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- Sun, Aug 30, 2015, 10:30pm (USA Central)
-A good plot, but imperfectly executed. I would agree that it gets overwrought at times, and the scene at the beginning (explaining Trills to all the viewers at home who are only tuning in to see one of the first lesbian kisses) drags on. In fact, many of the scenes seem to drag on a bit too long; this could have used a short "B story" to let them sharpen some of those scenes in editing.
-You can tell Lenara will be gone at the end of the episode (the relationship was moving way too fast to be anything but a one-episode romance), which removes some of the drama. We all know the 2 characters will end apart; we're just wondering how they will end apart. It would have been better if Lenara had spent multiple episodes at DS9, with her relationship with Dax building up in the background until finally coming to a head with Lenara deciding she should leave the station.
-Nobody's mentioned Avery Brooks' direction; there are several choices with the camera that I thought were well chosen. I wonder if he got a bit more freedom than the "normal" directors.
-there certainly does seem to be good reasons for a taboo against "reassociations" for Trills, as others have discussed above. It might have been interesting to see this discussed more than it was in season 7.
I'd suppose I'd give the episode 2.5 stars.
- Sun, Aug 30, 2015, 9:20pm (USA Central)
For most Star Trek episodes with ambassadors, I would agree. But at the end of this episode, we find out the real ambassador was supposed to be on vacation, and the Tzenkethi coup that was the cause of their alleged mission never happened.
The impression those revelations give is that the changeling showed up at DS9 right after kidnapping the real ambassador, gave a mission, and nobody checked with Starfleet or the Federation, as they would have quickly found out something was wrong.
The alternative, of course, was that the Changeling had spent some time at Starfleet or the higher levels of the Federation bureaucracy, impersonating multiple people to fake intelligence about a coup and set up the mission. But 1) that doesn't seem to be how the writers were presenting it and 2) that would have immediately sent up alarm bells at DS9 and in Starfleet, because they would have started searching for what else the changeling could have done while there. They would have no reason to believe the only thing the changeling did while at the Federation and/or Starfleet was set up this mission. Our DS9 characters certainly don't seem specifically concerned about this possibility.
- Sun, Aug 30, 2015, 8:13pm (USA Central)
I think this episode would have made a great two-parter WITHOUT GUINAN.
I'm probably one of the few Trekkies who never liked Guinan. But this episode would have been decidedly better without her.
Picard is already speculating that a Federation starship being destroyed in the defense of a Klingon outpost could have prevented the war BEFORE the second confrontation with Guinan. And Data is making that observation as well in the briefing.
What Guinan effectively does it not so much advance the story by telling Picard something is wrong, rather she is ultimately giving him the moral cover he needs to make the decision to send the Enterprise-C back.
I would have loved a more pacing revelation of things. While they're getting the Enterprise-C ready for battle in the 24th Century -- which is futile, they already mention that if the Enterprise-D went back to the battle with 4 Romulan warbirds they'd have no chance against her weapons - so how is the Enterprise-C doing to make a dent into a modern Klingon warship?! -- they begin to discuss the possibility that escaping the battle caused an alternate history.
Picard and Captain Garret will then have to make a truly brave decision to go back - not because some supernatural bartender tells them it's the right thing to do, but because logic dictates it. And logic is a cold mistress.
- Sun, Aug 30, 2015, 6:26pm (USA Central)
I like "Second Skin." I love the set design in Kira's Cardassian quarters, and the way the music score is allowed to carry certain scenes, like Kira staring at herself in the mirror, searchingly. I like Visitor's performance, and also agree with Garak that she looks ravishing. I think the episode effectively gets across how shocking and painful it is to have the foundations of one's reality questioned, especially with an idea as shocking as that one is one's own enemy.
I like "Second Skin." This episode demonstrates some of Kira's better qualities and continues her development. I like that she is snarky and funny when interrogated, and that she quickly unravels Entek's plot once she has the missing piece of the puzzle (Ghemour's dissidence). That Kira hates the idea of herself as a Cardassian does not make her unable to perceive the genuine love that Ghemour has for Iliana. While it takes some time for her to see Ghemour as genuine, that revelation is not treated with the fireworks that we had in "Duet"; an honourable Cardassian is not a surprise for her anymore, it's just that it took some time for her to recognize that her apparent kidnapper was as duped as her. Kira's willingness to accept the role of Iliana substitute as put upon her by Ghemour shows her recognition that Cardassian ties mean as much as her own family ties.
I like "Second Skin." Garak returns for some witty bons mots; an early scene has him telling Bashir how desperately he wants to travel, and he gets to do some traveling later in this episode. He gets the best lines, as ever, and he gets to play the hero role in rescuing Kira. The development of Cardassian culture continues and I like that we have three distinct factions that are clearly delineated -- Central Command, Obsidian Order, Dissident Movement.
