Enterprise Flashback: Home

After Star Trek: The Next Generation resolved its most famous cliffhanger, the show served up an unusual "part three" with "Family," an introspective episode that examined the personal stakes undergirding the galactic ones. Following the season-long Xindi arc and the "Storm Front" two-parter, Star Trek: Enterprise attempted a similar epilogue with "Home."

At long last, Enterprise returns to Earth. But after an initial heroes' welcome, the crew spends time apart. Trip accompanies T'Pol to Vulcan for a difficult visit with her mother. Reed tries to enjoy newfound fame, but while out in public with Phlox, encounters ugly xenophobia. And Archer avoids a debriefing by escaping into the wilderness with the captain of Enterprise's sister ship.

"Home" is a decent episode, though it doesn't quite have the clarity or focus of The Next Generation. "Family" was unified by the overarching theme stated in the title. "Home" is more disjointed, with no one theme bridging all the story lines.

To some extent, the episode presents a take on a classic war theme that "you can't go home again." Reed and Mayweather discover a streak of racism against Phlox, and T'Pol's visit with her mother exposes just how wide the gulf between the two has grown. But Archer's story is not about him confronting changes in himself or on Earth. He has changed, as his interactions with Captain Hernandez make clear -- but not only is Archer not forced to confront his changes, he's rewarded for them by a congratulatory Ambassador Soval.

In two of the stories, our heroes are forced to ask themselves "what were we even fighting for?" The racist attack on Phlox exposes how humanity seems to have regressed in its moral progress. Archer spends much of the episode grousing about how Starfleet probably should be more of a military force. But then T'Pol's story doesn't really continue that theme into the third story line; her plot is about her feeling coerced into an arranged marriage.

Two of the stories are united around the theme of obligation. Archer has done his duty with the Xindi, and now must face an uncomfortable duty of a different kind in recounting all his morally questionable decisions to Starfleet and the Vulcans. T'Pol faces a two-fold obligation, to the fiance she's pledged to, and to her mother, whose troubles can be resolved if T'Pol helps her. But then the story line on Earth doesn't touch on obligation at all; it's a vignette about xenophobia in a time of war.

What I'm getting at is, "Home" is a bit jumbled. That said, focus on any one of the three main stories, and you'll find something to like. I find Archer's rock climbing themed booty call with Hernandez the least compelling story of the three, but even that is interesting for the contrast between Archer as dispirited veteran and Hernandez as hopeful neophyte. And they didn't skip on the production, taking the show on location for the mountaineering scenes.

The message of the Phlox story line is most engaging to me, even if that story gets the least screen time. Phlox's strange "puffer fish" face moment is just weird, but the scene itself gets something exactly right. In the 9/11 allegory that is the Xindi arc, it's important to note is that bigotry against an "other" -- even if they had nothing to do with it -- lingers for a long time. There's a particularly good scene between Phlox and Hoshi, in which Hoshi gives what should be the right answer (hiding away isn't the way to redress prejudice), but Phlox gives a more nuanced take (that trauma is real, and you can't rush the time it takes to heal).

Most of the episode focuses on T'Pol and Trip on Vulcan. While I'm not as invested in their on-off relationship as the writers, I do like the complications of this episode as a way of keeping them apart. It's so Vulcan to cloak an emotional urge to help family in a sense of moral obligation. It is, well... fascinating to see what a mob-style shakedown looks like when delivered in a Vulcan way. And the ending is especially poignant, as Trip must stand there as T'Pol marries someone else.

Also, T'Pol's mother T'Les -- as played by Joanna Cassidy -- is really an interesting character. On the one hand, she's all about tradition (providing a vehicle for this episode to have fun showing us some Vulcan customs). But at her core, T'Les shows unusual emotional intelligence for a Vulcan, revealing that she knows about the feelings her daughter has for Trip -- and even encouraging him to talk to T'Pol before it's too late.

Other observations:

• The show's CG may not always look top notch (though for being two decades old, it's great). But they often know exactly how and when to use it. The opening shot of the packed stadium welcoming Enterprise back is very effective, as is the vista of Vulcan with its colossal statues.

• Enterprise's sister ship, Columbia, was of course named for the space shuttle -- which had been lost less than two years before this episode aired.

• Yes, imagine the shame of the child of a Vulcan and human. (wink wink)

• When Archer and Hernandez make camp for the night, they weirdly seem to have made a point of laying their sleeping bags directly on hard rocks rather than the softer ground visible all around them.

I wish "Home" hung together thematically a bit better, but I do like that the show took a moment for this Xindi "epilogue" before rolling on to new stories. I give the episode a B.

