Review: Star Trek – Live In Concert

Melbourne Symphony Orchestra,
Melbourne Convention & Exhibition Centre,
31st January 2015

Although it has constantly been changing throughout its numerous television and cinematic instalments, J.J. Abrams’ 2009 reimagining of Gene Roddenberry’s classic Star Trek brought with it the biggest reinvention of all. Having cast fresh faces as the well-loved characters helming the U.S.S. Enterprise, the film and its sequel Star Trek Into Darkness are currently reinvigorating the cinematic experience with fully orchestral screenings.

With two performances over one weekend, the Melbourne Symphony Orchestra are the latest, and first Australian musicians to bring this international concert tour to their home city. Saying it’s more than a normal screening may sound obvious, and at the same time it was less than a normal orchestral performance. Halfway between the two, it wasn’t entirely either.

A valuble asset in creating the desired reaction from the audience, music is too often overlooked but would be conspicuous by its absence. Highlighting the moments of action, drama, and tension in Star Trek, it is also highly emotional in places; never more so than the pre-credits destruction of the U.S.S. Kelvin. Despite the intensity of George Kirk’s sacrifice being unmatched throughout the rest of the film, Michael Giacchino’s accompaniment score serves as a great introduction, and the opening title was ushered in with well-earned rapturous applause.

Being played in front you the music was naturally given more prominence than in a standard cinema, but the fact that more emphasis, or even lighting, wasn’t placed on the orchestra themselves was a missed opportunity. As much as it was a film screening rather than regular concert it was still disappointing that so much of your attention was drawn to the screen by design in the first place.

A lack of programme was also highly noticeable. Not only did this deny the fans a souvenir of such an infrequent event, but it also hinders the individual orchestra members from gaining the recognition they deserve (although information on the performers can be found on the MSO’s website).

Not that the orchestra weren’t given their time in the spotlight by the end, as the lights were raised once the action had finished and the end credits were overseen by their rendition of Alexander Courage’s iconic TV theme, and Giacchino’s finishing suite. An encore of the Star Trek: The Motion Picture/Next Generation theme was also a welcome surprise for the audience.

An audience which, not surprisingly, was largely made up of avid Trek fans, several clad in Starfleet uniforms of varying eras, but it was also rather mixed. There were those who dressed smartly and presumably came to see the Orchestra’s latest concert, but as a bastion of geek culture in general, Star Trek also attracted those wearing T-shirts from Alien to Game of Thrones. Even a Captain Jack Harkness was in attendance.

As an award-winning Hollywood composer Giacchino has worked frequently with Abrams, and has also composed the score the for several Pixar features and shorts, including The Incredibles, and Up. It is not surprising a film with his score was chosen for Live In Concert screenings, and the film itself was treated well; even the intermission was well placed within the film’s narrative, allowing breathing room for the impact of Vulcan’s destruction to sink in.

Orchestral performances of well-loved films is something that should occur more often, and will do if the ‘coming soon’ teaser is anything to go by. Just the dates of a future performance might not be much to go on, but being given in the style of a certain DeLorean’s dashboard display garnered a huge cheer.

Review: ‘Star Trek: The Fall – A Ceremony Of Losses’

Whilst no longer in their heyday in terms of the number of books published each year, current Star Trek novels now seemingly try to outdo each other in terms of galactic importance. A Ceremony Of Losses comes as part of the The Fall miniseries, and sees a third threat to a Galactic head of state in as many novels.

In this volume it’s the turn of the Andorians, as Doctor Bashir turns his attention to the reproductive crisis that has plagued the former Federation members so prominently in recent years. As such, this novel relies the most on prior knowledge of ‘current’ (ie, relaunch novel) 24th Century events.

Not only does the political angle continue the ongoing story-lines of Andoria’s medical problems and succession from the Federation, but even those who have read the 23rd Century Star Trek Vanguard series will have an advantage over those who haven’t. Obviously the preceding Fall novels Revelation and Dust and The Crimson Shadow also both go without saying.

All the relevant back-stories are adequately explained however, but it is the fresh cloak and dagger – and eventual all out knives drawn – angle that make this story shine. For all the various plot threads it relies upon, it is the tradition of using Bashir’s espionage tales sparingly that Ceremony best continues. It is here that Dr. Bashir makes what is possibly the ultimate decision of his ongoing personal struggle between superior intellect and bleeding heart.

Bashir’s decision (and its consequences) are chronicled with all the talent of dramatic description readers have come to expect from Mack, the political issues are far less enduring than some others, all the while focusing squarely on those characters readers know and love.

