rating: ****
the story: Troi is conscripted by Romulan agents to help dissidents escape.
similar to: "Second Skin" (Deep Space Nine)
my thoughts: This is, arguably, the best Troi episode of the series, a culmination of the "Chain of Command" and earlier efforts to have the character taken seriously as something other than the empathic counselor as originally conceived.
This is one of those episodes where a main character temporarily becomes a member of an alien species. Most of the time it's voluntary (such as when Picard and Data are disguised as Romulans in "Unification," incidentally the start of the story continued in "Face of the Enemy") or through some quirk-of-the-week (exemplified by "The Inner Light"). Every once and a while, it's done for different impact entirely (Deep Space Nine's "Second Skin" is another good example), such as when Troi wakes up as a Romulan, and is forced to adjust on the fly as she learns what's really going on.
The Romulans were always such a hard species to feature in the franchise. Inherently taciturn, like their Vulcan cousins, they were also decidedly more calculating, which cast them as enemies of the Federation and thus frequent opponents of crews in Starfleet uniforms. Since this is an inherently difficult position to represent, it's not surprising that of all the major Star Trek aliens, Romulans alone have never been represented in an ongoing or even recurring basis (other than the relatively minor Tomalak).
"Face of the Enemy" makes the novel solution of turning a main character into a Romulan, and thus we're given our one direct look into how a Romulan crew functions. Like the Klingons, turmoil reigns, which is no surprise. Like a preview of the Deep Space Nine Cardassians, paranoia is the order of the day as the Romulan CIA, the Tal Shiar, makes Troi's mission exceedingly difficult, although she proves up to the task thanks to the selfless support of her Romulan counterpart.
Helping smooth the story is the fact that two familiar guest-stars are supporting Marina Sirtis: Scott MacDonald, who was a go-to guy for Star Trek aliens, either as a good or bad guy (he really did do both, whether in Deep Space Nine's "Captive Pursuit" or the chief Xindi villain in Enterprise's third season) and Carolyn Seymour. Both contribute their distinctive voices to give life to the frequently enigmatic Romulan species.
While it was hardly unusual for Star Trek to find a sympathetic Romulan (from the original appearance in "Balance of Terror" to Next Generation's best Romulan episode, "The Defector;" both Romulans and Klingons were inspired by the Cold War's Soviet Union, and in their unique ways it shows), "Face of the Enemy" presents a truly unique opportunity, which it nails.
It doesn't hurt that Marina Sirtis absolutely, as she did earlier in the season with "A Fistful of Datas," rises to the occasion. Anyone who wants to figure out how she managed her breakout performance in Star Trek: First Contact ought to look no further to see how it happened.
criteria analysis: franchise - series - character - essential (all criteria met)
notable guest-stars:
Scott MacDonald
Carolyn Seymour
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Tuesday, July 12, 2016
Friday, July 8, 2016
In Which I Just Don't Get George Takei
In a recent interview, George Takei, original portrayer of Hikaru Sulu, expresses his dismay that John Cho's Sulu will be revealed as gay in Star Trek Beyond, in theaters a few weeks from now. Read about Takei's thoughts here.
I don't get it, because Takei came out of the closet more than a decade ago. You'd think he'd be thrilled that the new movie pays tribute to his legacy like that. Yet he steadfastly insists that this decision instead flies in the face of everything Gene Roddenberry sought to accomplish. I just don't get it.
Star Trek's legacy of tackling the issue of the LGBT community is a spotty one. Various episodes have done analogies about it over the years ("The Host" and "The Outcast" from The Next Generation, "Rejoined" from Deep Space Nine, for instance), but famously, the franchise has never touched on it directly. "Trouble with Tribbles" screenwriter David Gerrold pitched such a script to Next Generation, but it was rejected. Advocates have suggested it could be as simple as showing background actors engaged in same-sex relationships, without ever having to draw direct attention to it. To have a main character, especially one as well-known, in either incarnation, as Sulu, is groundbreaking in a way that at one time seemed impossible.
