Star Trek: Voyager

"The Chute"

3 stars

Air date: 9/18/1996
Teleplay by Kenneth Biller
Story by Clayvon L. Harris
Directed by Les Landau

Review by Jamahl Epsicokhan

"There's a massive struggle going on inside you—a battle to the death—between you and the clamp. You have to use whatever force you can to defeat it." — Zio

Nutshell: Ambitious, with some genuinely good moments. I still get the feeling the show could've been even more than it was, as it didn't have the dramatic payoff it really deserved.

Kim and Paris are wrongfully convicted of a terrorist crime and are railroaded into a violent, alien penal institution. Further, the two are equipped with a mental implant called "the clamp," which heightens their aggression and violent impulses. They must survive their new environment until Janeway and the Voyager crew can use diplomacy to straighten out the situation.

Somewhere inside "The Chute," a reasonably good Voyager installment, there's an even better show trying to get out. Often, this better show emerges, but the efforts of the truly inspired scenes are at times undermined by other sequences which are wholly forgettable. But first the good news: in a number of ways, "The Chute" works very well.

Part of what this show gets right, and in a big way, is its tone. This is one of Voyager's darkest episodes on record, and there is a lot to be said for Les Landau's atmospheric direction. Visually, the scenes on the prison installation are ominous, sometimes jarring, and intensely conceptualized—a mood created with some top-notch lighting and cinematography techniques. And Jay Chattaway's score has some atypically great movements that harbor emotion (could it be the producers are relaxing their counterproductive music scoring guidelines?).

The prison has no guards or fences—it's completely walled-in except for a force field-guarded chute that allows new prisoners to be dropped into the facility and also occasionally dispenses food rations. The prison is full of violent characters who seem to have no reason for existing except to terrorize one another. The show's opening scene, in which Kim slides down the chute into the prison populace, illustrates their way of "welcoming" new inmates, as they take turns roughly shoving Kim around. (Later, when food comes sliding down the chute, a violent outbreak erupts leading to the death of at least one man.)

Paris, who arrived at the prison a few days earlier, comes to Kim's rescue, and the two find themselves at the mercy of their new environment, with only each other to count on for support. This leads to another thing the show does nicely: it makes use of the Paris/Kim friendship, something that, in most shows, doesn't have the power and meaning that it comes to have here. This time these two depend on each other to survive, and on several instances one saves the other from probable death.

When, early in the episode, Paris is stabbed in the side during a fight with another inmate, it's up to Kim to deal with the other prisoners alone while, at the same time, making sure Paris survives. And that's another big plus about "Chute"—it gives Harry Kim a story with some substance. Finally, finally, finally the writers have given this guy something worthwhile to do. His last notable vehicle was "Non Sequitur"—a show from an entire year ago with a script and performances that I unfortunately did not find at all impressive. Part of the reason "Chute" makes a good Harry Kim show is because it doesn't treat his character with such a pedestrian nature like most Voyager scripts tend to do. This show puts Harry in action, as the prison life forces him to consider options he would never have to face on his starship. This is probably the biggest role Garrett Wang has had to carry on the show yet, and he delivers, creating a Harry we've never seen before with eyes that have burning intensity. (It's also surprising how different Kim's attitude seems when his hair is messed up.) Here's hoping this isn't the last time we see Harry written as a human being rather than an automaton.

One puzzle Harry tries to figure out is an inmate named Zio (Don McManus), who eventually takes Kim and Paris under his wing. He's been imprisoned for years and has survived the mayhem because he has a unique perspective on the prison machinations. He's the only inmate who has learned the "secret" of the clamp and can control its mental effects. He writes his thoughts on scraps of paper which he has compiled into a personal manifesto. At times Harry dismisses Zio as insane (even though the clamp seems to be driving Harry himself to the limits of sanity), but it's obvious that Zio is not simply crazy. His divine understanding of the prison is something that Harry cannot begin to fathom. One very intriguing shot features Zio staring up toward the ceiling with the opening of the chute in the frame behind him; the chute looks suspiciously like a halo. This framing is decidedly intentional, and the implications are interesting. Kudos to Landau for the subtext.

