[8.5/10] One of the keys to any kind of art is layers. Whether it’s a story, a character, a performance, or a world, the idea that there’s more going on under the surface than what we immediately see, which can then be unveiled or communicated to the viewers as they go, is vital to artistic expression regardless of what form it takes. That’s a principle “Proving Ground” takes to heart, giving us layer after layer of the Andorians’ connection to our heroes, and creating an outstanding outing for Enterprise in the process.
The episode starts with the first layer of the Andorians’ intentions when they approach the Enterprise out of the blue (no pun intended): “We want to help.” At first, Archer is understandably skeptical. The humans and the Andorians haven’t exactly seen eye-to-eye in any of their past encounters, even if they’ve reluctantly been on the same side of one conflict or another. T’Pol raises some legitimate (if a bit biased) concerns that the Andorians might be duplicitous, only interested in what suits them.
But Shran (who is back and great as always) makes a good case for why the Andorians would intervene on Earth’s behalf. For one thing, Shran once again owes Archer after he helped prevent a war between Andoria and Vulcan last season, and Shran doesn't like owing debts. For another, it’s plausible that even an Imperialist group like the Andorians would feel for the plight of a people who lose seven million souls in a single attack and be apt to join them in a quest for revenge and glory.
Most of all, he puts forth a self-serving reason why the Androians would be willing to join Enterprise’s crusade -- to help shift the humans to being loyal to them rather than to the Vulcans. Shran deliberately underlines the fact that none of the Vulcans joined the Enterprise’s mission or offered assistance with their mighty fleet, and that T’Pol had to resign her commission to stay with it. This is an opportunity to for the Andorians to supersede their pointy-eared rivals as Earth’s best friend, whether that gets them strategic or resource gains, or just the petty joy of winning the loyalties of the Vulcans’ designated allies out from under them.
The case is plausible enough that when Shran wants to have members of his crew board the Enterprise, help them make repairs, share sensor data between them, and assist in the mission to intercept the Xindi weapons test, it seems fair for Archer to accept, especially when the ship is in rough shape after a particularly serious encounter with an uber-anomaly. The Xindi still just feel like the Evil League of Evil right now, even with the nice touch of Gralik’s sabotage coming to fruition when their prototype is tested, but the test provides a nice excuse for the Enterprise crew and Shran’s crew to pull of a fun, joint operation.
If nothing else, it’s a hoot and a half to see Shran trying to pull of the ruse of being a representative from the “Andorian Mining Consortium” looking for a “rare” mineral called “Archerite.” Jeffrey Coombs nails every part of this episode, but the high point may come when he expertly delivers the layers of that little performance within a performance. Shran needs to come off as affable and harmless, but a harsh reception from the Xindi has him struggling to keep his natural combativeness under wraps while staying in character.
Still, we get glimpses at the Andorians’ character on the Enterprise which suggest there’s yet more to these “wig-heads” than meets the eye. Part of that comes from the B-plot of the episode, which sees Reed and Andorian Lt. Talas working to repair the ship’s tactical systems together, and bonding a bit in the process.
In truth, their trajectory is fairly predictable. They start out not wanting to help one another, find that each is talented at what they do, and eventually develop a professional respect and the beginnings of a personal friendship as they learn they’re more alike than they initially thought. Still, the two characters have good chemistry, and the script strikes the right tone, both of cultural gaps needing to be bridged, and of a common understanding that comes from the hardships of being in a military family and their dedication to their jobs.
Of course, the episode turns that connection on its head when it’s revealed that Talas sabotaged the Enterprise’s sensors so that the Andorians could steal the Xindi weapon for themselves. That adds a whole second layer to everything we’ve seen. Shran’s comments to Archer about wanting to help Earth are all part of a ruse to get in his good graces. Talas’s warming up to Reed was a calculated effort to gain his trust and, more importantly, access to his sensor panel. This uncharacteristic bit of altruism turns into a characteristic bit of opportunism from the Andorians, just like T’Pol predicted.
The show even gives them a good motvation. The Xindi weapon will finally give the Andorians the upper hand in their clashes with the Vulcans, something to motivate their adversaries to lay off the border skirmishes. The episode plays the betrayal for drama nicely, giving us a smart space heist set piece that culminates with Archer being jettisoned in an escape pod. Thankfully (also, conveniently), Archer subscribed to the “trust but verify” mantra, and made similar preparations against Andorian treachery, playing a game of chicken with them over the weapon that ends in it being destroyed, the Andorian ship being hobbled, and the Enterprise able to go on its merry way.
So that’s it, right? Simple story. The Andorians pretended to be good to get something they wanted, but it turns out they’re bad, and our heroes were prepared for it. There’s nothing wrong with that type of story, especially in genre fiction. But good art takes things a layer further, a layer more complicated, a layer more interesting, and that’s exactly what “Proving Ground” does.
Because even though Shran “graciously” refuses Archer’s help, the implication is that he secretly transmits the Andorian ship’s sensor data on the Xindi weapon to the Enterprise. When in contact with his commanding officer, Shran asks if there’s another way and preemptively rejects a commendation. Hell, for all we know Talas genuinely made a connection with Reed, but just did her job the same way Shran did. We learn that the most prominent Andorian on Enterprise is someone who pretended to have good intentions, when he truly had bad intentions (or at least, self-serving intentions), but was following orders and, left to his own devices, would have made good (or at least, better) on those original good intentions.
It adds complexity to the relationship between humans and Andorians and on the relationship between Archer and Shran. One of the best scenes in the episode, and maybe the series, sees Trip asking Shran for the Andorian’s antimatter converters. Shran demures, but expresses sympathy for the loss of Trip’s sister in the attack and empathizes with the quest for vengeance. Trip rebuffs the suggestion, saying that it’s not about revenge; it’s about keeping others from having to suffer the same fate. Shran confides a story of losing his own sibling in battle, and with that shared sort of loss between them, agrees to give Trip the technology.
Maybe it’s all an act. Maybe the tech was fairly pedestrian and it was another part of the scheme to gain the Enterprise’s trust to where the Andorians could complete their mission. But I’d like to think it was genuine, another sign that Shran continues to see potential in these “pink-skins”, enough for him to give them the smallest bits of help along the way. As Archer puts it earlier, he and Shran keep finding themselves doing favors for one another, and Shran replies that it’s how alliance are born. Alliances are never that simple, but built on layers of trust and false starts and personal relationships. Great art, in Star Trek or elsewhere, is built on the same.
If last week's penultimate episode was the show's dramatic peak, this finale is an elegiac send-off, with Mariko's loss really felt by all (and which Jarvis beautifully conveys that throughout). Sanada and (especially) Asano are really in top form throughout, especially during that cliff's climatic conversation. Great series.
One of the most captivating shows of the decade ended with this episode. I can’t sing Shogun enough praise. What an absolute masterpiece.
Maybe they’ll continue it, maybe they won’t. I know I’ll be following the crew to see what they do next.
I won't lie, I actually liked the previous episode more. It was a good ending, but it could have ended a bit further into the future, leaving the rest to our imagination isn't too much of a problem. I could listen to Lady Ochiba's speech for hours, she is magnificent. The conversation between Toranaga and Yabushige was really good too. Thank you for one of the best series of recent times. Here's hoping to see more productions that portray Japanese culture and history in such a high-quality manner...
I secretly wanted Fuji and Anjin to be together, I'm sorry Mariko-sama. (˘･_･˘)
"Why tell a deadman the future?"
I couldn't have asked for a more fitting finale for this "piece of an art" mini-series. The bar was set high. It could've been either like the GoT finale or Breaking Bad finale. So glad they stayed consistent from start to finish. Undoubtedly, this ranks among the greatest miniseries ever produced.
Many people may be dissatisfied with the finale if they expected to watch an all-out war, which contradicts the entire idea of the show.
Another brilliant episode. Doing something right for season 5.