Review: ‘Star Trek: The Fall – The Crimson Shadow’

For the second in a five part mini-series, it could be easy to argue exactly how much of a Deep Space Nine novel The Crimson Shadow really is. Although its Next Generation credentials are obvious, the fact it revolves around the political turmoil of a major DS9 planet does point in the direction of that series. That said however, it’s not as though The Next Generation has ever treated the Cardassians delicately, David Warner notwithstanding.

Despite the inclusion of characters from both however, The Crimson Shadow is first and foremost simply a Cardassian novel, with any other setting taking second place; as with the recent Typhon Pact books the lines between TV series are becoming increasingly irrelevant. Also like Una McCormack’s previous novels, this is a story of an entire people rather than just those few who tell it.

And it is through this ability to tell the big picture from a small perspective that McCormack brings out the full potential of what a Star Trek novel can be. As Trek at its best not only is this tale of another world both highly enjoyable and also relevant to our own – the withdrawal of allied troops cannot be taken as mere coincidence – but her writing is second to none.

The opening narration is reminiscent of Dickens himself and the depiction of the various levels of unrest, from boots on the ground to the offices of government, are handled with a level of skill that belies the fact this is only McCormack’s fourth full length Star Trek novel. Despite this however, it is the meeting of two diplomatic heavyweights, Elim Garak and Jean-Luc Picard, where The Crimson Shadow shines.

The depiction shows not just her in-depth knowledge of these disparate figures, McCormack’s particular fondness for Garak is no secret and as such his own story is the most compelling, but the interplay between the two is as engrossing as the rest of the novel combined.

Despite such a positive rendering of those characters that are included, the heavy political themes of the novel do tend to leave some left out; Geordi La Forge in particular is once again relegated from major player to the smallest of appearances.

Overall this novel presents such a powerful account of one of Star Trek‘s most influential races that it is easy to forget The Crimson Shadow is designed to be just one part of larger whole. Regardless of the Federation’s aid, or even the Castellan’s leadership, Cardassia couldn’t be in better hands than Una McCormack’s.

Review: ‘Star Trek: The Fall – Revelation and Dust’

Despite the plethora of novels in the Star Trek: Deep Space Nine relaunch series, their number has diminished in the all-encompassing post-Nemesis relaunch novels; which now includes Captain Riker’s Titan in addition to the regular Next Generation, DS9 and Voyager staple, not to mention the various cross-overs. Although no books have been published with a Deep Space Nine title since 2009, the series has been the focus of a number of Star Trek: Typhon Pact novels however, not least of these is Plagues of Night, in which the beloved titular station is spectacularly destroyed.

Between the longer than average span between publishings, and the dramatic events of the previous novel, Revelation and Dust understandably takes longer than most to get started. Although there is little that has happened in the interim there is still a new station to introduce and previous events to recap, which includes the kidnapping of Rebecca Jae Sisko. Something that has to be recapped, as it was a presumably major event that was never actually told.

The relaying of the exposition is helped by the fact that the characters we are reacquainted with are mostly old favourites from the TV series once more, as with Vaughn and Shar no longer aboard it is only the addition of Ro Laren and Sarina Douglas who new readers may be unfamiliar with. Although old and new alike will feel those such as O’Brien and Odo could have featured more heavily, Revelation makes the best of a new start thanks to author David R. George III’s ability at picking up right where he left off, having written three of the four DS9 set Typhon Pact novels.

Interwoven with the main comings and goings of the new station’s opening ceremonies, the novel also charts the experiences of former colonel (now vedek) Kira within the celestial temple. As is often the case when dealing with the prophets, this tale is shrouded in metaphorical mystery and by the end poses more questions than it offers answers. Doubly interwoven as the introduction of Rebecca’s abilities similarly seems to have been added as the start of an ongoing narrative of which this is only the beginning.

As the first of a five part mini series however, it is clear that Revelation is a beginning of many things by design, not least considering the fact that narratively it has to be the most influential Star Trek novel of recent times, its singular pivotal event is made all the more surprising by coming much later in the novel than is normally expected of something so inciting.

And despite George’s fine writing this is perhaps the only downfall of Revelation and Dust. Despite being accessible to regardless of how well read in Star Trek fiction, and an exceptional start to what promises to be a game changing mini-series, it is not simply a tie-in novel that can read independently from any others.

Book Review: ‘Star Trek: Enterprise – The Romulan War’

For all the potential that Star Trek: Enterpise was living up to in its fourth season, it is hard to imagine how it would have portrayed the already canonical six-year Romulan war had it not been cancelled. It is arguably for this reason that telling the story through the two-volume novel mini-series is no bad thing, even if it is perhaps something of a double-edged sword.

