episode and it was fresh in my mind from the recent documentary and I’m the one writing these reviews and who decides what input is in them. There are (at least) three characters that you can say with some certainty that are bisexual in DS9 (Garak, Dax and Bashir – one is through behaviour, one actually has a relationship with a member of the same sex and is seen flirting outrageously with others and one outright admits he has feelings for another man) and that is a massive step up from other Trek shows. Who knows where Kira lies but if her mirror counterpart is anything to go by there are certainly tendencies.

Garak is typically awesome here, and vital in the extraction of Major Kira. The idea of taking him home to Cardassia and revealing some of those secrets that he has been keeping close to his chest is irresistible. Garak wouldn’t go under normal circumstances but Sisko openly blackmails him into doing it (how Sisko does this so casually without breaking a sweat is wonderful). We’ve heard about Garak’s skill and tactics as a spy but this is the first time we have really seen them in action and he doesn’t disappoint. He manages to crush the dick of a Cardassian officer with words alone and sends him back to Cardassia with his tail tucked between his legs. I love how he says that he rather liked Entek in an overtly lustful way just after killing him. There simply isn’t another character like Garak in the Trek franchise. The last scene isn’t about Kira being surgically altered or Ghemor’s future…it’s Kira’s ‘father’ telling her not to trust Garak for a second.

Performance – Lawrence Pressman is utterly convincing as Ghemor and for a long while I thought this was a particularly substantial piece of subterfuge on the Cardassians part. Add a gentle father figure into the equation and Kira will bend to the illusion a lot easier. The trouble is after a time his concern and affection for her seems so real the line starts to blur. He tells Sisko that if they are in any kind of danger that he is on his own and Sisko commends him for telling the truth for once. I could watch these two together all day long.

Best moment – The moment Kira is convinced that she is a Cardassian comes when she looks at herself in a mirror and smashes it in repulsion. It’s one of those moments where Star Trek really makes you feel the plight of one of its characters. It’s like her mind has snapped…and to make it even worse Ghemor is STILL being kind to her.

A reason to watch this episode again – A fantastic script, which upon first viewing (and because it is so convincing possibly second and third) pulled the wool completely over my eyes into thinking that this was all about Kira, when she was just tool to get to another man. It’s like an onion that keeps revealing new layers. Compelling performances across the board help with the subterfuge and by the end I found myself questioning whether Kira genuinely was a Cardassian all along (as was the original intention of the script) and when you are shown how you have been made to look in one direction throughout the entire running time when you should have been savvy enough to look in another everything makes perfect sense. A much bigger picture is being painted of Cardassia in season three and this fleshing out of the dissidents only helps to serve to make them the most compelling race in the Alpha Quadrant. On a character level this is a scorcher for both Kira and Garak and it affords them both some terrific opportunities to impress. Add in some tight direction and really great lighting (that’s underrated in Star Trek at times) and you have an early season three episode that shows that what might appear to be filler episodes in this show can twist into outright classics.

****1/2 out of *****

Clue for tomorrow's episode: 


Sunday, 5 July 2020

TNG – The Drumhead


Plot – The Drumhead is atypical for TNG for several reasons and one of those is that it leaps straight into action (well not action, but it’s narrative) with relatively few concessions for the people who cannot keep up. There is an immediate air of suspicion and paranoia in the air and the Enterprise is suddenly a place that harbours potential terrorists and spies. The trio of the Federation, the Klingons and the Romulans are the big powers in play in TNG and they make for a brilliant counterpoint to each other. The Klingons are in league with the Federation, but fighting amongst themselves. The Romulans distrust them all and commit all manner of acts of espionage to ensure their safety. This is all happening in the background in the middle seasons of TNG and makes for a pleasing political landscape of suspicion.

The trouble with paranoia is that it eats at you like a disease until it is out of control and you are behaving irrationally. The issue is you might be right. Your mind is telling you that something is possible, and there is a good case that it is. But it isn’t tangible and so as an idea it could turn out to be true or it might not. Satie seems unreasonably vicious in her determination to point the finger at one man on very little evidence…but the interesting thing is that no matter how unreasonable her behaviour is, she might be right. That’s where the drama lies, in the uncertainty.

How the seed of paranoia spreads is enthralling to watch; suddenly everybody’s actions are being questioned and the limelight falls on Picard and his many questionable decisions in command. What’s especially clever is how the episode weaves Satie’s relationship with her father into its structure and how Picard uses what he has learnt from her to his advantage in the trial in a very plausible way. Satie’s rage feels real because it has already been given some substance.

