Star Trek: Lower Decks, TV, Writing

TV Review: STAR TREK: LOWER DECKS (Season 2)

Out of every modern Star Trek series currently on air, Lower Decks bounced into its second season with the brightest springing step.

While not every Star Trek fan of old finds Lower Decks their cup of Earl Grey, amongst fans who do enjoy it, and indeed critics, Mike McMahan’s animated comedy clicked almost right away. Taking the precepts of Star Trek animation and vibrantly updating them with a beautifully drawn, Seth McFarlane-esque sheen, Lower Decks avoided the trap initial commentators feared: that it would be funny at the expense of Star Trek. This was not the case even from Second Contact, the opening episode, which established the core concept of a series revolving around the lowly crew members on the second rate Starfleet vessel, the U.S.S. Cerritos. Immediately, Lower Decks was an affectionate lampoon.

One of the key reasons Lower Decks worked, by and large, straight away, was the feeling that it was written and animated by people who truly loved and crucially understood Star Trek as an idea. McMahan, parlaying the TNG S8 comedy Twitter account stylistically into the series, saw an opening for spoof in the cheesy 1980s utopian formalism of The Next Generation and leaned into mockery that played, almost entirely, with the audience’s knowledge and awareness of the tropes it was spoofing, be it Captain’s Logs, holodecks programs or the crew dynamics on the ship. Lower Decks was never truly a series for franchise newcomers, it was always an affectionate love letter to Star Trek fans of the 1990s, and was unashamed of being so.

Season 2, therefore, works simply to build on what the first season established. It maintains the greatest level of consistency in a modern Star Trek series between seasons while managing to successfully take what worked in the first year and often amplify it. There is no doubt – Season 2 is, overall, a stronger year of Lower Decks than Season 1.

Continue reading “TV Review: STAR TREK: LOWER DECKS (Season 2)”

2000 in Film

MISSION TO MARS: a sedate, mournful, yet optimistic journey to the stars (2000 in Film #10)

This year, 20 years on from the year 2000, I’m going to celebrate the first year of cinema in the 21st century by looking back at some of the films across the year at the turn of the millennium which took No #1 at the box office for their opening weekends.

This week, released on the weekend of March 10th, Brian de Palma’s Mission to Mars

At the tail end of the 90’s, and before the rise of the dominant multi-picture franchise, every year was marked by films which covered similar blockbuster ground. 

1996 had aliens with Independence Day and soon after through a comedy lens in 1997’s Men in Black or Mars Attacks! That same year brought us the ‘volcano’ movies – Volcano and Dante’s Peak, both front-lined by rugged men of action. 1998 was the ‘asteroid’ year, marked by Michael Bay’s excess in Armageddon and the more philosophical (and far superior) Deep Impact. 2000’s variant on this trend was the Mars mission, with critical misfire Red Planet dropping at the tail end of the year, and before it Brian de Palma’s Mission to Mars, arguably the superior of two films which projected humanity forward deeper into the 21st century and toward the next frontier. We remained hopeful, back then, that humanity might reach for the stars. Twenty years on, the best we can hope for is that Donald Trump’s vaunted ‘Space Force’ ends up with eggs on its vacuumed face.

Mission to Mars, in a quirk of fate, actually takes place in the year 2020. The Mars mission, in an even stranger quirk, launches in the film on my birthday. With significant confidence, I am pretty sure that my 38th birthday this year will not be marked by another giant leap for mankind, which places Mission to Mars even more firmly into the science-fiction territory it already covers. Mars missions are promised or hoped for perhaps in the 2030’s, and now Red Planet’s 2056 looks far more likely (if we even have a habitable planet to launch from by then).

Mission to Mars, as a result, is hopeful and optimistic about our chances as a species, in a similar vein to its tonal bedfellow, 1997’s Contact, from Robert Zemeckis. They are films with different journeys but similar destinations. Both are riding the crest of Western hopes in the 1990’s that we may be about to embark, in the 21st century, on a great new adventure. That makes it all the more disappointing that Mission to Mars, the first significant high-concept blockbuster movie released in 2000–it’s only real challenger on opening weekend being Roman Polanski’s Johnny Depp-starring slow burn horror The Ninth Gate–is an underwhelming, strangely mournful and frequently corny experience. Continue reading “MISSION TO MARS: a sedate, mournful, yet optimistic journey to the stars (2000 in Film #10)”