Prometheus

Despite Its Flaws, Prometheus is Entertaining

By Kristin Battestella

“I feel like there’s a chest burster inside me.”

That’s what I said in the ER this past July when they asked me to answer their polite 1 to 10 point-at-the-smiley-frown pain scale. I didn’t know what was causing the increasingly horrible and unbearable pain beneath my right ribs. I could barely move, breath, or speak. I flailed my arms in pain and accidentally hit the nurse when she tried inserting my IV. Of course, this reminded me of one early hospital scene in Aliens, and later, after I clawed my husband’s hand and drew his blood, I said, “I guess this is what I get for going to see Prometheus!”

Doctors Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall Greene) petition the Weyland Company to support their archaeological discovery: ancient civilizations each repeated the same astronomical pictograph and alien “Engineers.”  Shaw sees the pattern as an invitation to the stars and the origins of humanity, and the state of the art Prometheus disembarks to the distant LV-223. Only the android David (Michael Fassbender) is awake for the journey while the rest of the crew- including the doctors, Captain Janek (Idris Elba), and Company representative Meredith Vickers (Charlize Theron) remain in hyper sleep. Once they reach the moon, the human crew rises to search an ancient monument full of dead Engineer bodies, mysterious urns, and surprising familiar iconography.  As storms fronts approach on the surface and the crew separates, one by one their fates and faiths are tested, for these Engineers and their perilous DNA projects aren’t as dormant as they seem….

 

Plotting A Prequel Conundrum  

Whew! It turns out it was just my gall bladder going, but director Ridley Scott’s return to science fiction with this pseudo Alien prequel was certainly on my mind most of the summer. I’d been waiting over a year for the release – even remaining spoiler free into its approach – and obviously, it’s still on my mind now thru our annual Fasstivus viewings and Vassbender Valentines. The possibility of Alien’s back-story feels like its been in my subconscious for decades. I used to drive my father batty with speculation about how the crash on LV-426 happened, to where – or whom – that homing beacon was transmitting, and how the evil android Ash and the then unnamed but obviously money loving and corrupt Company were involved. Yes, most of these questions from Alien are not answered in Prometheus and that is this film’s blessing and curse. Some may rightfully dismiss Prometheus simply because it answers nothing beyond itself. After all, what’s the point if technically nothing gets us any closer to Alien’s mysteries? The connections and feelings are there, but it seems like Prometheus’ key elements are being spread out for its inevitable sequel or a completely new trilogy. It becomes both rushed in its foreboding yet too disjointed as the plots diverge and reveal. This almost feels like Alien 3, strangely, where one film had to suffice both its brooding horror and action SF predecessors. The internal pace is fine to start, with good cringe inducing moments and a horror styled pattern of storms and entrapped personnel. Though the deleted scenes were apparently cut for length and action pace, it feels as if Prometheus should have continued in this speculative science fiction or horror vein, with complete character intelligence and a scary food for thought.  

There is room to speculate on the alien dangers and high concept religion and faith debates. However, writer Damon Lindelof (Lost) also left serious plot holes, unexplained developments, and changed script scenarios in rewriting newcomer John Spaihts’ original treatment. Nothing short of having all the action taking place on LV-426 as originally envisioned would have appeased die-hard fans. Whether Prometheus was going to be a direct sequel or not, whatever storyline you finally intended to go with – all those decisions should have been settled upon rather than be left hanging in the film. Frankly, nothing – no creature connections, planetary aspirations, or character motivations – should have been held back in the hopes for a sequel. In the theater, I was screaming to myself that this film better dang be successful enough to earn a sequel, otherwise, this will really not just disappoint, but anger the audience. If you open Pandora’s Box, do so all the way.  Innumerable plot holes and character head scratchers and inconsistencies linger in Prometheus. Some of that is answered in the viral and behind the scenes material, but you can’t hinge the full vision of your film on the extras or sequels. Not only are the big spiritual topics not as deep as could be, but the intentional ambiguity is far too on the nose. I thought I was alone in wishing for more from Lindelof’s weak touch, but Prometheus takes the easy way out by dropping its high concepts for a typical big action ending. The first half of the film is brimming with foreboding and body horrors just like Alien, but unexplained secrets become plot contrivances and what should be hidden personal or family connections are too obvious. Perhaps a truly sophisticated slow science fiction morality tale can’t achieve success today, but it feels like Lindelof didn’t even give Prometheus a chance to try.  In the behind the scenes materials, he admits he found Alien boring, and no studio today will accept boring! If one can let go of Alien and accept that Prometheus is not a direct prequel and will not answer your long held questions, then it can be enjoyed thanks to great sets, thoughts, and performances.  Can a hardcore SF viewer accept the plot holes and screenplay mistakes? We don’t really have much of a choice until the supposedly in the works follow up is on the big screen.

Powerful Performances

Well, well, Michael Fassbender does it again! Perhaps his ambiguous android David wasn’t meant to steal the show, but his artificial intrigue and robot speculations are the best part of Prometheus. Though his questionable actions initially support the faith versus science explorations and romance between Shaw and Holloway, David’s seamless orchestration of the crew and events around him subtly exceeds his programming. Fassbender’s (X-Men: First Class, Shame) uniquely devoid wizard behind the curtain pushes and pulls in true Vader fashion, and this malevolent Data is almost like a synthetic child on the verge of sociopathy. David is hyperactive, told not to go somewhere or touch anything, but he continually disobeys any instruction – maybe it’s for his own purpose, maybe not. He’s androgynous and prepubescent, almost not physically developed or impotent and thus uses his superior intellect and the low opinions of others to gain control. Despite his not having emotions, Shaw becomes the twisted object of David’s affection, and he scientifically violates her in a slick and premeditated plot. It’s not desire as we would think, but rather experimental curiosity. It’s third party rape because he can, and thus in David’s mind, he should.  Thanks to Fassbender’s well-played deceptions here and in Prometheus’ viral campaign, there are times where the viewer might swear David damn well does have emotions, and this Pandora of possibilities is a tad frightening.  An android who wants to be like Lawrence of Arabia? There are no Laws of Robotics here, and it’s creepy to see David’s graduation from playing with alien bugs to using human fodder go unchecked – particularly when it is such a cold and logical step to him.  Without internal censors to curb David’s motivations and ambitions, his last shall be first realization that people are inferior is allowed to run amok and create Prometheus’ finest moments.