It's all the more baffling because, as pointed out, Takei himself is gay. You'd think he would be thrilled. But Star Trek can sometimes be overly protective of its own legacy. Gene Roddenberry famously nixed the idea of having Saavik, who appeared in prominent roles in Wrath of Khan and Search for Spock, being revealed as a Federation traitor in Undiscovered Country, because he thought she'd reached "beloved character status." I guess the same didn't go for Cartwright, who wasn't nearly as lucky. He appeared as a good guy in Voyage Home, and as a bad guy in Undiscovered Country.
I have to assume that's the kind of logic at play here. Leonard Nimoy nixed an appearance in Generations because he felt the script didn't give enough justification for Spock to be there. (Scotty and Chekov more or less got the material intended for the famous Vulcan.) He didn't want to appear in the would-be '70s TV show, and requested Spock's death in Wrath of Khan because he still didn't want to continue in the franchise. Takei, meanwhile, has been advocating nearly as hard as Shatner to make further appearances in the franchise. One gets the impression, based on his further remarks, that if a gay character finally appeared in Star Trek, it would have to be Takei playing the part. Just not as Sulu. For whatever reason.
Maybe it's the psychology of being a gay man who spent more than half his life having to hide who he was, I don't know. But it just doesn't make sense to me. As the article points out, Sulu by far had the least character definition from his generation. Uhura, at least, got to sing and dance. Chekov had his Russian heritage. Sulu? He fenced that one time, and liked antique pistols. That's basically the extent of the Sulu biography, from three seasons and six movies.
There's also the matter of the promotion. Sulu was supposed to be a captain in Wrath of Khan. One of the reasons Takei in particular is bitter to this day toward Shatner is because that didn't happen. I can't really say what Sulu had done, particularly, to that point in Star Trek lore, that would have justified such a rank, other than for the mere sake of doing it. Chekov was the only character who'd been reassigned to another ship as of that film. There was another character moment lost in the filming of Voyage Home, in which Sulu would have met his own ancestor, if the little kid they chose had been a committed actor of any extraction. And anyway, he did become captain, the only character to be anywhere besides the bridge of the Enterprise during Undiscovered Country, besides the imperiled Kirk and Bones.
His daughter appears in Generations. According to the non-canon novel Captain's Daughter, I guess Sulu has a one-night fling with some kind of goddess? Definitely an air-tight case for heterosexuality, right there...There's literally nothing preventing Sulu from always having been gay, from Takei's era to Cho's. Into Darkness had already given Takei's Sulu a direct nod in a deliberate sequence where Sulu's command ability is proven, just like the combat training joke from Star Trek. It's entirely within the character of the new Star Trek movies to continue making direct nods to Takei's Sulu, both in front of and behind the camera. He should be flattered beyond all measure at this point.
So again, I say it just doesn't make sense to me. There are ways to explain it, but they're all incredibly weak. Cho's Sulu is gay. End of story. This is a good thing, George Takei.
I don't get it, because Takei came out of the closet more than a decade ago. You'd think he'd be thrilled that the new movie pays tribute to his legacy like that. Yet he steadfastly insists that this decision instead flies in the face of everything Gene Roddenberry sought to accomplish. I just don't get it.
Star Trek's legacy of tackling the issue of the LGBT community is a spotty one. Various episodes have done analogies about it over the years ("The Host" and "The Outcast" from The Next Generation, "Rejoined" from Deep Space Nine, for instance), but famously, the franchise has never touched on it directly. "Trouble with Tribbles" screenwriter David Gerrold pitched such a script to Next Generation, but it was rejected. Advocates have suggested it could be as simple as showing background actors engaged in same-sex relationships, without ever having to draw direct attention to it. To have a main character, especially one as well-known, in either incarnation, as Sulu, is groundbreaking in a way that at one time seemed impossible.
It's all the more baffling because, as pointed out, Takei himself is gay. You'd think he would be thrilled. But Star Trek can sometimes be overly protective of its own legacy. Gene Roddenberry famously nixed the idea of having Saavik, who appeared in prominent roles in Wrath of Khan and Search for Spock, being revealed as a Federation traitor in Undiscovered Country, because he thought she'd reached "beloved character status." I guess the same didn't go for Cartwright, who wasn't nearly as lucky. He appeared as a good guy in Voyage Home, and as a bad guy in Undiscovered Country.