I don't love "Second Skin." When I start trying to write about the episode more deeply, I keep coming up to reasons that the episode falls short for me. There are numerous impressive things about Kira and Visitor here, but I feel like there is something missing in her arc. The pile-on of evidence that Entek provides, some of which is never explained (how *did* they find out about that mother animal she killed?), makes Kira question herself but does not totally undo her, which is fine but does mean we don't get the same sense of Kira losing her grip on reality and fighting back for it as we do in something like "Frame of Mind" (which others have noted). Kira does figure out Entek's plan at the last minute, but she is rescued by others, which means that she is largely passive as far as the episode's plot is concerned. More importantly, the horror of becoming a Cardassian is somewhat well explored, but the natural place to go with this is to examine how it would be possible for Kira's essential self to be a Cardassian? Kira watches Iliana's video, and the big, central question should be: Iliana seems like a person of conscience, an idealist like Kira -- how could she view the Bajoran resistance as a terrorist threat that must be quelled? And could that have been Kira, in some other life? The interesting question is not whether Kira was Iliana -- which is something of a foregone conclusion -- but whether she could have been her, and what that means for Kira's foundational worldview, not to mention the Cardassians that she killed. It is not that Iliana, the real Iliana, was *right* in believing that the Order infiltrating the Resistance would be a good thing -- I'm on board with the Occupation being wrong and the Resistance being ultimately a worthwhile pursuit, though I disagree with some means they used. But Iliana clearly believed in what she was doing, and was also enough like Kira in personality for the deception to take effect on Ghemour. Kira has the opportunity to see things from the Cardassian perspective, and we don't really learn much about how that affects her view, or whether she lets it at all. It is maybe bad form to criticize an episode for what it wasn't rather than for what it was, but the episode keeps almost going there and holding back. Kira can care about Cardassians who were too afraid to fight for what is right (Marritza) and who are secret dissidents (Ghemour); what of the young idealists, roped into an evil machine (Iliana, her double)?
While Garak is amusing, the show is sometimes verging on giving him too many superpowers. The scene where he talks down a Cardassian Gul is very similar to the Dukat scene with the freighter in "The Maquis," and is nearly as entertaining, but having Garak hold such influence at all times makes him seem much more invincible than I think is desired. Going to Cardassia, trashing an Obsidian Order operation and shooting an operative should probably have consequences, non? And we do get something like it, in "Improbable Cause," but Tain's reasons there have little to do with Garak's actions here, so that he's somewhat rendered a person who can just Do Anything (a problem in "Profit and Loss" as well). As for Sisko's blackmailing Garak only a few episodes after he blackmailed Quark, well, I guess they are consistent in their characterization.... In general, that the Defiant can be taken to Cardassia undetected *without* the cloak on is also rather much.
Probably 3 stars.
- Sun, Aug 30, 2015, 5:32pm (USA Central)
Where No Man Has Gone Before
Difficult for me to expand significantly on any of the excellent comments, particularly those of Paul's and William's. I enjoyed William's isolation of "compassion" as the significant quality that became inversely proportional to the growth of Gary Mitchell's god-like persona.
The only aspect I would add is to give an enthusiastic nod to the direction of Gary and Elizabeth as portraying their evolving characters with a pronounced physical stiffness. Such is often the case in real psychological armor (review historical records of totalitarian dictators or any extremist today, Left or Right). It's often most prevalent in their "frozen" faces. I didn't know about this as a boy in the 1960's, of course, but I do now, having studied these phenomena in depth. When Gary briefly transforms back to human in the holding cell on the planet, his softness returns and he utters, "Jim," before losing the empathy and compassion of his humanity again, in effect, re-armoring. A similar scene can be studied in Spielberg's "Schindler's List" when Amon Goeth has pardoned a few prisoners, then looks in his bedroom mirror and says to himself, "I pardon you." The outstanding acting by Fiennes shows clearly the armor returning and, a few seconds later, he goes to his balcony and shoots a prisoner dead.
The portrayal was also perfect in hooking into the kinesiology of another well-known monster: Frankenstein's. I mean, c'mon, they can create beautiful gardens out of nothing, destroy force fields, move cups of water, strangle unsuspecting Kelso's with a cable, and on and on... but they can't lubricate their knee joints? So yeah, while I thought it was just creepy as a boy, I find this peculiarity brilliant today.
- Sun, Aug 30, 2015, 1:45pm (USA Central)
These Are the Voyages...
I agree with Jammer's review and two stars. I felt the episode was well-intentioned but with some obvious missteps and off-notes. I loved the recreated TNG sets (my favorite Trek by far), and the last 30 seconds brought a tear to my eye.
But Trip's death was utterly ridiculous. It felt so off and rushed, like let's just tape this and get it done. How the aliens got on board? Where was security? It was absurd. Too much Riker playing chef. No character development for the Ent principals in 6 years. It could have been much better with a few more rewrites and plot tightening.