[5.4/10] Sometimes you have to find your Star Trek-related joys around the margins. Having Scott Bakula portray the steely, determined commander has never been Enterprise’s strong suit. Having him become romantically entangled with the latest love interest of the week, or any romance at all for him, has not been its strong suit. This episode is full of both, which means that the good parts come in those blessed few scenes when neither Archer, nor the titular Rajiin, are on screen.
This episode is basically a watered down version of “Dear Mrs. Reynolds” from Firefly. Archer and company go down to a local market to buy the formula for Trillium-B, and in the process, come across a bewitching sex worker. Archer goes all Pretty Woman, taking her on the ship as a refugee when she wants to get away so that he can save her. She wanders around, using her super-seduction powers to subdue everyone she runs into, until the crew catches on that she’s a double agent for the Xindi, albeit one who may be coerced.
The upshot of all of this is that much of the episode focuses on Archer’s interactions with Rajiin. That’s most annoying when she plays coy, because Archer is clearly enamored of her, but trying to maintain the dignity of his station, leading to lots of awkward looks and indicating from Bakula. At the same time, actress Nikita Ager does a pretty pitiful Betty Boop/Marilyn Monroe routine through most of this, playing shy and coquettish in a broad, cheesy way.
But then the charms come on, and we’re subjected to scene after scene of Rajiin plying her wiles on anyone and everyone she comes across. Naturally, this is an excuse for the show to put her in any number of barely-there costumes and up the steam factor wherever possible. I’m no prude, and can enjoy a bit of televised passion as much as anyone, but this feels like a transparently exploitative stunt. It’s particularly galling when it leads to what amounts to another unfortunate bit of sexual assault being visited upon T’Pol. (Seriously, why is this show so interested in going back to that well over and over again?)
Contrast that with the opening scene between T’Pol and Trip. The show goes nowhere near as gratuitous with it, but there’s a familiarity and intimacy between the two of them that makes the simple act of a neck massage sexier than all the candle-lit rooms and cavorting astro babes that Enterprise can muster. I also love the fact that Trip is a little anxious about people gossiping and getting the wrong idea about their sessions, but T’Pol basically saying that it’s none of the crew’s business and the two of them shouldn’t care. There’s a maturity to T’Pol that’s always been admirable, and it’s endearing seeing Trip be reassured by it.
I also like the continuing subplot of the Enterprise, chiefly Trip and T’Pol, aiming to make Trillium-B so that they can insulate the ship from the various anomalies in the Delphic Expanse. I have to admit, the Delphic Expanse has been surprisingly tame so far given how it was hyped up, but I appreciate that our heroes still have to at least take steps to protect themselves within it. And again, as good romantic chemistry as Trip and T’Pol have, they also just have good on-screen chemistry generally, making their working out a problem together engaging independent of the other business going on.
The other strong points that “Rajiin” can boast are its little bit of worldbuilding before we lurch into the plot, and an actual confrontation with the Xindi. As to the former, it’s neat to see Archer, Trip, and Reed rumbling around an alien marketplace. There’s a bit of exoticism going on that’s mildly uncomfortable, but for the most part, it’s just interesting to see them roaming around somewhere they’re clearly out of place and having to adjust and barter and deal with aliens who aren’t sporting the usual familiar forehead prosthesis. It adds little to the plot, but the alien chemist going gaga for black pepper helps add a sense of place to this region of space, and is, frankly, just plain fun.
The same is true for the Xindi assault on Enterprise. As I mentioned in my write-up in the last episode, while this show still doesn't feel equipped to do “dark post-9/11 allegory”, it is pretty good at action sequences this season. While Archer’s fight with the alien pimp in the first act is laughable, the final act’s skirmishes with the Xindi boarding party is much more exciting. There’s a borg-like quality to the Reptilian Xinidi, with the way they make an essentially unstoppable march through the ship to retrieve Rajiin giving them some legitimate menace and proving that humans aren’t the only species with space marines. Some of their schtick is cheesy -- like the animated dark throwing goop -- but on the whole, they’re scary enough to pass muster.
Unfortunately, before their arrival we just get more tedious Archer/Rajiin banter, and after we get more of the council of ridiculous looking aliens discussing their evil plan. Archer’s attempts at hard-nosed interrogation always come off more comic than dramatic, and the show’s efforts to cast Rajiin as a victim of circumstance in her own right are equally floundering given the similar limitations of the performer.
Eventually, however, we learn that Rajiin’s purpose was to scan the humans, so that the alliance of Reptilian/Bug-like Xindi can work on a biological weapon, which the primate/human Xindi oppose and want to stick with their original plan to use some other crazy sort of weapon. And the porpoise Xindi are, halfway in between, I guess? The show is trying to go for a continuing threat, and mostly comes off as ridiculous with the usual villain sneers and declarations, but it at least adds some information and complexity to their plot, which is something.
Sometimes, that’s all you get with Enterprise. When the main course is nothing to write home about, you have to sate yourself on the side dishes, and at least those, or their T.V. equivalents in “Raijin”, are worth digging into.
[7.6/10] “Talk less, fight more,” to paraphrase Aaron Burr (or his fictionalized equivalent), is not a bad mantra for Star Trek: Enterprise. Dialogue has never been the show’s strong suit. So as odd as it seems to have a Star Trek show more focused on fisticuffs and fireworks than high-minded meditations on diplomacy and philosophy, it may be playing to *Enterprise*s strengths.
Because the truth is that when you have the crew of Enterprise fighting off a pirate invasion, or trawling through an alien storehouse, or getting into a firefight with an alien ship, Enterprise is pretty enjoyable! I still contend it doesn't especially feel like Star Trek (or at least feels closer to the movie version of Trek that was bigger on excitement and less interested in the sort of thoughtful themes the T.V. series had time for), but it’s something that the show’s editors and effects team and camera crew is good at, which is more than you can say for the show’s script.
That said, however much I might bitch about lines here and there, the show does a good job at keeping the proceedings interesting, even apart from the skirmishes with an alien ship in the anomaly cluster of the Alpha Quadrant (I assume?). As I’ve said in prior write-ups, a lot of Star Trek episodes work best when the crew has clear goals. Here, the episode doesn't skimp on that.
Enterprise’s crew’s mission is clear: recover their lost gear before they run out of gas, track down the alien pirates who stole it; download the Xindi database from those same pirates. It helps add a directness to everything going on, where despite some of the “no, you guys, Enterprise is different now!* stuff, you can appreciate the show having a pretty clear throughline of cause and effect from minute one to minute forty-three.
The big problems are two-fold. For one, the show’s effects are just corny to a viewer in 2019. I try not to judge Enterprise too harshly on that front, anymore than I would judge The Original Series for putting a little dog in a cheap halloween costume and calling it an alien in the 1960s.
Still, willing suspension of disbelief is hard to maintain when you have Archer dealing with an obviously computer generated mid-air coffee spill, or a big lump roaming through the decks and tossing crewman flat on their asses. The idea that the laws of physics don’t work the same way in The Expanse is a novel one, especially when it means the usual warp equations don’t work, but the way the show tries to represent that idea is downright laughable in the modern era.
The other problem is that, apart from a reasonably tight story of the Enterprise crew losing their stuff, getting back, and then getting more still from the people who robbed them, “Anomaly” utterly belabors the point that Archer and everyone else is going to have to break some of their moral codes to get along in the expanse. The conversations between Archer and the captured pirate are completely and totally facepalm-worthy.
We get it, Enterprise! The Expanse calls for a more rough and tumble form of diplomacy than was possible in the rest of the Alpha Quadrant! And Archer in particular might be slipping morally and ethically given the demands of this region of space and his own frustrations over his home planet being attacked. There’s something to be said for the show dramatizing American anger circa 2003, and a sense of being wiling to torture prisoners and do other boundary-violating things that the shining city upon a hill would once shudder to countenance, at least publicly.
