Star Trek: Discovery, TV, Writing

First Impressions & Third Time Lucky? STAR TREK: DISCOVERY – ‘That Hope Is You’

Come the end of Star Trek: Discovery’s much anticipated third season premiere, That Hope Is You, I was left wondering if the title referred to protagonist Michael Burnham in more ways than one.
As premieres go, this one takes a calculated gamble. In solely featuring Burnham’s journey, having blasted her way 930 years into the far future ahead of the titular USS Discovery following the histrionic climax of Such Sweet Sorrow, writer and showrunner Michelle Paradise (alongside co-writers Jenny Lumet & CBS/Paramount Trek uber-producer Alex Kurtzman) operates on the assumption that Burnham continues to be the primary reason we’re tuning into Discovery. Has any premiere of a Star Trek season structured an opener quite like this? It had more in common with Lost’s Season 3 premiere A Tale of Two Cities, for me, which doubled down on the show’s principal protagonist Jack Shepherd as he was thrown into the unseen world of the Others on the mystical Island, with much of the supporting cast having to wait their turn an episode, or even two.

Given how Discovery’s playbook across Season Two very much aligned with the Bad Robot stable of serialised television, this comes as no surprise. Kurtzman is of that aegis, forged as a producer on shows which advanced serialisation across the 2000’s in genre television following the millennial boom in prestige cable drama, and under his overall direction Discovery has rarely embraced the Star Trek structural model of old. Star Trek: Picard was of similar stock earlier in the year, with only the recent Star Trek: Lower Decks defiantly returning to a largely stand-alone episodic format in line with The Next Generation-era. Opinions on which style better suit Star Trek vary far and wide but Discovery, a show which thanks to all kinds of behind the scenes changes and course corrections has struggled in its own skin, has always had one eye on being Star Trek for a new era.
That Hope Is You, by that definition, straddles the middle. It is defined by examining the future yet remains, stubbornly, partially stuck in the past.
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Alias, Episode Reviews, TV

ALIAS 2×13: ‘Phase One’ (TV Review)

In 2018, I began my first deep-dive TV review series looking at JJ Abrams’ Alias, which ran from 2001-2006. This year, I’ll be looking at Season Two’s 22-episode run in detail…

Every television show has that one, signature episode which stands out as the series at its best and often its most iconic. Phase One, for Alias, is very much that episode.

It has passed into the cultural lexicon in American TV as “the Super Bowl episode” of Alias, in that it was chosen by ABC for the very prestigious honour of airing directly after the Super Bowl, America’s biggest watch sports event in mid-February by some distance, and in the days where network television ruled the roost, many shows would save major two-part episodes or important narratives to air in the slipstream of the Super Bowl, aware that they had a larger guarantee of attracting a major audience. Phase One was originally designed, structurally, to air after Double Agent, but once J.J. Abrams—with some advice from his wife—realised the powerful potential of Phase One, and quite how much of a game changer it was, the running order was adjusted and Phase One aired after the 2003 Super Bowl…

…to the lowest audience numbers in that spot since 1975! Though perversely it was still the highest rated episode for reviewing figures the series ever achieved. This is a reflection on how Alias, despite being supported well by ABC who believed in it and Abrams enough to consistently renew the series, even when the numbers were eclipsed substantially by Abrams’ next series Lost from Season 4 onwards, would consistently struggle to find an audience, even in the wake of the most watched television event of the year and the fact that Phase One ends up being, for all intents and purposes, a second pilot for Alias. It is structured and designed entirely to close the book on the knotty espionage premise introduced in Truth Be Told, do away with SD-6, the Alliance and Sydney Bristow as a double agent, and reboot the series with a streamlined, if not simplistic and uncomplicated, premise going forward.

As a result, Phase One is not only the best episode of Alias since Abrams’ pilot, it is also arguably the show at the peak of what it was capable of. It is the closest Alias ever comes to true TV greatness and a motion picture scope and gravitas.

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Alias, Episode Reviews, TV

ALIAS 2×07: ‘The Counteragent’ (TV Review)

Over the course of last year, I began my first deep-dive TV review series looking at JJ Abrams’ Alias, which ran from 2001-2006. Over the next year, I’ll be looking at Season Two’s 22-episode run in detail…

The end of the first third of Alias’ second season roughly complements, with The Counteragent, the end of the initial establishment phase of the season. By the end of John Eisendrath’s episode, the show has fully set in place the character dynamics and narrative arcs that will carry Alias into its mid-season point of radical change.

Indeed to an extent you can view The Enemy Walks In through to The Counteragent as, largely, one continuous story. The arrival of Irina as a CIA asset leading to Jack’s illegal attempts to frame her, with Sydney caught in the middle of their parental battle to secure her affections, all flanked in the background by Sark’s ongoing villainy, doses of Rambaldi mythology, and the mystery of Sloane’s wife and the ructions that may cause in terms of SD-6 and the Alliance. All of these elements have been circling over the first seven episodes and just as Salvation begins to spin the show’s wheels, The Counteragent manages to start tying a number of these threads together and, by the end, spins them off into a fairly exciting direction.

Crucially, it brings together the two aspects which have been floating around the most aimlessly since the season premiere – Sark and Rambaldi. Sark has done little more than pop up when the show needs a bad guy, try and flirt with Sydney and… that’s about it, but here Alias finally figures out a way to tether him more concretely to the primary narrative and several other main cast members. At the same time, the episode manages to contextualise the hints of Rambaldi we have seen since The Enemy Walks In, by connecting the mysterious virus established in that episode to Vaughn, thereby giving the mythology more of a purpose than we have seen up to this point in Season Two. The Counteragent stops treating the arcane mystery like a necessary evil and reminds us how important it actually is to the broader series narrative.

The Counteragent isn’t among the best episodes of the show, and it is at times still too disparate, but it begins to provide a road map this season was starting to need.

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Essays, Film

Ready Player God: Technology, Spirituality & Nostalgia in Modern Fiction

Steven Spielberg’s adaptation of Ernest Cline’s pop-culture busting novel Ready Player One has a more than overt reference to ‘God in the Machine’, a conceptual fusion of spirituality with near-future advancements in technology which suggests our models of worship are changing and evolving alongside how we interact with entertainment, media and the wider online world.

That phrase sounds a little similar to ‘God From the Machine’, better known as deus ex machina in fiction in the original Latin, which has emerged as a symbolic description over the years in narrative terms whereby the resolution of a plot comes at the hand of a character or object, equivalent in relative terms to a God, which quickly and unexpectedly solves the insoluble problem faced by the protagonists.

This doesn’t equate directly to Ready Player One, because the deus ex machina is coded into the very DNA of the entire concept behind that fictional world; James Halliday, the programmer and creator of the OASIS, developed a world he wanted to give back to the people once they found him, his soul essentially, deep inside the hidden corners of the machine.

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