#84, Parallels, The Next Generation, Season 7, Episode 11

"Ahead full! Maximum Worf!" — Worf

I'm not going to lie. I was worried about this episode. Worried because when I announced that 'Little Green Men' was on the docket, I also announced how much I liked it. But when I revisited that episode, I realized that it didn't hold up to my memory. Part of this is the nature of comedy. Much of comedy relies on surprise. A set-up followed by misdirection. A classic structure of expectation and reversal. A third phrasing of that thing. A big part of my reaction to that episode was that it just wasn't all that funny. I've always found Trek better at being 'amusing' than 'funny.' 'Little Green Men' was just a little too-not-at-all-that-funny for my tastes.

That being said, I really, really remembered liking 'Parallels' and I was worried it would fall short of my expectations. After watching, I'm pleased to say it's still a great deal of fun, as Worf bounces from parallel reality to parallel reality, drifting further and further from the Enterprise he knows. As he shifts, the changes in his surroundings go from subtle (the cake is a different color!) to drastic (Riker is Captain!). It's one of those episodes that takes our familiar characters and puts them outside their comfort zones. What is at first contributed to a concussion from a bat'leth tournament messing with Worf's memories quickly escalates into him realizing that he's no longer in his home reality. Worf is lost, unsure of where he is or what's happening thanks to some shuttle accident and Geordi's visor, or something. The technobabble and technobabble solution aren't not really the problems here. Worf's motivations as a character are.

Worf rolls with the changes fairly well at first, assuming his memory is suspect thanks to the aforementioned blow to the head. But, history keeps changed around him. And not little things.  Deanna Troi is his suddenly his wife. Picard is dead at the hands of the Borg. Data has blue eyes. Dr. Crusher is no longer the Chief Medical Officer. Their combadges are slightly different. It's madness.

"Come, sit down, embace this new me-filled reality." — Deanna Troi

What I find interesting is that the reality in which Worf finally finds himself is a fairly sweet one. He's gotten a promotion to first officer of the Enterprise and is happily married to Deanna Troi with two supposedly beautiful children (we never see them). It's not until he realizes that in this reality, his son, Alexander, was never born, that Worf's drive to return home kicks in. Sirtis does a great job of handling Deanna's complex emotional roller coaster as she realizes that Worf not only has no memory of their relationship, the man she knew and loved is gone. Replaced with a man from another world. It's a completely weird thing to ask of an actor, but I think it's handled well.

If I have one major complaint about the episode (I have second but it isn't critical, and is super-nerdy) it's that the episode spends a great deal of time establishing what is essentially a non-mystery. The audience is so far ahead of the characters in this episode on what's going on, it's painful to watch the them catch up. They spend way too much time with the setup and explaining to the audience what a parallel reality is. It's a fairly well-known science-fiction trope and I feel we could skip a fair amount of this and get straight to the emotional conflict in the episode. I say a non-mystery because the reveal of what's going on is in the damned title. Doesn't take a warp-engine specialist to put two and two here.

The episode is very character heavy, where a man who is normally sure of himself, questions everything around him. There's not much driving the story forward, past the mystery we already know the answer to. So, the episode lumbers a bit. We have new, shiny things to look at, but it does drag. There are a few red herrings. Cardassians tamper with a space telescope, and aggressive Bajorans strike against intruders to their territory, but neither pay off in a satisfactory way. It's not until the barriers of reality start to break down that we have an actual threat to deal with, and Worf has any kind of decision to make.

My second complaint about the episode is far more nit-picky and about the Son of Mogh himself. In this episode, Worf comes across as the Klingoniest-Klingon-to-ever-Klingon-a-Klingon. And it bugs me. The episode starts off with Worf returning from a bat'leth tournament, which sounded an awful lot like an Olympics where competitors get impaled. Or, I imagine something akin to MMA, but with giant knives. But not only did he compete, he won with Grand Champion standing. I call shenanigans.*

Worf going off to a bat'leth tournament as a spectator I totally buy. He wasn't raised by Klingons and Worf has always struggled to connect to his heritage in a meaningful way. Worf running off to learn what it means to be a Klingon is a reoccurring character theme. But for him to go to this tournament and win, I just don't buy it. Having competed in martial arts tournaments (I have, don't laugh), I can tell you the people that win those trophies on that level are preternaturally gifted, train non-stop or both.

Worf is a capable officer and warrior, but for him to be competitive amongst natively-raised Klingon warriors, living in a society where competition pushes each of them to the extremes is not credible. I get that we need a mcguffin for him to recognize what reality he's in, and what's changed. As a symbol of the changing realities, his grand master trophy changing from 3rd place to 9th to a participatory ribbon certainly works. It just stands out as being a little too Klingoniest-Klingon to me.

