Enterprise Flashback: Affliction

The fourth season of Star Trek: Enterprise was made up mostly of multi-episode story arcs that leveraged the series' prequel nature by delving into the vast "canon" of the franchise. Creatively, it was a successful pivot for the show... so the writers took on the highest "degree of difficulty" yet in the two-parter beginning with "Affliction."

The Klingons have been experimenting with genetic engineering, using samples of human Augment DNA... with disastrous consequences. Desperate to undo the damage, Klingon agents abduct Phlox to force his assistance. Enterprise sets out to locate and rescue their doctor. Yet it appears that Malcolm Reed may be secretly working against them for unknown reasons. Meanwhile, Trip tries to fit in at his new assignment aboard the starship Columbia.

I think you'd have to be the most "well, actually..." of Star Trek fans to have ever cared why Klingons went from looking like shoe-polish-faced humans in spandex and disco pants (on the original series) to turtle-ridged, armor-clad warriors (in the movies and beyond). The movies simply had more time and money to throw at the aliens, and The Next Generation (and the shows that followed) were passed the baton. The closest we'd ever get to an "in-universe" explanation for the change was a curt joke from Worf in the middle of a comedic episode.

Right?

Wrong! Manny Coto and Michael Sussman decided to devote a two-part episode to explaining the difference. And the explanation -- that Klingons once toyed with genetic engineering, using human DNA -- kinda works! It even goes a long way to explaining why Klingons hated humans for so long, while subtly reinforcing one Klingon commander's assertion that humans and Klingons aren't really so different. We get all of this, the most dangerous looking targ yet seen on Star Trek, Klingon characters played by actors John Schuck and James Avery, fun references to deep cut history like the Hur'q (established in Deep Space Nine), and a fantastic action sequence about an assault team boarding Enterprise. Really... hats off all around.

But we're just getting started! In this same two-part episode, the writers undertake the task of "fixing" the show's indisputably worst character, Malcolm Reed. Unlike Hoshi Sato and Travis Mayweather, who are generally just underused, Reed has been actively bad almost every time he's given something to do in an episode -- bad at his job, ranging from socially awkward at best to creepy at worst, whiny and self-centered. Now we find out, he's actually an undercover secret agent! And once you get over the initial shock of wondering what value a covert organization would find in Malcolm Reed, it kind of starts to make sense. Hell, it might even explain some of Reed's buffoonery over the years. Was this part of maintaining his cover? Were some of his stupid mistakes actually deliberate orders from his shadowy organization?

In a bit of catnip for Deep Space Nine fans like me, the secret organization is revealed to be Section 31. Well... it's never stated outright, which is good. That avoids turning this into a Marvel Cinematic Universe style demand to "do the required viewing" before being able to understand the story here. This is just a winking nod for those who know, that feels like it should be pretty seamless for those who don't. It's certainly a better showing for Section 31 than poor Michelle Yeoh was given.

I'd call all of that more than enough for a super-compelling two-part episode of Star Trek. Unfortunately, the episode doesn't stop there. It also has to reckon with the ongoing story coming out of the last episode, that Trip has changed assignments and is now aboard the Columbia. As I commented on that episode, I've reached the end of my interest in the "Jim and Pam on The Office"-like tribulations between T'Pol and Trip. I felt impatient in each of this episode's repetitive Trip scenes. (T'Pol: "Are you leaving because of me?" Trip's new captain: "Why did you leave?" T'Pol in some mindmeld/dreamscape: "I thought you were leaving.") I feel like the most interesting thing this subplot has to offer is a return cameo appearance by Seth MacFarlane -- who gets quite a few more lines here.

It all builds to the most explicit cliffhanger Enterprise has served up in a while, a Speed-like contrivance of a catastrophe in which the Enterprise must maintain high warp or it will explode. Will Keanu Reeves show up to save the day? Probably not... but tune in next week just in case!

Other observations:

• This isn't really a "Hoshi" episode, but she nonetheless has some good moments in the story. First, she does her best to put up a fight when she and Phlox are attacked in the beginning. Then she "goes under hypnosis" (mindmeld style) with T'Pol to retrieve her memories of the event. In the aftermath of that mindmeld, she even pokes up in the Trip/T'Pol story for a moment.

• The redress of the Enterprise bridge to serve as the Columbia bridge is kinda fun. It doesn't really make sense to put these weird columns right where people need to walk (what, are they load-bearing?) but you can instantly tell you're on a different ship.