I have to assume that's the kind of logic at play here. Leonard Nimoy nixed an appearance in Generations because he felt the script didn't give enough justification for Spock to be there. (Scotty and Chekov more or less got the material intended for the famous Vulcan.) He didn't want to appear in the would-be '70s TV show, and requested Spock's death in Wrath of Khan because he still didn't want to continue in the franchise. Takei, meanwhile, has been advocating nearly as hard as Shatner to make further appearances in the franchise. One gets the impression, based on his further remarks, that if a gay character finally appeared in Star Trek, it would have to be Takei playing the part. Just not as Sulu. For whatever reason.
Maybe it's the psychology of being a gay man who spent more than half his life having to hide who he was, I don't know. But it just doesn't make sense to me. As the article points out, Sulu by far had the least character definition from his generation. Uhura, at least, got to sing and dance. Chekov had his Russian heritage. Sulu? He fenced that one time, and liked antique pistols. That's basically the extent of the Sulu biography, from three seasons and six movies.
There's also the matter of the promotion. Sulu was supposed to be a captain in Wrath of Khan. One of the reasons Takei in particular is bitter to this day toward Shatner is because that didn't happen. I can't really say what Sulu had done, particularly, to that point in Star Trek lore, that would have justified such a rank, other than for the mere sake of doing it. Chekov was the only character who'd been reassigned to another ship as of that film. There was another character moment lost in the filming of Voyage Home, in which Sulu would have met his own ancestor, if the little kid they chose had been a committed actor of any extraction. And anyway, he did become captain, the only character to be anywhere besides the bridge of the Enterprise during Undiscovered Country, besides the imperiled Kirk and Bones.
His daughter appears in Generations. According to the non-canon novel Captain's Daughter, I guess Sulu has a one-night fling with some kind of goddess? Definitely an air-tight case for heterosexuality, right there...There's literally nothing preventing Sulu from always having been gay, from Takei's era to Cho's. Into Darkness had already given Takei's Sulu a direct nod in a deliberate sequence where Sulu's command ability is proven, just like the combat training joke from Star Trek. It's entirely within the character of the new Star Trek movies to continue making direct nods to Takei's Sulu, both in front of and behind the camera. He should be flattered beyond all measure at this point.
So again, I say it just doesn't make sense to me. There are ways to explain it, but they're all incredibly weak. Cho's Sulu is gay. End of story. This is a good thing, George Takei.
Friday, June 24, 2016
Bryan Fuller sets the record straight on Series VII
In a recent interview (recapped here) Bryan Fuller denied most of the details that had apparently leaked above the forthcoming new Star Trek TV series, debunking the anthology rumor and that it's set between Star Trek VI: The Undiscovered Country and Star Trek: The Next Generation.
He also suggests there will be multiple crews involved, which is definitely good news. I loved it when Star Trek: Enterprise brought in another ship (chiefly to fan the flames of the Trip/T'Pol relationship, but it was still groundbreaking) in its fourth season.
I'm glad we're getting new information, even if it still seems like a trickle to some fans. As I pointed out elsewhere, they haven't even announced casting decisions yet. It's way, way too early to expect more than we've gotten. I'm just glad we have people like Fuller interested in getting the record, as it is, straight...
He also suggests there will be multiple crews involved, which is definitely good news. I loved it when Star Trek: Enterprise brought in another ship (chiefly to fan the flames of the Trip/T'Pol relationship, but it was still groundbreaking) in its fourth season.
I'm glad we're getting new information, even if it still seems like a trickle to some fans. As I pointed out elsewhere, they haven't even announced casting decisions yet. It's way, way too early to expect more than we've gotten. I'm just glad we have people like Fuller interested in getting the record, as it is, straight...
Thursday, June 23, 2016
The Next Generation 6x13 "Aquiel"
rating: **
the story: Geordi falls in love with a murder suspect.
similar to: Star Trek VI: The Undiscovered Country, "The Drumhead" (Next Generation), "Demon," "Course: Oblivion" (Voyager)
my thoughts: This latest hapless Geordi love story (the only other character as similarly hapless in franchise would be Voyager's Harry Kim, so of course he figures in the episode connections above) gets surprisingly complicated. A lot of people will base their opinions of the episode on the performance of the actress playing the title character (which may not be for everyone, but it's not really that bad).