While the first volume, Beneath Raptor’s Wings, gives a great view of the galaxy at large, this does come at the expense of the Enterprise itself. A far cry from Broken Bow‘s initial four-day trip to Qo’Nos, it takes 27 days for the eponymous ship to get from Earth to Vulcan, and more than half the book goes by before her becomes half way anything close to adventurous. Despite this slow start for the Enterprise crew, it has to be said that author Michael A. Martin’s descriptions of the galaxy at large make it worth the wait.

Right from the start we are shown a great view of Humanity’s initial colonisation of the stars through the inquisitive eyes of the Federation’s Newstime reporters, the pioneering image of a Native American/Western style Mars not only creates an atmosphere any terraformer would be proud of, but is also highly believable. Unfortunately though, this is not the same for the XVIII Dalai Lama; as much as the current incarnation may be humility personified, Martin could not have made his successor any more of a Californian high-schooler if he tried.

Minor gripes aside however, this first volume achieves as much as you would expect from its more than average 568 pages. Apart from perhaps only Malcolm Reed, even those characters who are given little page time still manage to have significant impact. Even Phlox’s journey from explorer to battlefield medic is just the tip of the iceberg as Captain Archer is haunted by the ramifications of previous decisions, and Charles ‘Trip’ Tucker III’s continuing spy mission continues to escalate into more than he was bargaining for.

Perhaps most importantly however, this book’s strength comes in its feeling of connection to our own world (even if a certain Braveheart reference could have done without such vivid imagery) while at the same time sowing more seeds of bridging the gap between Enterprise and the 23rd and 24th century Star Treks that spawned it. More than just in the “why does something set 100 years in the past look more modern?” way, the inclusion of a particular gifted but introverted engineer is a particularly nice touch, as is reverse-naming Romulan officers after future Warbirds.

Where the first volume stretches itself across space, the second does likewise across time; despite its smaller size of only 334 pages, To Brave The Storm spans an almost impressive five years. “Almost” impressive in that as much as it keeps a coherent story, it seems that very little happens in the months between chapters. Something which again evokes the vast distances of pioneering space travel, but also seems to be only something done in order to comply to a previously established timeline.

All in all The Romulan War is a fair portrayal of what many fans would like to have seen on-screen, worthy of a read but two books aren’t quite enough to fulfill the potential of a galactic event with such wide-reaching consequences.

Book Review: ‘Star Trek: The Next Generation – Cold Equations’

When leaving the cinema having just watched Star Trek: Nemesis, it is likely that many disappointed fans correctly presumed it would herald the end of The Next Generation on the big screen. What they may not have predicted however, is the successful relaunch that the tie-in novels have been enjoying in their decade of free reign storytelling since.

Coinciding with the final films ten year anniversary the Cold Equations trilogy, released during the final months of 2012, told what is arguably the one story which fans had been eagerly waiting for ever since, particularly after the publication of 2009’s Star Trek prequel comic, Countdown. Between his sacrifice on board the Scimitar and his captaincy of the USS Enterprise E, readers were finally treated to the tale of Data’s resurrection in the first of the three books, The Persistence Of Memory.

The bulk of the story recounts the secret history of cyberneticist Dr. Soong, retconning his death in the TNG episode Brothers to an elaborate deception in the process (something which, it has to be said, Brothers itself was guilty of first). Having designed and built himself a top-notch – even by his standards – android body to carry his own consciousness, he sets off to find and win back his beloved Juliana Tainer, with whom he plans to share his immortality. Until the pesky Breen show up, that is.

Continuing where Persistence leaves off, Silent Weapons sees a newly resurrected Data, all too fully aware of how possible it can be, embark on a quest to do the same for his own daughter, Lal. Caught in the middle of a Breen/Gorn scheme to turn the balance of the galaxy’s power in their favour however, this second book also continues in the tradition of the more recent Typhon Pact novels as much as it does its immediate precursor. In fact Federation president Nanietta Bacco also makes a welcome return, accompanied as ever by her loyal staff, although as events unfold it is one appearance she would most likely end up regretting.

Set largely on the Orion homeworld, readers are also shown a largely unexplored side to this culture that has generally remained overshadowed by its criminal syndicated underworld, but does so in such a way that all but makes its existence almost inevitable in the first place.

In contrast to the first two however, the third and final novel, The Body Electric, seems almost a stand alone story were it not for the continuation of Data’s personal quest. Leaving the Typhon Pact far behind, the crew of the Enterprise find themselves against an antagonist so incredible that believability is almost defied to the point of becoming non-existent. Especially when a billions of years ticking clock is reduced to a matter of minutes.