Meanwhile, Harry devises an escape plan: with a piece of conduit pipe, he rewires the chute hatch and disables the force field. Only problem is, once he does it, he crawls up to find a hatch that leads to...space. So much for crawling to the surface. The revelation here is accomplished with an impressive "tracking" shot that zooms out through miles of "virtual" territory. (If you saw it then you know what I mean.)

Once Harry discovers the hatch, he realizes it may be possible to escape on a ship when one comes by to deliver rations. None of the other inmates believe him. They mock him, they sneer, they say there's no way out. This leads to perhaps the least successful scene between Harry and the other prisoners, as Harry says the obvious: "We can do it, if we work together!" A tad underwhelming in terms of drama.

Fortunately, what's not underwhelming is Zio's constant badgering of Kim to get rid of (read: kill) Paris, whose injuries and lack of food have practically reduced him to a babbling, incoherent invalid. And when Harry comes back to the shelter one day to find Tom dismantling the escape pipe device, he assaults him with such startling ferocity that the scene exhibits more energy than the last four episodes of Voyager combined. Harry's loyalty to Paris, however, wins out, and when Zio informs Harry that he will have to become a killer if he plans to survive, Harry says he'd rather die instead.

But amidst the interesting dialog, dark overtones, and impressive production, there's a significant problem here: the plot. The details of this whole situation are really, really tired, and they really should've been dropped in favor of more relevant material. Just how many times, for example, have we seen Star Trek characters sent to prison by alien governments for crimes they obviously didn't commit? Or terrorist factions who call themselves "patriots" and butt heads with the captain? Or stubborn, obnoxious governments who threaten to open fire if discussions about releasing unjustly convicted prisoners isn't immediately ceased? Or scenes in the conference room where characters discuss how to deal with these stubborn, obnoxious governments? The alien official here did not have to be written with such obvious, cliche-ridden, hostile hard-headedness for this show to work, so why was this phony progress inhibitor needlessly inserted into the story? (On an unrelated note, where exactly did Kim get that pipe he used to disable the force field?)

In fact, the entire B-story involving Janeway's mission to retrieve her officers is so painfully stale that I couldn't help but watch it with cynical disinterest. This side of the show interrupts the prison-set scenes on several occasions, and every time it feels like dead weight that's holding down the story.

Janeway's final rescue of Kim and Paris was okay (although it was awfully convenient that Harry and Tom happened to be by the chute when it happened). The scene made reasonable use of Neelix for a change (and without being annoying, too, if you can believe it), and the way his shuttle darted off after the rescue was kind of fun. Unfortunately, this action ending was quite bad in one sense: it completely displaced a possible (and what would've been much preferred) final scene involving Zio and Kim. The failure to bring closure to Zio's character and this side of the show left me feeling that the creators' whole idea of Zio was uncertain. There was no payoff to speak of, and it just did not feel finished at all—and that's a terrible shame considering the potential.

Overall, I liked "The Chute." It was a show that seemed to spew attitude and have some left to spare. The production was phenomenal, as were the director's touches. Zio was an interesting character even if not completely realized, and it was definitely nice to see Harry get a long-overdue vehicle. I only wish the story and the payoff had been as solid as the ambition was. "Chute" seemed to have high aspirations, but the plot workings just didn't seem to want to see it through. Yes, the episode was good, but it could've been so much more.

Previous episode: Flashback
Next episode: The Swarm

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27 comments on this review

Nic
Wed, Dec 9, 2009, 1:49pm (UTC -5)
Believe it or not, Harry Kim was always my favorite character during the show's original run, and this is one of his best episodes. Wang, McNeill and McManus (Zio) gave outstanding performances. In a way, this episode was a lot like "Hard Time" (both explored what it takes to make us forget out humanity), and in both cases I think it's okay to go along with a tired and incredulous plot device to put the characters in this situation.
Destructor
Tue, Apr 19, 2011, 8:27pm (UTC -5)
Amazing episode, will always be in my VOY top ten. Very dark, very intense, exploring a very interesting series of issues. And I *loved* the non-prison scenes because every single one of them was a case study in Janeway-being-a-badass.
Nick
Tue, Sep 6, 2011, 10:07pm (UTC -5)
Couldn't agree more! One of my favorite Voyager episodes. I only wish they had focused more whole episodes on the Kim/Paris relationship. And no, not for slash reasons LOL!
Arachnea
Sun, Dec 23, 2012, 1:21am (UTC -5)
Unlike Nic, Kim is not my favorite character. However, in this particular episode, I liked his growth: the naive young ensign who's been sheltered from bad thing all his life before coming aboard the Voyager must fight - both mentally and physically - for his life (and his friend's) in extreme circumstances.

