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Star Trek

Scene by Scene: STAR TREK: NEMESIS Part X – ‘Blue Skies’

As Star Trek: Picard begins, with the return of The Next Generation era, I’m going to take a scene by scene look back in the next couple of months about the tenth Star Trek film, Stuart Baird’s Nemesis, from 2002…

For such a relentlessly dark film, Star Trek: Nemesis ends on a bittersweet note of hope, but one that feels false. It serves as a good allegory for the film in general: a point of departure that never feels *right*.

Cast your mind back to 1991. The Undiscovered Country brought the curtain down after 25 years on the adventure of The Original Series crew with a stylised flourish. The so-called ‘end of history’ predicted by political scientist Francis Fukuyama allowed Nicholas Meyer’s film to frame the first Star Trek generation’s final adventure around the end of the Cold War, the collapse of the Soviet Union, and use it as a neat parallel for the embrace of a new world: peace between the Federation and their most intractable enemies, the Klingons, one we would see reflected in Worf being part of the Enterprise crew in the middle of the 24th century. It felt symbolic. It felt earned. It felt worthy of such iconic characters.

When you consider Nemesis, do you feel the same way for the crew of The Next Generation? Is this either a fitting end to a 15 year run which took in seven seasons of a hugely popular TV series (far more popular in its time than The Original Series was while broadcast) and multiple movies? What really does Nemesis *say* about this crew or who they are at this point? I’m not convinced it says much of anything or leaves any of them, even Jean-Luc Picard, at a reasonable point of closure. It just feels like a film made to satisfy the box office needs of a franchise that, by this point, was running out of steam. Hence: darker, bigger, more explosive, higher stakes, a megalomaniacal villain and a story that taps into the most celebrated Star Trek movie of all.

Nemesis ends with shellshock for the characters which mirrors the unfinished trauma of a film which serves as no real ending at all. We would have to wait almost two decades before we saw the seeds of a true conclusion to the Next Generation era.

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Scene by Scene: STAR TREK: NEMESIS Part IX – ‘Goodbye…’

As Star Trek: Picard begins, with the return of The Next Generation era, I’m going to take a scene by scene look back in the next couple of months about the tenth Star Trek film, Stuart Baird’s Nemesis, from 2002…

The so-called Battle of the Bassen Rift is designed, pretty unashamedly, to recall the Battle of the Mutara Nebula in Star Trek II: The Wrath of Khan, with Nemesis even determined to sacrifice a major character at the end of it in a shock way to save the ship and crew.

When you think about the climactic battle in The Wrath of Khan, do you remember it riven with tension? A pitched, submarine or maritime fleet tet-a-tet in space between the Enterprise and the Reliant which was more about the aspect of quiet suspense and tactical superiority between Admiral Kirk and Khan Noonien Singh? We don’t come anywhere close to that in Nemesis. The Bassen Rift is a fairly routine, thunderous ship to ship battle, with a few Romulan ships thrown in for good measure, with the only unique selling point being Jean-Luc Picard’s decision to crash the saucer section of the Enterprise-E into the Scimitar, having exhausted shields, weapons and the self-destruct system. Even this, however, felt better done in Star Trek: Generations, when the separated Enterprise-D saucer slams into Veridian III.

Nemesis almost feels designed to be the culmination of every space battle Star Trek has delivered thus far in the 90’s era of the show, given they steadily built from a few skirmishes in The Next Generation to an entire war in Deep Space Nine or a horde of Borg Cubes battling bio-synthetic, inter-dimensional beings in Voyager. Everything about that ugly sword in space, the Scimitar, is a representation of how Nemesis simply relies on the dark, explosive set-piece when this crew, and these actors, are capable of so much more. Just look at that hilariously embarrassing Will Riker/Viceroy action set-piece, seemingly designed to give Jonathan Frakes one last run at Action Riker (or even something to do in a film where he’s done naff all). Apparently Riker was supposed to quip: “Don’t worry, hell is dark” before kicking the Viceroy to his death, though it was vetoed because they felt Riker would be enjoying the murder a bit too much. It’s a shame he didn’t. Some unintentional levity at this point would have been welcome.

By now though, the stakes are supposedly high. Shinzon has a WMD. He’s headed for Earth. The fleet are nowhere. The Romulans aren’t enough help. How, in the end, do you solve a problem like Shinzon?