Starfleet Academy: Come, Let's Away

The first season of Star Trek: Starfleet Academy has already crossed the halfway mark. It's high time for a return appearance by Paul Giamatti as the season's "big bad," Nus Braka. Which is exactly what we got in "Come, Let's Away."

The Starfleet Academy and War College cadets are on a training mission to a derelict Starfleet ship when a team is captured by dangerous marauders known as the Furies. Out of options to stage a rescue, Admiral Vance and Chancellor Ake turn to Nus Braka for help. His history with the Furies could prove decisive, though the price for his help may be too high. But maybe the newly-forged telepathic link between Caleb and Tarima will offer a way out of the crisis.

This was a very carefully crafted machine of an episode that really used the characters in just the right ways. The problems our heroes faced aboard the Miyazaki were constructed in such a way to give nearly every main character a role in the story and a moment to rise to the occasion. And while some of it may have been laced with a tinge of contrivance (Sam's ability to talk to the ship's communicator being both helpful and not too helpful), the situation felt effectively tense overall.

Some of that was the alien design of the Furies, whose weird phasing in and out felt like a fun way to "not show the monster" in an age where visual effects allow you to credibly show the monster. But I think more of it had to do with another page from the horror movie playbook: racking up a body count. Star Trek has always used dying redshirts to heighten the danger (to diminishing effects as it became a cliche), but there's something next level about the implied ripping apart of the cadets' teacher and tossing him into space for a bunch more cadets to see. And... bigger spoilers!... that danger is borne out when not only do the Furies claim the life of B'Avi, a character we've now spent a few episodes with, but also, defeating them winds up putting another character, Tarima, in a coma.

But while the bulk of the cast were thrown into this action-adventure stand-off, Holly Hunter and Paul Giamatti sat apart in a one-on-one character drama that let the two skilled actors simply trade barbs with one another. The odd stillness and serious of Nahla Ake, rather at odds with the free-spirited whimsy she displays most of the time, was a strong signal to the audience that Nus Braka is a threat to take seriously. And Nus Braka? Well, Paul Giamatti made another delicious meal out of every over-the-top line he was given.

Nus Braka's "wheels-within-wheels" scheming wasn't exactly hard to see coming, but there are more ways to make a villain shine than making him smarter than anyone else. (Though, aside from the audience, I guess he was that here also.) A great villain bends the arc of the story to them, as Giamatti's character did here. And as fun as all of his boisterous grandstanding was throughout the episode, I found the best moment for both actor and character to be his final scene, where he dropped all the bluster to explain his core hatred for the Federation. I don't actually agree with his Reagan-esque suspicion of "I'm from the government and I'm here to help you," but this is absolutely a recognizable type of attitude that resonates today. When governments fall down on the job, as they did in this Star Trek future after the Burn, people like Nus Braka are ascendant.

I find myself hoping that this villain lasts more than just one season, because I find him a great asset for the show... that I also don't want to be too overused by having him appear too frequently. In any case, I felt he was a big part of what made this one of the stronger Starfleet Academy episodes so far. I give "Come, Let's Away" a B+.

Devilish Fun?

David Dastmalchian is one of those actors whose face is much more widely recognized than his name. He's been "that weird guy" in things from Dune to Dexter to Murderbot and many, many more. But he's invariably a secondary character who isn't anchoring the film or TV series he's appearing in. In that way (among many others), the movie Late Night With the Devil is something different.

Late Night With the Devil is a fictitious documentary of 1970s talk show host Jack Delroy. Through increasing fame and sudden personal tragedy, his talk show Night Owls has always finished second to the legendary Johnny Carson. But his special episode on Halloween night in 1977 may change all that. With guests including a mentalist, skeptic, and a parapsychologist and her subject, Jack Delroy may have stumbled into a harrowing situation bringing more than he ever bargained for.

This movie uses a "found footage" conceit. After a brief introduction setting up the alleged documentary we're here to watch, the action unfolds as the "actual" Halloween broadcast as it went out live into America's living rooms. During the commercial breaks, the "documentary filmmakers" have restored "behind the scenes" footage taken in the studio. Thus, the movie is a 90-minute, real-time descent into darkness.

The structure is clever in theory, but in practice presents as something like a bell curve. The opening 15 to 20 minutes are very much a "slow burn" bit of storytelling. Anything else simply wouldn't be believable. If a 1970s TV audience was to turn on, say, the Dick Cavett Show and be confronted five minutes in with scenes from The Exorcist? Well, not only would that strain credulity, but it really wouldn't leave the story anywhere to go. Still... it means the movie requires the sort of patience that horror movies actually made in the late 70s demand: the tension ratchets up oh-so-slowly before all hell finally breaks loose. (Perhaps literally.)