As he swapped realities, it would have been great to have seen Worf in a wind up in a place where Klingons ruled the Federation, which may have been a real emotional challenge for Worf. Here we'd have a character who's struggled with connecting with his heritage, and then have to choose to give it up in order to save reality.

While it's fun to subtly change things around Worf, things never drift too far from the Enterprise-D we know and love. The changes aren't really that drastic. Worf pops into a reality where Wesley Crusher is the tactical officer (one once again questions the wisdom of Starfleet HR). And it would have been great to have Dr. Kate Pulaski show up as medical chief in a cameo. I love that there's something meta here. It's like we're looking at the series in alternate timelines. It's almost as if they're embracing the fan rumors/theories that Stewart wasn't going to return for season three after 'Best of Both Worlds.' Or looking at what if Wil Wheaton had stayed on with the series to become Lt. Crusher?

"Ugh. Pressing space buttons is so beneath my preternatural genius." — Tactical Officer, Lt. Wesley Crusher 

The mind, it boggles.

If anything, I wish they'd gone wilder with it. And weirder with it. We get hints of it with a reality where the Borg have conquered the Federation. When Worf's shuttle takes off to seal the anomaly, it's threatened by a panicked and mountain-man-bearded Riker. He's so desperate to do anything to keep from returning to his nightmare that he'd rather face the breakdown of all existence than the Borg. There's a surreal moment, when New-Reality-Riker is forced to kill Mountain-Bearded-Riker, but it's soon passed. If we had gotten to the answer to the mystery sooner, we might have had a chance to explore some of the more extreme tangents in Enterprise reality. As it is, it's a slow start and a rushed ending.

"The Borg are everywhere! There's no shaving cream or hair gel left in our reality! We won't go back!" — Riker

It's still a fun adventure, but I find myself pondering what might have been. I can't decide if that's appropriate or ironic considering the nature of story.

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Next up, a 'Timeless' adventure with the Voyager crew. So, the Voyager crew and time travel? Again?

We'll see.

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*I wanted to use the Klingon word for 'shenanigans' here, but, sadly there isn't one. 

#85, Little Green Men, Deep Space Nine, Season 4, Episode 7

Now's where we hit the cold hard reality of memory versus actuality. I had very fond memories of 'Little Green Men,' where Quark, Rom, and Nog accidentally travel back in time and crash in Roswell, New Mexico, in 1947. Taken to Area 51, they make contact with the primitive natives. The premise is strong, and we get to see our favorite Ferengi try to hustle forties-era humans out of their planet. It's... well... It's not good. At least, not as good as I thought it was going to be.

I'd remembered it being much, much funnier. As I rewatched it, much of the humor in the episode falls more than a little flat. The jokes were expected and could be seen coming a quadrant away. Nostalgia is a dangerous thing. It convinces us that things in the past were good, when, in fact, there's a good chance they were not. I will never look upon the original Battlestar Galactica, A-Team, Dukes of Hazard, the Transformers, or Big Trouble In Little China because there's a zero-percent chance they hold up. This, however, this episode I was really looking forward to. And I was really disappointed.

Quote-hu-mor-unquote.

Maybe it's that Quark and crew are truly at their best when they're ancillary to the story. Maybe it's that this is the second Ferengi-centered comedic episode in the countdown, and much of the goodwill that I felt for Shimmerman's Quark and his compatriots has already been spent on my review of the Magnificent Ferengi. Maybe it's because that episode had Iggy Pop and this one did not. Maybe it's that nothing could possible equate to "Roswell that Ends Well" from Futurama. Both episodes had similar time-travel-to-Roswell-shenanigans, but Futurama did it a bazillion times better.

"Shut up and take my latinum!" — Fry

Maybe it's that funny is really, really hard.

Really.

So, rather than bash on the episode for not being what I remembered it to be (which in all fairness is probably more on me than it), let's accentuate the positive, shall we? Let's talk about how we got Quark from the pilot to this episode and why that's kind of cool. For all the type of bumpy foreheaded peoples in the Star Trek universe, there are few aliens that are really explored in depth. There are only a handful that break out of the monoculture formula. And through the characters of Quark, Rom and Nog, we get to explore a few different aspects of the Ferengi. The three started out as pretty much the same character, and over the course of the series we saw each of them grow into more than their sniveling, greedy, funny-looking species of origin.