I also think it would have been better received as a regular season episode with Riker and Troi commenting on history through the holodeck (minus Trip's death). That would have been a real love letter to the fans, and allowed Ent to have a more rewarding finale.
In any case, 10 years later and still not Trek series... just a rather poor alternative universe film reboot. I hope the 50th anniversary next year persuades the suits at CBS to do a new Trek TV series that continues in the prime universe.
- Sun, Aug 30, 2015, 12:48pm (USA Central)
Time's Arrow, Part I
Well, that certainly was no "The Best of Both Worlds" or "Redemption." For an episode that deals with Data's possible death, time travel, soul-consuming aliens from the future, a look into Picard and Guinan's backstory and Mark Twain and is a season ending cliffhanger, there's a rather surprising lack of energy and excitement to "Time's Arrow, Part I."
Let me just say that I don't mind time travel stories in Trek. I don't even mind holodeck malfunction stories. So, I'm not going to hold that against the episode. In fact, most times when people start complaining about the overuse of time travel and/or the holodeck, it seems (to me anyway) to be nothing more than whining. Time travel isn't the problem here. Jammer said it better than I could with this - "'Time's Arrow, Part I' is all setup and absolutely no payoff."
Really, what else is there to say about it? It isn't bad, but it isn't good either. It's just another episode like "Hero Worship" and "Imaginary Friend" - mind-numbingly average, average, average. It really does seem like this was a one-part episode that was stretched almost beyond the breaking point to become a two-parter. Nothing really amounts to anything. I suppose I could point out how ridiculous the crew's reaction to Data's severed head was. Why are they so off-put by Data's matter-of-factness about the whole situation? He's an android people; you know he doesn't have emotions! Thankfully those scenes don't last long. I suppose I could point out how enjoyable Picard's statement of "Then I'll be irrational!" was. But when that truly brief moment is the highlight of the episode - well, you see the problem. Even the alien antagonists come across as fairly uninteresting, though the episode seemed hell-bent on making me think they were terrifying. The problem here (once again, just like with "Hero Worship" and "Imaginary Friend") is that I'm nitpicking. And that should probably be a major hint as to the score I'm going to give the episode.
As for the Twain character - well, a lot of people appear to either love him or hate him. For me, he was just like everything else in "Time's Arrow, Part I." I didn't think he was particularly bad (Twain was a rather larger-than-life guy in real life after all). But, I didn't think he was particularly good either. Nothing about the performance or the character himself made me hope to see more of him in Part II. In the end, he was probably an unnecessary addition to the story that really added nothing either way and could have been cut without, therefore, losing anything either way. Just another average piece in an average puzzle.
I feel kind of bad not having anything else to say about a season finale, but there it is.
Time for some more post-season number crunching....
"THE NEXT GENERATION" SEASON FIVE
7 - Redemption, Part II
8 - Darmok
7 - Ensign Ro
6 - Silicon Avatar
5 - Disaster
4 - The Game
6 - Unification, Part I
7 - Unification, Part II
3 - A Matter of Time
7 - New Ground
5 - Hero Worship
3 - Violations
1 - The Masterpiece Society
3 - Conundrum
4 - Power Play
8 - Ethics
5 - The Outcast
6 - Cause and Effect
8 - The First Duty
7 - Cost of Living
6 - The Perfect Mate
5 - Imaginary Friend
9 - I, Borg
8 - The Next Phase
6 - The Inner Light
5 - Time's Arrow, Part I
Average Season Score: 5.731
Average Series Score: 4.936
Final TOS Average Score: 5.150
Best Episode: I, Borg
Worst Episode: The Masterpiece Society
This season was something of a mixed bag. It's the first season since the abysmal depths of Season One to not give us any 10 out of 10 episodes. In fact, it only managed to deliver one classic episode (which I consider to be episodes with scores of 9 or 10) - "I, Borg." But, it's also the very first season of TNG (and the first since TOS Season Two) to not give us any 0 out of 10 episodes either. While it's a slight step down in overall quality from the previous season, that's not by much - Season Four had a score of 5.885 and Season Five gets a score of 5.731 - and it still managed to exactly tie (with 149 total points out of 260) the single best season of TOS (Season Two).
TNG is slowly but surely crawling its way out of the basement it dug for itself in its first two years and is slowly closing in on TOS's final average score.
I've seen a lot of people saying that TNG was really past its prime after Season Four. Well, that might be the case. I doubt Seasons Six and Seven will be able to match Season Four's high score. But, if this is TNG past its prime, I'll gladly take it. Because it is still damn fine entertainment overall.
- Sun, Aug 30, 2015, 12:26pm (USA Central)
I agree with this being a lame episode. The two things that drove me nuts were..Janeway is so incredibly smart so why the hell didn't she immediately suspect that the comatose crew were dangerous and do something about that. For that matter Tuvok would have had them under high security (despite being brainwashed). How stupid!?