At the end of the movie, without getting too spoilery, the movie lost me for another reason -- specifically, it abandons the "found footage" conceit it has so carefully established, showing us events that could not have been part of the live broadcast. It is at least in service of a fitting ending for what we've watched unfold... but it's presented in a way that doesn't have the courage of its narrative convictions.

But, for one hour in the middle, Late Night With the Devil is a pretty fun ride. We get entertaining jump scares, motivated characters gradually-but-believably making bad choices... all the best horror movie staples that makes the genre fun when done right. And a lot of what makes it work is the casting. David Dastmalchian really does carry this movie, and his casting is interesting in that he's not playing an overt creep like he usually does. His character is, as the old cliche goes, someone America would want to invite into their living rooms, and he definitely captures the patter and demeanor of a talk show host.

And really, the rest of the cast is pretty good too. To be blunt, even when the story of this movie is at its best, the dialogue isn't. This isn't an award-worthy script. But Dastmalchian, Ian Bliss, and Ingrid Torelli are particularly key among the cast in delivering what thrills there are here.

I would give Late Night With the Devil a B-. I feel that horror movies are a genre that's much like panning for gold; you have to give it a while to come up with anything valuable. This "find" is no fist-sized rock of gold... but neither is it a lump of iron pyrite. If you enjoy horror movies in generally, you might find enough gold flecks in here to feel this movie is worth your time.

A Bad Movie With a Powerful Kick

These days, I tend not to blog about entertainment I don't like. But I'm going to make an exception today for a movie I basically hated even as there were things I appreciated about it. I'm going to focus more on the latter as I tell you about If I Had Legs I'd Kick You.

Linda is at the end of her rope. Her young daughter has a condition that requires constant care and supplemental medical feeding. Her husband's job has him almost always absent. A massive issue at her apartment forces her to move into a hotel and fight constantly with her landlord for repairs. And there's a crisis at her therapy practice involving a patient. Can she hold herself together as it feels like everything is falling apart?

There are times it feels like If I Had Legs I'd Kick You barely has a story at all. It's a parade of horrible events, at best uncomfortable to watch, and at worst being a potential reminder of things in your own life you might have been watching a movie to try to escape. This is not a fun watch. It's not a movie from which you will take away anything uplifting. I deeply disliked the experience of the two hours I lost watching it.

But... there are some aspects of this movie I really want to praise -- in part because the Award Industrial Complex has turned its eye toward this movie, and I actually can see why.

Rose Byrne has the film's one Academy Award nomination, a Best Actress nod for her performance as Linda. It's absolutely deserved. Byrne has been on such a long run of comedic roles that I find myself forgetting she first came onto my radar as the star of Damages, a great psychological drama where she held her own opposite Glenn Close. In If I Had Legs I Kick You (yes, a great title I'm deliberately repeating for the fun of it), Byrne captures all the complexity of a mother on the edge: pushing herself well past the point of exhaustion simply because a) society unfairly expects it of her; and b) there's no one else.

Byrne's performance feels utterly real, because it's utterly without vanity. Through intense close-ups (more on that in a moment), she is able to give a remarkably subtle performance where you can see every crack in the facade as it develops. There's scarcely even gallows humor here; this is simply a raw, authentic performance that she inhabits so deeply that the audience can't help but feel it themselves.

She's aided in this feat by the choices of writer-director Mary Bronstein. Bronstein is doing things that on paper sound overly auteurist, navel-gazing, and pretentious. In practice, they're absolutely crucial to narrowing the spotlight on the film's central theme, and they help make Byrne's performance come off as powerfully as it does.

In If I Had Legs I'd Kick You (yup, I did it again), Linda's daughter has no name. We don't even see her face. The focus is entirely on Linda -- and the camera stays in tight close-up on her face for the vast majority of the movie. This doesn't just put the focus on what Linda is going through, it utterly strips away any chance for the audience to bond with her daughter. We never get any of the young girl's human characteristics, any hint of why anyone would sacrifice anything to care for her. As an off-camera voice, the daughter is rendered a whiny, insistent, never-ending black hole of need. Everything Linda has sacrificed in her life that got her to this point feels in fact completely pointless, since we don't even see what any of it was for.

If you've ever found yourself skeptical of highbrow art criticism ("see, the artist's choice of blue is meant to convey a unfulfilled yearning"), you might actually want to watch If I Had Legs I Kicked You. It's as pure a demonstration as I can imagine of the way that particular film-making choices can have a powerful effect on storytelling.