'Look who's calling us funny looking. Stupid hu-mon.' — Quark

Quark here, represents the idealized Ferengi. Opportunity, profit, and thrill. Ferengi love negotiating. And here Quark throws caution to the wind, at the mercy (and gunpoint) of a military base, he sets out to conquer their planet, with no weapons, no plan, nothing really to offer. And he does this because he thinks he can. He goes for it with a bravado and fearlessness that's kind of awesome. He seeks challenge in the only way he knows how. In Ferengi society this is referred to as having the 'lobes,' but let's call it for what it is. Giant, giant brass. But throughout the series, Quark is constantly being called out by other Ferengi for not being ruthless enough. Living amongst aliens for so long, he's had to adapt to cultures outside his own, and finally finds a balance between his Ferengi ideals and those of the Federation. That is, until he unceremoniously throws away years of character development in the series finale, but we'll jump off that bridge when we come to it.

Rom, his idiot-savant brother, is far more interested in making things than money. This makes him an outcast. Because he sees more to life than the acquisition of things, he's considered an 'idiot' by his brother. He's clearly not; he's just not wired in the same way that other Ferengi are. Early in the series, Rom was always nipping at Quark's heels. Always scheming to get the bar from Quark. Not because he really wants it, but because he's lost. He's terrible at business. Terrible at negotiation. Terrible at scheming. Terrible at all the things Ferengi are supposed to be. As the character developed, Rom stops being Quark's incompetent shadow, and starts to become his own man. He marries an alien. He gets a menial job on the station, not because it will make him wealthy, but because he loves it. He follows his passions, regardless of what his kin will think of him. Rom went from being a horribly cartoonish background character to an actual person.

Nog starts the series out as Diet Quark. A ne'er-do-well, no-good-nik and a bad influence on Jake Sisko who's sole function seemed to be to create conflict between Jake and his father. He was mean-spirited, willfully ignorant, a liar, and a tiny jerk. School was dumb. Girls were to be opinionless property. Latinum was all that mattered. He was, in essence, the ideal Ferengi in training. As Nog changed, he became more than a foil for the Siskos and came to represent the future of his species. In this episode, he's off to Starfleet Academy. He sees Starfleet was a way for him to better himself. To see something greater. Not because of profit, but because, like his father, he wanted more from life than the acquisition of things. I mean, he still wants profit, don't get me wrong. But perhaps joining a society that has, in effect, no money, may not have been the ideal way to go about doing it. Nog has ambition, but not in the way that his people usually quantified it, making him a new breed of Ferengi.

These characters have changed over the years, and of all the explorations that Trek has done, it's of character that's the most challenging in interesting. The Ferengi are, after all, odd-looking creatures who may appear homogenous, but are far more complex than just their surface appearance might suggest.

Just like the rest of us.

--

Next up, Worf goes reality skipping in TNG's 'Parallels.'

I like to think, somewhere in the infinite number of parallel realities, Michael Dorn is about to write a review of my performance as Lt. Commander Worf.

#86, Memorial, Voyager, Season 6, Episdoe 14

It's been too long since I journeyed — trekked if you will — back to the Delta Quadrant. I realize now that it's been a while since my last trek-realted post, and for that, I apologize, dear readers. But life gets in the way. Work took a weird turn. I directed a web series due out next month, Assassin Nine and have been busy in post. Designed a card game. Had to vent about Batman V Superman: Dawn if Justice. Which brings me to 'Memorial,' and my general dereliction of duty. But now, I'm back to it, with the latest in the Top 100 episodes of Trek according to io9 fan poll.

I had watched 'Memorial' weeks ago when I first set down to write this entry, and, well, nothing stuck. This is the second time I've watched a Voyager episode in this countdown and came away going, "Yeah, okay, fine, whatever, that happened." So, for a second time, I had to wonder if there's something in this episode that I missed. And as it gnawed at me -- what's the deal with this episode, why have fans dubbed it worthy to be on this list -- I think the point of the episode is that sometimes there is no clear answer. Voyager takes on a heavy, complex topic, but because this is a space-adventure show, it comes at it a bit sideways.

"Ugh, get on with it, already. Seriously." — Tom Paris

Tom, Harry, Chakotay and Neelix are returning from a weeks-long mission aboard the Delta Flyer. When they return to the ship they start having vivid and violent dreams about an armed, alien conflict, where they were participants. These visions go from being dreams to waking nightmares where the characters can't tell the dream from reality. Tom has a breakdown in his quarters. Neelix takes his goddaughter hostage in the mess hall. And the whatever-it-is starts to spread throughout the crew. Nightmares and visions of a way no one had fought. Even Janeway starts to feel the effects of the dreams.