Scene by Scene: STAR TREK: NEMESIS Pt VIII – ‘Waiting for the Dawn’

As Star Trek: Picard begins, with the return of The Next Generation era, I’m going to take a scene by scene look back in the next couple of months about the tenth Star Trek film, Stuart Baird’s Nemesis, from 2002…

It is at this point in Star Trek: Nemesis, as the final act and the final intended showdown with Shinzon begins, that any logical sense of narrative structure begins to collapse in on itself at a thalaron radiation level rate. We learn what has been hinted earlier in the film: Shinzon is dying.

Though John Logan’s script works hard to try and compare him to Khan Noonien Singh, as we’ve previously discussed, he owes perhaps more of a debt to Renard, the James Bond villain from The World is Not Enough played by Robert Carlyle. Struggling to remember him? That’s unsurprising. Ultimately, the bullet in his head that was slowly killing him is probably the most memorable aspect of the character, even with an actor as strong as Carlyle in the role. His entire rationale is fuelled by the reality he won’t be around to see the fruits of his terrorist actions. Shinzon is the same. Yet the difference is that Shinzon has the cure directly within his grasp.

When Jean-Luc Picard asks if his warped clone can be saved, Enterprise doctor Beverly Crusher informs him: “Nothing except a complete transfusion from the only donor with compatible DNA… you”. Picard then asserts that Shinzon will come for him, except… didn’t he just escape from Shinzon’s custody, having been very easily beamed off his own ship? Shinzon has always known he was dying, this isn’t news. Beverly concludes, after all: “Shinzon was created with temporal RNA sequencing. He was designed so that at a certain point, his aging process could be accelerated to reach your age more quickly. He was going to need to skip thirty years of his life, but when the temporal sequencing wasn’t activated his cellular structure started breaking down”. This is a neat science-fiction concept—a cloned spy who will rapidly age when triggered—which is utterly wasted as the explanation for Shinzon’s slow death. But if he knew, why not just drain Picard of his entire blood the moment he beamed him onto the Scimitar?

It makes little sense, purely designed to establish the conditions for what will make up the final act. Nemesis might have done well to not have Shinzon be dying at all because all it does is show up how cripplingly incompetent he is. …

Scene by Scene: STAR TREK: NEMESIS Pt VII – ‘The Echo Over the Voice’

As Star Trek: Picard begins, with the return of The Next Generation era, I’m going to take a scene by scene look back in the next couple of months about the tenth Star Trek film, Stuart Baird’s Nemesis, from 2002…

The final few scenes of, roughly, the second and middle act of Star Trek: Nemesis underpin many of the issues about Stuart Baird’s film that we have already discussed, chiefly the tortured parallel between hero and villain.

Jean-Luc Picard, abducted by Shinzon and thrown in the brig of his gigantic warship the Scimitar, has the truthful showdown they danced around while speaking in the Romulan Senate. If that was Shinzon play-acting the diplomatic new leader, this is the outcast, spiteful clone child who never grew up in the bowels of his oversized toy, spitting venom at the man who encapsulates everything Shinzon is aggrieved by. And this conversation really does spell out that psychology: Shinzon hates what he is, and hates that he didn’t have the easier, more prosperous and respected life Picard had. All of Picard’s innate ego as a leader morphed and twisted into a nightmarish visage. “My life is meaningless as long as you’re still alive. What am I while you exist? A shadow? An echo?”.

Nemesis is all about the darker ‘id’ of our hero trying to assert itself. Were we dealing with more of a skilled script that truly understood the film being made, we could suggest this is why Picard reacts so poorly to the violation of Deanna Troi, as discussed previously – a violation, indeed, that serves little purpose as B-4 contains the transponder needed to execute Shinzon’s plan, so mind-raping the Counselor just appears to be ‘sport’ for the villain, if it wasn’t distasteful a narrative choice enough. One could argue that Nemesis is attempting to literalise Picard’s internal darkness through Shinzon, a darkness we glimpsed in Star Trek: First Contact during his obsessive pursuit of the Borg (which Shinzon even alludes to here), but this would be giving the film too much psychological credit. John Logan is certainly shooting for those Jungian comparisons but you never truly feel, in any way, that Shinzon is some kind of Picard offshoot, except for the fact both men are folically challenged.

The fact is, Nemesis has already spent over half of the running time playing with a relationship that was clearly antagonistic from the very beginning, and now as those dominoes begin to fall, the emptiness of the film begins to show itself.