Also, would have been a small consolation for giving us a shitty episode if at the end when they were watching the 3D flick, we got to see them all jump back in their seats from the attack of the lobster!!! Right?
- Sun, Aug 30, 2015, 9:05am (USA Central)
Helo: "She [Athena] won't betray us. She says she can resist [Cylons torturing her to extract intel]; she wouldn't let it happen. She'll get Hera and she'll come back."
Roslin:"That's quite a leap of faith you've made there, Captain. And if it involved your family only, I'd say t was brave. But you've put the entire Fleet in jeopardy. Are you aware of that?"
My irony meter just blew up. Is that the same Roslin who nary but a few episodes ago usurped the Fleet's scarce and sorely-needed resources at a crucial time to pursue some cockamamie facocta religious hallucination of hers?
Can this creature GET any more "antipatica"?!?
- Sun, Aug 30, 2015, 6:55am (USA Central)
The notion of a vapiric muses is not new. See the Celtic Leanan Sidhe for example.
- Sun, Aug 30, 2015, 6:47am (USA Central)
This is, by far, one of the best episodes of Enterprise.
It is also, by far, one of the best Borg episodes. The Borg here are even more terrifying than in Q Who and as frightening as in First Contact.
This episode says a lot about the Trek fandom. Those who like Enterprise will see this as one if the cleverest, most intimidating episodes ever, easily on a par with DS9's finest hours. It provides a clever tie-in to TNG.
Those who don't like Enterprise will whine about a broken timeline, ignoring the fact that the Borg timeline is already a total mess (7 of 9's parents were evidently looking for them before Picard encountered them) - the Federation was clearly aware of the Borg before TNG started.
The only issues - and I mean the ONLY issues - I've got with Regeneration are that Reed manages to batter his way through the Borg ship's crew without too much trouble and Phlox irradiating himself shows there's a cure for assimilation that nobody else in the galaxy will think of 200 years later.
The music, action, writing and directing are utterly first class. The music is beyond the atonal shash Berman decreed Trek episodes must use (just one of the many ways he prevented Trek from being truly competitive against cooler, more modern Sci fi in terms of popular appeal.
Only the extras who appear at the beginning are wooden and lifeless. Again, this is Berman's ridiculous decree that no humans must ever show emotion -- because showing emotion might give Trek a wider appeal and make its human characters more interesting and more relevant to modern audiences.
- Sun, Aug 30, 2015, 6:19am (USA Central)
Awful. Reminds me of an extremely bad Season One Next Gen episode.
- Sun, Aug 30, 2015, 4:35am (USA Central)
Cause and Effect
WyldRykers, during the meeting, they weren't 100% sure that Data was the cause of all of the 3's. All they knew was there were a bunch of unexplained 3's, and that there was some modulation in Data's subprocessors. They did guess that the number 3 was a message from themselves, but they didn't know how the message was actually received from the previous loop.
Separate question: In this episode, the Enterprise explodes 4 times - teaser, act 1, 2, 4. At the end of act 2, the explosion is different than the other 3 explosions. In the other 3 explosions, the Enterprise turns and then explodes. But in act 2, the Enterprise flies straight forward into the explosion. Anyone know why that explosion is different?
- Sun, Aug 30, 2015, 1:05am (USA Central)
Second Season Recap
Why did I watch the Season Four of Andromeda, you may ask?
Because of the sunk-cost fallacy, mostly. Given the time I’ve spent on this show, I may as well finish it (I tell myself). I am still mildly invested in seeing in where all of this is going, even if my instincts have been telling me to jump ship for quite some time.
Because no matter how deeply I search, almost no critical feedback whatsoever exists about Seasons 3-5 of Andromeda, and I’d like to at least collect some comprehensive thoughts for anybody considering continuing to watch after Season 2.
It took me almost a year to do this, because it’s rare that I’m in the mood to watch something that is almost guaranteed to be bad. Occasionally, late at night, I’d be half-drunk and/or unable to go to sleep, and I’d think to myself “How about I watch another of those Andromeda episodes?” And here are the results.
Season 4 felt like the product of a lot more effort than Season 3, but it was worse. Season 3 gave up on continuity, whereas Season 4 was driven by several season-long arcs. The problem was that the execution, no doubt the result of rushed shooting schedules and budgetary limitations, prevented any of these stories from developing into anything meaningful or impactful. Season 4 felt like what it probably is: the product of a bunch of overworked, underpaid employees glad to have a job, even if that job is to churn out enough inevitably bad episodes for the show to reach syndication. The fact that the writers even tried to tell (somewhat) complicated stories in this context is admirable. But, as with Season 3, the episode-by-episode quality is so low that criticizing it just feels like picking on a mentally handicapped person. Watching the late seasons of Andromeda makes me value good shows far more than I did before, and it helps me understand why so many people enjoyed making fun of the awful later seasons of a high-budgeted show like Dexter that at least could have (or should have) been good. With the studio pressures and budgetary limitations facing the Andromeda crew, there’s just no way this season could have been decent. At least that’s what I’d like to think.