The first association you'll see listed is Star Trek VI: The Undiscovered Country, which I make because it shares a Klingon murder mystery with "Aquiel." The second also features a Klingon, but that's not the reason I link Next Generation's own "The Drumhead" to "Aquiel," but rather because both feature a more complicated investigation than it at first seems (there are other such episodes, but it's just funny to me that the series was willing to piggyback on such a singular episode with one that didn't really have near the ambition, which is fine, all things considered; at this point the season had more than amped up the quality score that was lagging early on, so it was due for some lighter material).
The third and forth come from Voyager, and by the time you reach the end of "Aquiel" you should know very well why the biomimetic shenanigans of "Demon" and "Course: Oblivion" are relevant. All of this combines, if you managed the rather lengthy parenthetical comments above, for a fairly decent episode. For Geordi romance it's fairly straightforward, sadly enough! If you include, say, "The Game" with Wesley and Ashley Judd, you'll see that romances do tend to end rather abruptly in this series, where careers (*cough* Riker) are so important (so it's equally unsurprising that the older, commanding officer Picard has been a bachelor all his life).
For all that, it's a good mystery. The series was surprisingly good for those. And the little dog, too! I'll keep it at recommendations for franchise and series fans, just to be on the safe side, which translate to a two-star review, a middle-of-the-road-but-still-worth-watching affair. Sounds exactly like all Geordi's dates...
criteria analysis: franchise - series -character - essential
the story: Geordi falls in love with a murder suspect.
similar to: Star Trek VI: The Undiscovered Country, "The Drumhead" (Next Generation), "Demon," "Course: Oblivion" (Voyager)
my thoughts: This latest hapless Geordi love story (the only other character as similarly hapless in franchise would be Voyager's Harry Kim, so of course he figures in the episode connections above) gets surprisingly complicated. A lot of people will base their opinions of the episode on the performance of the actress playing the title character (which may not be for everyone, but it's not really that bad).
The first association you'll see listed is Star Trek VI: The Undiscovered Country, which I make because it shares a Klingon murder mystery with "Aquiel." The second also features a Klingon, but that's not the reason I link Next Generation's own "The Drumhead" to "Aquiel," but rather because both feature a more complicated investigation than it at first seems (there are other such episodes, but it's just funny to me that the series was willing to piggyback on such a singular episode with one that didn't really have near the ambition, which is fine, all things considered; at this point the season had more than amped up the quality score that was lagging early on, so it was due for some lighter material).
The third and forth come from Voyager, and by the time you reach the end of "Aquiel" you should know very well why the biomimetic shenanigans of "Demon" and "Course: Oblivion" are relevant. All of this combines, if you managed the rather lengthy parenthetical comments above, for a fairly decent episode. For Geordi romance it's fairly straightforward, sadly enough! If you include, say, "The Game" with Wesley and Ashley Judd, you'll see that romances do tend to end rather abruptly in this series, where careers (*cough* Riker) are so important (so it's equally unsurprising that the older, commanding officer Picard has been a bachelor all his life).
For all that, it's a good mystery. The series was surprisingly good for those. And the little dog, too! I'll keep it at recommendations for franchise and series fans, just to be on the safe side, which translate to a two-star review, a middle-of-the-road-but-still-worth-watching affair. Sounds exactly like all Geordi's dates...
criteria analysis: franchise - series -
Wednesday, June 22, 2016
The Next Generation 6x12 "Ship in a Bottle"
rating: ****
the story: The holographic Professor Moriarty is inadvertently reawakened, and plots to have his revenge and freedom, too.
similar to: Star Trek II: The Wrath of Khan, "Latent Image," "Flesh & Blood, Parts I & II" (Voyager)
my thoughts: This unexpected follow-up to the second season episode "Elementary, Dear Data," in which Geordi and Dr. Pulaski inadvertently created the sentient Professor Moriarty hologram to compete with Data, is arguably one of the finest hidden gems of the franchise. Where fans will be familiar with the name Khan and to a lesser extent Harry Mudd, the twice-appearing Moriarty, while on the surface seeming to be a less distinctive creation for having been based, at least originally, on the famous Sherlock Holmes villain, may in fact prove to be among the most sophisticated antagonists ever to appear in Star Trek.