But as usual, the show makes that point with thunderous directness, making sure the audience understands in no uncertain terms that Archer is losing his moral compass when he suffocates the pirate for information, and having the same pirate pontificate about how mercy is a losing quality in The Expanse. Both the message of these sequences, and the relation to then-current events, are utterly obvious to the point that these scenes really detract from the episode, and the early part of the season, as a whole.
But when the Enterprise crew is just fighting off a pirate attack? Or spelunking their way through a giant metal sphere hidden in a cloaked part of space? Or having to stay close to the pirate vessel despite an ongoing firefight? That’s all pretty thrilling stuff that “Anomaly” does well. Sure, sometimes the overcharged musical stings and the way everyone seems so dang severe now feel over the top, but the nuts and bolts of these sequences are good, and tied to clear goals, which makes them more propulsive than the rest of the episode.
It’s also nice to see Hoshi getting something to do for the first time in what seems like forever. Between her translating the pirate inventory so that the crew can find their stuff in the sphere, to her recognizing the Xindi markings within it, to the way she’s able to download most of the Xindi database from their pirate pursuers, it’s nice to see a member of what has become the B-team getting a little of the spotlight.
Otherwise, Enterprise still does some very Enterprise things, like gratuitously focusing on a young female corporal while the gang is changing into their evac suits, or putting too fine a point on Trip and T’Pol’s “Vulcan neural pressure treatment” creating sexual tension, or having Scott Bakula play a laughable combination of anger and seriousness that he doesn't really have the gravitas for.
Still, when Enterprise focuses on the mission, and the dogfights and intraship skirmishes that go with it, it’s a better show. That’s not necessarily what I want from Star Trek. A well done interrogation of how proto-Federation morality holds up in a lawless frontier is more my speed (and something that Discovery attempted more than a decade later). But if Enterprise isn’t capable of that, or at least not capable of doing it well, then the least it can do is keep us entertained with more of this nonstop, reasonably tense action.
Interesting choice Michael has made for her Number 1.
Will Saru be back? :thinking:
Arguably better than the season pilot, but still a soup of questionable personalities. Watchable - especially while you’re waiting on other shows.
[7.2/10] Star Trek: Discovery does a better job of telling the audience that a relationship is important than spurring us to feel that importance. Your mileage may vary, of course, but across the series, characters have these soulful conversations about how much they mean to one another, and it’s rare, if not unprecedented, for the show to have earned that emotion through lived-in dynamics and experiences that believably bring two characters closer together.
But Burnham (Sonequa Martin-Green) and Saru (Doug Jones) are one of the big exceptions. They’re the two characters on the show who’ve arguably changed the most over the course of the series. Michael went from disgraced mutineer to respected captain. Saru went from a timid, by-the-book stiff to a more open and adventurous officer. And,as is Star Trek tradition, along the way, through hardship and heroism, they went from being mutual skeptics of one another to trusted friends.
Where so many of the friendships in Discovery fall flat, Michael and Saru are among the few who play with the ease and care of genuine confidantes. So an episode like “Under the Twin Moons” comes with the power of (supposedly) being Saru’s last hurrah as a Starfleet officer and, more importantly, his final mission alongside Michael Burnham.
In truth, the mission itself is no great shakes. The latest break in the Progenitor case sees the duo beaming down to the planet of the week, a lost world protected by one of those ancient technological security systems that Captain Kirk and company seemed to run into every third episode. The art direction work is laudable, with some neat designs of the weathered statues and other remnants of the fallen civilization, and a cluttered jungle locale that comes off more real and tactile than most of Discovery’s more sterile environments.
But this largely comes off as video game plotting, even before the show reveals that the Progenitor mission is essentially one massive fetch quest. The sense of skulking around old ruins, avoiding weathered booby traps, and using special abilities to avoid obstacles and find clues will be familiar to anyone who’s played Jedi: Fallen Order from the other half of the marquee sci-fi franchise dichotomy, or even precursors like the Zelda series of games. The challenges the away team faces feel more like perfunctory obstacles than meaningful threats to be overcome.
Still, these obstacles accomplish two things, however conspicuously. For one, they show Saru’s value to Starfleet in his alleged last mission. He shoots down ancient security bots with his quills. He attracts and evades their fire with his superspeed. He detects the hidden code with his ability to detect bioluminescence. And he’s able to use his strength to move a large obelisk back and forth to find the last piece of the puzzle. On a physical basis, it’s not bad having a Kelpian on your side.
More to the point, he also looks out for Michael. There’s a nice low-simmering conflict between them, where Michael wants to save Saru so he can enjoy the bliss of his civilian life with T’Rina, and Saru wants to fulfill his duty as any other officer would and protect his friend. In an episode themed around frayed connections between people, it’s nice to see that tension play out in an organic, selfless way between these two longtime comrades. Their ability to work together to solve problems, figure out puzzles, and most importantly, put their necks out for one another (in some cases literally), does more to honor Saru’s place in the series than all the Kelpien superpowers in the galaxy.
For another, they give Tilly (Mary Wiseman), Adira (Blu del Barrio), and eventually Captain Rayner the chance to do something science-y to help Michael and Saru down on the planet. Granted, their “Why don’t we use an ancient electrio-magnetic pulse?” solution strains credulity a bit, and Rayner’s advice boiling down to “You need to think like an ancient civilization” isn’t that insightful. But it gives a couple of the show’s players something to do, and reveals, however ham handedly, not only Rayner’s facility in the field, but his willingness to help out even when he doesn’t have to.
That's a good thing, since he’s joining the cast as the new first officer (something portended by Callum Keith Rennie’s addition to the opening credits. The dialogue to get him there is clunky, with thudding comments from Admiral Vance (Oded Fehr) and Burnham about Rayner being a good man despite some poor choices born of tougher times. But after only a couple of episodes, Rayner is a welcome addition -- a fly in the ointment for a now-cozy crew, bolstered by Rennie’s vividly irascible performance.
While the signposting is a little much, the idea that Burnham does not just want a first officer who’s capable, but one who’ll have the guts to challenge her and her perspective is a good one. That approach puts her in the good company of Captain Picard, among others, and shows a humility and an openness in Michael that's commendable. Her willingness to give someone else a second chance, given what the one she received allowed her to accomplish, speaks well of the still-new Captain, and adds some poetry with Discovery’s first season in its unexpected final one.
On a meta level, this is also an interesting thematic tack for the series. Rayner is coded as conservative, battle-hardened, even sclerotic in a way that clashes with traditional Starfleet principles. The idea that he has a place on the bridge, that his viewpoint is worthwhile, and most notably, that he can be brought into the light of Starfleet’s new dawn, fits with the aspirational tone of Star Trek. It’s worth watching how the character arc, and the ideas and subtext in tow, play out from here.
The same can't be said for Book’s (David Ajala) interactions with Moll (Eve Harlow) and L'ak (Elias Toufexis). The show wants to make some trite yet strained point about bonds between individuals in the already-tortured estrangement between him and Michael. The tired pop psychology from Dr. Culber (Wilson Cruz) doesn’t help on that front. But worse yet is the acknowledged unlikely coincidence that Moll is the daughter of Book’s mentor and surrogate father, a contrived familial connection that attempts to gin up through genealogy what the show can't from character-building alone.
Except when it can. The mission may be stock, and the surrounding plot threads may be underbaked, but the goodbye between Michael and Saru is legitimately touching. From Michael nursing Saru through his harrowing transformation, to Saru counseling Michael through good times and bad in her ascent up the ranks, the pair have blossomed into genuine confidantes over the course of the last four seasons. It did not always come easily, but that's what makes their connection now, and the parting poised to strain it, such a poignant, bittersweet moment between two friends.
Who knows if it will stick. Dr. Culbert came back from the dead. Tilly’s back in the fold despite leaving for Starfleet Academy. Saru himself returned to the ship despite ostensibly leaving to become a “great elder” on Kaminar. Discovery doesn’t have a great track record of sticking to major character exits.
