Causality Loop, Star Trek: Picard

Causality Loop: Schrödinger’s Guinan in STAR TREK: PICARD

In this semi-regular column looking at time travel in fiction, Causality Loop explores the interesting paradox of the Guinan character in the recent second season of Star Trek: Picard

BEWARE SPOILERS for Picard Season 2.

A tried and tested Star Trek trope, time travel is the principal gambit behind the second season of sequel series Picard.

The mechanics of how it works are largely a magical combination of Star Trek mechanisms, from the slingshot effect around the Sun first seen in 1986’s fourth movie with The Original Series crew, The Voyage Home, with a liberal dose at the same time of the Borg Queen’s temporal vortex abilities we saw in the Next Generation’s second film First Contact. It’s all designed deliberately to evoke the nostalgia of those earlier means of time travel without needing to delve into any kind of logical temporal theory.

Where things get complicated is over the question of Guinan. One of TNG’s most beloved supporting characters, played with enduring mystery by Whoopi Goldberg since the late 1980s, we see her return in season premiere The Star Gazer in the early 25th century before, once the La Sirena crew go back to the year 2024, she gets a new bit of youthful casting in Ito Aghayere, portraying a Guinan who hasn’t yet met Jean-Luc Picard in the early 21st century.

Does this contradict Star Trek canon and the established timeline? Possibly. Possibly not. Let’s just call her, for now, Schrödinger’s Guinan.

Continue reading “Causality Loop: Schrödinger’s Guinan in STAR TREK: PICARD”
Season Reviews, Star Trek: Picard, TV

STAR TREK: PICARD (Season 2) is a frustrating, contrived wallow in nostalgia

If ever proof were needed that the writers and producers of modern Star Trek study what audiences think and feel about their shows, then Star Trek: Picard’s second season is most assuredly it.

The first season was a defiant aberration even in the context of Star Trek’s modernisation. Ostensibly a character study, the first Star Trek series directly focused on a popular icon from the broader franchise, Picard was deliberate in just how determinedly it refused to play to the gallery of Star Trek expectations. We only saw Starfleet and the Federation in passing and they were reconceptualised, in the wake of the Trump Administration, as at best an insular, ignorant organisation driven by paranoia, at worst an openly corrupt government. There was no glistening starship our characters travelled on. No exploring new worlds.

This made sense, in broad strokes, given what Picard was designed to explore. Sir Patrick Stewart agreed only to return for a deconstruction of his legendary Enterprise Captain; aged, lost at the end of a century he no longer recognises, haunted by his inability to save a population formerly made up of ideological enemies from a natural catastrophe. Surrounding him with newly invented characters, placing him far from the world of Starfleet he was so closely associated with, the first season of Picard worked to take Jean-Luc on a journey to rediscover the spirit he had lost. A dark series, it dared to suggest the 24th century future fans had imagined after Star Trek: Nemesis was quite different from what would have been expected.

Which, in part, is why Season 2 immediately reverses track. Star Trek: Picard gives in to audience expectation, maybe even pressure, to try and tap not just a 1990s but also 1980s nostalgia for the franchise. It largely fails at both.

Continue reading “STAR TREK: PICARD (Season 2) is a frustrating, contrived wallow in nostalgia”
Season Reviews, TV

THE BOOK OF BOBA FETT should have stayed in the Sarlacc Pit

Set to go down in television history as one of the most bizarre misfires in the streaming era, The Book of Boba Fett is both simultaneously absolutely fascinating and profoundly dull.

That is quite some trick from the creative forces within the Disney Star Wars family, who since LucasFilm was bought out in 2012 and the biggest science-fiction franchise in history was revived as one of the dominant multimedia IP’s, have presided over a distinctly mixed bag of content. For every The Force Awakens, you end up with what previously might have been termed a Rise of Skywalker, and from now on could well be designated as a Book of Boba Fett.

Quite how they managed to so staggeringly get this wrong is perhaps the biggest mystery about the whole project. It was steered by Jon Favreau, the primary mastermind behind The Mandalorian which, despite the flaws that show does have, is probably outside of The Last Jedi the most broadly critically acclaimed piece of modern Star Wars that we’ve seen produced, which has managed to seep into popular geek culture relatively swiftly. Star Wars stalwarts such as Dave Filoni are involved. Seasoned directors such as Robert Rodriguez. All of the creative building blocks are in place.

