Tag: tv on dvd

The Best of All Cliffhangers

/ Gary Hilson

“I am Locutus of Borg. Resistance is futile. Your life, as it has been, is over. From this time forward you will service us.”

“Mr. Worf: Fire.”

bobwSeason-ending cliffhangers are now standard practice on both network and cable TV series, but in 1990, they weren’t so common, and the season finale of Star Trek: The Next Generation made jaws drop.

The first part of “The Best of Both Worlds” had Star Trek fans and casual viewers wondering all summer if Captain Jean-Luc Picard would survive his assimilation by the relentless Borg, while TV critics were comparing the cliffhanger to the infamous season ender of Dallas in 1980: the mystery of “Who shot J.R.” was the most watched program in television history for its day.

TNG’s “Best of Both Worlds” remains one of the most effective season finales of any Star Trek series – arguably of any series – because it looks like there is no way out: Picard is lost; Riker will soldier on as captain of the Enterprise with ambitious newcomer Commander Shelby as his first officer.

I spent that summer wondering if Picard would return in season four. It was hard to contemplate Star Trek: The Next Generation without Patrick Stewart, especially since the series had found its creative footing in season three. The return of Gates McFadden as Dr. Crusher coupled with some great storytelling begged the question: If it ain’t broke, why fix it?

Even without the ubiquitous Internet and social media, there was chatter that Patrick Stewart was leaving the show, apparently unhappy with the series’ scripts – these rumors could be traced back to an uneven second season that was cut short by a writer’s strike. I vaguely recall reading a brief news item in Starlog magazine that fueled the fire; it also reported Wil Wheaton was leaving the series, something that did come to pass.

The late Michael Piller, who scripted the episode, made use of his own inner turmoil to drive the story as he debated whether to continue on as head of the show’s writing team; the episode became a Riker-centric story that reflected Piller’s own dilemma. (He would ultimately stay on through the end of the series, co-create Star Trek: Deep Space Nine and Star Trek: Voyager and write the screenplay for Star Trek: Insurrection).

Riker’s struggle with the prospect of promotion rings true given that he’s already turned down command twice, and it adds to the overall sense that things will inevitably change aboard the Enterprise, especially since Shelby is convinced she’s going to land the first officer’s gig.

But what really made “The Best of Both Worlds” cliffhanger so compelling was that Piller had in fact painted himself into a corner. He didn’t think he’d have to worry about solving a seemingly unsolvable problem: how to save Picard and defeat the Borg. When “To Be Continued” appears on the screen backed up by Ron Jones’ chilling music, it’s hard to imagine how the rest of the story will unfold.

Nearly 23 years later, it’s still an amazing hour of television. A feeling of foreboding hangs over the scene where Picard and Guinan discuss the tradition of a captain touring his ship on the eve of a hopeless battle and how Nelson never returned from Trafalgar, even though the battle was won.

And it even holds up well on the big screen. Last week the combined two-part “Best of Both Worlds” was shown in theatres across North America, and while the second half struggles to live up to the first (most second parts in the Star Trek universe do), as a feature film it compares well to the actual Star Trek movies. The special effects are still convincing, especially considering they were produced on a television budget with older technology, and the story slowly builds tension throughout the first half with a seamless transition into a faster paced second half.

The big screen debut of “The Best of Both Worlds” serves as a reminder that Star Trek works better on television when the characters are allowed to develop and the story lines are allowed to evolve over time. Viewed on television it is Star Trek at its finest and holds its own against big screen lens flare.

Gary Hilson is a Toronto-based freelance writer, editor and content strategist storyteller. “The Best of Both Worlds” Parts I & II is available today on BluRay as a feature-length film as is the entire third season of Star Trek: The Next Generation.

Fallen Angel: Why Season Four Fails [TV Review]

/ Gary Hilson

By Wednesday evening, there’s little on network television that’s of interest to me, so instead of watching the implausible Criminal Minds or the tired CSI, I turned to my TV on DVD shelf and started alphabetically.