Naturally then, when Holloway belittles David, it is not only his own undoing, but it sets all of Prometheus’ events in motion. Rather than being the hero, Logan Marshall Green’s (Dark Blue) scientist comes off as big jerk thanks to script and character issues. He drinks because he is unhappy that he has discovered the existence of human progenitors on another planet. Huh? This writing faux pas ironically works in Fassbender’s favor. One might actually be sympathetic to David instead thanks to the way he is insulted or dismissed. The android is kind to Shaw, but her trust is betrayed and it makes for some fine work by Rapace. Noomi (The Girl with the Dragon Tattoo) is up to snuff as our Ripley successor, oh yes.  Though younger than her co-stars, she may seem a bit too mature against Logan Marshall Green or too upscale European for American audiences. However, this edge is perfect for the deep, heavy, and spiritual Shaw. These beliefs drive her pursuit of science, but they should conflict – and her newfound alien discoveries spearhead Shaw’s reexamination of herself. It all seems kind of lofty or too high brow, but Rapace keeps Shaw likeable and believably kick ass. Yes, there are convoluted script moments and unrealistic post-injury scenes that do take the audience away from the character. She can run around alien planets and climb all over the place after that?! The lack of believability in the plot also takes a bit away from the awesomeness of her alien encounter, but no faults come from Rapace, and I look forward to more of her. 

I do, however, wish more religious connections were made out right between this trio. After all, we have a worshiped alien being birthed by a woman named Elizabeth after an impregnation orchestrated by a surrogate father. In keeping with the ABC android names of the previous films in the franchise, we have a D for David. But why the name David instead of any other D name? Was there meant to be some sort of Root of Jesse lineage and messianic message? It is Christmas aboard the ship after all, and the Shaw praying scene in the trailer was cut from the final film. One of the new creatures in Prometheus is also called a “deacon.” What exactly is all this religious iconography supposed to mean? Humanity is seeking out their alien creators and thus outgrowing their divine masters, and in some ways, David is doing the same thing to his human inventors. This ideological succession, oedipal shadings, and patricide hopes are touched upon in the script and chewed on nicely by the players when its given to them. The triumvirate keeps the entertainment and intelligence afloat for the audience, but unfortunately, the shaky foundations in the writing don’t answer these lofty questions. Had the cast been given complete character motivations and plot aspirations, nothing could have stopped Prometheus.

Poorly Handled Ensemble

Oscar winner Charlize Theron (Monster) is ice queen good fun as Prometheus’ resident secret wielding company representative, but there could have been a lot more to her character than what we receive.  If you think about Vickers’ background and motivation too much, too many nonsensical red herrings emerge. Her big secret is quite obvious, but whether she is a human or robot isn’t hardly addressed, nor is her alternating bitchy, sympathy, intelligence and stupidity. As with David, serious Scott fans could have had their hearts set a flutter by Vickers and possible Blade Runner connections. Unfortunately, as is, the character ends up meh despite Theron’s best attempts to counter the iffy scripting. Likewise, it is always a delight to see Guy Pearce (L.A. Confidential) and that therein is another big hole in what could have been Prometheus glory. I’m going to be nice and say the aging make up isn’t that bad – we just know it is Guy Pearce and would rather see him be the power hungry and creator- complexed young Weyland as seen in the Ted Talks viral video. Why couldn’t he have a pre-mission briefing instead of that weird hologram recording? That right there would have gone a long way in explaining all the characters and their reasons for signing on to such a space flight! The waste of creative character developments and potential is actually almost as in your face as Weyland’s actual not so surprise twist!

 

Although the supporting cast is most definitely talented enough, they aren’t given much to do beyond making mistakes or being barely there. Idris Elba (Luther) certainly has the presence to be the rogue captain of this wonderful ensemble, but his heroics and humor are so broadly written all over the board in crayon that we can’t fully care about Janek despite Elba’s charisma.  He’s devil may care but spiritually sensitive and cares about his crew and ultimately, humanity. However, Janek doesn’t give two shits about crewmen in jeopardy and doesn’t bother to ask what the mission entails. This isn’t multi-dimensional character development; it’s more like the captain is just a script placeholder to use whenever something is needed. It’s a sacrilegious waste of Elba, and Rafe Spall (Anonymous), Sean Harris (Outlaw), and Kate Dickie (Game of Thrones, Red Road – Did no one in this production see Red Road?!) become plot points for alien high jinks instead of being truly developed characters. 

Similarly, we never really get to meet the potentially charming Emun Elliott (Black Death) and Benedict Wong (Dirty Pretty Things), and there are even more unnamed disappearing and reappearing soldiers aboard the titular vessel. If we’re not going to spend some time with these crewmembers in order to know their fears or faults intimately in a slow build of apprehension and peril, how can the viewer appreciate them? Deleted scenes and alternate takes improve the troop slightly, but the audience never gets the feeling this crew is in it together, as in Alien or Aliens. Sure, we need a conspirator or two, but these folks are so divided, it seems like they each had different versions of the script from which to work. If you’re not fans of the players, it is tempting to fast forward thru their stupidity and squandered opportunities. As Prometheus is, this talent becomes padding for the body count in the final act. 