After all, when one think of Next Generation, it's as the most sophisticated series in the franchise, right? Fans typically think of the series' answer to Wrath of Khan as either Star Trek: First Contact or Star Trek Nemesis, and sometimes find it easy to dismiss one or the other for that very reason. Yet, "Ship in a Bottle" is the Next Generation version of Khan. It's just that simple. Foe you thought you'd dealt with returns. Where I've always found Khan's intellect lacking, the same can't be said of Moriarty's. This was a character literally created to be brilliant, and so the writers are forced to produce something brilliant for him.
Which is to revisit, once again, the idea of artificial intelligence. Putting aside Data, who was the usual recipient of such explorations in this series, it's worth noting that there's another Star Trek regular who spent a good deal of time getting examined in this way. By far the most nuanced such occasion for Voyager's holographic Doctor was "Latent Image." It's ironic to note that the Doctor eventually gained the very autonomy Moriarty craved, and that it still didn't mean a happy ending for him (all the way to "Author, Author," we find him struggling still).
Also from Voyager is the two-part "Flesh and Blood," which similarly examined what actually happened to what seemed like a clever solution, from the earlier two-part "Killing Game," in which the crew gives the Hirogen holographic, rather than organic, prey, in hopes of reducing their bloodthirst. While "Flesh and Blood" isn't the achievement of "Ship in a Bottle," it's a reminder that things don't always work out as smoothly as you'd think.
Even "Ship" ends ambiguously, when you think about it. "Elementary, Dear Data" ended the Moriarty question with the proposal that the crew would further examine his plight, in much the way "Space Seed" in the original series saw Kirk leave Khan behind on a planet of his own. Moriarty returns and reveals that he has experienced every excruciating moment of the interminable wait. Did the crew purposely forget about him? And what of the conclusion of "Ship," where they trick him into a simulation?
One imagines that he eventually figures it out. Would this have been something worth actually seeing? But one equally must assume this, all things considered, reflectful Moriarty wouldn't repeat the mistakes of Khan before him. Essentially, "Ship" concludes his story in the original mold of "Space Seed," with Moriarty in exile, but an exile he can be happy with.
This is what happens when Star Trek doesn't rush to judgment for the sake of making the good guy look good. If the good guy is good, then it isn't necessary. If the bad guy isn't bad, then once again, it isn't necessary. "Ship in a Bottle" is exactly that, a ship in a bottle, the message of Next Generation, where a Klingon serves in Starfleet for the first time, in a nutshell. That makes it a classic. It's the franchise's most concise explanation of what constitutes existence, without making too fine a point on it.
Philosophical, cerebral, intelligent: that's everything you want from this crew.
criteria analysis: franchise - series - character - essential (all criteria met)
notable guest-stars:
Daniel Davis (Moriarty)
Dwight Schultz (Barclay)
the story: The holographic Professor Moriarty is inadvertently reawakened, and plots to have his revenge and freedom, too.
similar to: Star Trek II: The Wrath of Khan, "Latent Image," "Flesh & Blood, Parts I & II" (Voyager)
my thoughts: This unexpected follow-up to the second season episode "Elementary, Dear Data," in which Geordi and Dr. Pulaski inadvertently created the sentient Professor Moriarty hologram to compete with Data, is arguably one of the finest hidden gems of the franchise. Where fans will be familiar with the name Khan and to a lesser extent Harry Mudd, the twice-appearing Moriarty, while on the surface seeming to be a less distinctive creation for having been based, at least originally, on the famous Sherlock Holmes villain, may in fact prove to be among the most sophisticated antagonists ever to appear in Star Trek.
After all, when one think of Next Generation, it's as the most sophisticated series in the franchise, right? Fans typically think of the series' answer to Wrath of Khan as either Star Trek: First Contact or Star Trek Nemesis, and sometimes find it easy to dismiss one or the other for that very reason. Yet, "Ship in a Bottle" is the Next Generation version of Khan. It's just that simple. Foe you thought you'd dealt with returns. Where I've always found Khan's intellect lacking, the same can't be said of Moriarty's. This was a character literally created to be brilliant, and so the writers are forced to produce something brilliant for him.