When Angel debuted in the fall 1999 I was skeptical. Certainly, the character had run its course on Buffy The Vampire Slayer, but I never thought David Boreanaz was all that great an actor or could carry his own show.

I was pleasantly surprised; in fact, I thought Angel’s first season was stronger than the concurrent fourth season of Buffy. Season two was also really strong and while season three started out rather well, it’s weaker than its predecessors for some of the same reasons that make Angel’s penultimate season the most disappointing, despite being ambitious.

Angel’s fourth season starts out promising, picking up several months after the third season ended, with Cordelia now a higher being and Angel locked in a box at the bottom of the ocean. With Lorne now in Vegas performing, Fred and Gunn hold the fort while keeping an eye on Angel’s son Connor. The season premiere is a solid start to the year, resolving cliff hangers and most importantly to me, kick-starting Wesley’s gradual return to the group. The next few episodes are all entertaining as standalone episodes too, while moving the year’s big arc along at the same time and giving each of our main characters their own stories.

But then we hit the seventh episode of season four, “Apocalypse, Nowish”, and that’s when things start to fall apart:

It’s all arc: From here on in, every episode is tied to this year’s big storyline, with the debut of the Beast, the revelation that Cordelia is not what she seems, and her subsequent pregnancy. The only real exception is episode 16 with the final onscreen appearance of Gwen Raiden, who enlists Gunn’s help on one of her heists.

It’s all dark: Angel is a dark series and the drama is based on our heroes enduring horrible ordeals, but the usual Whedonesque humor seems absent here and the one-liners that are written in to undercut the drama are weak for the most part.

Cordelia isn’t Cordelia: I didn’t think having Charisma Carpenter’s character move to Angel was a great idea when I first heard about it, but seasons one and two proved me wrong, and up until season three’s “Birthday” I was pleasantly surprised and enjoyed her journey from selfish and shallow to hard-edged hero. But from there on in, it was apparent that the writers didn’t know what to do with her and season four essentially invalidates her journey into nothing more than a manipulation by unseen forces, which I think is insulting to the character and her fans. Cordelia spends the last five episodes of the season unconscious. It’s not until season five that we see a proper send off for Carpenter’s character.

It drags: The middle of the season is slow and full of filler. The scenes between Cordelia and Connor are tedious for the most part. I found myself fast-forwarding through a lot of episodes.

The return of Angelus: It was inevitable that Angel’s evil alter-ego would return and wreak havoc. Aside from flashbacks, he’s not been seen since season two of Buffy. However, the reasons for bringing him back are weak story-wise and for the most part, the episodes are rather dull until his showdown with Faith.

Connor: The problem with this character from the beginning is that he’s not really a character so much as a plot device (you could make the same argument for Dawn on Buffy). His birth and presence on the series as a baby slowed down season three. The biggest problem with Connor is that he’s not very bright, which sticks out like a sore thumb because characters in the Angel / Buffy universe all tend to be reasonably intelligent in their own way, even when they’re evil, such as the lawyers at Wolfram & Hart. Yes, Holtz had nearly 20 years to make Connor hate Angel and as a hormonal 18-year-old it makes sense that he might fall for Cordelia, but considering he was raised in a hell dimension, you’d think he be a little more cunning and not just a great fighter. He hates his father because he perceives Angel as evil, but by the end of the season he’s complicit in the deaths of many innocent people, whether it’s the virgin sacrificed by evil Cordy or the folks on Jasmine’s dinner plate. Speaking of which…

Jasmine: It’s not that the Jasmine storyline doesn’t work, but it also drags, and I’ve always got the feeling that it was tacked on because the original Big Bad storyline wasn’t long enough. The pace of the series does pick up again once she arrives but by this point the whole year has become rather tiring.