After so many Trek seasons, some ideas are bound to be recycled and, when they are well used to explore important themes, I don't really mind.

What bothered me was Janeway's decision to offer a "hostage exchange". It really looks like meddling in another society's affairs, even if two of her crewmen have been wrongly accused. Knowing the swift and inaccurate justice system this government have, Janeway should have given proof (traces of the trilithium on the cargo shuttle), but not sending two young beings to something somewhat worse than a death sentence with absolutely no knowledge of the political situation.
Aggresors
Tue, Mar 19, 2013, 10:13pm (UTC -5)
The Voyager crew and Janeway are just amazing at being aggressive! With each passing episode I find a reason to scratch my head at how janeway handles things. This episode what bothered me the most was how she handled the 2 freedom fighters on the bomb making transport shuttle. So we got a group who is trying to liberate themselves from a oppressive government, Janeway doesn't give a damn about that or their entire planet, denies to work with their government and decides to TAKE Those 2 onto voyager ship because we need information.... and they aren't willing to work with us. Bah she is all over the place, her way or no way, and her way steps over everyone else! Then she thinks she is nice or something? "Give them hot food and a good bath" Lady you just took us from our ship and put me in prison im not too happy about the bath and food. Put me back on my ship so i can go blow up some more oppressive government is what im thinking!
Caine
Sun, Oct 20, 2013, 5:40pm (UTC -5)
I loved the Kim/Paris part of this episode!
Finally we see Wang give Kim some intensity, and he does it surprisingly well, at that! His struggle to keep sane, and to not let his aggressions get the better of him, was very well done! Until now I've found Ensign Kim (and Wangs performances) to be incredibly bland and boring, but this was something else!

Janeways way of treating the whole situation seemed to me to be rather egotistical and non-Starfleet-like. Her way of treating the two "patriots" she kidnaps (yes, kidnaps) from their ships made me think of the ever so famous Star Wars line: "You rebel scum!".
inline79
Wed, Jan 8, 2014, 5:56am (UTC -5)
Very unusually, I disagree strongly with much said above. "The Chute" not only bored and depressed me, but I feel that it is far too dark and without a positive outcome to really belong in Star Trek. Maybe this was a reject from "Space: Above and Beyond"! (gasp!)

Though Wang tries, his performance is just that - trying. What we learn is sad: in the future, never go to alien planets because they will throw you in jail in their wacky legal system where you will die. You can try your best to escape, but you will fail miserably so the lesson, as a certain Homer S. once said: never try.

The prison scenes dragged on for much too long, The presence of Zio is seemingly meaningless - Harry breaks his promise to "take him with them", and frankly *I* almost threw something at Harry during his ridiculous "Let's cooperate" speech. I do appreciate how Kim/Paris get together time here a bit like TNG's "Attached", but that alone doesn't save this episode.

Outside the prison our Bad Captain made things no better. Though capturing the real terrorists, she treats them no better than the jerk Ambassador treated her. Is THAT how we humans do things? My way or I kill you? What kind of lesson is that to us viewers? Sheesh! Picard would have negotiated the Crown Jewels out of that Ambassador...

I would have also accepted the "CIA" solution to this situation: when diplomacy fails and you don't want war, secretly back the terrorists to get what you want. That's the American Way, right? ;)

Sigh. I think i'll watch "Threshold" now to cheer myself up!
Corey
Fri, Mar 7, 2014, 7:30pm (UTC -5)
Have to agree with the above two comments (though I think Jammer's right about the planet-side scenes). Janeway didn't handle the situation well at all. On one level her aggression is understandable - she's the hyper protective mother and her crew are her babies! - but as a diplomat she's utterly incompetent in this episode.
Vylora
Sun, Aug 24, 2014, 5:29am (UTC -5)
This easily one of the best Star Trek prison stories with an interesting take on prisoner experimentation and seclusion. The forefront of the episode, however, concerns the bond between Paris/Kim to outstanding and, in two scenes, heartbreaking effect.