• I think my picture at the top of this post actually comes from "part two" of this two-parter. But it felt appropriately representative. 

The high-school-romance-drama of Trip/T'Pol detracts for me, but I otherwise find this a really strong episode that does "prequel" right. I give "Affliction" a B+.

Star Trek: Errand of Mercy

Long, long before Klingons were portrayed as a noble warrior race, or fixated on honor -- and before writer Gene L. Coon could have conceived that Klingons would have more life beyond the script he was rushing to finish that week -- we had "Errand of Mercy."

The Enterprise arrives at the planet Organia shortly ahead of a Klingon invasion, and Captain Kirk is determined to persuade them to stand against it. But the non-technological, stalwartly pacifist Organians are utterly unmoved by Kirk's argument. When the Enterprise is chased away by a Klingon attack, Kirk and Spock must live in cover amongst the Organians. Will the evil Klingon captain Kor see through their ruse? And is there more to the Organians than meets the eye?

This is the first appearance of the Klingons in Star Trek, and to any Trekker who came of age in the era of Next Generation and its spinoffs, there's very little that's recognizable about them. The differences are more than skin-deep -- though to be sure, these Klingons sport (instead of ridges) a slapdash "shoe polish" makeup that inches uncomfortably close to the line of offense. Kor delights in torture, orders mass executions on a whim, and is constantly relying on a "mind sifter" technology we never hear of again. These Klingons, quite plainly, are a villain of the week.

I would point to two reasons the Klingons had life beyond this single episode. One is the way the story ends: the promise that one day, Klingons and the Federation would be fast friends. That's a classic bit of Star Trek morality, and you can't help but want to see that come to pass. (As a bonus, that ending comes after an episode in which we get multiple, classic "we're not so different, you and I" comparisons between Kirk and this bitter enemy.)

The other reason is the performance of actor John Colicos. Kor is not written with subtlety, and Colicos doesn't really bring any to the part. But he plays the villain with a gleeful relish that's just plain fun to watch. (I mean, listen to how he says "vegetable.") The story goes that the Star Trek writers tried twice to bring the character back, but conflicts in Colicos' schedule forced them to create other Klingon captains in his place. Sci-fi fans would have to wait about a decade for Battlestar Galactica to come along and give us Baltar, a regular source of Colicos' winking evil camp. We may not have gotten to see Kor again on the original Star Trek, but he sure did make audiences want to see more Klingons.

The episode does have its shortcomings. It strains belief that Kirk -- and especially Spock -- are utterly incurious about how one of the Organian council members seems to know where the Klingons are without consulting any device, or how the leader Ayelborne manages to free them from prison. I also think it's a shame (though clearly a budgetary necessity) that we don't get to see much of Sulu in command of the Enterprise when he's forced to abandon the landing party.

Also -- to me, this episode feels uncomfortably close to "Arena." Fundamentally, both stories are about Starfleet and an alien enemy at each other's throats until some god-like beings swoop in to teach them both a lesson. At least this time, you do get John Colicos instead of a lizard suit, and that tantalizing "fast friends" ending. 

Other observations:

• "Curious how often you humans manage to obtain that which you do not want." That's just a really great line. Even though the most famous line from this episode -- for any child of the 80s, at least -- is Spock's "pure energy," sampled by Information Society for their song "What's on Your Mind."

• Scotty isn't in this episode. (Hence, Sulu taking command.) More strangely, neither is McCoy. (He would be in every remaining episode of the series, though.)

• Allegedly, the baldric worn by Kor in this episode is the exact one that was spruced up and used for Worf in the first season of Star Trek: The Next Generation. If not literally true, it's clearly at least the inspiration. 

• Spock's ultra-precise stating of the odds feels like a direct touchstone for The Empire Strikes Back. 

Star Trek can hardly be blamed for the Klingons not arriving on the scene fully-formed. "Errand of Mercy" was a story for a particular place and time. But the fact that Klingons changed so much from what we got here maybe highlights the shortcomings of the episode. I give it a B-.

Enterprise Flashback: The Aenar

Right at the end of Star Trek: Enterprise's "Romulan espionage" trilogy, the writers threw a big Andorian curveball with "The Aenar."

A brain scan reveals that the pilot of a mysterious, marauding drone ship is Andorian. But not exactly, clarifies Shran -- it's an Aenar, a telepathic minority who live outside Andorian society. So Shran leads Archer and his crew to Andoria, where they hope to find out who is responsible for these raids, and how to stop them.