This my fourth full re-watch of the series since it was first run. When it aired, I defended Connor and various storylines to friends who were losing interest in the series, but this latest viewing made it impossible to ignore the faults in Angel’s fourth season.

It wasn’t all bad, however. The return of Faith was welcome. She fits in better with the greyness of the Angel universe compared to the black and white, good or evil world of Buffy. Seeing her paired with the now battle-hardened Wesley was a treat, considering their history together, and her final appearance in “Orpheus” was one the best episodes of the series. Meanwhile, Wesley is the most compelling character in the Buffy-verse. It’s hard to believe he wasn’t supposed to live very long after he was first introduced. Many of the non-arc episodes early in the year are well-paced and plotted and there are some good episodes following the debut of the Beast.

When Angel (and Buffy) really work well as a TV series, however, is when each episode stands by itself as a story, whether it’s part of a big arc or not. In this regard, season four of Angel fails and is the victim of its own ambition.

Gary Hilson is a writer, editor and digital media specialist for hire. He lives in Toronto.

 

Farscape: Through the Looking Glass / A Bug’s Life [DVD Review]

/ Gary Hilson

Farscape: Through the Looking Glass / A Bug’s Life
DVD / ADV Films / November 2003

The ninth DVD in the Farscape series begins with a great standalone episode and finishes with an episode that opens the door on storylines that will resonate well into the third season of SF series.

In “Through the Looking Glass,” the passengers aboard Moya are hotly debating their next move – some want to leave the biomechanoid ship for fear that her pregnant condition may make her easier to capture by the Peacekeepers.

Crichton would like to stay, if only because the Uncharted Territories are where the worm holes are, while Aeryn is the only one who wishes to remain aboard Moya out of loyalty to the ship and her Pilot. The argument is cut short when Pilot interjects to say that Moya feels confident enough that she can starburst to put some distance between her and the Peacekeepers. Needless to say, starburst does not go as planned. In the aftermath, the crew discovers Rygel has disappeared. Setting off to look for him, Aeryn and D’Argo also disappear in a flash of light before the other’s very eyes. Crichton soon stumbles through inter-dimensional doors leading to four different Moyas. It turns out Moya is stuck in starburst — she didn’t have enough power to complete the journey. To top it off, there’s an alien entity roaming the corridors of all four Moyas, leaving large scratches in the hull. Crichton’s science background is put to the test here as he races to merge Moya back together and free her from starburst before time runs out.

“Through the Looking Glass” is at its heart a puzzle and thoroughly entertaining from beginning to end. As often is the case, it’s Crichton who clues in first and has to rally the crew to come up the solution.

There’s also some hilarious interplay between the characters, as well as some bonding in the peril – both proving why this series is a few steps beyond the average TV SF: the characters are the heart of the story.

“A Bug’s Life” for the most part is also a standalone story, but it sets events in motions that have immediate effect through the end of the first season and well into Farscape’s third year. When special commandos are forced by a fuel leak to come aboard the ship, they are deceived into believing that Moya is still under Peacekeeper control. They reveal to Aeryn and Crichton (acting as a Peacekeeper company) that they are on a mission to a secret base to deliver an unmarked crate. Curious about the crate’s contents, Rygel and Chiana are the first to discover an unseen enemy: a lethal virus living within a host body. Virtually undetectable, the virus plays a deadly jumping game as it changes host from Thonn to Chiana to Crichton.

No longer able to continue the ruse, Crichton et al must work with the commandos to recapture the virus. However, their efforts will have deadly consequences for at least one of Moya’s crew.

“A Bug’s Life” is the weaker episode on this disc, but is redeemed by an action-packed ending that has ramifications for years to come.

As for the extras, they’re pretty slim, although the video profile of Lani Tupu offers fascinating insight into the characters of Crais and Pilot. It’s just too bad that these profiles don’t have footage of the actors interacting off screen and between scenes.