The parts that take place onboard Voyager pretty much moved along as expected but not unreasonably so. Mostly nothing standout here but nothing bad either. Any decisions made flowed logically enough and was much better than just giving up and moving along home.

Fantastic direction, great dialogue and performances and a very interesting and well-played guest star in Zio. Like Jammer, I would liked to have known his fate. Otherwise, great job all around.

3.5 stars.
Skeptical
Sun, Jan 18, 2015, 5:03pm (UTC -5)
Well, that was a rather gritty episode. Unfortunately, SFDebris' review made a comment that really showed the problem with this episode: the clamp was a blatant plot device. They wanted to show Harry losing himself inside the prison, but didn't want to have him there for weeks or months. Hence, using the clamp to accelerate the process.

The problem with that, however, is that the clamp makes no rational sense. This civilization apparently doesn't like executing its prisoners, but at the same time feels no need for any sort of humane conditions for said prisoners. They just wanted to get rid of them and make sure they couldn't escape. And this space station works for that regard; throw the prisoners down the chute, toss supplies down every once in a while, and you're done. So what's the point of the clamp? The prisoners are out of society's hair, they can't escape, they are already in control. There is never any indication that the government comes back and takes anyone out, or does anything with the clamp.

I mean, the only explanation that makes sense is that the crazy guy is right, and the clamp really is some sort of weird government experiment. Except that there's no indication of it! How is the government collecting the data? So that explanation doesn't work either. So instead, it's just a plot device.

Which is sad, because I don't think the story needed it. Harry lived a sheltered, privileged life. He never had to tough it out for anything; he never had to experience the rougher crowd. He wasn't like Picard, hanging out in a bar playing Domjot with Nausicaans; he lived his life in a book and technical manuals and a clarinet. So, despite his Starfleet training, I could see him getting frustrated, upset, and everything else pretty quickly.

In fact, the story already provides a reasonable justification. Paris gets stabbed, and now can't protect himself. Harry has already put a target on himself as easy pickings. So now, what happens if he falls asleep? He can very easily be murdered in his sleep. Who else can he trust to watch over him? Crazy Manifesto Guy? I wouldn't trust him. So Harry stays awake all night. Every night. Or if he sleeps, its only a fitful sleep, waking at the slightest sound. Paranoia, panic, and despair begins to set in. Not because of a clamp, but because the situation he is in requires him to be alert at all times, an impossible situation. Voila, plot device solved.

About the only thing that wouldn't work is Harry beating up Paris. But honestly, I thought that scene was a bit weak anyway. We still could have had, say, one big blow to Paris and that's it. Which, given his situation, is already serious enough.

In any case, this annoying side plot of the clamp is so annoying because other than that, it's a very good episode. It's nice to see Harry actually not being a worthless robot for once, and of course Paris is always fun to watch. Setting him up initially as the big brother and then knocking him out of contention with a stab wound was clever, and set the stage for Harry to shine (or not shine, as it were). Even his painfully awkward scenes ("we have to work together") worked well because it's believable that he really is that naive. And given that the point was to put him in a hopeless situation, I thought it was clever to give him a victory (being able to climb the chute) while simply having it add to his despair. And let's face it, that was an excellent scene. I didn't see it coming the first time I saw it all those years ago, but immediately after seeing it, it all seemed so natural. And made Harry's situation all the more real.

As for the Voyager scenes, they weren't quite as well done. Janeway's awkward negotiations with the terrorists struck me as a bit wrong too, but, then again, I can't quite put my finger on what Janeway should have done (with respect to the Prime Directive). On the one hand, this is definitely a political situation she wants no part of, but there's not much she can do about it. She has criminals on board, but needs their help and also suspects that any prison for them would not be very humane. Given the constraints the Prime Directive puts on captains, it's hard to say what her position should have been. But since it wasn't the focus of the show, I'm mostly ok with it.
Yanks
Wed, Aug 12, 2015, 1:38pm (UTC -5)
Great Harry/Tom episode.

