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The Time Machine

Scene by Scene: STAR TREK: NEMESIS Pt IV – ‘Sailing Into the Unknown’

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…

When the Star Trek universe was created in the mid-1960’s by Gene Roddenberry, the Romulans very quickly, following The Original Series Season 1 episode Balance of Terror, established themselves as an iconic race within the science-fiction tapestry of the series.

There was long some debate about who exactly created the Romulan species but it has over time roughly been attributed to staff writer Paul Schneider, who based the Romulan people on the Roman Empire, naming their twin planets Romulus and Remus after the creation myth of Rome itself; the twin children abandoned on the River Tiber and found by a wolf who raised them to go on and found Rome. While many of the races in Star Trek are based on human cultures, be it the Bajorans on the Jews or Klingons on the Russians, never in Trek was a species so literally devised to connect directly to an ancient human myth as the Romulans. Had they not been as deftly characterised, they could well have been consigned to the litany of strange races in TOS who are now considered kitsch – the Zeons in Patterns of Force, for instance. Thankfully, the Romulans were carried through into The Next Generation and developed into an allegorical Chinese or even North Korean state; a shadowy, secretive species who sit behind their ‘Neutral Zone’ between Federation space and occasionally incur on missions of espionage and devious plots to interfere in other species politics – particularly the neighbouring Klingon Empire, as seen in TNG’s Redemption.

Yet throughout TNG, and even Deep Space Nine where they were eventually embroiled in the galaxy spanning Dominion War and the machinations of Starfleet’s sinister spy organisation Section-31, we never truly came to know who the Romulans were, seldom visited their home world—we only see it in TNG’s Unification and DS9’s Inter Arma Enim Silent Leges—and Remus, beyond the initial mention in the 1960’s, was never explored. Nemesis, therefore, in re-contextualising Remus, and the Reman people, as a monstrous, toiling slave race for the Romulan Star Empire, adds a level of mythology previously unexplored in Romulan culture. While they are, to an extent, a narrative means to an end in Nemesis, the inclusion of the Remans as a key factor in Shinzon’s backstory gives Nemesis that added Star Trek factor – a new world and species to discover and explore. The only downside is that, ultimately, the promise Nemesis might have in truly revealing Romulan culture after all of these years is smoke and mirrors. 

It is never really a story about the Romulans at all.

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Waterworld (1995)

Excess is probably the word to best associate with Waterworld. The excess of Hollywood in the 1990’s. After the blockbuster formed at the tail end of the 1970’s thanks to the efforts primarily of Steven Spielberg and George Lucas, the 1980’s saw the phenomenon largely dominated by Olympian action heroes or stars whose names towered on the poster above the title – Schwarzenegger, Ford, Willis, Stallone, Snipes. Alternatively, sequels and franchises began to form and dominate – Bond continued making money, joined by Indiana Jones, Star Wars of course, Star Trek back from the dead, and a whole surfeit of sequels which evolved into trilogies, and continued the trend into the 1990’s. That decade, nonetheless, added an extra dimension.

Waterworld is indicative of the mega-budget ‘high concept’ which had crept in over the last decade and really bore fruit during the 90’s. A high concept movie, essentially, was a picture you could boil down in one, easy for a movie studio executive to understand soundbite. Waterworld’s, without question, would be ‘Mad Max on water’. Simple, clear, readable. Everyone had heard of Mad Max, a successful trilogy itself early in the 80’s. The idea of trying to replicate the success of George Miller’s desert-based post-apocalyptic action series would have seen the bean counter’s eyes kerching with dollar signs. Waterworld smacks of a high-concept, money-making exercise, taking this one-line idea and bulking it out into an event blockbuster.

The irony, of course, was how expensive Waterworld ended up being. A year later, Independence Day revitalised the alien invasion B-movie with a high-concept, simple idea which, schlocky as it may have been, reaped the rewards in dividends. Though chock-full of CGI, some of which at the time was stunning to audiences, it wasn’t nearly as expensive as Kevin Reynolds’ fourth collaboration with star Kevin Costner, given the amount of water-based sets which needed to be constructed in order to adequately sell the idea of a futuristic world where the polar ice caps have melted, consigning the ‘ancient’ world we live in now to the sea bed. Though a picture designed to make big bucks, Waterworld ultimately became one of the biggest critical and financial disasters of its decade, or indeed any decade.