For now, at least, Saru gets a swan song not only worthy of what the character, and Doug Jones’ impeccable performance, has meant to the series over the past seven years, but also of what, unassumingly, became one of the series’ strongest relationships. Michael will keep flying. Saru will hopefully enjoy some wedded bliss. But as “Under the Twin Moons” reminds us, they’ve both left a mark on the other that will stay with both of them, wherever they finally end up.
[6.8/10] Enterprise is back and it is dark and edgy, man! We’re in The Delphic Expanse where everything is harsh and weird! The alien species are duplicitous! The ship has a new complement of military guys! Captain Archer is angry and determined!Trip is violent and troubled! T’Pol has a new haircut and costume! The theme song is now jaunty and jazzier! This ain't your father’s Enterprise, pal!
If you can’t tell from my sarcastic italics, I am more than a little skeptical of Enterprise’s efforts at rebranding at the start of its third season. The show wants to turn a corner here, and after 50+ episodes using the original premise, maybe it’s the right time to pivot. Still, as Discovery would learn a decade and a half later, trying to mesh the vision of Star Trek with grimdark prestige brutality isn’t always an easy mix, whether you’re at the start of the Sopranos boom or the end of it.
The season premiere sees the crew at six weeks in the Expanse, and there’s the whiff of the show trying to pull off what Voyager was meant to be. Here are our otherwise high-minded heroes, deposited into a strange region of space they don’t know, without the benefit of being able to call for help whenever they run into trouble. That means new, unknown aliens, more rough-and-tumble encounters, and the way the dynamic of the ship changes when the mission du jour is seek and destroy rather than explore and befriend.
Enterprise just doesn't feel much like Star Trek in the process. Archer and Trip’s crawl through an alien sewer feels like something out of the original Star Wars trilogy. The council of cryptic-speaking, poorly CGI’d bad guys plays like something out of the Star Wars prequels. And the Enterprise deploying a compliment of space marines comes off feeling more like something out of Aliens or even Starship Troopers. Whatever problems I had with Enterprise’s first two seasons, there was something comforting about them because they felt of a piece with the franchise, its rhythms and its bearing, in a way that “The Xindi” just doesn't.
But maybe that’s a good thing. Lord knows that Enterprise didn’t work perfectly in its first couple of seasons. Franchises and art of all stripes need to evolve or risk growing stale. I’d be lying if I said the view of Starfleet or the weekly adventures promised if this is prologue really wowed me or drew me in, but it’s good for the things we like to make us uncomfortable now and then. It’s a sign that a show is taking risks, trying new things, letting the series develop into new directions that force the creators, and the audience, to adapt.
The problem is that Enterprise isn’t very convincing in its new darker and edgier vibe, at least not yet. I don’t want to eliminate the possibility. The show is still early in this new experiment, and as hokey as the Delphic Legion of Doom seems, there’s promise in the notion of a vengeance-seeking Starfleet ship having to cope in a rougher section of space. I don’t want to belabor the point, but the reimagined Battlestar Galactica was basically “darker Star Trek” and totally made it work. The catch is that on early 2000s network television, Enterprise can’t help but feel like a kid putting on his older brother’s clothes and pretending he’s a tough punk. It’s just not convincing yet.
Still, however discordant this opening salvo into the show’s brave new world is, there’s still plenty to like here. However cheesy some of the interactions are, I like Archer and Trip getting trapped in an alien mine and having to sneak and fight their way out. There’s some neat setpieces of them crawling through crap or scaling a plasma shaft, and there was a scenery-chewing charm to their interactions with the proto-Immortan Joe who runs the place.
That foreman/warden of the facility, naturally, doublecrosses our heroes and tries to make them his slaves, necessitating the tactical deployment of Major Hayes and his space marines. As much as the fight that follows doesn't feel like Trek, it’s still cool to see their hand-to-hand combat efficiency, or watching one of their sharpshooters snipe a firing alien from down below. You can still feel the show straining to let you know things are grim and serious know in a way that comes off a bit cornball, but the actual nuts and bolts of the standoff is well-done and exciting from a framing and blocking standpoint.
The episode also does a nice job of expanding the world of the bad guys a little bit. While the council of villains comes off poorly, the Xindi prisoner that Archer interrogates opens up some interesting avenues. We’re so used to planets and peoples being unified in Star Trek to the point that it’s genuinely surprising to learn the Xindi are not just another villainous alien race, but a collection and alliance of different species who jockey for power and have their own internal squabbles.
It feels like a nice fictionalization and figurativization of the United States having to deal with the different tribal alliances and rival groups during the War in Afghanistan, rather than the unified nation state we tend to think of in international conflicts. The notion that Archer and company have a lot to learn in this unfamiliar place, not just a lot of fighting to do, does feel very Trek-y.
Fortunately or unfortunately, not everything has changed on Enterprise. The series has still found new, not especially creative ways to have its female cast disrobe and moan and otherwise endeavor to titillate the nerdlingers in the audience. It’s more bargain basement exploitation when the show gins up reasons for Trip to massage a half-naked T’Pol here.
On the other hand, the scene is a testament to the benefits of genuine chemistry. The show has tried similar (if not entirely as crass) moments between Archer and T’Pol, and the complete lack of chemistry between Bakula and Blalock separately and independently doomed them. Blalock and Trineer have a much better dynamic, and it means that even when you’re facepalming because of the script, the proceedings are at least a little endearing because you can dig the vibe between the two characters on screen.
That’s what we have to hope for in the back half of Enterprise. This cast has settled in over two seasons. The creative team has settled in over two seasons. And the fans have (maybe) settled in over two seasons. As the series charts a new course, we have to hope that the seemingly misaimed efforts to inject the show with post-9/11 darkness can find fertile ground in a show and a crew that know how to do what they do at this point, or at least, what they used to do.
Great start to the season. Good they didn’t hide what IT is and some nice call backs to previous events.
Hopefully it will be a great ride ending this amazing show. :vulcan_salute:
Wow, could be the best season yet!
Wow that was good, one of the better episodes this season. Reminded me of Andor. Really captures the loneliness and the quiet, controlled horror of the empire.
I'm convinced none of you know what 'filler' actually means, this episode was a banger, not the best episode but a certified banger still. Got context for Lady Ochiba, more romance between Blackthorne & Mariko (their chemistry is actually very strong), more behind the scenes politics with the council and a great set up for 'Crimson Sky'. Another great episode!
Fuji's silent reaction shots during the tea negotiation are all gold
[5.2/10] For a while I’ve worried about Enterprise falling into the same pattern that The Original Series did, where the three main characters get all the stories and the rest of the crew, give or take the occasional Scotty episode, have to fend for scraps. It doesn't help that Enterprise, like the 1960s series, relegates the people of color in its cast to being supporting characters most of the time. So I’m inclined to appreciate the installments where Mayweather or Hoshi or Dr. Phlox get the spotlight for an episode.
The problem is that those episodes need to be, you know, good, and “Horizon” pretty much tops out at “boring.” A story with tinny emotions, slack pacing, and a sort of knowingly inessential vibe make Mayweather’s day in the limelight feels like a big waste. The threats here are minor, the personal relationships are stock and weakly-developed, and the conclusion is predictable and rushed.
The premise of the episode sees the Enterprise passing by the freighter owned and operated by Mayweather’s family. Travis asks for a brief leave to visit them, only to learn that his father, who captained the ship, died before word could reach him. What follows is an awkward, semi-presumptuous visit home, where Mayweather is excited to see his old digs and impart what he’s learned, but his brother, Paul, is far less welcoming.