 

Positive Bells and Whistles

Fortunately, whatever you may think of Prometheus, it looks damn great, simply smashing. Instead of a dark and congested submarine – perhaps expected by our recent trends toward brooding, bleak, apocalyptic futures – the palette here is bright SF, with sweet looking, large-scale special effects and an imaginative ship design. It all looks sweeping, epic, and state of the art but somehow still natural and practical – a realistic progression and scientific advancement on our current technologies. There are some Alien allusions in the designs as well, and Prometheus does meld soundly as the mechanical precursor but 21^st century offshoot to the franchise. Fortunately, the action scenes aren’t brimmed with unnecessary cool gadgetry for the sake of instant technological flash. The detailed and well-thought production here will outlast the in the moment product placements so often found in today’s films – remember all that MSN crap in The Island? Prometheus is not ‘sponsored by Sony’ in your face, and unlike the eighties 3D hurrah, there are no ridiculous foreground objects and actions thrusting at the screen desperation.  I dislike 3D and chose not to see Prometheus as such, however, you can still tell which swooping CGI effects shots are meant to be in the multidimensional glory. Thankfully, the exceptional Icelandic waterfalls and galactic scenery aren’t overruled or at worst ruined by the 3D as so many films are. 

Ironically, while writing this review, I received the Prometheus 4 Disc Collector’s Edition as a gift from my husband.  Of course, I’m not as interested in the 3D blu-ray disc as I am all the other critical bells, whistles, and special features.  I haven’t even gotten thru all the exhaustive behind the scenes interviews, production galleries, screen tests, commentaries, and more. Like the immensely detailed Prometheus: The Art of the Film companion book, alternate concepts, deleted scenes, storyboard ideas that didn’t make it into the film, and even those screen tests and viral videos all help to piece together a lot of the head scratching and character flaws in Prometheus.  The aforementioned video and several other blu ray and DVD editions are now available of course, each with varying degrees of special features. However, I thought it might still be amusing to share some of the quick notes from my original Prometheus Monday afternoon summer theater experience, for these trailer observations seem particularly prophetic now: “Frankenweenie looks dumb. Savages is too Oliver Stone generic, The Watch the usual comedy. Abraham Lincoln: Vampire Hunter looks too action badass can’t see the forest for the CGI, and Rock of Ages has great music but what a crappy ass cast! I would see none in the theater and would not be surprised if some or all do poorly.”   Hehe.

There is most certainly an audience for Prometheus, and viewers should see it at least twice for complete entertainment value – even more for finite assessment. Love it or hate it, general science fiction fans looking for a return to mature, sophisticated tales can find something here, and Alien fans tired of the Predator crossovers should definitely have a look. Granted, the separation from total Alien connections and the “is it or isn’t it” on the nose marketing approach was a deception to audiences expecting complete franchise resolutions. That audience burn alone is enough to not see Prometheus. Again, those expectations both helped put people in the seats to pad Prometheus’ box office and hurt its reputation by disappointing longtime fans.  Because of these botched Alien connections and the fly by night scripting, a necessary sequel is indeed forthcoming, although I wish the powers that be hadn’t mashed up Prometheus in anticipation of a follow up film or two and box office splendor. Behind the scenes flaws and Alien relations aside, Prometheus is nonetheless entertaining for fans of the cast and science fiction lovers.

Voyager Season 2

Strides Made in Voyager Season 2

By Kristin Battestella

Star Trek: Voyager’s full-length sophomore year falls prey to many of the same old reliances and hindrances of its debut season. Thankfully, quality guest stars and a fine cast make for some quality and improvements with a strong second half spearheading some credibility thru to Year 3.  

70,000 light years from earth and lost deep in the Delta Quadrant, Captain Katherine Janeway (Kate Mulgrew) and her Maquis Commander Chakotay (Robert Beltran) must battle Kazan enemies and forge new alien alliances while subduing Voyager’s old ship bound tensions between Starfleet and the former Maquis. Spies and Cardassian subterfuge put pilot Tom Paris (Robert Duncan MacNeill) and Vulcan lieutenant Tuvok (Tim Russ) in further danger as espionage grows and babies are born during the long journey home.

“The 37’s” opens Season 2 in the already standard Voyager fashion. It’s a nice, lovely little episode and makes for a fun novelty opening. However, it still feels slightly incomplete and would have better served as Season 1’s finale. Many of Voyager’s shows have this same problem – the writing just seems so stale, episodes seem unfinished, technological pieces or effects are missing, and character details and personal touches go to the wayside.  Not only are none of the stories fresh or super new TV, but every plot seems problematic, rewritten, or churned out with gritted teeth – and it shows onscreen. Voyager doesn’t have a lot of return value as a result. If they put in so little effort, why should the audience do more? Were this Trek installment still showing in syndication, it would be very easy to miss an episode one week, happen to not catch another, and then simply tune out altogether. Even the Star Trek guest star card is used too early with a fun but obvious Nog alum Aron Eisenberg in “Initiations” and Dwight Schultz as Barklay in episode 3 “Projections.”  There are fine debates about sex on the ship and the generational aspects to come with Jennifer Lien’s Kes in “Eloguim,” but again, such thoughts are played a little too safe and easy. I’m glad Voyager doesn’t go for all the sexy stunts here, but how can a science fiction series seem so afraid of making the big SF concepts? 