Character – We find out more about Worf’s exile since Redemption and how his name is not spoken on the homeworld anymore. It’s easy to forget that TNG, which is known for its standalone nature, actually yielded some sophisticated elements of serialisation, especially a few of the character arcs (Wesley, Worf, Picard).

Another gentle moment of continuity is the mention that Admiral Satie was the one responsible for the exposure of the alien conspiracy in season one. There’s something very off about Satie right from the start, even when she is being entirely pleasant with everybody. A little too keen to get to work on her witch hunt. There’s a look of mania in her eye even when she is reviewing evidence of sabotage on the Enterprise, as if it is confirming her radical racist suspicions. Listening to stories of her childhood where her father posed an moral question and made his children fight it out and try and trounce one another exposes how she has been encouraged to fight and win even from childhood.

Picard stands back from all the suspicion and shows his discontent quietly for a while. Watch as he walks into a room where Worf is co-ordinating an investigation of Tarses and he sees that even his people are starting to come around to Satie’s form of paranoia. Picard is the voice of reason, the man in power who is reminding everybody that Tarses is innocent until proven guilty and the evidence provided simply is not good enough.

Performance – Spencer Garrett masters the one-episode crewman appearance with his star turn as Lieutenant Tarses, a man who is unjustly accused of being a Romulan sympathiser and a traitor to his own people. He has a natural hangdog expression that automatically makes you sympathise with him but the way he conducts himself, without confidence or charisma, really sells the impossible situation he has found himself trapped in.

Production – Standing sets, the regular cast, a few guest actors and a fantastic script. Huge kudos to Jonathan Frakes who wrings every emotion out of a story that offers a director little in the way of embellishments. He uses his cameras like a weapon and he gets every scintilla of intensity from his performers. I would have offered him the films on the strength of his direction here. If you can take an episode that is so confined and make it one of the most arresting instalments of the series, just think what you could do with a feature film budget. Satie sitting in silence whilst the court adjourns around her until she is entirely alone is a genuinely great piece of filmmaking. You’re right in the moment there with her.

Best moment – Picard admits that he would act solely on the basis of Troi’s instincts. Thank goodness for that.

Worst moment – We often see throughout the Trek franchise how people in power in the Federation are entirely corruptible and Satie might be the most powerful example because she believes that everything she is doing, even if we know what she is doing us unjust, is to protect the precious United Federation of Planets. She’s doing it for your own good. Sometimes left-wing extremists can be far more frightening than right wing ones. Because they believe that their cause is entirely just to protect something good.

I wish they hadn’t done that – Can you believe that after the horror of Shades of Grey that the studio wanted another clip show to save some money? I know studio executives don’t exactly have the reputation of being especially bright but to try something once and to fail so spectacularly at it usually means that if you need to save the pennies that the second time around you try another way, or get your creative people to think up something else. It took Michael Piller and Rick Berman to vehemently argue against a clip show and to come up with a bottle episode instead to ensure that it did not happen. I’m not saying that clip shows can’t work (Community in particular, revolutionised the idea) but as a whole it feels like you are being short changed when you come into something expecting fresh content and end up with recycled material (Shades of Grey is especially galling because it is second-hand from seasons one and two of TNG!).

A reason to watch this episode again – ‘That’s how it starts. But the road from legitimate suspicion to rampant paranoia is very much shorter than we think.’ Jean Simmons scares the hell out of me in this episode. Her performance is so beautifully judged, ugly and uncompromising and yet couched in amiability that it made me feel discomforted throughout. It’s rare for a guest performance on any Trek show to be the biggest standout element but Satie is such an insidious character that you can’t help but be drawn to her at all times. The episode convinces you that Picard and Satie are going to work together swimmingly in the first 15 minutes but it soon sticks the knife in as suspicion, finger pointing and outright witch huntery. The Drumhead rivets you to your seat because it is rooted in history. We know that witch hunts of this nature took place and people lost their lives unjustly and it would appear (despite TNG often telling us the contrary) that we have learnt nothing since then, especially when somebody in such an exalted position can cause so much undue suffering. There is a lust to Satie’s eyes as she is weeding out conspiracies. It’s terrifying. Put Patrick Stewart and Jean Simmons in a scene together and you have acting royalty coming together. The results are explosive, without ever resorting to action. If penny pinching forced the writers to be this focussed on real drama, I find myself wishing that it could have been an issue more often because The Drumhead is outstanding viewing, even all these years later.

***** out of *****

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