A Next Generation tale of reunion wouldn’t be complete without fully grown Traveller Wesley Crusher however, even if the comparisons to character and TV actor Wil Wheaton aren’t all that subtle either.

Although Cold Equations may not have the same page turning suspense as author David Mack’s Star Trek: Destiny, this is something that can be put down to the previous trilogy’s sheer scope, and shouldn’t be held against this offering personally. That said however, the more personal events of the novels are treated with the drama and weight they deserve, the cold climax of Persistence in particular is felt throughout Worf’s continuing narrative, no doubt well beyond Weapons and Electric, almost as much as the events of DS9‘s Change Of Heart.

This itself is one of the trilogy’s strengths, containing as it does nods to both canonical events and previous novels in all the right places, that can only come from such a knowledgeable Star Trek author. 

All in all, a trilogy of stories that recounts one defining moment but doesn’t for a second rest on its laurels, adding its own to the mix that stand their own ground, on their own terms.

Review: Piranha DD

With an IMDb (Internet Movie Database) rating of 3.9, it’s fair to say that Piranha DD is a film that isn’t for everyone. Having watched it last night however, I’d say that it does have more going for it than you’d expect, and would argue that you shouldn’t knock it until you’ve tried it. A sequel to the remake Piranha, released as Piranha 3D in cinemas, Piranha 3DD (predictably pronounced 3 Double D) as it was also known in cinemas, was produced to be what you’d expect from the name, a gore filled titillation fest.

Having not seen the original remake (has Hollywood really reduced us to using oxymorons such as this?) I can only judge the film on its individual merits, likewise having seen it at home I cannot comment on the 3D conversion. Although it was made with some level of self awareness, I am not sure precisely how much the film-makers intended it to be scrutinised, and so please forgive me if I am falling into that postgradute pitfall of overanalysing things.

Obviously aiming at the male 16-24 demographic, Piranha DD tells the story of a water park that is eventually invaded by killer fish. Generally, the trailer tells it like it is although there is more to it than meets they eye, even if Ving Rhames’ part in the actual film is pretty much all seen in the trailer, added only to show more than a passing resemblance to its predecessor, and to include some superfluous footage of shotguns. At only 82 minutes the film is shorter than average, but it does wisely take its time in setting up the blood filled inevitability which is given just the right amount of screen time before it gets old.

As I’m sure you can tell from the name even if you haven’t watched the trailer, DD‘s biggest selling point is scantily clad ladies. Apart from featuring more nipples and even glimpses of full frontal than most films however, something which the trailer wouldn’t have been able to get away with for obvious reasons, the amount of time the films focuses on these assets is actually rather deceiving. Having been hooked and reeled in by the introductory tour of The Big Wet waterpark and all its, ahem, “features”, the middle of the film is pretty much nudity free.

Offering only teasing hints of the climactic massacre the audience is no doubt waiting for, the film follows the traditional slasher setup (complete with an obvious Nightmare On Elm Street homage) and shows a number of incidents focusing on teenage hijinks, antics which despite their sexual nature are somewhat less explicit than the style of the film would suggest. Nakedness aside, adolescent tropes are catered to in the form of one particular trist which would actually seem to argue for abstinence much more than others that are purported to. For all it’s birth trauma, I hardly doubt the Twilight sage comes close to uttering the line “Josh cut off his penis because something came out of my vagina.”

But this is not to say the film doesn’t have its more subtle moments, Christopher Lloyd may be all to familiar but perfectly cast as the expository fringe scientist Mr Goodman, and in fact the scene where Chet (Anchorman‘s David Koechner) tries to convince a small child that it wasn’t his fault is actually unexpectedly touching. Wondering if it has gone to far with this however, the film drastically negates any emotion with gross immaturity within the the next fifteen seconds.

Maddy is a heroine many others could learn from.

Where the film shines however, is the fact that despite its rather biased marketing campaign conforming to a world of one sided female exploitation (just ask any gamer), the inclusion of rampant but choreographed swimwear modelling is actually defendable. As the films central character, Maddy (Danielle Panabaker), despite needing to be rescued by her eventual love interest Barry (Matt Bush), is more thoughtful, decisive, and proactive than certain other female leads from recent years (yes Twilight, I’m looking at you again); it is through selflessly putting herself in harms way to rescue others that she is endangered, and  the fact she is one of the most fully clad females is arbitrary. Even the somewhat obligatory slow motion running sequences are about the best argument for natural rather than fake breasts as you can get, and as such the general portrayal of women throughout the film can actually be described as fully rounded, no pun intended.

On the flip side of this, the only male character with a substantial part not seen to be any combination of horny, greedy, sexist, arrogant, cowardly, and selfish throughout, is considered to not be hetrosexual either. While making the men (or should I say boys?) in the audience laugh at their exploits, the film does so whilst holding something of an exaggerated mirror in front of them.