Granted, this off-kilter and incomplete feeling is probably because of Voyager’s act pacing and shorter running time. Alone in syndication, The Next Generation had time for a coda or more reflection. Unfortunately, Voyager could have really used a scene of further debate or space faring costs in most of these network-carrying shows. “Twisted” is a nice ship in a crisis plot. It’s not bad in of itself, but the same old weaknesses and structural problems crack Voyager’s surface.  When Voyager does have fine science fiction materials, too many of the same elements are bunched up together. Reality alterations for Garret Wang’s Harry Kim in “Non Sequitur,” space dwelling life forms meeting paranormal clouds, yadda yadda – where’s the variety and depth? Panache from the cast keeps episodes like “Parturition” together, and yet I can’t help but hate on Voyager for being too easy, generic, and casual. There’s nothing wrong when this show has its quiet character adventures and soft SF set ups. Yes, there isn’t as much time as previous Trek dramas, thus it seems as though not a lot is actually happening on Voyager, and the result is less long lasting or simply unsatisfying.  Producer Brannon Braga was consistently unhappy and disappointed with Voyager, and the show’s faulty system is setting itself up for failure.  All these bottle episodes – ships gone awry, nebula, nebula, phenomenon, rinse, repeat – one after another stifle the stellar character moments in between. Forgive my preposition, but what the heck are they saving the budget for? As with Deep Space Nine, it just seems like Star Trek quality, time, and money can’t be sustained over 26 episode seasons.  Well then why not have 26 episodes?

Thankfully, most of the cast keeps Voyager afloat with fine performances and character explorations.  Although frame within a frame holograms with mental deceptions are nothing new, Robert Picardo holds “Projections” together and “Lifesigns” gives the Doctor a fine romance.  I like Roxann still Biggs-Dawson as B’Elanna Torres in “Prototype” and I’m not sure why there was unhappiness behind the scenes. Today when one does find something he likes on Voyager, it’s depressing to read the production notes available online. Everyone just seems so bitter and displeased already in Season 2. So what if the robots here aren’t super stylized. Was the half-black, half-white painting in The Original Series’ “Let That Be Your Last Battlefield” hokey? Of course.  Is there solid science fiction marvels and moral character dilemmas nonetheless? Absolutely, and Voyager should take this cue all the time. Likewise, “Innocence” and “The Thaw” have nice character moments, but that gosh darn iffy production and confusing plot points make no room for follow up.  Both seem to end too soon, with no time for the fine guest stars and hefty examinations left hanging. Amateur dialogue or technical errors create plot holes that ruin the viewer’s suspension of belief for the whole world. “Resistance” is an otherwise touching Janeway episode with guest star Joel Grey (Buffy) that ends up too vague. Ironically, since not a lot of people watched Voyager, many of the same fuzzy storylines are also borrowed for the subsequent Enterprise. I feel like I’m viewing the same weak swept under the carpet over and over, and the halfhearted coasting doesn’t bode well for the first two years of either series.  Am I asking too much of Voyager?

Voyager does have a solid stretch over the second half of the season, fortunately. Tim Russ as Tuvok and guest Brad Dourif (Lord of the Rings) are wonderful in “Meld,” and Torres has more technological finery in “Dreadnought.”  “Death Wish” relies on more big name guests with Jonathan Frakes returning as William Riker and John de Lancie offering some heavy suicide and Q rights debates. Ethan Phillips perfectly blends Neelix’s humor and seriousness with Robert Duncan MacNeill’s Tom Paris in “Investigations,” too. There are a lot of good Trek shows this season on Voyager, yes – morals, guests, an often united but sometimes divided people who happen to be in space experiencing weird things. It’s frustrating when you have to cut through the flak, but when the good episodes are good, it’s what Voyager should be. Why then do we have lizard baby things concluding “Threshold”? I honestly don’t think that this is that bad of an episode until that reptile mating crap got pulled out from where the sun doesn’t shine. Sadly, this treatment is 110% indicative of the great personal and character stories and potential unique SF concepts of Voyager’s lost in space elements being ruined by one personal’s complaints and behind the scenes unwillingness to push the envelope. 

Likewise, he’s a good guy and sticks by his principles, but man, Chakotay is once again the brunt of the joke. Robert Beltran’s second in command is made almost with too much heart on his sleeve, and by necessity, this creates some sort of forced point and purpose when Chakotay does get something to do in “Tattoo.” “Maneuvers” is also so dry and dismissible despite what should be heavy Kazan arc staples. Those Kazan factions and the back and forth with Martha Hackett as Seska goes on much longer than it should have and gets run into the ground with repeat subterfuge that isn’t needed. Shouldn’t Voyager just be driving by these people already? Frankly, I probably would have killed off Chakotay by now, just to get the danger of the Delta Quadrant across. Janeway doesn’t need his soft-spoken, well, burden. “Resolutions” is the one and only finest Janeway and Chatokay bam hot damn, and nothing ever frickin comes of it!  Fortunately, Kate Mulgrew has a chance to show all sides of Janeway to close out Season 2. “Deadlock” may be a little gimmicky thanks to the double Janeway ploy. However, there are wonderful dilemmas and action here and with “Tuvix.” These are spot on quality conflicts and Trek with a spin wonders upon which Voyager can build. “Basics, Part 1” makes for a solid season ending cliffhanger as well – the kind of enticement that has an audience return for Year 3.

I feel like I’m repeating myself and beating a dead horse on saying all that is wrong with Voyager. There are numerous behind the scenes flaws hurting Season 2 onscreen, and this un-remediated rocky foundation makes it very difficult to enjoy when the cast, crew, and fantastical do arrive.  21^st century viewers accustomed to shorter, swift, no nonsense television won’t be able to wait around for Voyager’s goods. However, fans of the Trek universe and science fiction audiences can have a part and parcel Voyager viewing thanks to streaming and rental options and marked down video sets. If you accept it’s built in substandard designs, the positive strides made this season keep Star Trek: Voyager watchable.

Dark Shadows: Collection 13

Dark Shadows Collection 13 Dynamite!

By Kristin Battestella

Once again, I am neck deep and in the spirit of the spooky season year round thanks to the scary paranormal suspense and 1897 time travel tribulations of Dark Shadows and the macabre soap’s DVD Collection 13.