It's not a classic in my book though. While it's nice to give Harry some meat, I don't think Wang's acting was up to the task. For the most part it was just Harry yelling... too bad as the script set the stage for an epic performance here.

I thought Robert's performance here was much better and Don McManus was wonderful as Zio.

One thing I might have done differently as a writer. When Zio was trying to get Harry to kill Tom, and if he didn't then he was going to kill Tom, I think Harry should have taken that dagger and killed Zio to protect his shipmate and friend. Now THAT would have been a serious character moment for Harry.

I agree with Jammer though, it seemed like the Zio plot line was not finished.

Great Tom/Harry moment at the end on the ship.

"KIM: Tom, listen to me. I, I almost killed you.
PARIS: What are you saying? You're the one that kept me alive.
KIM: I was ready to hit you with the pipe. Don't you remember?
PARIS: You want to know what I remember? Someone saying, this man is my friend. Nobody touches him. I'll remember that for a long time. ..."

I seem to gain more respect for Tom as the series progresses.

Why does the chute hatch cover have glass on it? So Harry can see out into space? Think how epic it could have been for Harry to open the hatch with all the air getting sucked out of the prison.

I enjoyed the breakout.

I'll go 3 stars.
Andrew
Wed, Oct 28, 2015, 12:48pm (UTC -5)
Pretty well-done. Perhaps the most subtle and nuanced message episode in all of Trek.
Wilt
Fri, Dec 18, 2015, 6:33am (UTC -5)
Well...I don't really have much to say about this side of kim. It was something different, I'll grant that much. And yet it still remained meh. Because he goes back to his usual naïve self with no mention of this experience ever again, making this another flash-in-the-pan ep.

But this was the 3rd season, right about the time where they eschewed continuity altogether.

Why do alien races look and act so much like humans? How much suspension of disbelief can one do on this series before it becomes obvious and painfully unoriginal? Couldn't they try to make them look different? Maybe that's why I stopped watching for so many years. Didn't feel as if there was any exploration going on so much as variations on earthbound themes set in the stars.

This race (surprisingly) doesn't out and out execute it's perpetrators. Based on their liason you'd be hard pressed to believe it. They came on like a group of intergalactic thugs. Just as bad as the criminals they left to rot in the prison. Summary judgement based on circumstantial evidence and no chance for appeal. Cloaked in a false sense of law and order. No place to vacation that's for sure. I'll stick to Risa myself.

The clamp really didn't serve a useful purpose to me. That one inmate said it was designed to keep them from potentially working as a team and actually finding a way out the prison. I'm pretty sure there was a way to pilot or control the prison. They had to get that floating prison out there somehow. Maybe the clamp's function went no further than that.

I can't rate this one even close to 3 stars mostly because we went back to business as usual for kim. No character development (or even a promotion) at all, even after this harrowing experience. He must hold the record for his time in grade as an Ensign. Not one promotion in 7 years. Tom lost his rank only to get it back in a year and a half. Not to mention he was awarded a field commission (O-3 I think) in the pilot after being in a penal colony. And throughout it all kim simply remained...an Ensign.

1-1.5 stars is where I put this one.
Diamond Dave
Tue, Jan 26, 2016, 7:56am (UTC -5)
Undoubtedly dark, definitely intense, and certainly bloodthirsty (with a throat cutting and a stabbing for good measure) this is something of a tonal shift. And yet you can't help thinking you've seen this all before - yet another crewman imprisoned wrongly story.

There are definite highlights here - Kim finally snapping being one of them, the moment they find they are on a space station another - but overall there's not a lot new here. Does what it does well enough but doesn't break new ground. 2.5 stars.
dipads
Sun, May 22, 2016, 10:31am (UTC -5)
Hated this episode. Dark atmosphere and depressive. Felt bad for Wang though, he hadn't eaten for three days. No wonder he was in a fit of rage.
belowzero
Mon, Jun 27, 2016, 5:18am (UTC -5)
Good episode!

Did anyone else feel signs of claustrophobia when Harry crawled up that chute? Im not sure I would have made it up there with somebody so close behind me.
Skywalker
Fri, Jul 29, 2016, 11:52am (UTC -5)
I like at 26 minutes in where the prisoner has a red halo around his head. Nice photography!