“Horizon” is basically doing a less traumatized version of “Family” from The Next Generation here. Travis’s brother is resentful that his brother left the family trade to go join Starfleet. He is contemptuous of his brother’s vaunted place in the world, and has an implicit inferiority complex while trying to succeed his father in running the freighter. Travis, meanwhile, is conflicted between his desire to help his family and their ship run better and be safer while he’s there, with his own remorse at wondering if he’s abandoned his family and his old crew, and if he even has a place with them anymore.
That’s strong stuff! As befits the product of a writer who would go on to pen scripts for Mad Men, there’s complex familial and generational issues at play. The rub is that the delivery of those ideas, in story, dialogue, and performance, is all facepalm-worthy.
I feel bad for singling out Anthony Montgomery, but he’s just not really up to conveying the complicated emotional situation the episode wants to depict. Granted, the script does him no favors, being riddled with tin-eared dialogue and on-the-nose statements about what everyone’s thinking and feeling. But Montgomery does little in these stretches to suggest he should get this sort of focus more often (not that it stops the show from giving it to Bakula). While he does some nice nonverbal work in the moment where he’s crying in his little crawl space, every time Mayweather’s called upon to actually say a line, it feels like he’s announcing it rather than delivering it.
The other side of the coin is that maybe it’s not Montgomery’s fault, because the same thing happens with every other character on the Horizon, from Mayweather’s brother, to his mom, to his childhood playmate. There’s a stagey atmosphere to all of this, where each of the characters gives performances with the vibe of a high school play. Star Trek isn’t always a den of naturalism, but the hokiness of the line delivery across the board robs the episode of whatever tiny bit of emotional force the script might be able to muster.
That’s part of why the most enjoyable part of “Horizon” is its B-story. It sees Trip arranging a screening of Frankenstein, and he and Archer cajoling T’Pol to come to movie night and see it. It is, without a doubt, a trifle of a subplot, and it yet again teases romance between Archer and T’Pol that I just don’t buy. But it’s fun! Not everything has to be a high stakes outing, and just seeing the Enterprise’s senior staff goof off around an old movie without having to carry all the dramatic weight makes for an entertaining, seven-minute lark.
Still, it ultimately offers a more worthwhile point than the main story does. Maybe this is a cheap thing for a critic to like, but I particularly appreciate how T’Pol pulls out a different interpretation of the film than her colleagues intended. The idea of the story as a rumination on how humans treat those who look and act different from them, something that T’Pol and by extension, other Vulcans could relate to, causes Archer and Trip discomfort, but is a legitimate take.
Beyond the humor of T’Pol preferring a dramatic reading of the original novel or Dr. Phlox nitpicking the medical procedures, there’s some nice irony in the fact that T’Pol’s crewmates wanted her to learn more about humanity through its art, and she did, just not in the direction they were hoping. There’s a statement about the malleability of stories and the way we share them that is as worthwhile as it is pithy.
Were that I could say anything else in the episode was pithy. Back on the Horizon, Travis has predictable friction with his brother, predictable reminiscing and uncertainty with his old friend, and predictable reassurance from his mother. There’s a lot of “Did I ever tell you about the time?” scenes, and a lot of painfully ruminating on the same “You left us! The whole world is leaving us!” issues over and over again. This episode loses the thematic punch of the same topic in “Fortunate Son” by couching it in a tired kitchen sink drama and a barely-there action-y threat. The whole thing ends up dull.
That’s frustrating, because it suggests a lack of care or quality from these sorts of outings that suggests we won’t get many of them. One of the best things about Star Trek is that, from the beginning, the franchise has been about ensembles. It would be nice to see Enterprise taking advantage of that, and featuring other characters more often. But given the middling work and middling results in “Horizon”, that doesn't seem very likely.
Good episode. :thumbsup_tone4:
Did we ever find out what happened to Kolos? Was he able to make a significant impact like he wanted? I don't recall if it's mentioned in Klingon history? Does anyone know? I tend to think not considering what became of the Klingon Empire. Maybe they mention him later in this series... will just have to keep watching and find out.
[9.4/10] I tend to like naturalism in most things, even in stories in outer space. It’s why I found found the original Star Trek difficult to warm to at times, with all of Kirk’s grand pronouncements about this and that, and a certain pulpiness that was always the intent of the show. All else equal, I want the conflict, the characters, and their reactions to feel real, even if the setting or scenario are outlandish.
But by god, somehow the Klingons just bring out my inner cheese. (Surgeon General’s Warning: If you or a loved one start autogenerating dairy products internally, please consult a physician.) There is just something about those growling, shouting, gesticulating aliens that works for me, and turns a tone that might seem over the top elsewhere into something I can absolutely vibe with.
The same goes for courtroom drama episodes for that matter. There’s an artificiality to the setting, one where people are called upon to make big speeches in a structured setting, that lends itself to a certain amount of grandiosity and presentation. Lawyers “act” when making presentations to juries or arguing in front of judges, so it makes sense that actors playing lawyers would, well, act as well.
So when “Judgment” presents a Klingon legal drama, it can be loud and boisterous and grandiose in what it offers the audience, and it goes down as smoothly as a nice slug of bloodwine, even for sticks in the mud like me.
The episode sees Archer brought before a Klingon tribunal and charged with fomenting rebellion. Using a Rashomon type presentation, the courtroom scenes are, in part, a frame story to depict a skirmish between Archer and Klingon named Captain Duras (a name that raises instant suspicion among Next Generation fans). Captain Duras tells his side of the story, a tale of a duplicitous, Klingon-hating, terrorist-helping human who defied the Empire and dishonored a proud warrior. And then Archer tells his side, of his crew rendering aid to a group of beleaguered refugees harassed by the Klingons like the ones we met in “Marauders”, of defending his ship from a Klingon-instigated attack, and of the mercy she showed his enemy despite the opportunity to slay his opponent.
It’s all done well enough, with some cool firefights and explosions. The true set of events are predictable enough, but it’s fun to see the Enterprise through a lying Klingon’s eyes, and the episode adds enough wrinkles and new details to what really happened to make the retelling of the story compelling. It all sets up Archer as someone resourceful, proud, and noble, who not only outflanked a Klingon battle cruiser, but who is willing to sacrifice his own life in order to save a group of people he’s barely met, because it’s the right thing to do.
That’s not the most interesting part of the episode though. It’s fine to see Archer presented as the good captain yet again, but it’s far more fascinating to see another glimpse of the Klingon legal system, to hear about the degradation and change of the Klingon society, and to see the story of one man (er, Klingon man) seeing Archer’s stand as an object lesson for standing up for his principles.
The Courtroom drama part of it is just downright fun. Sure, theoretically Archer could be sentenced to death, but c’mon. The spark of the judge’s weird ball glove gavel, the rabble of the chanting crowd, the tet-a-tet between the defense advocate and the prosecutor are all great texture and great television. There is a certain amount of enjoyable scenery-chewing that goes on when Orak, the mercenary, decorated prosecutor, goes full “j’accuse!” with Archer, and it’s just as fun when Advocate Kolos is roused from his complacency by Archer, and starts using his craftiness to meet Orak head-on.
But what’s even more engrossing is Kolos’s recollection of a more enlightened Klingon society, and his lamenting how much his people have devolved into rank warriorism. I’ve watched literally every other Star Trek series, and outside of a few notable exceptions, I only know Klingons as the proud, revelrous warriors that they’re typically presented as. The idea that there’s other classes of Klingons than the ones the likes of Kirk would likely meet on the interstellar frontier is neat in and of itself.
Even more compelling, though, is the notion that the Klingons were once a diverse set of people who had scientists and teacher and real lawyers, who devolved into an “honor and war above all” corruption that would overtake the culture as a whole. There’s an antiquated sort of species essentialism to Star Trek: all Vulcans are logical, all Klingons are war-like, all Ferengi are greedy. Different stories have subverted these ideas on the margins, but “Judgment” is the first Trek story I can remember to suggest that it didn’t have to be this way, that for Klingons at least, this was a regrettable cultural homogenization, rather than a speciesist inevitability.