Overall Piranha DD is a film which, led by a brilliantly self depreciating David Hasselhoff, is more than happy to swim in its own silliness, and even the ‘serious’ characters get brilliant one liners. All of this results in it arguably joining the likes of Starship Troopers as a multi-layered film which features unabashed blood splattering on top of thinly veiled satire.

Oh, and it’s produced by Bob and Harvey Weinstein, too.

Review: Much Ado About Nothing

Much Ado About Nothing epitomises the Indie film.

Before I start discussing this film, I feel I should reiterate something that is perhaps often overlooked; Much Ado About Nothing is a black and white adaptation of a William Shakespeare play, directed by Joss Whedon.

As much as these two names are often revered and celebrated for their timeless stories and witty dialogue, and for many they will be the sole reasons for wanting to see this film, when it comes down to it, it is fair to say that the audiences for their specific texts (like those of other black and white films) can be made up more of cult followers than mainstream viewers. As such, Much Ado About Nothing won’t be of interest to everyone, and it is highly understandable why it initially went for the festival circuit rather than riding the tail of Avengers popularity with a wide release.

That said however, for those who are interested in either Wheden or Shakespeare, Much Ado is the perfect combination, and is a great place to start for anyone who wants to give more niche films at try. Those with haunting memories of studying Shakespeare at school should remember that he wrote plays to be performed by actors and not novels to be read out monotone in the classroom, which is generally where most people’s dislike comes from. On the screen these characters are more than understandable, they truly come to life, and in a way which successfully manages to merge the traditional text with a contemporary setting.

Although it can take a few minutes to acclimatise to the 400 year old dialogue, the characterisation of each performance allows the message and feeling to come across, even if individual words can get lost in translation.

Despite not having written the original script himself (although he did adapt it to the film’s abridged version), Whedon has no difficulty in directing his actors reciting the Shakespearean dialogue due to the simple fact that the two wordsmiths are so compatible. Throughout their careers both have been noted for creating characters who are witty, sarcastic, eloquent, and above all, perfectly rounded. Ye olde language aside, I don’t think there could ever be another writer more suited to being adapted and directed by Joss Whedon.

Unlike other Shakespere adaptations which clash the historical text with contemporary Hawaiian shirts, Whedon has instead opted to dress his characters in more timeless attire; the men soon forget about the wars they have just been fighting and wear classic suits for example, and the women don simple but elegant dresses. In fact almost all the visual clues, from the monochrome finish to the architecture and decoration of Whedon’s own home in which it was filmed, lend a timeless appearance to the film in which the the text itself seems perfectly placed, but which renders the sight of modern technological gadgets far from intrusive.

Beatrice is played by Angel and Dollhouse’s Amy Acker.

Obviously fans of Whedon’s previous work will smile at the appearance of familiar faces, but it is clear that each has been chosen specifically for their individual roles. None of the leads are so familiar they cause a distraction, and the unique style of the film allows even Alexis Denisof and Amy Acker’s portrayals of Benedick and Beatrice to be so far removed from their previous pairing of Angel‘s Wesley and Fred, that you never make such a comparison whilst captivated in their world. Likewise his performance as Claudio proves that Fran Kranz is more than just the comedy of Topher and Marty he excels at in Dollhouse and The Cabin In The Woods respectively, and the lesser seen Reed Diamond does indeed shine when given the spotlight as Don Pedro. Whilst the bulk of the cast may be certified Whedon alumni however, there is still adequate room for newer faces such as Spencer Treat Clark (Gladiator, Unbreakable) who fit right in and gel with the rest of them.

Perhaps the only recognisable performances come in the guise of Nathan Fillion and Tom Lenk, who here have both been in cast in roles they have played before. While Fillion manages to even out-hammer Captain Hammer as the obtrusive Dogsberry, cast opposite the quiet and unassuming Lenk’s Verges, the pairing of the two as the traditional Shakespeare comedy duo is a welcome treat which make us laugh, but have cleverly been given just enough screen time to make sure they don’t outstay their welcome and become too much of a destraction.

Fillion and Lenk will be familiar to anyone who has seen their other Whedon appearances.

Despite this lovable double act, and spot on slapstick that is occasionally seen throughout, the film’s label of “comedy” sticks mainly to it’s Shakespearean polar definition of ‘has a happy ending’ (in contrast to his tragedies which ‘have an unhappy ending’) and again may not live up to mainstream expectations of ‘makes you laugh the whole way through’. But where the film may not get you roaring with laughter however, it will undoubtedly have you ensnared in it’s charm.