Still, there were some positive qualities. Although his character (like all others) stopped developing long ago, Gordon Michael Woolvett at least brings a lot of energy and commitment to his performances. When Harper is on-screen, I can at least feel like I’m watching an actual character in the actual Andromeda universe. There were a couple decent episodes (described below) and a general sense of dread brought about by the approaching Magog threat. I also found myself laughing a lot at the unintentionally hilarious dialogue, which is a good quality at least in some sense.
But the episodes continue to be overwhelmingly Dylan-centric, and Sorbo’s acting is barely passable. He seems bored with the material, with only the finale bringing out a multifaceted performance. The rest of the cast (aside from Woolvett) isn’t much better. The guy playing Rhade (who joins the main cast, as the genetic reincarnation from Season 2’s “Home Fires”), in particular, seems to have a difficult time delivering his lines and ends up being a very poor replacement for Tyr. Beka and Rommie get to be the focus of one episode each, but outside of that they continue to be annoying and underdeveloped, usually acting as a interchangeable cyphers. Trance says her usual pseudo-profound lines but never gets to do anything important until the finale. Dylan saves the day and flirts with the attractive young female guest star of the week. The villains within the New Commonwealth, the Collectors, are united mostly by their bad acting. None of the characters show any consistent growth or development.
The episodes lean excessively on unnecessary flashbacks, which usually are only tangentially to what’s occurring on-screen. Reaction shots often don’t quite match the actions preceding them. The same musical cues occur again and again. The evil-looking characters who are nice at the beginning of the episode end up as the antagonist. Something like three episodes in a row feature a character’s voice dropping several octaves as soon as they are revealed as villains. And so on.
I know that the later seasons of this show actually have fans, but I don’t know why. Is there a point in my continuing to review a show that so long ago became unwatchable? You decide.
1. Abridging the Devil's Divide
By far the best episode of the season, despite opening with the entire show’s worst line of dialogue (“Insulting a Nietzschean is unhealthy for a human’s health,” mumbled by Rhade). Michael Ironside (reprising his role from last season as a resurrected Old Commonwealth general) is a terrific villain. He breathes life into material that could have easily come across as stock and stale. The story has a proper sense of mystery, buildup and slow reveal, leading to a devilishly morbid plot twist at the end. Harper betrays Dylan to support in the name of scientific discovery, which is about the most interesting character moment all season. A lot of the action is burdened by typically atrocious editing and derring-do dialogue, but some of it’s actually entertaining and effective. About as good as a standalone episode of post-Wolfe Andromeda is capable of being. (8/10)
2. The Dissonant Interval: Part Two
According to the review by SF Debris, this episode was conceived as a possible finale to the show. That’s kind of hilarious to think about, as it would just be a giant middle finger to all the fans and to Dylan Hunt’s entire journey. But that’s kind of fitting, too, considering what the show became. Visually, this episode is definitely impressive by late-Andromeda’s standards, and there’s a lot going on in terms of character and plot development, including the only genuinely interesting conversations all season about Dylan’s quest and the consequences it’s had for his crew. Still, it could have been a lot better, and there’s no more obnoxious way to end an already excessively Dylan-centric season on a Dylan-centric show than with Sorbo stumbling upon a godlike image of himself. I’ll call it “good”, though. (7/10)
3. Soon the Nearing Vortex
The first in a two-parter for which Keith Hamilton Cobb returned to conclude Tyr’s storyline. I admire that the writers went all-in with making Tyr a complete antagonist in this story instead of giving him a carny last-minute redemption. Everything he does feels true to his character, especially his scenes with Beka. The episode is a continuity goldmine, too, for anyone paying attention, with a story touching on Tarazed, Tyr himself, the Abyss, the Rhade clone from “Home Fires” and the Route of Ages. The mystical elements are campy and insufferable, though, burdening an otherwise solid character episode. (7/10)
4. The World Turns All Around Her
The conclusion to Tyr’s storyline, cleverly worked into the first real appearance of the Spirit of the Abyss in quite a while. The reveal that Beka is only a pawn in Tyr’s scheme is wonderfully in-character. The episode has some smart visual ideas, and there’s definitely something poetic about Tyr’s attempt to strike a bargain with the devil only to find that evil is uncompromising and uncontrollable. Still, the episode is poorly executed, with a crucial death scene never even addressed by the characters in its aftermath. And after all the buildup, the climax takes place in (drum role please)…the recurring cave set. In theory , the ideas here are quite strong, but in practice, the filmmaking is so clunky that I can’t fully recommend it - which is a generous way of describing Season 4 as a whole. (6/10)
An adventure episode filmed mostly outdoors, which made for a fun variation to the usual cramped soundstages/cave sets. Harper got a lot to do and the action is better directed and more entertaining than in a typical Andromeda episode, though still quite cheesy. (6/10)
6. The Dissonant Interval: Part One
There’s an actual story here, with ideas, themes and everything. The execution is lackluster, but there’s enough going on to make it stand out a bit. The storyline reminds me of “The Mission”. There’s a lot of untapped potential, but the concept at least presents an intriguing ethical dilemma (should Andromeda attempt to defend a colony of pacifists willing to die for their beliefs) with symbolic overtones. (6/10)
7. The Torment, the Release
The Collectors (New Commonwealth officials controlled by the Spirit of the Abyss) interrogate Dylan and accuse him of treason. It’s the entire season in a nutshell: an excessive use of flashbacks (are we supposed to believe that the Commonwealth officials have hidden cameras all over the place in a way that matches footage from older episodes?) mixed with noble attempts at building a long-term story off of old continuity that fall flat due to abysmal execution. I’ll give this a 5/10 for effort, but it’s honestly pretty bad. (5/10) Pulitzer-worthy the dialogue of the week:
Collector to Hunt: “Do you care to make an opening statement?” Hunt: “Yeah, I think you’re an idiot.”