Kolos aims to fight against that tide. He tries his hardest for the first time in years, and earns Archer a commuting of his death sentence to life in prison. Inspired by Archer’s example, he publicly questions how far these Klingon courts have fallen in his time, regretting his complacency, challenging the hypocritical sense of honor, and speaking truth to power. It earns him the same trip to the penal colony of Rura Penthe that Archer gets, cementing the ways in which “Judgment” is a spiritual successor to Star Trek VI: The Undiscovered Country, which dealt similarly with kangaroo courts and hard-won shifts in Klingon society.
In truth, the episode runs out of gas a bit once the setting changes to the frozen prison. The enjoyable Klingon bravado, the heightened reality of the tribunal setting, fade a little into standard Trekian folderol. Still, the convenient rescue is an enjoyable post script to these proceedings, and even better is Kolos resolve to stay and improve his people’s lot.
The show isn’t subtle about it, with Kolos outright stating why he’s had a change of heart, what he means to atone for, and how he’ll have the will to go on. But maybe with these operating Klingon stories, subtlety is overrated. There is something heartening, maybe even stirring, about this cynical man finding reason to believe in something again. Even I would be hard-pressed to ask Enterprise to turn the volume down.
Kolos: says one word
Me: OMG that's J.G. Hertzler!
[5.6/10] For me, the greatest sin of a television show is wasted potential. Some episodes are liable to be great. Some episodes are liable to be terrible. A good many more will vary between “fine” and “pretty good.” As I’ve exhaustively detailed on this website, there’s a ton of reasons for that, some of which are understandable and some of which are maddening. But the most frustrating thing when taking in a story of any stripe, is feeling like somebody had a great idea, or great premise, or sniffed greatness, but then left some of the best possibilities on the table.
“The Crossing” leaves more than the best possibilities on the table. It leaves most of the possibilities on the table. The prospect of non-corporeal beings, touring the human body as a vessel of choice through meatspace, is a thrilling one. As “Return to Tomorrow” from The Original Series showed us, the notion of what beings without bodies do once returned to them can be an illuminating experience for the characters and the audience alike.
But Enterprise dispenses with all of that for a rote pod people story. Instead of any philosophical exploration of what it means to encounter a new form of life or the costs of their form of existence versus ours, “The Crossing” does a cheap spin on a horror tale, with Stepford Smilers and “who’ll be brainwashed next?” questions that don’t amount to much beyond some bargain basement scares.
That wouldn’t be so bad if the show’s would be ghost story were any good. As much as I enjoy Star Trek’s more philosophical side, there’s nothing wrong with just telling a simple, creepy tale in the confines of a spaceship. The problem is that the invasion of the “wisps” is pretty dull, and doesn't make much sense.
Most good stories that involve the supernatural (or the “may as well be supernatural”) have rules for how things have to operate. These rules take the nigh-magical and not only ground it in something the audience can relate to, but make the characters earn their success (or failure) in dealing with it. Here, the rules are all so opaque and nonsensical that it’s hard to invest in any of the problems or solutions.
Are you unsure whether or not a fellow crewman is inhabited by a wisp? Well that’s no problem, because Dr. Phlox just invented a wisp detector! Are you running from a being that can go through walls (which, in fairness, are the episode’s best sequences)? Don’t worry about it! These things that the sensors can’t even really detect are repelled by the alloy in the catwalk for some reason! Is a third of your crew infested with these beings who might have evil intentions? That’s fine! We can just gas them out of the ship without any ill effects to the human beings they’re inhabiting! What about that massive alien ship that you can’t outrun and which is so technologically advanced that it takes over all of your systems? Just blow it up!
I’m used to easy Treknobabble solutions to what ought to be thorny problems, and I’m not a nitpicker, but “The Crossing” takes the cake. It stacks arbitrary implausibility on top of arbitrary implausibility until you wonder if the writers even began to think this whole situation through. I’ll concede that there’s something clever about T’Pol using her psychic abilities and disciplined mind to discern the wisps’ plan after one tries to take her over. But for the most part, the episode introduces a series a big, difficult problem and then comes up with all sorts of convenient answers that don’t pass the smell test.
Some of this would be more tolerable if the episode didn’t feel like it was stretching to fit the required runtime. My compliment for the last episode was that it knew how to evolve its central problem to create new challenges for our heroes to overcome. “The Crossing” does nearly the opposite, giving us the gist of the problem early on and then letting us watch Archer and company tread water for most the episode before figuring out how to solve it. In the meantime, we get a bunch of lifeless scenes of Archer yelling generic missives at his wisp-possessed crewmen and, bafflingly, multiple silly fight scenes starring Dr. Phlox: action star.
The episode also tosses in some weird sexual harassment material with the wisp who possesses Malcolm which is, dare I say, problematic. Either it’s meant to be a source of menace, in which case it feels cheap and especially galling for the show to try to pull that crap using T’Pol as the victim again. Or it’s meant as comedy, which may be even worse. There’s something interesting about a non-corporeal being experiencing sexual curiosity and desire, without understanding human mores, but Enterprise doesn't have the skill to explore that fraught material with any grace or nuance, and the whole thing comes off as uncomfortable for other reasons than what the show seems to be going for.
That’s the cinch to all of “The Crossing.” There’s grand metaphysical questions at play about what it’s like for a being without a body to suddenly find itself able to talk and eat and feel again, and for a human to suddenly experience the world through a different lens. There’s grand ethical questions about whether it’s right for a wisp to do this, and how much leeway to give a species that’s long removed from issues of bodily autonomy. And there’s compelling moral dilemmas about a group of dying lifeforms seeking salvation and how we measure their lives against ours.
But Enterprise just blows them up, literally and figuratively. Gone are the engrossing questions of different forms of life, and in comes a procedural horror story that’s rife with boring interludes and quick fixes. When the series had the chance to tell us a story about the famed “new life and new civilizations” from the once-famous, now-jettisoned intro, it gave us a mostly-fine but uninspired possession story that barely bothered to graze any of the imaginative qualities and curiosity that made Star Trek great.
I can handle bad Star Trek episodes. Hell, I love some of them. What I truly don’t like are episodes like this, that feel like they waste something great to settle for something less.
Sure, ok, make the first non-corporeal species Enterprise encounters evil, because two legs good, no legs bad, right. The xenophobic undertone of this episode is hilariously ironic when you consider the whole point of Star Trek is to examine and embrace other cultures and ways of life.
Also, I've come to the conclusion that the theme of Enterprise is "Star Trek, yes, but make it sexy."
"If you call yourself enlightened, then you have to embrace people who are different than you are." - Jonathan Archer
I chuckle silently whenever I hear someone say the world has changed a lot and has largely embraced the LGBTQ+ community and people living with HIV/AIDS. It's easy to say you see no problem when it doesn't directly affect you and you're far removed from it. Yes, there has been some (mostly superficial change), but stigma and discrimination still exists, its just more subtle and insidious in many places, still brutal and life threatening in others. Remember, the United States of America isn't the only country in the world, and it's still (in 2022) very much a danger to live "differently" to the norm in some countries (even in some places in the USA)... and yes, we watch Star Trek in other parts of the world too, so it's relevant. Lol
Sure, it might just be that the episode felt rather personal for me, but I found this one to be an Enterprise winner. I particularly liked that it was obvious they were talking about the stigma against HIV/AIDS and homosexuals. I loved that the dialogue was blunt, to the point and unambiguous rather than overly covert. The juxtaposition with Danobulan sexuality created a good contrast by which to examine how relationships and intimacy may differ culturally. This is the kind of Star Trek I prefer, rather than the purposeless hypersexualised nonsense and weak writing I've seen of Enterpise thus far.
Well done.
The closing credits to this should have read:
in memory of the anonymous settlement which was later destroyed from orbit by a Klingon ship.