Which is to revisit, once again, the idea of artificial intelligence. Putting aside Data, who was the usual recipient of such explorations in this series, it's worth noting that there's another Star Trek regular who spent a good deal of time getting examined in this way. By far the most nuanced such occasion for Voyager's holographic Doctor was "Latent Image." It's ironic to note that the Doctor eventually gained the very autonomy Moriarty craved, and that it still didn't mean a happy ending for him (all the way to "Author, Author," we find him struggling still).
Also from Voyager is the two-part "Flesh and Blood," which similarly examined what actually happened to what seemed like a clever solution, from the earlier two-part "Killing Game," in which the crew gives the Hirogen holographic, rather than organic, prey, in hopes of reducing their bloodthirst. While "Flesh and Blood" isn't the achievement of "Ship in a Bottle," it's a reminder that things don't always work out as smoothly as you'd think.
Even "Ship" ends ambiguously, when you think about it. "Elementary, Dear Data" ended the Moriarty question with the proposal that the crew would further examine his plight, in much the way "Space Seed" in the original series saw Kirk leave Khan behind on a planet of his own. Moriarty returns and reveals that he has experienced every excruciating moment of the interminable wait. Did the crew purposely forget about him? And what of the conclusion of "Ship," where they trick him into a simulation?
One imagines that he eventually figures it out. Would this have been something worth actually seeing? But one equally must assume this, all things considered, reflectful Moriarty wouldn't repeat the mistakes of Khan before him. Essentially, "Ship" concludes his story in the original mold of "Space Seed," with Moriarty in exile, but an exile he can be happy with.
This is what happens when Star Trek doesn't rush to judgment for the sake of making the good guy look good. If the good guy is good, then it isn't necessary. If the bad guy isn't bad, then once again, it isn't necessary. "Ship in a Bottle" is exactly that, a ship in a bottle, the message of Next Generation, where a Klingon serves in Starfleet for the first time, in a nutshell. That makes it a classic. It's the franchise's most concise explanation of what constitutes existence, without making too fine a point on it.
Philosophical, cerebral, intelligent: that's everything you want from this crew.
criteria analysis: franchise - series - character - essential (all criteria met)
notable guest-stars:
Daniel Davis (Moriarty)
Dwight Schultz (Barclay)
Tuesday, June 21, 2016
The Next Generation 6x11 "Chain of Command, Part 2"
rating: ****
the story: Picard is tortured for information by a sadistic Cardassian.
similar to: "Balance of Terror" (original series), "The Die is Cast" (Deep Space Nine), "Kir'Shara" (Enterprise)
my thoughts: Well, ask any fan, and they'll tell you all about how this episode is a classic. David Warner, a repeated guest presence in the franchise, is in his finest role as the Cardassian torturer Gul Madred, who matches wits with Picard in a way no other character could. In its own way, "Chain of Command, Part 2" is Next Generation's version of the Kirk/Khan showdown from Star Trek II: The Wrath of Khan.
I'll put it another way: "There are four lights!" Those are Picard's defiant final words to Madred, uttered in a hoarse voice, which he later retracts, actually, in a humbling conversation with Troi, admitting he was on the verge of breaking. Like Data shooting at Kivas Fajo in "The Most Toys," it's the moment fans have to keep in mind when they struggle to reconcile the Picard of Star Trek: First Contact with the more composed Picard to be found virtually in every other adventure. This is a man of deep passion and conviction, who under ordinary circumstances ("Sarek" is another example) is in scrupulous control of himself. That's what this episode is all about, seeing how far that really goes. It's the ultimate test of the character. At times he's recklessly defiant (goading Madred about allowing his daughter to see him at work), and at others, almost mocking (jabbing Madred about the helpless little boy the Cardassian once was), but make no mistake, this is Picard stretched to capacity. It's absolutely riveting, of course.