Beka to Collector: “You’ve got to know about jokes. You are one.”
8. Machinery of the Mind
The New Commonwealth holds a conference about preparing for the Magog invasion, which provides plenty of opportunities to reuse footage from earlier episodes. Sharon/Number 8 from Battlestar Galactica shows up. Harper’s Magog eggs somehow made it through the most-Wolfe script simplification filter. Meanwhile, Dylan gets pushed towards evil by agents of the Collects by proposals as tantalizing as “We offer riches and power, Captain”. Shockingly, he turns them down. (4/10)
9. The Warmth of an Invisible Light
An alternate reality episode that needs a much higher budget to capture the scope of the universe where it takes place - instead, the episode plays like the regular cast trying out different power dynamics as part of an acting exercise than a legitimate look at another existence. Still, it’s fun seeing Woolvett as an evil genius and there’s some nice foreshadowing for the season finale when Trance offers to go supernova to sacrifice herself to save everyone else. Not good, but not bad for a Season 4 Andromeda episode. (4/10)
10. Double or Nothingness
Dylan is forced into an incredibly unconvincing virtual reality game run by two awful guest actors. Sorbo fights a clone of himself, which actually kind of results in him losing a fight for the first time in the show. Yawn. (4/10)
11. A Symmetry of Imperfection
The show delivers on the promise of an impending Magog invasion that’s been around since the first season finale, with an advance force arriving and facing off against the Andromeda. The action is all pretty forgettable, but the context is at least interesting. (4/10)
12. The Others
A bad TNG story pretty much on autopilot, as the Andromeda tries to reconcile two warring cultures. Dee from Battlestar Galactica plays the leader of one of the sides. (3/10)
13. Fear Burns Down to Ashes
Rev Bem returns with a changed costume style, which is in turn applied all the Magog. Having Rev Bem initially ambush Dylan provided some nice shock value, but the dialogue in their many scenes together was lacking. Some noble ideas here, but it’s too cheesy overall. (3/10)
14. Time Out of Mind
I honestly wasn’t able to focus on this episode. We get to see our lovely cast playing alternative versions of themselves, agents of the Abyss assassinate someone, and a brief nod to “Double or Nothingness” from earlier in the season that’s kind of clever. Still, it’s pretty dumb. (3/10)
15. Lost in a Space That Isn't There
Beka’s only lead episode, dealing with the aftereffects of the Abyss taking over her body earlier in the season. Tons of unnecessary flashbacks ensue, all leading up to a physical fight within Beka’s subconscious against Dylan. (2/10)
16. The Spider's Stratagem
Bad costumes. Rhade stumbles over his lines even more than usual. Dylan literally rescues a princess from a tower in a swashbuckling Rapunzel story. Yuck. (2/10)
17. Trusting the Gordian Maze
An entire episode of characters walking slowly so that they won’t run out of set. Powerful stuff. (2/10)
18. Answers Given to Questions Never Asked
The disappointing follow-up to the superb Season 3 cliffhanger. The first third of the episode, showing the cast debating how to address the destruction of most of the Commonwealth fleet in the previous finale, is fine. But it only takes 25 minutes into the PREMIERE episode for the recurring cave set to show up, where an endless and laughably ineptly filmed showdown takes place between Dylan and a cranky old guy. Like the Enterprise finale, it cuts away right before a crucial speech that would have actually been interesting to see. (2/10)
19. Pieces of Eight
Andromeda gets retro-fitted by “Citizen Eight”, who gives the most grating acting performance so far in the show. The special effects are terrible, although at least they’re unique to the episode. (1/10)
20. Conduit to Destiny
An Incredibly evil looking prison warden asks for the Andromeda’s help in containing a riot and catching a young attractive female escapee. You’ll never guess what happens next. What’s the only thing more fun than Andromeda kung fu fights? Kung fu fights in Andromeda’s cave set, of course. The line “I guess you could say that our work here is done.” is a actually said unironically in this episode’s conclusion. Dylan discovers that he is “The Conduit”, which I guess makes up the lack of a gratuitous Dylan sex/makeout scene this week. (1/10)
21. Exalted Reason, Resplendent Daughter
Yes, that’s the actual name of the episode. A creepy old guy asks Dylan for help catching a dangerous criminal who happens to be a young attractive woman blah blah. I can’t say any more, as I don’t want to spoil any of the twists and turns of this episode’s intricate and unpredictable mystery. (1/10)
22. Waking the Tyrant's Device
Everything you love about Andromeda, all wrapped into a single episode! I laughed more at this episode than any other. The villain pronounces “I am Kroton” and “With the help of the Magog, I will lead a revolt of androids and the Commonwealth will fall.” Dylan retorts “Not on my watch” before diving into the air and setting off several spark-squibs with his laser gun. Later, Kroton declares “I am not finished with you, Captain Hunt”, to which Dylan responds ““Well that’s too bad, cause I’m finished with you!” before making out with the young guest star of the week. Great stuff. This episode makes “Dance of the Mayflies” look masterful. (1/10)
I honestly have no idea if I’ll ever watch Season 5. I may just skim through it and give general impressions.