When the Ghost of Quentin Collins (David Selby) drives the entire Collins family from Collingwood, governess Maggie Evans (Kathryn Leigh Scott) and her two possessed charges (David Henesy and Denise Nickerson) flee to the Old House as Barnabas Collins (Jonathan Frid) and Dr. Julia Hoffman (Grayson Hall) search for answers to rid them of the poltergeist and stop Chris Jennings’ (Don Briscoe) werewolf transformations. When Barnabas and Professor Stokes (Thayer David) discover Quentin’s I Ching wands, Barnabas uses them to will himself to the year 1897. Once in the past, he introduces himself to Judith Collins (Joan Bennett) and investigates Quentin’s secrets. Unfortunately, Barnabas harbors a secret of his own – he has been unchained from his coffin and is once again a vampire.  

 Despite having watched Dark Shadows’ original 1795 time travel and period piece changeover, the first time I saw the Quentin haunting storyline, I never expected the ghostly hints, Quentin’s Room, Victorian appearances, and possession infiltrations would lead to the complete 19^th century domination of Dark Shadows’  next 183 episodes. Today, it takes a series a decade to get that kind of screen time! Not only does this longest and highest rated flashback storyline mean our company stock becomes all new characters, but eventually several players will end up with multiple roles thanks to the nine month duration of the 1897 plot. Collection 13 begins with Episode 696 from February 1969, just before the 19^th century switch, and concludes with a wallop for Number 735. Although I never thought to write upon them before, I must say the opening narrations on Dark Shadows are great. The viewer is quickly up to speed in complete gothic keeping, and I wish more shows still did this. Of course, the reading is total hyperbole and yet there is a cryptic poetry that draws you in – be it past scandals or present wolfy.

Collection 13 does spend its first five episodes dawdling with multiple 1969 storylines and unfortunately leaves the Chris Jennings werewolf drama slightly unwrapped and easily forgotten. Don Briscoe and stunt wolf Alex Stevens are fine in their brief scenes, but good riddance to Ned Stuart and Sabrina’s blue hair! Roger Davis and Lisa Blake Richards are so over the top and the result falls flat against the cruel Quentin charisma and budding 1897 mysteries. Ned is so rough and touchy feely with his sister – it’s awkward, and Davis’ Dirk Wilkins role is also quite the jerk. When he and Jonathan Frid – perhaps the two worst dialogue flubbers – are together, look out!  The eventual 1897 curse origins and future werewolf connections between these storylines are awesome, but these side players make it tough to watch.  Strange as it may seem, the expanding historical plots make it easy to forget the 1969 stakes. In the first few episodes after the Episode 701 transition the narrations and some refresher dialogue repeat the same who, what, when, and where to help the audience remember how and why the 1897 switch happened. However, the more then-risqué themes and dialogue suggestion allow us to forget the time travel technicalities and simply enjoy the treats herein. The changeover will perhaps seem slow to some – Dark Shadows is in effect doing what we today would call a reboot after all.  New late Victorian looks are jazzing up the same paranormal tricks and connections for Barnabas’ twists. A lookalike portrait, the cousin from England, thieves opening a chained coffin in the mausoleum. Dun dun dun!

And how about these new gothic 1897 scandals, eh? The new characters and ancestral players are introduced well amid the solid pace and soap opera trickle of the turn of the century mysteries. The viewer is like the newly arrived vampire Barnabas indeed, trapped and at the mercy of the hour as events unknown unfold. Isabelle Hoopes is a great and sassy guest as Edith Collins, suffering amid mysticism, scheming gypsies, heirs at each other’s throats, and missing wills. Edith is a sharp lady who almost can’t be fooled. Almost. Who is receiving the extra dinner upstairs if not the ailing matriarch? Why is the maid Beth still on at Collingwood if her mistress has left? Where is Edward’s wife Laura and what does she have to do with Quentin’s banishment? Why does governess Rachel Drummond see lights in the empty Tower room? These juicy questions are what makes Dark Shadows so good. The show wouldn’t have lasted in the cultural lexicon as long as it has if it had been intentionally campy or so in the moment of itself and reaching for some kind of It audience coughtimburtonsremakestinkscough.

Scary shadows, fake cobwebs, spotlights, darkness, candle effects, those candelabras – you just don’t see this kind of careful lighting and set design anymore and yet Dark Shadows is notorious for its fly by night production cheapness. There’s lovely sixties swanky, Victorian touches, and period clutter but seriously, did they use those infamous blue and green sheets to make Rachel’s dresses? From Judith’s pink bows to Angelique’s magical power to pop out of the fire in full Victorian regalia, there’s a bemusingly dated and gaudy costume mix in 1897, and it takes awhile to see the complete 19^th century transition. However, recognizing reused pieces and rooms along with the early electric and gas lamps is a lot of fun. That time traveling music box! Quentin’s room has its past reveal in Episode 709, with his theme being played to great effect in Episode 719. Despite the low budget mistakes, there’s an extra sweetness to the productions designs – remember, 1897 was just over 70 years ago for the original production but now it’s over a hundred plus for us. It makes for a real Old World charm, and all the mike shadows and set bloopers just set off Collection 13.

All the players both in front and behind the camera showed up to play here. Sure, the classic literature shading is apparent with symbolism from Jane Eyre for most of Collection 13, but there’s something refreshingly familiar about these spooky tales and that iconic Dark Shadows music accentuating all the shockers. Robert Cobert’s motifs and specific music cues help to build character suspense – and there’s a repertoire of graphics to match.  We know something is going to happen, but the quality storytelling keeps us just unsure enough and on the edge of our seats.  As this past goes on, 1796 changes are made to match, and Edith’s timeline will eventually end up iffy for the Dark Shadows’ second to last 1840 flashback, but who cares? Lines are flubbed quite often to start 1897, but rather than distraction, the mistakes add a charming nuance to the scares and secrets twists. Episode 705 has a sweet climax, and plenty of red herrings and tower mysteries complete Disc 2. Perhaps the zombie Quentin subplot on Disc 3 is a bit of a tangent, but it makes for some great kickers and frights – especially Episode 723. Besides, these old school Martinique undead spins might surprise zombie fans who think theirs is a new genre.