And yet... I didn't feel there was much of a story here to tell, beyond being made to sit and stew in one woman's awful predicament, watching helplessly as it grows more awful by the minute. I actually give If I Had Legs I'd Kick you a D-. Frankly, I hated this aimless, uncomfortable, oftentimes boring... well-made, well-acted, hyper-focused movie. Love it or hate it, you may well find there's something here for you too.

Starfleet Academy: Series Acclimation Mil

Almost every Star Trek series has a character positioned "outside humanity, looking in." These characters -- including Spock, Data, and Odo, among others -- are usually fan favorites. Starfleet Academy has a novel take on this archetype in the form of Sam, a bubbly, boisterous hologram who is actually even younger -- far younger -- than her teenage appearance. Will fans embrace her? If so, the latest episode of the show will be a key moment in that, "Series Acclimation Mil."

Sam is pressed by the leaders of her world to make faster progress in her evaluation of organic life-forms. She is their emissary, and they need her to find out if organics can be trusted. She finds herself drawn to history and another emissary, Benjamin Sisko. Solving the mystery of his fate, she reasons, will help her better understand her own role. Meanwhile, Commander Kelrec will soon host a group of alien dignitaries with their own elaborate rituals, and Chancellor Ake sets out to help him prepare.

I want to come to this episode by way of Star Trek: Lower Decks, for a few reasons. For one, it was co-written by Tawny Newsome, who starred on that series as Mariner and appears in this episode as Illa. But more importantly, I think Lower Decks worked because even though it was an animated comedy, it came from a place of love. Everyone involved with the show clearly loved Star Trek, and so it never felt mean when it would point out when the franchise had figurative food stains on its shirt.

For me, that same love of Star Trek manifests in a different way in this Starfleet Academy episode. I didn't feel they were here simply to trade on goodwill for Deep Space Nine. The story worked hard to honor the ambiguity of that show's finale, while also addressing a real-life concern actor Avery Brooks had previously expressed: that regardless of narrative fit, it didn't feel great for a black father on 90s television to be abandoning his children. Bringing Cirroc Lofton back to play an adult Jake Sisko let this episode speak to all of that, while the revelation of Ilia's true nature was a delightful surprise.

Interestingly, this story subverted much of what I said here in the beginning. Yes... on paper, Sam is very much the Spock/Data/etc. type of character, there to say: "you are all so perplexing" and make the audience reflect on the human condition. But then this episode said actually, Sam is also in a very large way like this other Star Trek character you probably weren't thinking about: a reluctant emissary on a journey of self-discovery and self-acceptance.

But... Sam does come on pretty strong, doesn't she? Kerrice Brooks admirably performs the role as written, complete with this episode's direct camera address, bouncy personality, and complete lack of social awareness -- though it can seem at times like this is trying to bottle all of television's most wacky character traits in one package. This hybrid Sheldon Cooper / Patrick Star / Phoebe Buffay character is out here Fleabagging / Clarissa Explains It All-ing / Ferris Bueller-ing her way through this episode like a force of nature. And I'm not sure the broad swings between that tone and the more serious "fate of the Emissary" material always worked.

Though the episode does try to add still more comedic elements to support the big swings. The Kelrec subplot is there basically just to get four actors around a dinner table for some broad comedy. And it doesn't hurt that two of them happen to be Robert Picardo (reliable comedy go-to from Star Trek: Voyager) and Tig Notaro.

Sam may not be my favorite character on this series, but I found enough to like even in an episode that centered on her. I give "Series Acclimation Mil" a B.

Starfleet Academy: Vox In Excelso

In the first episode of Starfleet Academy, one of the characters who most caught my attention was the Klingon Jay-Den Kraag. Luckily for me, I didn't have to wait long for an episode centered on him, "Vox In Excelso."

When word arrives at the Academy that a fleet of Klingon ships may have been lost, it's a deeply complex and personal tragedy for Jay-Den Kraag. He is estranged from his family, particularly a father who did not understand his interest in Starfleet. And the Klingons themselves stand at the brink of extinction, having lost their homeworld in the Burn. With the potential loss of many of the few remaining Klingons, and a sense of honor preventing them from seeking help, this may be the end of the once-strong people.

This episode marked the first time that the tone of Starfleet Academy didn't catch me off-guard and make me think, "oh, so maybe it's going to be like this?" That's because this was a classic Star Trek story formulation, presented in a mostly classic way. A crisis at large scale has especially personal stakes for one of the characters, who has to grapple with their own complicated feelings. (It seems no one in Starfleet comes from a healthy, stable family background.)