The whole thing is a game of chess, including Captain Jellico's second go in command of the Enterprise, as Next Generation produces its ultimate Cardassian episode, paving the way for the brilliant Deep Space Nine material that would follow. In a way, it's the "Balance of Terror" of the series, in the way the Romulans proved to be nuanced adversaries in the original series, Madred's torture inadvertently giving Picard, and the audience, a glimpse into Cardassian culture, which turns out to be more rich than we'd seen from any other Star Trek alien species.
It'd be wrong to assume this experience couldn't be duplicated, in some ways just as brilliantly, because Garak torturing Odo ("The Die is Cast," Deep Space Nine) and Shran torturing Soval ("Kir'Shara," Enterprise) are equally impactful moments in franchise lore, if less well-known. It's just, when you give Patrick Stewart a chance to shine, it's hard to be as memorable. Everyone expects Stewart to be brilliant, but he has so few moments where he really has material he can sink his teeth into. If nothing else, "Chain of Command, Part 2" is one such moment.
I think that's easy to agree with.
criteria analysis: franchise - series - character - essential (all criteria met)
notable guest-stars:
Ronny Cox (Jellico)
David Warner (Gul Madred)
the story: Picard is tortured for information by a sadistic Cardassian.
similar to: "Balance of Terror" (original series), "The Die is Cast" (Deep Space Nine), "Kir'Shara" (Enterprise)
my thoughts: Well, ask any fan, and they'll tell you all about how this episode is a classic. David Warner, a repeated guest presence in the franchise, is in his finest role as the Cardassian torturer Gul Madred, who matches wits with Picard in a way no other character could. In its own way, "Chain of Command, Part 2" is Next Generation's version of the Kirk/Khan showdown from Star Trek II: The Wrath of Khan.
I'll put it another way: "There are four lights!" Those are Picard's defiant final words to Madred, uttered in a hoarse voice, which he later retracts, actually, in a humbling conversation with Troi, admitting he was on the verge of breaking. Like Data shooting at Kivas Fajo in "The Most Toys," it's the moment fans have to keep in mind when they struggle to reconcile the Picard of Star Trek: First Contact with the more composed Picard to be found virtually in every other adventure. This is a man of deep passion and conviction, who under ordinary circumstances ("Sarek" is another example) is in scrupulous control of himself. That's what this episode is all about, seeing how far that really goes. It's the ultimate test of the character. At times he's recklessly defiant (goading Madred about allowing his daughter to see him at work), and at others, almost mocking (jabbing Madred about the helpless little boy the Cardassian once was), but make no mistake, this is Picard stretched to capacity. It's absolutely riveting, of course.
The whole thing is a game of chess, including Captain Jellico's second go in command of the Enterprise, as Next Generation produces its ultimate Cardassian episode, paving the way for the brilliant Deep Space Nine material that would follow. In a way, it's the "Balance of Terror" of the series, in the way the Romulans proved to be nuanced adversaries in the original series, Madred's torture inadvertently giving Picard, and the audience, a glimpse into Cardassian culture, which turns out to be more rich than we'd seen from any other Star Trek alien species.
It'd be wrong to assume this experience couldn't be duplicated, in some ways just as brilliantly, because Garak torturing Odo ("The Die is Cast," Deep Space Nine) and Shran torturing Soval ("Kir'Shara," Enterprise) are equally impactful moments in franchise lore, if less well-known. It's just, when you give Patrick Stewart a chance to shine, it's hard to be as memorable. Everyone expects Stewart to be brilliant, but he has so few moments where he really has material he can sink his teeth into. If nothing else, "Chain of Command, Part 2" is one such moment.
I think that's easy to agree with.
criteria analysis: franchise - series - character - essential (all criteria met)
notable guest-stars:
Ronny Cox (Jellico)
David Warner (Gul Madred)
Monday, June 20, 2016
Death of Anton Yelchin
The death of Anton Yelchin, who portrayed Chekov in Star Trek, Star Trek Into Darkness, and the forthcoming Star Trek Beyond, came as shocking news to fans, following a car accident on Sunday. As part of the reboot generation, Yelchin embodied the boy genius Chekov with considerable charisma while maintaining a separate starring role career, in which he was featured in such films as Alpha Dog, Charlie Bartlett, Terminator: Salvation, and Fright Night. Regardless of where the Star Trek film franchise goes from here, Yelchin will be missed considerably. He was 27.
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