“Through The Looking Glass” — 10/10
“A Bug’s Life” — 7/10
DVD Extras — 6/10

Gary Hilson is a writer, editor and digital media specialist for hire. He lives in Toronto.

Classic SF Series Foresees Reality TV [DVD Review]

/ Gary Hilson

The Doctor has promised Jo a holiday on Metebelis 3, but the TARDIS materializes not on the famous blue planet, but in the cargo hold of the SS Bernice, sailing to India in 1926. Despite all appearances, the Doctor insists that they are no longer on Earth, but Jo’s not convinced, at least not until a sea dinosaur attacks the ship…

One has to wonder if writer Robert Holmes was clairvoyant enough to see the dawn of reality television when he scripted Carnival of Monsters.

Even though it’s been 30 years since this Doctor Who adventure was conceived, it almost seems as though it was written as a commentary on the exploitation of people as entertainment.

In this 1973 four-parter, the Doctor (Jon Pertwee) attempts to take his companion Jo Grant (Katy Manning) to Metebelis 3 for a vacation, but instead the TARDIS finds itself on a sailing ship in 1926 on Earth. Of course, as it always happens in Doctor Who, nothing is as it seems, providing an entertaining adventure and some social commentary (albeit unintentional, perhaps) along the way.

“Haven’t you ever been to the zoo? Haven’t you ever kept goldfish in a bowl?” The Doctor asks Jo when he realizes they’ve got trapped in a “minascope” run by the traveling entertainer Vorg.

The Doctor, of course, is outraged that he and other creatures have been pulled from their native environment, miniaturized and obliviously held captive for the entertainment of others.

Carnival of Monsters is constrained by the technology of the era, but it’s still a lot of fun. The guest cast, including Ian Marter (who would go on to play Harry Sullivan) and Michael Wisher (the original Davros), all give fine performances, and the creativity despite the constraints put into the overall production is evident in every scene.

The Doctor Who DVD releases are always chock full of extras, and Carnival of Monsters is no different. The release includes a commentary by Katy Manning and director/producer Barry Letts, both of whom have very vivid and fond memories of the production.

There are also extended, deleted and alternate scenes as well as behind-the-scenes footage with the only disappointments being there are no introductions to provide context.

One particularly good extra feature is the explanation of CSO – color separation overlay – which was no doubt the precursor to blue screen (now green screen) technology now employed by special effects houses such as Industrial Light & Magic.

Ultimately, Carnival of Monsters endures because of its universal themes. Beyond the reality TV parallels, there is also a hint of anti-corporate sentiment, something echoed daily in Dilbert strips and found in the conversations of the alien Minorian officials:

“The latest thinking is that the latest outbreak of violence of the functionaries is caused through lack of amusement.”

“More anti-productive legislation.”

“Where will it end?”

This review originally appeared in the online publications Sci Fi Dimensions and Outpost Gallifrey. Gary Hilson is a writer, editor and digital media specialist for hire. He lives in Toronto.

Star Trek: The Next Generation Season One [DVD Review]

/ Gary Hilson

Star Trek: The Next Generation Season One
DVD / Paramount / March 2002

Regardless of what you thought of Star Trek: The Next Generation’s rookie season, it can’t be denied that it had a lasting influence on the genre television for years to come. One could even say it revived science fiction on television, paving the way not only for its spinoffs, but for ground breaking series such as Babylon 5 and Farscape, and forgettable flotsum such as Lexx and Starhunter.

Yes, season one of TNG, now available on DVD as a box set, was pretty uneven, but there are a few gems among what is clearly the series’ weakest season.

Encounter At Farpoint: The two-hour premiere hammers us over the head with the message that humans are still savages – a typical Roddenberry story – but it capably introduces the new cast and crew. And, while “humanity on trial” plotline is derivative of the original Star Trek, John de Lance as Q is will prove to be entertaining throughout the show’s even-year run.