I won't pretend this was a best possible execution of that tried-and-true formula. Is it plausible that one cadet -- and only that cadet -- understands Klingons well enough to come up with the solution that's enacted at the end of this episode? Not really. Is Chancellor Ake's relationship with an old Klingon leader a convenient way to shoehorn in why any of this story would involve the Academy in any way? You bet. Pushing all these revelations through the Play-Doh Fun Factory of "debate class?" Pretty silly -- but this is Starfleet Academy.

I'll allow the writing contrivances, because this framework did allow for a number of great scenes. I appreciated the dynamic between Caleb and Jay-Den. In both life and fiction, it's expected that people with (supposedly) similar backgrounds should naturally be friends. But a real friendship develops from more than tropes. Caleb coming on strong about how much alike he and Jay-Den are created the perfect situation for Jay-Den to withdraw. The subtext was clear: I thought you saw me, not a version of yourself. And I also appreciated how the one cadet to actually swoop in and help was the character you probably least expected it to be, Darem Reymi. Maybe it's all the Heated Rivalry in the zeitgeist, but I found myself wondering if the show is trying to "ship" these two characters. But whether as friends or something more, I found Darem and Jay-Den to be a pairing I'd like to see more of.

And so what if the Chancellor Ake's scenes were a conceit to give Holly Hunter something to do. We have freaking Oscar winner Holly Hunter anchoring a Star Trek series! I love how she's taking the quirky behavior of Carol Kane of Strange New Worlds, embracing some part of it as "whatever a Lanthanite is," and making it her own. Specifically, what she's made is the captain who seems to be consistently having the most fun in the captain's chair since James T. Kirk.

Plus, Lura Thok might be emerging as the series' biggest not-so-secret weapon. We're already used to Thok as drill sergeant and so-serious-it's-funny comic relief. But here, actor Gina Yashere showed us another gear in a great scene with Jay-Den, recontextualizing his past as only another Klingon could and helping him find peace.

Overall, I thought this was a pretty good episode. I give it a B+. I hope that as the show inevitably focuses episodes on other characters, the results are at least as compelling.

Win Some, Lose Some

Pixar has been slowly branching out from movies into television mini-series on Disney+. I've blogged about their Inside Out spin-off, Dream Productions. But now I've watched a wholly original show, Win or Lose.

A middle school softball team is set to play in the big championship game at the end of the week. But it's going to be a big week for everyone: the young players dealing with problems at school, the parents trying to juggle their own lives with their kids', and even the umpire who will be calling the game.

I noted that Dream Productions felt like a Pixar movie that had simply been chopped into four pieces. But Win or Lose makes specific use of the television format. Each of the eight episodes centers on the perspective of one character. Some events replay in multiple episodes, with added context coming from the viewpoint shifts. The result is a surprisingly layered story with an accessible and potent message: everyone is out there, going through their stuff that you might know nothing about. 

Also different for Pixar is the relatively grounded nature of the story. Many of the characters' inner thoughts are realized in the form of a unique animation style that gets shuffled in with the "Pixar standard." But still, it's their inner thoughts. The story isn't taking place in a fanciful rendition of a teenager's mind, or a farflung post-apocaylptic future, or a world where you can attach balloons to your house to make it fly away. Win or Lose is unusually realistic for Pixar, which serves its realistic message well.

In different episodes, we see characters battle anxiety manifesting in many ways, using many tactics. One person seems to literally armor up to repel the negativity of others. Another character summons a professional alter ego, prepared for any situation. Still another refuels with likes from social media... and so on.

It's actually a sprawling cast of characters, played by a wide variety of comedians, voice-over artists, people you might know from any number of places. Will Forte is the "big name," but you might also know Josh Thomson, Rosa Salazar, Lil Rel Howery, Melissa Villaseñor, Scott Menville, Rhea Seehorn, or others. You need this many people to tell this many intersecting stories.

There's a lot to recommend about the show -- though I do have to acknowledge one place where cowardly interference by Disney compromised the Pixar team's original intentions. The Pickles are a co-ed softball team, and one of the characters was written as a trans girl. Disney reportedly asked Pixar to remove any specific mention of this. While you can still read between the lines and see the intention in the finished product, I feel like a more spelled-out portrayal would have been better. It's really kind of disappointing, though sadly not surprising, that in a show all about "not knowing what other people are going through," the trans story line gets compromised in this way.

But overall, I found Win or Lose to be a successful experiment for Pixar -- well-made generally, but especially well-crafted for the television medium. I give it a B+.