This is without even mentioning that the show is about Boba Fett. Is there, outside of Darth Vader, a masked character in pop culture history, certainly in the Star Wars universe, who has been so mythologised in the last 40+ years? So how, exactly, has his first significant dramatic storyline been so utterly, completely botched?

Continue reading “THE BOOK OF BOBA FETT should have stayed in the Sarlacc Pit”
TV, Writing

First Impressions – STAR TREK: PRODIGY – ‘Lost and Found’

If you had said to a Star Trek fan three years ago that the best show of the franchise’s new era would be animated, they would probably have laughed you straight out of the airlock.

Lower Decks completely upended that perception, banishing the ghost at the feast that long was The Animated Series from the early 1970s, a kitsch and dated reworking of The Original Series. Mike McMahan’s series combined occasionally raunchy, modern adult comedy with a loving and kind reverence for 1990s era Trek that has grown in confidence, humour and stature over two seasons. It has established animation as a key string to modern Trek’s bow in a way few expected.

Star Trek: Prodigy is expressly designed to carry the torch forward and, in many respects, the pressure and expectations are different. Many fans knew what to expect from McMahan, given his comic pedigree on the TNG S8 Twitter feed and later writing experience with Rick & Morty; he was a known entity who did largely what people expected of him with Lower Decks, but brother team of writer/showrunners Kevin & Dan Hagerman are, to an extent, an unknown quantity.

On the basis of the two-part pilot, Lost and Found, they have gone straight for the comic adventure jugular, crafting an effective and beautifully animated origin story for the nascent crew of the U.S.S. Protostar.

Continue reading “First Impressions – STAR TREK: PRODIGY – ‘Lost and Found’”

Film, Writing

Film Review: DUNE – Part One (2021)

Fear that Dune might not meet expectations was, for a long time, the mind killer. Thankfully, that slow death has not come to pass.

Much has been written, on an anxious level, suggesting that the much-awaited adaptation of Frank Herbert’s seminal 1965 novel should not have been divided into two-parts, a la the recent take on Stephen King’s It, for fear that Dune’s first half might underperform and thereby leave this magisterial tale unfinished. Regardless of box office, one wonders as to the logic of this thought process. Dune has quite clearly been devised, soup to nuts, as a two-part project, and Denis Villeneuve here takes the time he needs to both construct the world around the desert planet Arrakis and the central story of young Paul Atredies with two films in mind. This is not the complete Dune. This is, to quote Zendaya’s Chani, “only the beginning”.

In that sense, we have to approach Dune as such, and judge Part One on the merits of being an incomplete story. Perhaps the greatest strength of this first half is that it contains a beginning, middle and end that satisfies, even while concluding with everything but a ‘to be continued’ legend. Villeneuve successfully manages to introduce Herbert’s vast, complicated futuristic universe, and establish the broader narrative concepts and themes, while providing a rounded cinematic experience. For the first of a two-part story, this is no mean feat, and his achievement lies as deeply in a visual and auditory as it does a structural sense. Dune is a frequently breathtaking, often arresting feast for the eyes which warrants the format it was designed to embrace – IMAX.

It is rare to find filmmaking so assured, so cohesive and so faithful to deeply beloved and classical source material while at the same time providing such a cinematic experience. Dune is a stunning piece of work in that context, one that could well be for the ages.

Continue reading “Film Review: DUNE – Part One (2021)”

James Bond

All the Time in the World: JAMES BOND in the 2020s

As we bask in the long-awaited glory of No Time to Die, if not the pinnacle of the Daniel Craig era as James Bond then a fitting conclusion, the inevitable question on everyone’s lips is simple: what’s next?

You can totally understand the thinking of Eon Productions head honchos Barbara Broccoli & Michael G. Wilson behind giving themselves space to enjoy Craig’s swan song. No Time to Die has spent a torturous 18 months thanks to the Covid-19 pandemic ready to go and suffered delay after delay as Eon & MGM (now Amazon) waited for the right moment to give audiences the best chance to see it in cinemas. Their patience will pay off given No Time to Die is tracking to be a huge hit, even if it is unlikely to match the box office haul of either Skyfall or Spectre.