Of course, resident vampire Barnabas Collins is ever perfect as our paranormal hero on the case when no one else in the family could possibly understand. Jonathan Frid brings such a noble soul to Barnabas as he risks his life to save his family.  Naturally, that heart is made all the more zany when Barnabas’ return to the past rekindles those hard lost vampire hang ups and conflicts. It’s so fun to see him on the prowl again, but there’s also an agonizing desperation to the juicy dispensing of a pretty victim! Barnabas has a great, reinvigorating chess game and ongoing battle of wits with Quentin, too, and the romantic Rachel/Josette reincarnation is always pleasant. Kathryn Leigh Scott’s main character Maggie Evans, by contrast, is at the breaking point to begin Collection 13. She’s no longer just naïve – the hysterically broken governess is loosing control against the almost rapacious and certainly volatile Quentin. It makes her strong for her charges, but the defeatist battle is delightfully twisted. Scott’s incarnation as Rachel Drummond also seems one of a martyred, used, and dismissed young woman – she makes it easy to be a conquest by being so easily fascinated by the tower secrets. Not only is this governess too curious and stupid for her own good, but we hardly see her with the kids because she’s too busy asking everyone questions and telling everyone everything. Get some sense girl!

  That phone, that music – at last we meet Quentin Collins, the man behind the ghost. No more a fleeting or silent ghostly specter, this violent, philandering, occult enthusiast is critical to almost every episode on Collection 13. From his wonderful past introduction and first spoken words onscreen in Episode 701 to Edith’s chastising the meddling imp as “A very naughty boy,” it’s great to see Selby’s cheeky vigor and zest. His vocal performance and playboy style are as delightful as his looming ghostly mime was foreboding.  There’s still an underlying sinister to the character with genuine fears and scary moments, but there’s something humorous in seeing Quentin in the flesh as it were. When given a tarot card, Selby proclaims, “I don’t need cards!” whilst clearly looking at the teleprompter!  Fun loaded dialogue such as “People expect me to be bad” also adds to the suave delivery, bemusing flubs, and prophetic talk on death, curses, and being “the big bad wolf.”  Kharma-wise it’s also nice to see Quentin scared by a spirit or two with haunting heartbeats, and he has some great confrontations with the ladies at Collingswood. Although Beth’s dresses are iffy and Terry Crawford gives her an attitude that seems beyond her maid station, she’s a tall, strong presence and has great onscreen chemistry with Selby. Beth has the wit to match and gives as much as she takes even if there is an unhealthy level of danger and roughness. Quentin enters Beth’s room whenever he feels like it and doesn’t always take no for an answer. It’s not an easy role, but Crawford keeps Beth likeable and has the viewer interested in where this relationship will go next. Marie Wallace, however, can be a little over the top and even irritating once we meet crazy Jenny in Episode 716. Thankfully, it’s all in good fun with some serious twists for those who haven’t seen this segment of Dark Shadows previously, and the audience is quickly hooked into seeing this storyline’s follow thru. When Jenny and Quentin go head to head for the big reveal in Episode 720, yowza! My only trouble here is waiting for Selby’s real sideburns to grown in.

Unlike her serious counterpart Queen of the Sedative Dr. Julia Hoffman, Grayson Hall has such sarcasm and a frank attitude as Magda. Thayer David’s new incarnation as her sassy husband Sandor is also bawdy good fun. Yes, their gypsy portrayal is stereotypical and now somewhat inappropriate, and yet their send up is part of the charm. I mean, Sandor is Barnabas’ bitch! Notice how the camera cuts away on the vampire bite approach, then comes back to a bloody bite on Sandor’s neck and just a trickle upon Barnabas’ lips.  Speaking of innuendo, Humbert Allen Astredo is playing the similar but different slick and diabolical Evan Handley. He’s a warlock and the Collins family lawyer! Likewise good old Lara Parker returns to her vintage Angelique complete with woeful voodoo rituals, bad supernatural effects, great costumes, jealous shade on Rachel, and superb dynamics with Quentin and Barnabas.  What trouble this group will cause!

I want to call it seduction, for David and Amy are indeed willingly manipulated and enraptured by the Quentin’s ghost to begin Collection 13. These possessed kids are both scared and powerless, but nothing can be done. The result is absolute sympathy of course, and yet David Henesy and Denise Nickerson are dang creepy when under Quentin’s spell.  Nickerson is particularly good as the terrifyingly misled Amy Jennings on Disc 1 before the 1897 transition adds some uncanny cherub curls, wild expressions, and motherly obsessions for her Nora Collins in Episode 716.  We don’t see much of Henesy in 1969 as David lies on the brink of death, but it’s nice to see the lighthearted Jamison from 702 onward. It is eerie, however, to see Jamison’s adoring relationship with Quentin, considering we know the haunting trying to be prevented has something to do with them.  Jamison is also wrongfully used in the tug and pull between Quentin and the boy’s father Edward Collins- the always stern and smashing Louis Edmunds. Quentin makes the scared boy reach inside a coffin for a hidden message, has him steal from the Old House – and worse, uses him for black magic rituals and secret games. No wonder Edward is shipping these kids off to boarding school!  These risqué children’s plots can be tough to watch sometimes but the youthful manipulation is part of what makes Dark Shadows so good.