As it’s setting no doubt indicates, Much Ado is an intimate film giving us an important snapshot of the lives of a select few. Whole characters have been left out during Whedon’s abridging of the script, and as such the limited screen time is concentrated more on those that remain, allowing the two couplings of Beatrice & Benedick, and Claudio & Hero to both have their moments, although the reasoning behind Sean Maher’s Don John getting between them is perhaps somewhat unclear. Either that or I was just too distracted when he was possibly explaining his motive (let’s just say he had his hands full at the time).

All in all Much Ado About Nothing is a refreshing welcome not just from CGI laden Hollywood blockbusters, but also from Whedon’s own sci-fi/fantasy back catalogue. Whilst metaphor is something he obviously does well, stripping away that extra layer leaves these characters bare for all to see as we are shown their love, heart break, and inner most thoughts. Perhaps the only negative to this film is that it has raised the bar too high, and introduced a new audience to Shakespeare who will not be able to find another adaptation to match, as the result of Whedon’s work is a subtle film which makes sure that anyone who finds the idea of it appealing, won’t be disappointed.

Review: The Name of The Doctor (spoilers and theories not optional)

The season 7 finale contained revelations that audiences were (probably) not expecting.

So begins what is perhaps the longest wait for television fans across the globe. Forget Locutus of Borg’s cliffhanger, that was so twenty years ago (twenty-three to be exact, scary how long ago The Next Generation was, but hey, it’s held up remarkably well).

But let’s take a step back for a minute, and first take a look back at how we got to this point. Series 7 started back last autumn, with the final five outings for the Amy and Rory. With casting often hard to keep secret in this day and age, there was no surprise that they would be leaving, and the announcement that Jenna-Louise Coleman would be replacing them was made before episode one was broadcast. Episode one, better known as Asylum of the Daleks to you and me, didn’t disappoint, as it featured Daleks new and old aplenty (even the special weapons Dalek if you squinted hard enough), a nice reference to the shows history where Daleks who had survived his defeats were kept in intensive care, and Jenna-Louise Coleman popped up as well.

Clara boards the TARDIS earlier than expected?, they’ve kept that hidden from us, well done BBC. Nope, wait. She’s a Dalek. And now she’s dead. Touche Steven Moffat, touche!

This rather unexpected turn of events was kept on the back burner while we enjoyed Amy and Rory’s three penultimate outings before their eventual leaving the TARDIS in The Angels Take Manhattan. A teary affair for many in which, for her final act of onscreen heroism, Amy finally redeems herself by choosing Rory over the Doctor, no going backsies.

Well, narratively anyway, considering whatever was stopping the Doctor from returning was localised only to New York, and both Ponds got rather experienced at travelling across the States in Day of the Moon, but as fun as they were, I can’t argue with the fact their particular stories had been told.

Next came the mid-season Christmas special, and another appearance from Jenna-Lousie Coleman. With the Ponds well and truly departed, it seemed we weren’t going to get any classic series style juxtaposition of companions from different parts of time and space (well, 21st century Britain at least). But we did get Clara back, at least for a while, before she too left us with the mystery of what exactly is going on here?

It has to be said however, Clara’s second death left us with a better beginning for the part two opener The Bells of Saint John. As much as I would have loved a companion that wasn’t from the 21st century (even if she was still from London), the (re)introduction of modern Clara added more mystery to the character that would keep us guessing through the rest of the series, than continuing from where The Snowmen would have left off, would have done.

And whilst I enjoyed the rest of the series, I have to say not as much as I was expecting. Considering it has been eighteen months since the end of season six, you’d think there would have been more time to polish it up a bit. Yes I know they’ve been busy planning for the show 50th in November, but surely the extra effort could have been spread throughout the whole year of the anniversary, not just the day itself. What with writing the BBC’s celebratory drama An Adventure in Space and Time, you’d think that Gatiss could have settled for just the one Doctor Who episode, but instead wrote both Cold War, and The Crimson Horror. Likewise new to Who writer Neil Cross who penned both The Rings of Akhaten and Hide. Protests as to the lack of female writers aside, it has to be said that one benefit the 13 episode seasons have over twentysomething American shows is the extra time they have to get the details right, something negated by having twice as many scripts to complete. The big let downs that got to us though, were the fact that the episodes were given a sense of epic proportions that they just didn’t have.

With such a great title, Journey to the Centre of the TARDIS seemed like it could have been so much more than just running through lots of corridors, and for a Neil Gaiman episode, Nightmare in Silver didn’t seem that nightmarish, but was perhaps aimed more at children scared of being abducted by newer and sleeker cybermen in the middle of the night.