And the reveal to the space prison was pretty cool.

I hated this episode when I started ("not another Tom and Harry story..."), but it grew on me.
mephyve
Sat, Aug 20, 2016, 4:03pm (UTC -5)
Could have been decent but they had to throw the hospital show stupidity in it.
Mikey
Fri, Oct 28, 2016, 8:41am (UTC -5)
This episode should have been called "Harry and the Magic Pipe" . Seriously, a bit of conduit and a couple of wires?

Thanks "inline79" for pointing out another detail I'd missed: Harry promised Zio he'd be taken with them in exchange for his protection, but nope, they just left him to rot. I see that as a rather large oversight by the writers. If Harry was honorable (and he obviously is) then he would have at least have told Janeway of his promise.

Those things aside I did enjoy this episode, and I do enjoy most of the voyager eps. To quote Jammer "I still get the feeling the show could've been even more than it was,". Sadly most of his reviews have some variation of that quote. Even more sadly, he's usually right.
Nick
Sun, Nov 6, 2016, 6:25am (UTC -5)
Mikey, Zio had already betrayed Tom and Harry. He evicted them and threatened to kill Tom. Initially, he went up the chute with Harry, but that was the end of his cooperation. He wanted Harry to stay in the prison and be his disciple.
Leaving him behind wasn't a betrayal. Their agreement had come to an end.
Mikey
Sat, Nov 19, 2016, 7:29am (UTC -5)
@Nick: Fair call. Thanks for pointing it out.
Paul Allen
Mon, Dec 5, 2016, 6:23pm (UTC -5)
"One very intriguing shot features Zio staring up toward the ceiling with the opening of the chute in the frame behind him; the chute looks suspiciously like a halo. This framing is decidedly intentional, and the implications are interesting. Kudos to Landau for the subtext."

Totally loved this shot. Came here to search for "Christ" on the page, was disappointed, s your comment was welcome. Now others wondering if someone else saw the Christ in this shot can find my comment. :)

Gooz
Sat, Jan 21, 2017, 1:11pm (UTC -5)
Have they given up on using the combadges to explain away the translation issue?
Rahul
Wed, May 24, 2017, 2:58pm (UTC -5)
Not a bad episode but I got turned off right at the start where, again, it's Voyageur crew being imprisoned on some alien world. We've seen this before...
But the episode does show a very dark, sinister side to the prison -- certainly not the kind of thing you'd see from TOS, for example. It does try to portray prison life on an alien world as raw and as realistically as it can -- may be better than any other Trek episode I've seen (and there have been many).

I didn't know what to make of the Zio character -- had he truly been able to negate the effects of the clamp (which I agree with @Skeptical's insightful comments that it is just a plot device and unnecessary) or is he truly insane with his damn manifesto.

For me, I wasn't overly impressed with Kim's acting - he did what he had to do -- he lost it on occasion, he was at his wits end trying to get the other prisoners to work together. It was OK.

Janeway's treatment of the 2 criminals was odd but also as @Skeptical said, I'm not sure what else she could have done. Nothing hugely wrong with it. The male prisoner was a wuss -- immediately giving into Janeway's threats of sending him back to the authorities. And the 14-year old looked more like a 20-something -- but that's not that important, just a random observation.

I agree with @Diamond Dave's brief assessment as well. It's a solid 2.5 stars out of 4 episode. Some gritty performances but the plot as a whole is well-trodden.
Mertov
Mon, Aug 7, 2017, 12:53am (UTC -5)
Best Harry Kim episode and I agree with Jammer that Wang delivers here. And trust me, I am no fan of either.

I liked the episode and unlike others I had no problem with the Voyager scenes. The Ambassador was hard-headed and Janeway exhausted all the options at her disposal to talk some sense into him.