Although in decades past the wait between the announcement of Bond actors was shorter, with Roger Moore or Timothy Dalton replacing their predecessors within two years, we will almost certainly not know who the next Bond will be until 2023. We had to wait three years between Die Another Day and Craig’s unveiling and that was 15 years ago. We are unlikely to see Bond 26 until, at the very earliest, 2024 and personally I would wager it will more likely be 2025. Which means, in all likelihood, Bond in the 2020s will reflect the 2000s as a transitory decade giving way to the next Bond’s debut, and his second movie before the decade is out. Anything more is likely to be very optimistic, and this is even without pandemics or other unnatural global events getting in the way.

The future, however, is not just about who plays James Bond as it perhaps was in many previous decades. The future of the Bond franchise now has many broader questions attached. After No Time to Die, is the franchise ever quite the same? What kind of Bond should the character be? How does he figure into a rapidly changing geopolitical and cultural fabric? A fabric in even greater flux than when Craig assumed a harder edged, stripped back version of the role in the wake of 9/11 and the global ructions of the terrorism threat that shaped much of his Bond era. And how exactly does this uniquely produced franchise continue to exist, and more importantly work to evolve, in an entertainment landscape that increasingly threatens to leave the style of how Bond is made behind?

These, for me, are the questions that will define the discourse around James Bond’s future over the next few years.

Continue reading “All the Time in the World: JAMES BOND in the 2020s”

Alias, TV, Writing

TV Review: ALIAS – ‘Resurrection’ (3×22)

Resurrection is the strangest and least effective season finale Alias ever delivers, existing as a visible consequence of how the latter half of Season Three has been structured.

Ostensibly, it has all of the accoutrements you might expect from a finale of television for a cult, genre network show. In the opening five minutes, the CIA Rotunda—our base for the last two seasons—is attacked and partially destroyed, if not as comprehensively as their future operations centre APO in Reprisal. Our villains hit the nerve centre of our characters world, attacking the very institution they represent, and almost murdering Marshall, a character so beloved and sweet, any kind of violence towards him can only be described as pure evil. The episode then focuses on resolving the central emotional and physical conflict at the heart of the season – Lauren’s betrayal of Vaughn, and where Sydney sits as the woman in the very middle of it.

The reason Resurrection is vastly less successful than either Almost Thirty Years or The Telling is that it fails, unlike those episodes, to balance such personal drama with a broader escalation of the mythology, and simply descends into a rather aimless mire of grim violence and retribution than leans more toward a 1970s Michael Winner revenge fantasy picture than anything Alias would normally produce. Almost Thirty Years brought the burgeoning mythology full circle and provided Syd with the prospect of losing Vaughn. The Telling brought the Rambaldi hunt to a crescendo and then devoted a final act to a deeply satisfying, thrilling and cathartic battle between Syd and the woman who had killed and doubled her best friend. 

Resurrection sees the Rambaldi story peter out, parked for a future season, before the episode dives headfirst into a dark, bitter, aimless climax topped off with a twist that, even before what comes next, makes very little sense.

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Star Trek: Lower Decks, TV, Writing

First Impressions: STAR TREK: LOWER DECKS – ‘Second Contact’

As Star Trek: Lower Decks finally premieres in the UK on Amazon Prime Video, A. J. Black takes a look at the first animated Star Trek series in almost half a century…

Ever since the end of The Animated Series in 1974, Star Trek’s only previous foray into the sphere of animation, the franchise has toyed with another ‘cartoon’ version of the series, but has perhaps steered clear by dint of being defined as such. Star Trek: Lower Decks is not easily characterised, simply, as a cartoon.

Lower Decks, created by Mike McMahan, exists thanks to the proliferation over the last twenty-five years or more of adult-centred animated television series. McMahan himself wrote a chunk of Rick & Morty, the good natured, wacky Netflix animated series—Back to the Future on acid, basically—and that itself arrives in the slipstream of the even more renowned series—South Park, Family Guy etc—that took the nominal concept of animation as kids territory, cartoons established decades past with Tom & Jerry through to Wacky Races and The Flintstones, and deliberately tailored them for older audiences. Cinema has proven adults respond just as well, if not even better, to intelligent animation as children do, with the Pixar stable lighting up the box office while cementing themselves in the minds of ages the world over, as have to a lesser degree Japan’s Studio Ghibli.