Not that the second half was all bad, there were some interesting stories and great actors, not least in the aformentioned Hide. A genre twisting ghost story which, in true Doctor Who colours, was actually about something else all along, and featured a remarkable performance from Dougray Scott as a charming yet shy ghost hunter. Richard E. Grant, as always, is another great addition to the cast.

Where the series shined though, was in Saturday’s final episode, The Name of the Doctor. With a titillating title that had fans everywhere speculating, it was one that didn’t let down on the hype, and was the best Moffat season finale since he took responsibility for them (perhaps in part due to the fact that it hasn’t been an alternate timeline that gets wiped afterwards anyway). Minor quibbles would be left aside (we haven’t quite known Clara long enough for what seems like such a major part throughout the Doctor’s history) right from the beginning of the episode, and indeed the series, starting as we did on “Gallifrey a very long time ago”. Clara telling William Hartnell himself that he’s making a mistake by stealing the TARDIS was one of the two boldest moves made by the show since it’s return, the second coming right at the end with that introduction.

Perhaps the biggest troll to fans everywhere, but also the biggest relief for many who were dreading the loss of mystery, the Doctor told both Clara and the audience at home that “my name, my real name, that is not the point”. More than just the revelation however, there were also some nice little details, what could have easily been reminiscent of Malkovich Malkovich, the Doctor being inside his own timestream which contained shadowy graves in the background was a nice touch.

Introducing the omninous figure who apparently both is, and isn’t quite the Doctor, show runner Steven Moffat has here made a brave move that unlike his previous “alliance” storyline of every alien race ever joining forces, has to evoke the same sense of awe and anticipation from Doctor Who fans of all ages, new and old fans alike.

Even if you didn’t recognise that deep rich voice declaring that “what I did, I did without choice”, let alone know of his upcoming appearance in the 50th anniversary special, whether your jaw dropped due to the arrival of John Hurt as either actor or character (or both), it was nothing less than spectacular, and will ensure that the internet chat rooms and forums will be bursting with theories and ideas for the next six months.

And so we await the 50th anniversary with perhaps more questions than answers. Although we discovered the answer to Clara’s being impossible, her story can be far from over (I’m still waiting to find out who the woman in the shop was). More than this however, just who is John Hurt??

Adding to his list of iconic science fiction moments that go do in history, he is credited by the BBC as playing the Doctor, despite Matt Smiths insistence that he is isn’t, even though they are both in a place where “there’s only me here, that’s the point”. Only the Doctor, “the one who broke the promise”, and Clara as well actually, but that could be looking too much into it.

So who exactly is he? Fans have already been keen to point several things seen (or not) throughout the episode that may or may not be important. Firsty, despite being referenced previously in the series, Paul McGann’s eighth Doctor was missing from the clips of his past incarnations, although his only on-screen appearance is still stuck in a sticky web of joint ownership with FOX. The fact that Hurt’s costume bears a resemblance to McGann’s newer image for his latest audio releases has also been mentioned.

Was the naming of the Valeyard just something to put an extra smile on the face of classic fans, or was it introducing an older concept that newer fans will need to be aware of in the future? Or is he something new altogether, a missing incarnation made possible by the fact we’ve never actually seen a McGann/Eccleston regeneration??

Over the past several years modern television has come to embrace longer and longer and longer story arcs, something which has made Doctor Who perhaps the last bastion of what is an icon of science fiction and fantastical television, “To Be Continued…”

Taking it to whole new levels however, with no-planets or galaxies in need of rescue, no one on the brink of death, but with the history of a character loved by generations about to be re-written on the eve of his 50th birthday, “To Be Continued … November 23rd” is perhaps the cruelest trick ever to be played on TV audiences, past, present, and probably even future…

Review: ‘Star Trek – Into Darkness’ (spoilers optional)

So, I’ve just got back from the cinema having seen Star Trek Into Darkness. A film I have been waiting a long time to see, a time which seemed to have been made even longer from all the trailers, posters, and clips floating around on the internet. Not to mention a text from a close friend who thought I’d be interested to know about her attending the premiere.

I guess I can forgive her now that I’ve finally seen it myself, but knowing how to describe it, especially without giving away any spoilers, that’s the tricky part….

Blockbusters just can’t help themselves can they.

Firstly, the film does have all the hallmarks of a summer blockbuster, and I have no doubt it will go on to do well at the box office. It has action, explosions, spaceships, even the obligatory scantily clad blonde, although it has to be said we do get to see her intellect as well (I think). Whilst not necessarily a bad thing, the film is also perhaps the single biggest argument for audience reception theory there is, as Trekkies, Newbies, and everyone else in between will have entirely different reactions to what they see on screen.