As they follow the mystery and backtrack the Flyer's path, they discover an alien beacon, showing a massacre from their history with the events beamed directly into passerby's brains. They find an alien obelisk on a planet, a memorial to the event that happened centuries ago. Anyone in range relives the firefight, so that it's never forgotten.

The show tries to dive into the moral complexity of war. Showing a military police action forcibly removing colonists from their homes, and things get out of hand. The colonists fight back and someone opens fire and violent higgledy-piggeldy ensues. Other than the commander of the military rigidly following orders (which those types are wont to do) and being a dick about it, there's no clear right or wrong here. It's just people caught in the middle of a difficult situation that has spiraled out of control.

Through the characters, they explore PTSD, with Tom, Neelix, and Chakotay playing the roles of soldiers retuning from duty and trying to re-assimilate back to normal life. Tom comes home to his wife, who greets hm with beer, popcorn and television (literally). They fight. Harry returns to work, and finds tasks that should have been routine, horrifying. Neelix has a complete psychotic break and takes the aforementioned hostage, forever changing his relationship with his goddaughter, Naomi. All of this is pretty heavy stuff coming from a show with space lasers, a woman in a silver catsuit, and a Neelix.

"Don't worry, Naomi! I'll protect you from the nothing!" — Neelix

Let's talk about Nelix. Much of my initial reaction to Nelix as a character was responding to his aesthetic. He, like Quark on DS9, is the alien outsider, an excuse to exposit on the state of humanity in the 24th century. Like Quark, his appearance is over-the-top, clownish among the predominantly black uniforms of the rest of the crew. Initially, I didn't care for him. His make-up and faux-hawk hair were on the side of the ridiculous. But past his leopard-goldfish-bulldog appearance, I do like the character. He's charming, optimistic, and brings a bit of color both metaphorically and physically to the show. Ethan Phillips has to do a hell of a job acting through that makeup job, and when he emotes, it can come across as silly. Not here, though. Here, his pain and fear come off as real as a man in a leopard-goldfish-bulldog mask can.

As the crew finds the obelisk, they spend a hot second wondering whether to turn it off. To prevent others from suffering the same fate as the crew. Their decision to leave it be, at first feels like a cop out. Janeway passing the moral buck because it's not her decision to make. But, it's not. And her leaving the memorial be is the right thing to do, so that the pain and loss of the massacre won't be forgotten. The episode is a bit ham-fisted, but sometimes Star Trek is what it is, a space-adventure show.

'Tricorder is reading high-doses of heavy-handed dialog. The OTN readings are off the charts." — Janeway

Star Trek likes to ask the tough questions. Memorial shows that those tough questions don't always have answers.

--

Next up, we're off the Roswell, New Mexico, for one of my favorite episodes of Deep Space Nine, 'Little Green Men.'

Regarding Batman v Superman: Dawn of Justice Trailer

Not overly happy with Man of Steel's redesign of Superman's outfit, I did my own. 

I went into Man of Steel with very low expectations. Snyder had never done anything that gave me any sense he had anything of substance as a director. Dawn of the Dead was mean-spirited with none of the joy of the original. 300 was a cartoon. Watchmen was a boring cartoon. And while Nolan's Batman trilogy made Warner Bros. a serious amount of money, I doubted his ability to continue a grounded super-hero vision with Superman. Pile on top of that that Man of Steel was an origin story, and the suit looked terrible, I had little hope that Man of Steel would be any good. I wasn't really interested in seeing it, I had wanted to see the movie they were going to make after Man of Steel. Now, I'm not so sure I do. 

That being said, it’s Superman. How could I not see it? After all, Snyder said all the things he needed to say with regards to his inspiration. All-Star Superman, Byrne's Man of Steel, Superman for All Seasons. But I didn't see any of that in the final product. In fact, what I saw was grim, brutal and humorless. Which says to me he may have read those books, but didn’t take anything away from them. 

I'm about to make a generalization. I find the people who complain that Superman is boring aren't people who read comics, have only a passing understanding of who Clark Kent is, and why he matters. Why he chooses to do the right thing, when he could instead pretty much do anything he wanted. It's that choice that makes Superman interesting, not his ability to leap tall buildings in a single bound. In his JLA run, Grant Morrison addresses the fact that Clark has trouble living up to the ideal that's expected of him. He has doubt. The weight of that pressure is crushing. And he doesn't always make the right or moral choice, which makes him human. 