Do you need more reasons to love Collection 13? Rumblings of that feisty, fiery phoenix Laura Collins begin in Episode 729, and her presence tosses yet another wrench into the askew clockworks at Collingwood. Some of Diane Millay’s makeup seems caked on iffy, but this is again a nice reset for fans who missed Dark Shadows’ earlier phoenix events. How many shows have a phoenix as a recurring character anyway?  It’s great to see Laura for each storyline, however, if she is Jamison’s mother and then the same Laura also marries Roger – who is Jamison’s grandson – then that means….ew.  Star Joan Bennett doesn’t appear as Elizabeth Collins Stoddard this set, but her Judith Collins is perfectly prudish and mousy. She grows strong as fortunes change for and against her, but that doesn’t prevent her from getting roughed up by Quentin or getting the wool pulled over her eyes by Reverend Trask. Jerry Lacy is again maliciously slick and spot on to conclude Disc 3; his scenes just reek of cringe-worthy clerical corruption, and it is so dandy to watch!  Trask reminds Rachel, “When I thought badly of you as I was often tempted to do…” What?!  Nancy Barrett’s debut as Charity Trask late in Episode 727 is a surprisingly twisted little image of her daddy – and she gets in on the vampy action, too. 

 

 As you can probably tell, these Victorian magics are my favorite plots on Dark Shadows, and new fans interested in more than the Barnabas flavor and sixties camp vampires can begin the series fresh here. Yes, the 1796 re-route and Leviathan resolution of the 1897 storyline peeves me. Thankfully, there’s plenty of meaty to be had with the 19^th century Collins family thru Collection 17. For those soured on that recent Dark Shadows movie abomination, I urge you to give the Victorian lycanthropes of Dark Shadows DVD Collection 13 a gander.  New reissues of the DVD sets, complete series video editions, and Netflix possibilities mean there is no excuse for a macabre fan to not see Dark Shadows deliver. 

Voyager Season 1

Voyager Season 1 Rocky, but Shows Promise

By Kristin Battestella

Captain Katherine Janeway (Kate Mulgrew) and her state of the art Intrepid class vessel Voyager enter the Badlands region of space in pursuit of former Starfleet office Chakotay (Robert Beltran) and his missing Maquis renegades- whom Janeway’s tactical officer, the Vulcan Lieutenant Tuvok (Tim Russ) has infiltrated. The mysterious Caretaker pulls the Maquis ship into the far-flung and unexplored Delta Quadrant, and the pursuing Voyager suffers the same fate. Stranded 75,000 light years from Earth, Starfleet Command, and The United Federation of Planets, Captain Janeway and her small skeleton crew – including ex-con pilot Tom Paris (Robert Duncan MacNeil), a holographic Doctor (Robert Picardo), alien refugees Neelix (Ethan Phillips) and Kes (Jennifer Lien), and the angry half-Klingon B’Elanna Torres (Roxanne Biggs-Dawson) – must adhere to Prime Directive protocols as Voyager encounters friends and foes on the long journey home.

I was a bit apprehensive as our recent Star Trek re-watch omnibus segued from Deep Space Nine to the next live action spinoff Star Trek: Voyager.  Honestly, my memories of Voyager will filled with a whole lot of meh and Next Generation backward déjà vu. However, I actually positively recalled more episodes of this debut season then I expected, including “State of Flux,” “Heroes and Demons,” and “Jetrel.” The full-length season opener “Caretaker” is a good little adventure and shows Voyager’s potential for unique concepts and additions to the Trek canon. Yes, the TNG kinship is often too apparent, and this brand spanking new show waits two whole episodes before invoking clichéd time travel cause and effect paradoxes in “Parallax” back to back with “Time and Again” – which also finishes with a seriously premature reset button.  Though well acted with interesting SF adventures and space faring spins, it is just too early in Voyager’s journey to unnecessarily resort to stock material.  Repeat techno babble, same old same old visual effects, and other Trek conveniences are also obvious in exposing the well-worn wizard behind the curtain. “Phage” uses the same fun house mirror reflection devices as in “Parallax” – an otherwise fine Maquis versus Starfleet integration episode – and “The Cloud” is another “let’s break out of this anomaly!” hour.  Didn’t they just do this last week? We might get to know players in a crisis, sure, but we hardly know them daily – and that special ship bound tension is where Voyager’s strengths lie. The cast and quest are here, so stop interfering with this busy busy rehashing out the gate and let these new stories be told.

These behind the scenes hesitancies hamper Voyager indeed. Though set 75,000 light years from earth, Janeway and company encounter not just humanoid aliens, but peoples indistinguishable from humans. For “Time and Again,” the captain just changes her clothes to fit in – and that must be one heck of a Universal Translator to so expertly speak these never heard before languages!  Promising Prime Directive debates, crew stress, and political tensions are swept under the deck for a lot of unbelievable filler. The show runners want re-wrangle TNG viewers who left Deep Space Nine behind, that’s understandable. However, the core fan base is grossly under estimated at the same time. Today a show with this generic formula probably wouldn’t get a full 15-episode chance. And yes, the only reason the powers that be got away with having an entire network riding on Voyager’s nacelles was because of the Trek brand.  I feel I’ve been negative but make no mistake- the premise of Voyager is sound. The concept actually makes me wonder why there weren’t more one off movie length or three part limited Star Trek series- perhaps based on sanctioned novels or Excelsior adventures. 

Unfortunately, it just doesn’t seem like the staff had any inkling or forethought on how to proceed beyond their initial premise. Spec scripts were bought, but entire treatments were changed to the simplistic standard.  It almost feels like none of Voyager was planned ahead of time. The Star Trek team struck while television was ripe for it, but expansion is supposed to happen when your franchise is at its best, not when it is facing mediocrity on all fronts.   In reading the series’ background information, producer Brannon Braga sounds like an ass, complaining about buying scripts, rewriting, and generally being unhappy with this or that in the production process or televised outcome. If he was so unhappy from start to finish, why did he bother?  Why weren’t Voyager’s reins given to someone more interested in taking its angles on Trek to the next level beyond network interference? UPN scheduling made the charming lower decks conflict story “Learning Curve” the season finale, but the change feels like the safe familiar standard and a culmination of this misfire of possibility.  