Andorians were an interesting species for Enterprise to explore. Their very brief appearances in prior Star Trek series gave very little to work with -- certainly not the "we're all about one thing" cliches that drove more popular adversaries like the Klingons and Romulans. Over three-plus years, the Enterprise writers managed to flesh out a more-rounded-than-usual-for-Star-Trek culture that, with the help of Jeffrey Combs as Shran, became one of the better aspects of the show.

Now here, they double down by inventing the Aenar, an interesting subculture -- blind, telepathic pacifists. It's a rather delicate threading of a needle for Enterprise; I find the Aenar unusual without being unknowable, and powerful without being a throwback to the dozens of god-like species of classic Star Trek. And as we learn about them, we actually learn new details about Shran's past. I'm not thrilled that Shran gets a bit flirty with one of the Aenar; she seems too young, and he's just lost someone he loved. But aside from that detail, I find everything about this thread in the episode to be interesting. In particular, the story that emerges between brother and sister has surprising pathos for not having been set up in the episodes leading up to this.

But I find the rest of the episode a bit rough. T'Pol and Trip seem like they should be past the point of "hiding from each other" as they do here, and I'm growing tired of the rom-com-like "will they, won't they" dynamic. The latest artificial obstacle to their relationship -- his decision to transfer to another starship -- is just a total groaner.

And there is... So. Much. Villain-splaining. They have a villain moot to complain about how their plot against diplomacy has only led their alien adversaries to grow closer. They bicker about how hard they can push their captive pilot. The leader of the scheme monologues about his days as a senator, his downfall, and how this is all just to reclaim his power. It feels far too late to be trying to empathize with this mustache twirler.

Other observation:

• Many fun visuals in this episode, from the Aenar's mushroom-like underground city, to strange burrowing ice worms, to even just the surface of Andoria. Even the omnipresent Star Trek caves get a glow-up.

I like a lot of elements in this episode. As a wrap-up of the trilogy as a whole, I find it a bit lacking. I give "The Aenar" a B overall.

Feelings of (Dis)closure

Director Steven Spielberg is back with a new science fiction adventure film? Sign me up! Like many this past weekend, I headed to the theater to see Disclosure Day.

A cybersecurity specialist steals sensitive information from the secretive organization he works for. A Kansas City weather reporter zones out on live television and begins speaking in some strange... language? The head of a rogue group of whistleblowers is holed up somewhere... building a house? What does it all mean, and what do these events have to do with each other?

Depending on what information you've sought out about Disclosure Day, you may know some of these answers before you see the movie, or at least think you know. I think the film is probably more enjoyable the less you know. But the discourse has been hard to avoid, so you probably know (or sense) that this movie in some way marks some return to very early Steven Spielberg -- some sort of spiritual successor to Close Encounters of the Third Kind, or E.T., perhaps?

The thing is, those two movies set a very high bar to live up to, when a much more fair one might be to expect something on par with Spielberg's take on War of the Worlds. Go into Disclosure Day expecting anything like "the best Steven Spielberg movie in decades," and I wager you'll come out feeling disappointed. Yet also, it's exceedingly rare for Spielberg to make a bad movie. Things like clever shot-making, perfect pacing, and working with actors just seem to come as naturally to him as breathing.

And to that last point -- working with actors -- he has a hell of a cast assembled here. There's a veritable who's who of recent rising stars, including Josh O'Connor, Colman Domingo, and Wyatt Russell. There's Eve Hewson, who seems just one or two big movies away from joining their ranks. There's a stalwart like Colin Firth, who continues his slow evolution from drawing room drama to unlikely action star to now playing the mustache-twirling heavy.

Bright as they all shine, Emily Blunt outshines them all. It almost feels like her impressive career -- playing opposite the likes of Tom Cruise and Dwayne Johnson in action movies, anchoring horror in The Quiet Place, ranging from Sicario to Mary Poppins -- has been leading up to this role that asks her to do it all. In Disclosure Day, she's in an earnest and emotional scene one moment and in mortal danger the next. And I'm convinced that despite all the rest of the talent involved, Disclosure Day wouldn't work without her.

But "convinced" is a word I chose deliberately. Because I kind of feel like I need to be "convinced" a bit to truly love this movie. I walked out with generally warm feelings, thinking I'd seen something good-but-not-great, but also immediately questioning my read. Disclosure Day is a movie that makes me ask if modern blockbusters have rotted my brain and caused my movie-going muscles to atrophy. The movie very pointedly does not explain everything to you. Not only do you have to hop on board quickly in the middle of the action, but not all of the dots are connected by the end. Afterward, I couldn't shake the nagging feeling that the more I thought about the movie, the more I'd feel not everything about the story really held together.