- Sat, Aug 29, 2015, 11:31pm (USA Central)
Tinker Tenor Doctor Spy
This episode was fantastic! Brilliantly written, acted, and directed, to as Jammer said give us a rare comedic gem you don't often find in the Star Trek universe. That wink that Seven gives Doc had me busting a gut, it was so subtle yet so damn funny since it's out of character for Seven. Love how at the end she kisses him on the cheek that qualifies it by saying "that was strictly platonic"... Great stuff, a 4-star episode for me.
- Sat, Aug 29, 2015, 7:47pm (USA Central)
The Inner Light
Ah, okay, I just realized one flaw in my first paragraph -- the family (sans Eline and Batai Sr.) were going to "the launching" excitedly and so presumably knew what was being launched. So, okay, that part of my argument is not so solid -- Kamin's family, within the probe's simulated universe, presumably approved of the probe. But the way in which Kamin's family are "good people" is personal, local -- rather than on a larger scale of the Kataan civilization. I think the episode encourages a rosy picture of Kamin's-family-as-community rather than Kataanians-as-probe-makers, is my point.
- Sat, Aug 29, 2015, 7:40pm (USA Central)
The Inner Light
I'm not so sure that we are expected to think the Kataanian probe-makers are unquestionably good guys. Despite Eline being the voice of the probe's purpose at the end of the simulation, Eline, Meribor, Batai etc. seemingly had no involvement in the probe's construction, and so the parts of Kataan that Picard-as-Kamin comes to love are not necessarily the same part of the civilization that decided on the probe itself. The guy who says that they do have a plan is the commissioner fellow that Kamin has a somewhat chilly, distant relationship with. The Enterprise crew spend their whole time trying to stop what the probe is doing and just disagree on how. Riker gives Picard information at the end, but does not comment on it. Picard is *not* objective, but even he does not state that he approves of the probe. Picard-as-Kamin states that he understands, Eline et al. explain the probe's purpose, and that ends. There is no dialogue where Riker states that he now understands of the probe's purpose and that he approves of it, and is sorry for having tried to stop it. There is no dialogue where Picard explains to Riker the probe's meaning and its importance and why that justifies what it did to him. The crew's suspicion of the probe is never repudiated by their changing their behaviour, and Picard makes no steps to comment on it to the crew on screen. TNG's talkiness is sometimes overstated, but most episodes end with some sort of debrief where the position of the episode's protagonist and perhaps opposing opinions are reiterated. It is not that I think that the episode is presenting arguments *against* the Kataan probe. There are ways the episode argues in favour of it indirectly -- by having Picard-as-Kamin insist on the need for some way to save the civilization, for example, and of course by the fact that Picard *does* feel an attachment to Kataan and Ressik via the flute. But I don't take his emotional reaction purely as *approval* or as some statement on the goodness of the probe manufacturers.
Rather, I think Picard is humbled, dazed and moved by what has happened to him and has not the emotional context to evaluate the actions of a whole civilization which was dying -- nor does he feel the need to. Maybe that would come eventually, and I have no doubt that Picard has had something happen to him that is bigger than his ability to handle -- which means that the Stockholm Syndrome experience of loving his tormentors is a possible interpretation. But this strikes me as a particularly non-didactic episode of this show. This is how a planet responds to its destruction; this is what happens to Picard; this is how he feels. Responses to this obviously vary. The episode may manipulate in terms of getting the audience to *feel* what Picard feels, but that is distinct from a moral approval of the planet's last message into the darkness, which is left almost entirely unexamined, neither approved nor condemned but simply let to be as an imaginative experiment. Whether the lack of debate over the justness of what the Kataan probe does is a serious flaw in this episode or the result of this episode's focus being understandably elsewhere is a point about which people can disagree, though I am pretty firmly in the camp that the episode's focus being elsewhere is very much justified.