Book Trek #10 – Star Trek Gateways: What Lay Beyond – ‘Horn and Ivory’

In an attempt to try and tackle the onerous job of looking into the Star Trek book universe, thanks to the help of Memory Beta’s chronology section, I am intending to look at the saga in book form from stories which take place earliest in the franchise’s timeline onwards. This hopefully should provide an illuminating and unusual way of examining the extended Star Trek universe.

This story takes place 27,000 years ago…

It’s worth me making a confession before you read any further: I haven’t yet read any of Star Trek: Gateways, the 2001 book series which connected all of the Star Trek properties of that time together in a shared uber-narrative concerning the ancient Iconians and their titular gateways through time and space. Luckily, that doesn’t make Horn and Ivory too impenetrable as a story.

One of six novellas within What Lay Beyond, the Gateways conclusion, it is based on the idea that six characters from each of the collected series stepped through one of the gateways at the end of their journey in the preceding book, and these novellas chart what happened to all of them. Horn and Ivory, as a result, follows on from the Deep Space Nine Gateways book, Demons of Air and Darkness, also written by Keith R. A. DeCandido, and focuses squarely on the character of Kira Nerys, who finds herself in Bajoran antiquity at the heart of territorial wars between numerous nation states in the ancient history of her home planet.

It’s a credit to DeCandido’s writing that Horn and Ivory doesn’t in any way seem a baffling experience if you haven’t read any of the previous Gateways novels, his prose explaining quite clearly the basics needed to understand how Kira has ended up in the ancient past before getting on with a short story which neatly resonates with the character we know from the show and subsequent relaunch book series.

Scene by Scene: STAR TREK: NEMESIS Pt V – ‘A Better Way’

As Star Trek: Picard begins, with the return of The Next Generation era, I’m going to take a scene by scene look back in the next couple of months about the tenth Star Trek film, Stuart Baird’s Nemesis, from 2002…

While Star Trek as a franchise, across all of its television series, has been defined by the philosophical and scientific approach its storytelling has taken to humanity’s future, Star Trek in cinematic terms often feels defined by the antagonist of each film.

When people think of The Wrath of Khan, do they immediately imagine Kirk’s grapple with middle age or his emotional and physical rebirth? Maybe, but they’re probably more likely to conjure up Ricardo Montalban with his buffed tanned chest and wild hair spitting Shakespearean poison. Who can think of The Undiscovered Country, equally, without imagining Christopher Plummer’s General Chang twirling happily in his chair barking lines from Hamlet? Alice Krige’s sultry, mechanical and haunting turn as the Borg Queen is just as synonymous with First Contact, to the point she holds a pride of place position on the film’s poster. In so many Star Trek films, the villain is crucial. The last three pictures have all boasted star name bad guys perhaps even more famous than the main cast – Bana, Cumberbatch, Elba, all A-list Hollywood surnames who people instantly recognise. Think about some of the names who’ve inhabited these roles previously – Christopher Lloyd, Malcolm McDowell, F. Murray Abraham. Legendary character actors to a man. There is almost as much cache in playing a Star Trek villain as there is a James Bond antagonist.

Retrospectively, Tom Hardy sits on that tier of household name bad guy, even if when Nemesis came out he was a youthful, unknown quantity no doubt cast because of a passing visual similarity to Patrick Stewart, but in hindsight Hardy ended up being a ‘get’, even if Shinzon never sits in the tier of the greatest Star Trek cinematic bad guys, some of which have been mentioned above. The truth is, while Star Trek has always engaged with excellent, well-known actors to play these parts, the villains themselves often end up overshadowed by the Starfleet crew themselves. Sybok, Tolian Soran, R’uafu – does anyone really know who these characters are outside of Star Trek fandom? Arguably the only villain to truly break out into mainstream popular culture is Khan Noonien Singh, especially given his lease of life recast in Star Trek Into Darkness more recently. Khan set the bar as a character (and in The Wrath of Khan) that the franchise has been striving to equal ever since. Shinzon, however, is the most unashamed attempt to cash in on Khan’s charismatic mania.

As we start to peel back the layers of Shinzon, learning his backstory and of his bizarre connection to Jean-Luc Picard, Nemesis’ blatant mission statement to replicate what made Khan work becomes ever clearer. …

Tony Talks #20: Cultural Conversation Strikes Back!