The Naked Now: An obvious original Trek ripoff, (The Naked Now), the crew’s enounter with a virus that acts on the brain like alcohol does lead to some character revelations and some funny moments, but it’s an ultimately forgettable episode.

Code of Honor: Probably the first hint of TNG’s true potential as Natasha Yar because the unwitting participant in a fight to the death.

Haven: It was just a matter of time before Majel Barrett-Roddenberry showed up in what would be a recurring role as Counselor Troi’s mother. This episode is a weak attempt at developing the past between Deanna and Will Riker. A few funny moments, but overall forgettable.

Where No One Has Gone Before: High marks for this one; great story and character development, and one of the rare episodes that treats Wesley’s precosiousness properly. An early highlight of the season.

The Last Outpost: We finally get to see the Ferengi, and while the makeup work is outstanding, they’re neither frightening nor foretell the potential of the race as finally shown in Deep Space Nine as great sources of comedy. And there’s that whole “humanity on trial” theme raising its pesky head again.

Lonely Among Us: Farfetched but fun. Data plays Sherlock Holmes for the first time, there’s a mystery to be solved and some cool aliens. Oh yeah, Deanna Troi’s cleavage is particularly cleavy.

Justice: Ouch. A misguided attempt to illustrate how Picard would handle the prime directive. Lots of pretty barely dressed humanoids, but a rather juvenile approach to sex. Palease!

The Battle: The Ferengi are a little more cunning this around, and we get a peak into Picard’s pass. An above average episode and holds up rather well.

Hide and Q: A fun, fast paced episode. John de Lance shines as Q, but it’s painfully clear that Denise Crosby needs acting lessons. And where’s Deanna Troi?

Too Short A Season: A great dramatic episode with action to boot, but an early sign that Yar’s days were numbered. She’s the security officer but doesn’t get any lines in an episode about terrorists taking hostages until almost the final act. Hellooooo?

The Big Goodbye: The first major holodeck story and deserved of its Peabody award, but the whole Wesley saves ship schtick is getting obvious.

Datalore: Proof that Brent Spiner is da man and that Data is more than a Spock clone. A few plot holes don’t overshadow the overall enjoyment of this episode, which begs for a sequel and does eventually get one.

Angel One: The only thing that kept me watching this one was the hope the Romulans would reappear and they don’t. Big blandfest this one.

11001001: Possibly the best ep of the season, and smart use of the holodeck. The beginning of a solid run of episodes.

When The Bough Breaks: A good commentary on how we’re screwing up our environment back on Earth.

Home Soil: Neat story idea, a few thrills, but once again we’re told humans are savages and the guest cast barely phone in their performances.

Coming of Age: Two parallel storylines do a nice job of teaching some life lessons that aren’t unique to Star Trek.

Heart of Glory: We all knew Worf kicks ass and he finally gets to show it. A first step in developing Klingon culture, this episode raises the bar.

Arsenal of Freedom: Yet another example of how Star Trek can entertain and inform at the same time, this time making a solid comment on the arms race.

Symbiosis: This time the commentary’s on drug addiction, and it’s done dramatically and cleverly, except for Yar’s just say no to drugs speech to Wesley. Die already!

Skin of Evil: And so she does. Killing off a regular character always makes for good entertainment, and overall this episode works quite well.

We’ll Always Have Paris: Cool time-travel idea gets muddled by melodrama.

Conspiracy: If humans had been at the heart of the conspiracy, it would have been the best episode of the season. Unfortunately the great setup is ruined by the introduction of aliens and gory ending bordering on hokey.

The Neutral Zone: A lot going on here, but it never really gels. The Romulans come back, and the hint of a bigger threat remains to the end. A shaky end to the season.

You see, there were some gems to be found here and there. As for the extras, they’re almost non-existent. Most of it comprises of recompiled footage from previously-aired specials, and there’s no real insight offered into any aspect of the series.

Episodes: 6/10
Extras: 3/10