- Sat, Aug 29, 2015, 3:49pm (USA Central)
The Man Trap
"He's dead, Jim."
Classic line, first reel before the first commercial of the first episode. Other than that... :-D
- Sat, Aug 29, 2015, 2:29pm (USA Central)
The Inner Light
Good point. I'll admit that I forgot about those people who die in "Q Who?". Given the choice between death and a lifetime forced on you, I'd gladly chose the lifetime of experience. Still, Q wasn't directly responsible for those deaths. Indirectly, he was absolutely responsible. But he, himself, didn't pull the trigger, so to speak; the Borg did. All he did was set the stage. To hold him accountable, we'd also have to hold Picard accountable since he also helped set the stage by refusing to follow Guinan's advice of "get out of Dodge as quickly as possible." In fact, to be honest, we don't even know what exactly happened to those people. They could be dead or they could have been assimilated; we just don't know. The episode itself, if I'm remembering correctly, only says they are "missing." And, I don't think that "Q Who?" expects the audience to think that Q is unquestionably the good guy like we're expected to think the Kataanians are. He's not presented as clearly a bad guy but not as clearly the good guy either.
- Sat, Aug 29, 2015, 1:39pm (USA Central)
The Inner Light
I mean, Tapestry maybe, but eighteen people die in Q Who. Maybe a quick death is preferable to a lifetime positive experience, but I very much don't personally think that's true in this case.
- Sat, Aug 29, 2015, 1:21pm (USA Central)
The Inner Light
"The probe would be less ethically dubious if it got his permission..."
You know, that's something I never considered but now that I think about it, it would have eliminated so many of the problems I have with the episode. If the writers had re-worked the script so that Picard agreed to it instead of having it forced on him, I would find the story much more moving. Instead of having the probe simply lock onto whoever it encounters, it instead comes with an automated greeting - something along the lines of "we offer you a chance to experience our world as it was, come aboard our probe for further instructions if you're interested." Picard then decides that any archaeologist worth his salt would never refuse such an opportunity and so beams over with Crusher (to monitor him during the "procedure") and Worf (for possible protection).
That would solve the problem of the mind-rape. It could also solve the problem I have with the coda. Instead of Picard's playing of the flute being disturbing (or bittersweet as the show-runners intended) it's now something more triumphant and I could buy his deep connection to it since it wouldn't be burdened by the bad subtext. Also, a simple line toward the end about it being possible for others to now experience the same "procedure" would solve the problem of "all your eggs in one basket." There would still be the problem of the over-the-top schmaltz. But, it would be a drastic improvement none-the-less because I do agree that the Kataanians do have something worthwhile to impart - it's just the method of delivery that really kills it for me.
I don't think you're comparison with Q in "Q Who?" and "Tapestry" quite works, however. Q indeed forced some experiences on them in "Q Who?" but he didn't make them live entire lives as Borg drones. And in "Tapestry," he didn't force Picard to live another life with his new altered past. Q was trying to teach a lesson in both instances, just like the Kataanians are trying to do, but his methods don't strike me as quite as morally reprehensible as theirs do.
- Sat, Aug 29, 2015, 10:57am (USA Central)
I think this is the first episode where you really see the crew coming together. It had been in development for some time, with Bashir-Miles's friendship and Odo repudiating the Changelings in The Search Part 2. Now you see they have really developed into a team reminiscent of TNG.
I would have liked to have seen more of the Trill homeworld but that is only a minor point.
- Sat, Aug 29, 2015, 10:53am (USA Central)
I agree in your review about Trek love stories. This is not a good episode. It reminds me of a lot of flimsy TNG mid-season Troi episodes: ''Troi falls in love with a member of an alien specie. It does not work because he devotes himself to his life's work (the sub plot) or dies or something or other. There is a Crusher love story involving a Trill which also is similar.
- Sat, Aug 29, 2015, 10:48am (USA Central)
Good episode. There is an episode in TNG which this is a virtual remake of, 'Suddenly Human' (S4) with the exception that here the Jem Hader is a Jem Hader whereas in Suddenly Human it is a human boy who has been brought up as a member of an obscure hostile alien race. It is the same premise, an (ultimately doomed) attempt to teach someone inherently hostile (because of their upbringing) the merits of peace, civility, humour, etc, - there is even a scene in which they try to make him laugh in both episodes. The ending is a bit different though.
There is more than a bit of I, Borg also thrown into The Abandoned.
- Sat, Aug 29, 2015, 10:39am (USA Central)
Voyager looks so small compared to the people standing on it. I don't think it's big enough.
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