I can't believe for a second they got away with it XD
[7.5/10] Seventy-five percent of this episode is pretty darn good, if not great. The first part of “Shockwave” gives us a problem that threatens to not only ground the Enterprise, but to halt human deep space exploration for decades. It offers a solution that the characters don’t expect in a sideways sort of way. And then it presents the crew working as a well-oiled machine, taking the lessons they’ve learned over the past twenty-five episodes to win the day and clear their names.
Is that stretch flawless? By no means. The gaping hole at the center of Enterprise continues to be Scott Bakula as Jonathan Archer. With a full season of adventures and guises under our belts, it’s safe to say that Bakula cannot convincingly play the brooding layabout, or the romantic lead, or the high-minded explorer, or the amiable good old boy at anything above an “eh, it’s fine” level. That means any episode of this show centered around him is going to playing from a deficit, just like Archer’s beloved water polo team, from the getgo.
But the ideas in “Shockwave” are very good, and even some of the nuts and bolts writing and character decisions are strong. While Bakula doesn't necessarily do a great job at selling Archer’s despondence at having potentially grounded Earth’s space flights for years, the magnitude of the loss shines through. Archer’s “mistake” caused 3,600 souls to lose their lives, and led to the diametrically opposite result that this first mission was supposed to achieve.
The Enterprise’s first mission is to make first contact, to “seek out new life and new civilizations,” and instead, our main characters have seemingly destroyed it. The mission is an effort to prove that humanity is ready to join the interstellar community, and instead, this mistake is poised to make the elders of spaceflight confirm their views of terrans as impulsive and not ready. And worst of all, Archer’s mission is supposed to be a vindication of his father, and a thumb in the eye of the Vulcans who’d held human spaceflight back; instead, he appears to have handed the Vulcans the fodder to say that their reluctance toward both Archers was justified.
And yet, this being not only Star Trek, but a season finale at that, the savvy viewers can probably guess that our heroes weren’t responsible for the “oversight” that led to the decimation of the miners, and that the true culprits probably involves the Suliban and some time travel chicanery. Still, “Shockwave Pt. 1” lingers just long enough on the sense of failure, on the crew planning what they’re going to do after Enterprise, to let the weight of the consequences land, even if we can be reasonably sure that those consequences won’t ever actually come (especially considering that there’s 72 more episodes to get through!)
My favorite of these moments comes from T’Pol, who finds herself in a scene that mirrors the one with her and Archer from “Shadows of P’Jem.” This time, it’s her prompting her Captain to fight for his job, to try to show that there were extentuating circumstances, to convince their respective governments that this journey is worthwhile.
There’s a fatalism to Archer’s position, one that reflects human nature but which is no less wrong, to look at the worst of ourselves when things go wrong and be blind to the best of who we are. T’Pol, having been around humans enough to recognize their irrationality, but also to believe in what we’re capable of, encourages Archer to see all the things he did right, all the value he and the Enterprise brought, over the past ten months.
But it takes a visit from Daniels, the time-traveling crewman from the last major scrap with Silik, to fully convince Archer to snap out of his funk and get back to work. In truth, I didn’t necessarily love this portion of the episode, if only because the show spends a lot of time on Archer feelings out the situation of being thrust back in time when it feels perfunctory to longtime Star Trek fans who are used to hops to the past and future. Still, it’s enough to convince Archer than the explosion was the result of Suliban sabotage, and give him the tools to fix it.
What follows next is Enterprise at its team-work and action-y best. Seeing the crew work together to create a device to detect cloaked Suliban ships, keep the comm on the fritz, and stymie their enemies long enough to complete their mission is outstanding. To boot, the sequences where the main trio sneak onto a Suliban ship, stun grenade the baddies, and nab a series of data disks that prove what really happened is as exciting as all hell. It shows the team learning and growing, taking risks, but being good enough at their jobs as Starfleet officers to make sure they work out.
It’s a hell of a thrillride, except for the fact that it basically ends with a giant tease for part two that grinds the episode to a halt. Silik and his ships surround Enterprise and, per the Future Guy’s instructions, Silik demands that Archer turn himself over to them or they’ll blow up Enterprise and everyone on it. So we get this faux goodbye, where Archer peddles some faux wistful nonsense about believing in the impossible, with awful pacing, that culminates in the Captain being transported to a future that is unexpectedly post-apocalyptic. The whole thing feels like a spiritual rip off of “Best of Both Worlds” with half of the charm and execution.
But in the end, the first half of “Shockwave” represents the strengths and weaknesses of the show. It has some good character growth from T’Pol, some well done ensemble work and action sequences to show what the team in front of and behind the camera can do, and it plays with some very interesting ideas about internalizing guilt and the personal weight of expectation and diplomacy. But it also features some questionable acting from its lead character, and a creaky capper to the episode that only serves to remind the viewer of better Star Trek cliffhangers.
If you’d just cut this one off with ten minutes left or so, you’d have one of the standouts of Star Trek’s first season. But forced to not only tell the immediate story, but squeeze in some extra, overdramatized, timey-wimey nonsense, and focus more on Archer, the cracks in Enterprise’s foundation begin to show.
Still, I have enjoyed this first season of the show. Fan sentiment had me fearing the worst, and rest assured, Enterprise has yet to match the heights of its predecessors. But while the show has plenty of stinkers, it also has plenty of shining moments. As the cast continues to gell, and the interesting ideas in the premise continue to be harvested, I have high hopes as we head into the next season, despite the sour taste “Shockwave” leaves in my mouth.
[7.5/10] I recently read an article about Star Trek Discovery, praising the character of Captain Pike. The author argued that Pike was a much-needed masculine role model after the supposed degradation of men in popular culture. He argued that the manly, decisiveness of Pike was a sorely needed corrective to the deconstructions of masculinity that have been en vogue of late.
As you can probably tell from my tone, I don’t necessarily agree with the premise. Discovery’s Pike is great, but one of the important and useful things pop culture has done in the last couple of decades is pry away at the trappings and expectations of masculinity in our modern era and in our past, and examined the unsettling underbelly of those cultural tropes and pressures.
But then I come to an episode of Enterprise like “Desert Passing”, and it reminds me how much Star Trek in particular has long been a purveyor of notions of different sorts of masculinity, beyond just macho manly man nonsense. Sure, Kirk never found a situation he couldn’t punch or sleep his way out of, but Spock was a dignified alternative, Picard was the picture of dignity and unassuming strength, Sisko carried emotional baggage and was warm with his son, and Voyager had...uh...Tuvok I guess? Well they’re not all winners, but the fact is that Star Trek has often put forward these sorts of role models, who modeled different but no less strong ways to be men to scores of impressionable nerds like yours truly.
And while I have my beefs with Archer as a character, I like how he too fills that role here. He is venerated as a warrior, as a tactician, and legendary freedom fighter here, the sort of Rambo-esque figure who drops in, single-handedly fights an army, and then saves the day. But Archer not only brushes off those sorts of comparisons, but show’s a different sort of caring, wit, endurance, and self-sacrifice that are traits less associated with the sort of image that article’s author wanted to conjure.
Don’t get me wrong, there’s a weird Top Gun-esque space lacrosse scene where Archer and Trip go shirtless and knock over their alien competitors. (Which, I guess, at least helps balance out some of the weird cheesecake the show does with T’Pol?) But the focus of the episode is not on Archer as a manly man; it’s on him as a survivor, someone who is giving and kind.
The meat of the episode sees him and Trip tracking their way across an alien desert while they wait for help to arrive. That challenge means you never see Archer throw a punch. You see him give his water to Trip, who’s suffering from heat exhaustion. You see him being smart enough to remember seeing shelter when they arrived, in case they needed it. You see him being resourceful enough to jerry-rig a way to boil some contaminated water to make it potable. And you see him coming up with all sorts of ways to keep Trip awake and engaged so as not to lose his good friend in the throes of a fever.