Friends! Readers! Countrymen!

You may have noticed that around a month or so ago, I said I was saying goodbye to WordPress for a site called Substack – some of you may well have followed me over there (thanks if you did).

It didn’t, however, quite work out. Substack is great. I was really impressed with the style and presentation of it, how easy it was to use, and how it facilitates what I want with my blog writing – contact and interaction with *you*, the reader. What it lacked, for me, was the sense of curation. It is designed more as a newsletter to communicate and interact, rather than a way to importantly store work online as a repository, which is what I prefer about WordPress. So, I’m back, and I’m going back to basics.

I’m going back to the original name – Cultural Conversation.

Tony Talks #19: Happy New Year + 2020 Update!

Happy New Year (and decade) everyone!

Firstly, I’d like to thank each and every one of you who reads this blog when you get the chance. I’ve worked hard particularly in the last few months to keep content rolling on a daily basis and I appreciate any interactions I have with you, whether via likes on posts or comments or on social media. I hope for more of that in 2020 and to get to know many of you better, if I don’t know you already.

This blog has kind of become my central focus point over the last six months ever since I quit my role as co-founder/co-editor of Set The Tape in April. That was a really interesting almost 2 year project that taught me, primarily, that I am not an editor! I am a writer, for better or worse. I have enormous respect for anyone who edits copy and runs a website with multiple staffers and content daily because it is an all-consuming task with little financial reward that can end up quite the grind. It just wasn’t for me, in the end.

Ever since, I’ve been toying with what the future holds as we enter the 2020’s in terms of writing and podcasting and I thought I’d share my musings with you on this New Year’s Day.

New Podcast: MAKE IT SO #3 – ‘Star Trek: Picard Countdown #2’

Hosted by myself alongside regular guests, Make It So: A Star Trek Picard Podcast is a series devoted to the upcoming CBS All Access series Star Trek: Picard, delving into each episode and exploring the show when on the air.

In this episode, I’m joined by The Time Is Now‘s Kurt North to discuss the newly released IDW Publishing comic Star Trek: Picard Countdown #2, the second in a three-part prequel comic series written by Mike Johnson & Kirsten Beyer which tells the story of Jean Luc-Picard’s time as an Admiral during the Romulan supernova crisis, almost 15 years before Star Trek: Picard.

We also discuss our excitement for the new show with it just five short weeks away…

STAR WARS EPISODE IX: THE RISE OF SKYWALKER: the expected, soulless capstone of a four decade saga

CAUTION: contains some major spoilers so only read on if you’ve seen the film.

If you were looking for the perfect film to put a capstone on the 2010’s, Star Wars Episode IX: The Rise of Skywalker arguably would be it.

Even with the blockbuster heavyweight of Avengers: Endgame concluding the first ten years of the Marvel Cinematic Universe, TROS—as we’ll call it for ease—was the most anticipated cinematic event of the year, given it doesn’t just serve as the third part of a trilogy but also the concluding chapter of a nine-part, four decade spanning saga within easily the biggest film franchise in movie history. This is about as epic as franchise filmmaking gets. Though Star Wars, the jewel in Disney’s all-dominating media crown, will of course continue into the 2020’s, this marks the end of the Skywalker Saga with which George Lucas changed the landscape of movie-making more than perhaps any director in the 20th century. The final conclusion to a story we thought had definitively ended twice before.

Going into The Rise of Skywalker, you may experience cautious optimism. Rian Johnson delivered a defiantly auteur-driven, insular examination of the core mystical and philosophical themes within Star Wars with 2017’s trilogy middle-part The Last Jedi, going in brave new directions from 2015’s vibrant trilogy opener The Force Awakens, in which JJ Abrams revived the franchise with a verve that spoke to Lucas’ original, Saturday adventure serial vision. With Abrams back at the helm, following the departure of original director Colin Trevorrow, there was every reason to believe TROS would recapture TFA’s spirit and top off Star Wars with a fulsome flourish. You may leave The Rise of Skywalker somewhat perplexed that that didn’t happen. That, in fact, Abrams has delivered the weakest Star Wars film since, quite possibly, fetid prequel Attack of the Clones.

For a myriad amount of reasons, The Rise of Skywalker feels like an argument, on screen, for why going into the next decade we need to rethink how we approach franchise filmmaking. It doesn’t just feel like a culmination of indulgent cinematic excess but a cautionary bulwark against it.