 

Thankfully, Kate Mulgrew (Ryan’s Hope) has some lovely cinematic struggles as Captain Janeway. There’s no overt statements made about her having any difficultly captaining a starship because she is a woman, and that in itself is refreshing. Today everything is about chicks being chicks and feminism and careers versus family. Janeway had to leave her home life when Voyager was stranded, but so did everyone else. One could swap a male leader in almost all of her situations, as Janeway’s womanhood is not the fulcrum show in and show out. Her difficulties with adhering to the Prime Directive in “Prime Factors” are heavy and well done.  Although we do get to see hints of home dilemmas and her Bronte-ish holoprogram in “Eye of the Needle,” without superiors Janeway is allowed to go on away missions and get into the action. Unfortunately, this makes her second in command Chakotay a bit too dry. By necessity Janeway’s push ‘em thru feisty attitude is developed over Chakotay’s being a true masculine force. We should know a lot about him – Chakotay’s an ex- Starfleet loyalist who wears his heart on his sleeve – and there’s no lacking of him going to bat for others. However, this overly sensitive style takes a backseat to all the big Delta Quadrant decisions.  One is left wondering how this teddy bear with the wool pulled over his eyes could have been a ruthless Maquis leader. He’s unconscious and out of body in “Cathexis,” wow.

Robert Picardo (China Beach), by contrast, has quite the dynamic concept on Voyager. His holographic Doctor is bemusingly stuck between being an emergency system that is ignored by the rest of the crew and a vital person upon which they must all rely.  The Doctor’s deadpan bedside manner makes for some fun moments and personal touches with each of the cast, and yet episodes like “Phage” offer serious dilemmas for a character that technically isn’t even there. “Heroes and Demons” is also a charming Beowulf exploration for the Doctor, with a nice mix of heroism and humor amid good alien science fiction and storytelling. This type of individual holodeck adventure is a fine way to get to know the players, and more of this should have been done before some of the knock off plots that retread tired ideas. Likewise, the crew initially treats Ethan Phillips’ Neelix as somewhat quaint or annoying. However, his knowledge of the quadrant and his ideas on cooking and native customs shouldn’t be mocked. His tactics are quirky and fun, but new alien friends and Neelix’s serious SF issues and parallels in “Jetrel” are critical to both the ship and show. Jennifer Lien as Kes is also honest and heartwarming, even if her convenient budding psychic elements are too Betazoid headache. Though their friendship feels genuine, I do find her romance with Neelix a bit too awkward.  A pretty girl and a hedgehog?

He’s a louse with a chip on his shoulder to start, but Tom Paris isn’t as important to Voyager’s first season as perhaps he was supposed to be. There’s a bit of an angry Riker wannabe feeling, and the wronged man with the second chance to whom we must relate feels too forced. Young ensign Harry Kim is also too bland to be interesting, and “Emanations” doesn’t endear him at all. It’s a touch offensive in its empty views of the afterlife, actually. Harry’s devoid “I don’t know” answers on the subject don’t advance him or the plot, and yet this kind of heavy is the radical, deeper science fiction that Voyager should have built upon. Instead, the show feels hollow when it fixes death with a hypospray before moving on to another lightweight adventure. There is quality conflict and potential with the half Klingon Maquis engineer B’Elanna Torres, although her decent split halves dilemma in “Faces” is a bit typical and perhaps the episode comes too soon into Voyager’s journey. We don’t get to know B’Elanna as a whole before the bizarre is mucking her up. Tim Russ’ Tuvok is also given some disservice, as his rank isn’t even official because of a costume glitch!  “Ex Post Facto” is too much like Next Gen’s “A Matter of Perspective” and it should be about an unjustly treated but jerky Tom Paris. However, Tuvok’s investigations in “Ex Post Facto,” his bemusing Vulcan quips, and the crisscrossing over love to hate guest Martha Hackett as Seska in “Prime Factors” and “State of Flux” are more interesting.

Voyager’s then state of the art effects and ship design still look magical compared to today’s bells and whistles, yes. One unfamiliar with 24^th century Star Trek designs can be impressed indeed. However, the borrowing of sets and props give Voyager some more nagging déjà vu.  I admire the ingenuity of doing a show on a tight budget, using what you have, and making it look good. Sadly, some of the cracks in Voyager’s imaginative armor are caused by its internal, Trek incestuous cheapness with too familiar looking ships, uniforms, and aliens. Those lookalike people in “Time and Again” are distinguished by their old-fashioned guns and corsets! There are realistic examinations of what is out there in the big, bad Delta Quadrant, how alone Voyager really is in toeing delicate lines, and how her presence is destabilizing far flung aliens civilizations. Crew desperation over food, supplies, survival, and the impossibility of getting home are felt. Voyager should remain in this vein, not rely on old standbys and crackpot filmmaking.

Star Trek was big in the 90s – again, you can’t blame them for striking while the iron was hot – but perhaps the franchise fatigue was already setting in behind the scenes. I’ve long thought the fandom’s turn against Enterprise and the subsequent Trek burnout was actually caused by Voyager’s faulty execution. Despite the promise of Trekdom yet to be had, the stock feelings can be more apparent than Voyager’s promise. The show has numerous half-decent and even very decent science fiction concepts and aspirations in this abbreviated debut. Yet there is very little follow thru and an incomplete, even amateur aftertaste for longtime fans who will spot all the TNG reminders. At its best Voyager feels inferior to some of Deep Space Nine’s multi part specialty – though one might argue such comparisons are premature, granted.  Viewers can’t expect a first season full of growing pains to exceed its predecessors. However, if you can’t at least equal the best of the previous, then what was the point of another spinoff? Voyager has big shoes to fill and it isn’t totally off on the right foot. Are there enough likeable players and infinite possibilities goodnesses to follow thru for Year 2? Yes.  The potential for good shows and characters is there if given the room to grow. Science fiction fans of all ages can certainly enjoy Voyager, and those who tuned out of other Star Trek spinoffs can begin anew with this Lost in Space Trek style.