I understand why Jammer's review would not include this given the time he wrote it but I am surprised none of the post-2009 commenters have picked up on the fact that Ambassador Liria was played by Robert Pine, the father of Chris Pine, the big-screen, modern Kirk.
William B
Fri, Sep 22, 2017, 4:21pm (UTC -5)
I enjoyed the episode's atmosphere and I think that the material for Harry and Tom (I guess I'm going to start using first names for them and B'Elanna, add a bit of familiarity) was generally pretty strong. I sort of see the point about the Clamp being an unnecessary plot device and we "should" have seen Harry and Tom nearly come to blows without any external forcings. Maybe, and that would have been effective if the episode managed it. But I think that the use of the SF element to push the plot along at a higher pace is not automatically a bad thing. In DS9's Hard Time (SPOILERS), it took decades of subjective time for Miles to get to the murder-his-friend point. It's important that the episode get to the point of Harry and Tom opposed to each other within a few days, and for *both* of them to be badly affected, in relatively short order. I think that the Clamp is partly a metaphor for the effect of being in a harsh environment anyway. It does create a situation wherein both characters act "out of character," but very quickly Tom is "gone" -- the combination of the clamp, his having been in prison for longer, and his significant injuries and possible infection drive him to a point where he's barely recognizable, and that's somewhat necessary for the Harry story, to push open the question of how much he is going to be able to fight his own aggressive instincts.

Harry's main story here seems to be whether or not he can maintain his ideals in a place where not only his environment but even his own *brain* and nervous system seem to have turned against him. First he relies on Tom to protect him, which builds on their weirdly co-dependent friendship since Caretaker. Then he relies on his own tech abilities, science-engineering-wise, to treat their predicament as a problem to be solved. Then when he discovers -- in a really great moment -- that they are cut off from the outside world, he attempts to rally people together as a community, which fails in a pretty hilarious way. (I don't really think the failure of Harry's speech is a flaw in the episode, but part of the point -- he is totally unable to reach his audience and doesn't have the ability to push through.) He is so alienated from himself and his own feelings that he doesn't recognize himself, and that is maybe also part of why The Clamp works for this story (for me). The final point he gets to is whether to decide to live on -- as Tom demanded early on, and as Zio encourages -- or to pledge his loyalty to Tom at the cost of, probably, his own life. There's an interesting dynamic here. The majority of the prisoners have given up on much pretenses of moral behaviour. Zio believes that he's mastered the Clamp, but his plan is mostly delusional and rests on a particular egotism -- he will be a messiah-saviour who needs to kill in order to continue surviving, and so his self-protection is recreated as a moral good. His scenes are interesting and I thought he was well done as a character. Tom, who is roguish relative to the average Starfleet officer, chameleonically blends into the prison setting, but (before he becomes delirious) immediately recognizes Harry as someone worth protecting and saving -- as if recognizing that the only moral option in this situation is to protect Harry's moral goodness, including at cost to his own life. It follows on what we saw of (alternate universe) Paris in Non Sequitur, where it's only by providing protection to "good" people (Harry in particular) can Tom parlay his "street smarts" bad history into actually "becoming good," but the problem is that this breaks down once Harry can't be good anymore -- if Harry loses his idealism, Tom loses himself. It's basically all building to the question of whether it makes sense for Harry to die rather than to kill his friend, because once Harry dies, Tom will *still* die, and will have lost the person whose goodness give Tom a sense of purpose. So it's basically a leap of faith that Harry has that it still will mean something for him to protect Tom even if he and Tom don't survive it. Naturally, the episode ends with Tom & Harry rescued, and so Harry doesn't have to go through with that choice, but it matters that Harry found out something about himself, that it wasn't *just* that he was untested that allowed him to hold onto his ideals, but that he actually had it in him to maintain them in a new situation, where he was far from most of what it was inside and outside him that allows him to be idealistic normally.