In short, Archer is someone unbelievably sharp and giving here. He spends none of his time plotting against attackers or showing anger at a semi-betrayal or frustration with his circumstance. He spends all of it figuring out the situation, helping his dear friend, using his wits and his kindness rather than anything more traditionally masculine.
The same goes for the episode’s interesting take on Starfleet and the Enterprise’s role in the interstellar community. I love the fact that Archer and company’s exploits have been bent and twisted out of proportion, to where random freedom fighters on other planets see the Enterprise as powerful allies to the downtrodden who will save and fight for them with the push of a button. That is very much a Captain Kirk mentality: show up some place, decide that you don’t like the way things are run, and so blow the whole society up and remake it the way you’d like it to be.
But “Desert Passing” engages with the way things are more complicated than that. The humanoid who befriends our heroes seems nice and gregarious (and Clancy Brown hamming it up in the role, Harry Mudd-style, is tons of fun). He offers a believable story that tracks with American history, of minority groups being officially and technically granted equality, but facing softer and realer obstacles when hearts and minds and public institutions have to put that into practice. But we also get a countervailing story from the official government of the planet, that Archer’s friend is actually a terrorist, whose allies are attacking cities and peoples. And then we see that same government be curt with T’Pol and harsh with Archer and Trip.
It’s an idea you don’t always see much of in Star Trek. We’re used to planets being essentially unified nation states, where making contact with one group means that they represent the whole. As Hoshi points out, first contact is likely to be trickier than that in most instances, with situations like the one in “Shadows of P’Jem” that suggest our main characters are trifling with complicated internecine struggles that it’s hard to comprehend, let alone interfere with, after an afternoon of getting to know someone or a single distress signal.
While the show once again lays it on thick with a “directive” reference, at the end of the day, Archer decides that discretion is important, that deferring to governments rather than individual starship captains is the right way to go, and that forbearance is the right choice, no matter how uneasy he feels about it. It’s the exact opposite of a “shoot first, ask questions later” mentality that you might expect in a more traditionally manly leader, but Archer represents that Star Trek ethos of not just ethical righteousness, but calm deliberation, making hard choices that sometimes lead to a queasy stomach rather than an exciting firefight.
At the end of the day, Archer is worried about the health and well-being of his chief engineer and best friend. He’s worried about the complexities of using the Enterprise’s arsenal to take sides in a war that may be just, but which probably has more nuance to it than can be gleaned from one partisan in a high dudgeon. He is not the innocent-saving, evil-basting cowboy rocking through the galaxy. He is an occasionally supercilious, sometimes cavalier, but ultimately well-intentioned, altruistic, and thoughtful leader. It’s a flavor of masculinity that might not please the anti-feminist sceeders out there, but which is part and parcel with Star Trek’s more nuanced take on what being a man is and can be.
(As an aside, I really liked the production design and directing here. The desert landscapes were beautifully composed, and there were tons of creative shots like Archer and Trip emerging from their sandy hiding place. Certainly the most visually appealing the show’s looked so far!)
We've seen this story concept before in DS9 episode "Shadowplay" (S2:E16) - planet of holograms with a malfunctioning core matrix, and all they want is to go on living. Only DS9 did it WAY better, this story is mediocre at best with most of the reveal rushed at the end. I will say I liked the acting and it's always good to see Rene immortalised on the screen...
[5.1/10] One of my most frequent complaints about The Original Series is that it would have about twenty minutes worth of plot stretched out to a full episode length. The pacing of T.V. shows was different in the 1960s, but even so, you can only try to ruminate on some small amount of incident for so long before the whole thing just becomes boring. With “Rogue Planet”, Enterprise seems to be imitating its primogenitor on that account.
If you’ve watched any amount of Star Trek, you could probably predict the plot of this one in about ten minutes. Archer and company run into a group of alien hunters who are on the titular rogue planet for a sporting excursion. There’s some tension between the groups given T’Pol’s Vulcan vegetarianism that hunting has apparently fallen out of fashion on Earth a century prior, but the whole cultural relativism thing keeps everyone getting along. Then, in a private moment, Archer sees a random beautiful woman who knows his name and who rings a bell in the back of his mind, who’s treated like an apparition or a delusion by both his crewmates and the new alien friends who are sharing their campground with the Starfleet officers.
It doesn't take long to guess that the woman is some manifestation of the planet, asking Archer to help save her from the hunters. This is Star Trek, so despite the headfake of Enterprise’s hallucinogenic spore episode earlier in the season, we can reasonably suspect the woman is more than just a random hallucination from Archer. The episode spends way too long with Archer wrestling with that fact, until the hunters finally admit that she is a “wraith”, a sort of space slug that’s native to the planet and which tries to defend itself by “getting into the head” of the humanoids hunting it.
That’s not exactly groundbreaking, but it’s a neat enough concept to build the episode around. The problem is, Enterprise doesn't reveal that until about 75% of the way through the episode, and doesn't really develop anything beyond that point. There’s the slightest of slight interesting clash between Starfleet’s impulse not to interfere with other cultures’ beliefs and practices and its impulse to protect all sentient life. But we never hit any really pressure points with that. Archer (with the help of Phlox), just treknobabbles his way to having his cake and eating it too, giving the space slugs a treatment that allows them to avoid detection by the hunters.
And that’s it! There’s a predictable mystery as to what the nature of the mysterious woman is. There’s a predictable reveal as to what the conflict between her and the hunters is. And there’s a predictable, all-too-easy solution to the issue that doesn't require any real challenge or sacrifice from our heroes. Enterprise labors over those basic plot points for forty minutes without much, if anything, to show for it.
This is also an Archer-heavy episode, which weakens things in my book. The show once again seems to want to place him in the Kirk role, lusting after vaguely-sketched women from his past on a strange planet (see: “Shore Leave”) with whom he has some faux-meaningful exchange before she disappears forever. “Archer falls in love with a space slug” is an idea just weird enough to work, but this is about the dullest possible execution of that idea.
“Rogue Planet” tries to elevate that interspecies infatuation to the idea of “reaching for the unobtainable.” Archer eventually connects that the woman is the image his mind conjured as a child when his mom used to read him a poem by Yeats. The poem was about a man who caught a fish that turned into a beautiful woman and disappeared, that he then chased for the rest of his life. It’s a thin connection, but there’s a solid enough idea there about continuing to search for meaning and beauty in the universe even when it seems vast and impossible. But the delivery of that message is trite, and stapled to a flat, almost procedurally generated episode.
So what’s good about “Rogue Planet”? Well, while it looks a little silly at times, there’s something kind of cool looking about seeing both the hunters and the away team rolling around with their little laser tag outfits. As usual, T’Pol is a beneficial presence here, with her barely-restrained disdain and cuttingly-worded retorts for the hunters being both amusing and potent, and her skepticism about Archer’s visions being well-founded despite the inevitability of there being more to them than meets the eye. And again, it’s bold, to say the least, to center an episode around the reveal that Archer is trying to romance an alien snail who’s taken the form of his childhood fantasy.
The execution of that premise should just be way more interesting than this is. Archer’s concern for sentient life is admirable, but “Rogue Planet” quickly sheds the intriguing thought of whether Archer would be so apt to help if the slug had taken on the form of a scantily clad man. There’s intriguing notions of adaptation, how both predators and prey evolve to attack or defend themselves through unique methods, that have some juice, and would be seen very differently by the hunters and the hunted, but the episode mainly elides them in favor of Archer going all moony-eyed over his ghost lady.
Lord knows that Star Trek has made a home for any number of unusual romance over the past fifty years, from various men and women falling in love with various forms of artificial intelligence, to women falling for dreamy psychic aliens, to Zephram Cochrane himself learning to love a wild energy being. But those stories all leaned into the strangeness of those setups, exploring them beyond some vague metaphor for continuing to go after the impossible. This is, by contrast, an episode that feels made of spare parts, hardly able to capture your attention with its telegraphed reveals and boring, overstretched escapades.