I chose to see it in 2D, and have to say it’s a gloriously looking film. The flyover of 23rd century metropolitan London is so much something to behold that it’s a scary realisation of what our historic capital could actually look like 200 years from now. The Enterprise is also given some amazing set pieces, and I truly hope that the 3D conversion is done properly, and does them justice.

The actors are also praise worthy, and along with the script each continues to bring these characters loved by generations into the 21st century. Zachary Quinto brings us a more rounded character, particularly as this film again toys with the conflict between Spock’s human and vulcan half, even if his sarcasm may at times be more pointy than his ears. This is compensated somewhat by Karl Urban toning down his DeForrest Kelly possession however, and giving a more natural rather than impressionistic performance.

Despite this however, there are a small number of instances where the film is let down by common sense, at least for established Trek, and has to make way for artistic license. There and back in a day does seem to be pushing it even for warp (let alone the beaming), but having actually thought about Chekov’s red shirt a little more (it was in a trailer, therefore not really a spoiler), it isn’t as out of place in Star Trek common sense as you might think. 

Continuing director J.J. Abrams’ new vision to the screen, Into Darkness has Star Trek running through it like the stick of proverbial rock. So much so in fact, that it makes you wonder how many of those references were included just to show off either the writers own knowledge/research, or how eager they were to make sure they pleased hardcore fans. Let’s just say it’s a long road getting from there, to the Admiral’s desk.

[Like I said, it’s tricky, but I’m still trying my best. If anything is getting too spoilery for you though, now’s the time to press that little x in the corner.]

‘Into Darkness’ continues the logic vs instinct argument central to Spock and Kirk’s relationship.

This is much like the film as a whole, in that rather than seek out new life and new civilisations in a new timeline, Into Darkness does choose to use more than just references to what has come before. Revenge is hardly a new concept to cinematic Star Trek (see The Wrath of Khan, First Contact, Nemesis, and even Star Trek), let alone the whole of the franchise. My review of it’s predecessor tried to list the ways in which it adapted the series it was spun from, but for it’s sequel it seems I should add “Mirror” to that list.

Where Star Trek took the series and gave it a twist, Into Darkness carries this round to a full 180 degrees. Many aspects of Trek are turned on their head, each with varying degrees of success. I have to admit at one point the sight of a Tribble made me facepalm that Picard himself would be proud of, but on the whole, even the sharpest of turns is perhaps only comparable to reading Shakespeare; an academic exercise that conveys interesting and debatable ideas, but doesn’t hit the mark that was intended. Just as Shakespeare wrote plays to be seen performed not read from a page, so too here are several ideas that perhaps may have worked better in speculative transmedia prose than a canonical feature film.

I also have to point out that this review is coming from the mind of an unashamed Trekkie (hence receiving the boasting premiere text), and like I said, everyone will have different opinions. Overall though I would say that it is definitely a film worth seeing, and does have something for everyone. With it’s fiftieth anniversary only three years away or not, I’m sure that there will be another outing for the crew of the Enterprise, but this time I’m be mulling over the most recent release for a bit more time before eagerly awaiting the next.

[Ok, I’m gonna give this a try, for anyone who has already seen it, or just doesn’t care, highlight the rest of this post, to reveal the spoilers in white text.]

So, it seems all those rumours were true after all, Benedict Cumberbatch IS Khan. For those who don’t know, not only was original Spock right, in that he was the meanest, baddest and brightest of the Enterprise’s adversaries, but his place in Star Trek history was assured by the flawless performance of the late Ricardo Montalban, and you can be sure there will be those sending hate mail simply at the idea of his recasting. 

Personally, I have to admit that I too am annoyed that John Harrison’s true identity wasn’t someone else, but for different reasons. As much as I can see what Abrams and co. were thinking, anyone passionate enough would have been following the rumours, and therefore not surprised. Likewise those who weren’t, probably wouldn’t find it that much of a big deal. In fact it’s most likely those occasional audience members somewhere in the middle that get the most out of it. 

‘Revelation’ aside however, the idea of Kirk and Khan fighting shoulder to shoulder was certainly an interesting one given the nature of their previous relationship, but as I mentioned earlier, is possibly one that should have remained speculative rather than canonical.

And the mirror doesn’t just end here. Seriously, anyone who hasn’t already, really needs to go and see Star Trek II: The Wrath of Khan. Carol Marcus, the radiation chamber, almost half the new film seems to copied and pasted from the old

Although Scotty’s sabotage of Starfleet prototypes and miraculous resurrection stem from Star Trek III, I don’t really want to talk about Kirk’s death, let alone his revival.

And as for Spock’s scream. Really?????