Yet I also felt like it had been a long time since I'd watched a summer blockbuster that didn't spoon-feed every answer to every asked and unasked question its audience might have. And when I happened to mention this to a friend who also saw Disclosure Day, she was quick to point out possible themes and threads I may have overlooked in the movie. Hmmm. Food for thought, for sure. Signs that this movie was deeper than I gave it credit for, probably. But... should I need to be convinced to like a movie in this way?

That's probably a much bigger topic than a review of a single movie can cover. But I will say, whether or not Disclosure Day has a "there" there, and whether or not it holds up to deeper scrutiny... it's still, either way, a fun ride with some very good acting. So overall, I think I'm going to give it a B+. And I'm pretty sure that if I should ever watch it again, that grade wouldn't hold. Whether it moved up or down, I couldn't say... but I doubt it would stay the same. 

Star Trek Flashback: The Devil in the Dark

Some people poke fun at Star Trek by pointing out that no matter where they explore in the galaxy, they find aliens that look like humans with bumpy foreheads. But that's not always the case, as demonstrated with the well-known original series episode "The Devil in the Dark."

When a "monster" threatens a mining operation on a remote planet, the Enterprise is dispatched to help. But Kirk, Spock, and company discover a creature with all-too-relatable motives, who may itself be the one who needs help.

I imagine not too many people outside Star Trek fandom know of the Horta, but it looms large within the fandom. As "rubber suits" go, it isn't much more credible than a "salt vampire" or a Gorn; it's part "Pizza the Hut" and part shag carpet. But director Joseph Pevney knows what all good horror directors know: showing the monster less early on makes it scarier. (Even if the parade of miners giving us screaming reaction shots aren't top notch.) It's all just credible enough that, when featured in a solid story like this one, it works. (It "breathes!" It skitters!) And this is a solid story. You might be ahead of "twist" and anticipate that this Horta is protecting its young, but it's a classic star Trek morality play to say that all life, no matter how alien, will have some relatable motives.

There are a few stumbles along the way. I can't understand why the Horta steals the valuable reactor part when it could just use its acid to destroy it. Kirk and Spock switch opinions a bit too quickly and without apparent cause -- one wanting to kill the Horta and the other wanting to save it, then vice versa. I've also recently mentioned that I'm growing a bit tired of convenient mindmelds, and this one may be the most deus ex machina-like yet. (But then, maybe they wouldn't keep going to mindmelds if Leonard Nimoy could hit every pitch thrown at him. Not many actors could scream about "pain!" without it being a laugh line.)

While Spock gets the showiest character moments, he's not the only one who shines in this episode. McCoy is at his most irascible ("I'm a doctor, not a bricklayer"), but then is able to heal a life form he doubted could even exist minutes earlier -- and is charmingly pleased with himself in the aftermath. Scotty's improvised patch on the reactor is able to buy the needed time to get to the bottom of the problem. And Kirk gives a rousing speech to an angry mob that is actually able to calm them down!

Other observations:

• This feels like it might be one of the first episodes where the Enterprise is implied to be "something special" and not just "one of many ships" in Starfleet. At least, that's what I take from the fact that miners on some distant world seem to have actually heard of the ship.

• A lot of the one-off crew members to die in season one have actually worn gold or blue shirts. But in this episode, when Kirk addresses an entire lineup of redshirts, you know what's in store for them. (But actually... you don't! They're going to fall for a miner pulling the old "what's that behind you?!" ruse.)

"The Devil in the Dark" does sometimes show its age. But it's also a reminder that Star Trek has always relied on actors selling the hell out of the unbelievable. (The core cast, in this case. Not so much the guest stars.) I give it a B.

Enterprise Flashback: United

The Star Trek: Enterprise trilogy about a Romulan plot to thwart peace continues in "United."

The Romulans continue to use their advanced, remote-piloted ship to attack different species while posing as someone else. But Trip and Reed remain aboard, working to sabotage the drone. Meanwhile, aboard Enterprise, it may not take Romulan meddling to fracture any alliance between the Andorians and Tellarites. Shran demands vengeance through personal combat with a Tellarite dignitary... and the only way Archer can stop it is to join the fight himself.