The episode's general metaphor seems to be something about the way in which harsh imprisonment functions. I don't think it was necessarily a problem for the episode to introduce The Clamp as a plot device/metaphor, and it seems for a while as if it functions similarly to, say, the zenite gas in The Cloud Minders -- a SF construct that enhances aggression in the characters, in order to make a broader social point. Here, the episode seems to be suggesting that sometimes the harsh, brutal environment in prisons is not merely a result of the prisoners' poor character but a deliberate choice on the part of the authorities, and it's tied here with the recognition that there seem to be a lot of political prisoners, rebelling against some sort of harsh regime (and doing so in a violent, horrifying means, via terrorist bombings). It's notable though that we don't actually find out any real details about the political situation; it's implied that the government is oppressive, since they won't withdraw their sentence on Harry and Tom, even when Janeway offers them actual culprits, which certainly makes them seem awful, but we don't really learn that much. We don't really find out whether Zio is correct that the Clamp is a deliberate plan to keep down the prison population -- and if so, why it's even necessary. It seems as if the government doesn't have the death penalty, and so if they do want prisoners to kill each other off, it is maybe the result of some kind of gap between a government's public face and its private machinations, which gets a more direct exploration in Remember. This doesn't quite fit with the sharp-edged "We find it a great deterrent [to not exonerate innocent people]" attitude that guy later takes with Janeway regarding Harry and Tom's innocence, so it's hard to say. The only other explanation I can think of is that having to endure a tortuous, brutal, and probably-short existence in a hellish prison *is* the point. And it is, of course, also possible that it really is a *social experiment*, and that itself is not that far-fetched. Check out, for starters, the Wikipedia article on experimentation on prisoners. In this way, it's possible that The Clamp is a tool the government is currently using on its prisoners and then plans to eventually use on its own population.

I speculate because it's really not obvious when you stop to think about it. There is something weird about this whole prison system as we see in this episode. The government doesn't execute people for killing 47 innocent people, but it seems as if everyone who is imprisoned is imprisoned for life, at which point they dump food in every couple of days and *that's it*. It seems as if the police force aren't using the prisons as places to allow people to live out their lives while protecting other people from them, since those people get killed quickly. They certainly aren't attempting to rehabilitate them. And they aren't extracting labour from the prisoners, which would be one obvious reason that they might want to keep prisoners alive but unhappy. The lack of resolution with Zio strikes me as a real weakness because it actually *is* an interesting idea and I could imagine different ways it goes, but there's also a weird result wherein no one in the main cast ends up caring -- Harry leaves Zio and the others behind, of course.

The episode plays coy with it, but I'm kind of amazed the episode even went as close as it did to the implications of Tom and that other prisoner fighting over who gets to claim Harry as "mine," which is pretty edgy for Trek.

Janeway's behaviour here seems strange and off-putting; she certainly does kidnap people and lumbers blindly into difficult situations. She shifts her positions rapidly -- admittedly, there's some new information, but you'd think Janeway could have asked the magistrate or whoever that guy was initially, "If we find the real perpetrators, will you release our crew members?" before kidnapping the first people with trilithium she found. I don't find the prison escape sequence remotely convincing as is; it might have been better to just have Voyager be much stronger than the enemy ships and have Janeway simply resort directly to force, rather than the hard-to-believe subterfuge.

So, a lot going for it on a character and atmosphere layer, sort of incomplete in broader implications. A strong 3 stars.
Skeeny
Sat, Oct 21, 2017, 7:26am (UTC -5)
I'll start by saying I sort of like this episode, but it has it's problems.

LIRIA: 'The explosive was trilithium based. There is no source of trilithium anywhere in our system. So, you can imagine our surprise when our investigation revealed that your ship is powered by dilithium, which our scientists tell us is convertible into trilithium.'

But their own ships are powered by paralithium (Voyager had already found 3 ships that used it before they found the fourth and correct one), which can also be converted into trilithium, and they don't know that? I guess only the 'terrorists' know it.

As someone else mentioned earlier, the universal translator thing bothered me, since they obviously don't have their commbadges.

Zio was the one who killed the guy at the beginning and stole his food. Doesn't sound like he was all that in control of his clamp-iness. And if the clamp makes everyone go insane and want to kill each other, why is there anyone left? Why wouldn't they all have killed each other by now?

The magical pipe.

Janeway kidnaps a guy and a 14 year old girl and locks them up and holds them hostage and threatens them and bullies them into giving her information. Worst captain ever.

If the 'rebels' know where the prison is and know the codes for the shields and can get in that easily, why haven't they done it themselves already? I guess because they didn't have Neelix.

EMH: ...'Acetylcholine...helps stimulate one's aggressive tendencies.'

^ that isn't true, it would have been better had they used testosterone or steroids or something like that. Whatever, a minor point.

But, like I said, I sort of like this one.

2 1/2 stars.

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