When DC relaunched their universe with the New 52, they handed Morrison the reigns to Action Comics, and asked him to reimagine Superman for the 21st century. And holy crap, did he deliver. His run on Action examined a young man who looked at the world, at its injustice and corruption, and decided to make a difference. Because he could. He returned Superman to his origin, which says a lot to how little has truly changed in politics, greed and malice sine the Great Depression. Clark was flawed, arrogant, and so certain of his moral high-ground and his invulnerability that he threw himself into situations that he couldn’t possibly control. Morrison reinvented Clark as a modern investigative journalist, forgoing print and going straight to web, to show that a man could do as much good with his words as his fists. 

Morrison returned Lex Luthor to his roots as well, making him a sociopathic inventor, consulting the military on the existence of this alien. He established kryptonite as the radioactive fuel for the rocket that brought Clark to Earth. He laid the groundwork for Brainiac, Metallo, and even Mxyzptlyk. And it worked, beautifully. Morrison essentially handed Warner Bros. a template for reinventing Superman, making him relevant again, taking the weird corners of the mythology and making them connect. Warner Bros., instead, said, “No, thank you,” and went about to make the Man of Steel with Snyder, Goyer, and Nolan, and make it, you know, cool and ‘realistic.’  

Superman isn’t supposed to be cool. He’s supposed to be fun. He has innumerable abilities. He fights creatures of immeasurable power with ridiculous names. He wears a bright red cape. He’s not supposed to be realistic. He’s supposed to be fantasy. 

At a panel at ComicCon, Morrison postulated that Superman has always been a reflection of who we want ourselves to be. In his origin, he fought corrupt politicians and slum lords and stood up of the everyman because they couldn’t. He continued as a symbol for America's (self-perceieved, at least) indomitable-spirit during WW2. The Silver Age was full of happy-go-lucky spacey adventures with no real sense of danger. The eighties, his chief villain was reimagined to represent selfish, heartless corporate greed. In the 90s, he had a mullet for some reason. Morrison speculated that the reason we got a dark vision of a man who was supposed to be the symbol of hope is that it's what we are. We got violent destruction on a grand scale, and we cheered it, because that’s the hero we deserve. 

To my surprise, I didn't hate it. It was far more entertaining than I expected. The non-linear nature of the origin story made that tolerable. That, it was refreshing to see Superman take on a challenge on screen that wasn’t Luthor and kryptonite. And after Superman Returns And Bores The Audience To Death, it was refreshing to see a man who’s creation was in a book called Action Comics have some actual action. I really don't want to hammer the point of Zod's death at Clark's hands, but I will. Just in case there's some prize for being the one billionth nerd to do so. It felt less like a creative choice and more like a 'fuck you' to the character. 

Most of what we’ve seen from the sequel, Batman v Superman: Dawn of Justice looks like it comes straight out of Dark Knight Returns. And as revered as the book is (and it absolutely deserves it’s place in comic book history), it has not aged well. It’s been copied and aped so many times that’s it’s lost it’s impact. Its politics are horribly dated. Its vision of Batman is myopic, and not one I really enjoy. I prefer Batman as the smartest man in the room, a man who knowingly uses fear as a weapon, rather than the obsessed psychopath who likes beating criminals up because he can. Worse, Miller’s vision of Superman is mocking. It portrays Superman as nothing more than a puppet, and the complexities of the character are thrown out the window in favor of cheap shots at the 'boy scout.’ Miller not only doesn’t get Superman, he openly dislikes him. Superman sacrificing his freedom in to save his friends is somehow a thing to be ridiculed. And this is not the source material on which I want a Superman story made. And bringing Miller in as a consultant does not fill me with confidence. 

To make Batman the nemesis for Superman’s sequel speaks to Warner Bros. lack of faith in the character. It speaks to their inability to trust the decades of mythology built around the him. It speaks to their jealousy of Marvel and wanting to bums-rush into Justice League for a cash grab without earning it in the same way that Avengers did. It speaks to their fundamental misunderstanding of not just Clark, but the entire DC Universe. Stories have recently emerged about hiring multiple writers to tackle the Wonder Woman script based on an ever-changing treatment. That’s not vision. That’s design by committee.

The sad thing is, in this age of blockbusters, quality doesn’t really matter. The movie will make Warner Bros. a metric f-ton of money whether it’s any good or not based purely on the franchise name. As a writer, that saddens me greatly. The general population wants to see Batman beat up Superman, because they somehow think that a billionaire-inventor-master-stunt-driver-world’s-greatest-martial-artist-computer-programer-acrobat-detective is somehow way more realistic than an alien.

However, I’ve been wrong before, and I guess I'm willing slap down my money to find out.