McMahan’s series—certainly on the evidence of the pilot episode Second Contact—lacks the whimsy of Ghibli, and certainly the cosiness of Pixar, but rather contains the self-effacing, self-knowing confidence of a Bojack Horseman. Lower Decks seems to understand the position it holds in relation to the broader Star Trek universe and the world of animation itself and, consequently, does not try and reinvent the wheel. It is, in many ways, exactly the kind of show you probably thought it would be, based on McMahan’s previous work, based on the promotional material and trailers, and based on what those involved have been talking up for a solid year. The only surprise in Second Contact is how unsurprising it actually is.

This isn’t meant as a slight, either. Lower Decks is huge fun. It just isn’t, at least yet, anything more.
Continue reading “First Impressions: STAR TREK: LOWER DECKS – ‘Second Contact’”

Star Trek: Picard, Writing

Book Review: STAR TREK: PICARD – ‘The Dark Veil’ (James Swallow)

All things being equal, the second season of Star Trek: Picard would likely have been airing at the start of 2021, allowing the second tie-in novel The Dark Veil to align with its parent show.

Luckily, James Swallow’s tale does not rely too heavily on the established canon and continuity of Picard’s current events and has the providence to prop itself up as what is fast becoming a ‘classic’ Star Trek story. Classic, in terms of this franchise, used to refer to the colourful kitsch of the 1960s Original Series but it now encompasses an era Swallow has straddled, both as a tie-in novelist and story contributor to Star Trek: Voyager – the 1990s. Perhaps the ‘Golden Age’ of Star Trek, this era did not just birth Picard’s originator, The Next Generation, but a style of storytelling the modern age of Star Trek has increasingly moved away from. 

The Dark Veil, in that context, is comforting and reassuring. It feels a reminder of what Star Trek is capable of and, honestly, what the modern example of it on television is steering away from.
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Star Trek: Discovery, TV, Writing

TV Review: STAR TREK: DISCOVERY (Season 3)

Star Trek: Discovery’s third season is both a step forward and, in many ways, a step back for the new era of the Star Trek franchise.

Buoyed by the ending of a second season that sent the crew of the Discovery far past the point of any canonical Star Trek story to date, the possibilities were endless. It could throw off the shackles of nostalgia, of existing trapped within the fan fiction canon of the 1960s, and truly emerge into something new. Incoming showrunner Michelle Paradise, under the stewardship of our modern day Rick Berman, Alex Kurtzman, chooses to throw the U.S.S. Discovery into a world of uncertainty: a post-cataclysmic, disordered galaxy with the reduced United Federation of Planets, an imperious crime syndicate in heavy control, and a central mystery for the crew to solve. Discovery builds on Star Trek: Picard’s notion of a shattered world order, a universe of futuristic certainties rent asunder by cosmic events, poor governance, and the rise of conspiratorial and sinister entities. Like much Star Trek before it, the seeming fall of the Federation as we knew it tracks with the steady collapse of the United States as the bedrock of post-war geopolitical order in the 21st century.

This allows Paradise and her team of writers to present Discovery as the kind of anachronism Star Trek itself, to some degree, now is. Michael Burnham leads her crew into this unknown future where she is greeted in almost hallowed terms by the first Starfleet officer she meets, who suggests the “hope” of a unified Federation, separated through travel and communications by the mysterious ‘Burn’ event a century ago, is her (and her crew, but more specifically her). It is as close to prophecy without venturing down the awkward road Picard trod on those lines, but Discovery the ship ends up serving as an avatar of righteousness and goodness from the distant past, from the “golden age of science” as a future character at one point puts it. In a world filled with Federation officers used to reactive, insular actions, Burnham and the Discovery arrive with a hopeful joie de vivre about the universe which, surprise surprise, challenges the status quo in a way no other crew had done in a hundred years. Discovery serves as Star Trek’s own attempt to provide light amidst ominous darkness.

The problem ends up lying with a mixture of repetitive elements, unoriginal storylines, at points poor writing and a chronic over-reliance on a main character who is lionised, even almost canonised, to the point of a climactic moment that is not just unearned, but also truly, when you think about it, absurd. Continue reading “TV Review: STAR TREK: DISCOVERY (Season 3)”