As I've noted before, it is nice to see Enterprise finally embracing its role as a Star Trek prequel. And there are shovels full of fan service in this episode in particular. But this installment also has big "middle chapter" vibes, doing little to advance the narrative with a third part still to come. Fortunately, it makes up for this with smaller stories for the characters.

Reed and Trip's adventures aboard the Romulan ship are a return to form for the pairing, who always seem to wind up in these sorts of scrapes together. The cat-and-mouse games between them and the Romulan commander they never meet are entertaining. Shock of shocks, Reed is finally shown to be good at his job! A timely phaser set to overload does disable the ship long enough for them to eventually be rescued.

The episode tries to deepen the Romulan aspect of the story by introducing a high-ranking senator who holds the other end of the leash on our scheming commander. I rarely find this sort of bickering between villains to be compelling. But it does give actor Brian Thompson more scenes in the episode, so I'll give it a pass.

But the main story line of the episode belongs to Shran, so much so that Archer has to put two senior officers on researching Andorian customs just to find a way to force himself into it. Make no mistake, what happens to Talas to motivate Shran is pure "fridging," but at least actor Jeffrey Combs is here to take the wheel when you throw him the keys. He manages to thread the needle on all this "honorable combat" stuff in a way that doesn't feel like a reheated Klingon trope, all the while showing Shran's respect for Archer and selling a resolution that somehow makes everything OK.

Archer's brand over three-and-a-half seasons hasn't really been to act like the adult in the room, but it still works to make humans in general the pivot point between all these squabbling aliens. Star Trek has previously done the "we need a network of multiple ships to stop Romulans" story, but it's been long enough to use it again here. And I can't argue with the thematic resonance of the first steps to the Federation being an armada of over 100 different alien ships.

Other observations:

• We also see some Remans in this episode -- another example of Enterprise using stuff from Star Trek: Nemesis because it was handy.

• The wild spins and other maneuvers that the Romulan ship does to avoid enemy fire feel far too extreme for the CG to look realistic.

• "Malcolm, you're such an easy target," says Trip. He's got that right.

This episode ends with a surprise reveal of the Daft Punk-helmeted pilot of the Romulan drone ship... a reveal that's going to send the final episode of the trilogy in a decidedly Andorian direction. Tune in next time. As for "United," I give it a B.

Sports Mockumentary

It doesn't seem like too many people have the Peacock streaming service. But they do occasionally float crazy deals to buy a year's worth of service for the cost of one or two months on some other services. Maybe you caught one of those deals to watch the Olympics earlier this year, and now are open to other things worth checking out as long as you have Peacock. In that spirit, let me suggest The Fall and Rise of Reggie Dinkins.

The title is the premise. Reggie Dinkins is a former professional football player now trying to rehabilitate his image, decades after his career ended in disgrace. He's invited an eccentric documentary filmmaker into his life to film everything, from his ex-wife (also his manager) to his new young fiancée, to his teenage son and a former teammate who lives in his house. Hijinks ensue.

This half-hour sitcom comes from Robert Carlock and Sam Means, who between the two of them have extensive writing credits on 30 Rock, Parks and Recreation, Unbreakable Kimmy Schmidt, and more. If you enjoyed any of those shows, it's hard to imagine you wouldn't like this new one. Familiar "mockumentary" tropes are once again in service of a fun cast of characters.

However, if you're like me, the main star of the show might actually be one of your least favorite things about it. Tracy Morgan stars as Reggie Dinkins -- and if you've seen him on 30 Rock or Saturday Night Live, you know exactly what he's like on this show because he just seems to always play "himself." But the premise of this show almost positions him as the ringmaster around which the rest of the circus whirls, and it's a really funny cast.

 I had just finished watching Erika Alexander in a dramatic recurring role on the "can't believe I'm still watching this" Invasion, and was delighted to see how funny she was (with better material) here. Relative new faces Precious Way and Jalyn Hall keep up with more established comedians like Bobby Moynihan, and a parade of guest stars including Craig Robinson, Heidi Gardner, Anna Camp, and Ronny Chieng. But seemingly having the most fun is Daniel Radcliffe as documentary filmmaker Arthur Tobin. He's played in this sort of tongue-in-cheek space before, but his character is sharper here, as is the comedy.

This being an actual network show, the episodes are a breezy 30 minutes minus commercials. This also being a streaming show, it's a brisk 10 episodes. The Fall and Rise of Reggie Dinkins isn't a show to make you get Peacock... but it's a pretty fun use of time if you're already there. I give it a B+.