Comic Review: ‘Justice League’ #40

Writer Robert Venditti takes on DC’s premier superhero team… 

Justice League #40

Cover art by Bryan Hitch & Jeremiah Skipper (image credit: DC Comics).

Written by:  Robert Venditti / pencils by:  Doug Mahnke / inks by:  Richard Friend / colours by:  David Baron

What’s it about?

“Impact” Part 1 : crashing to Earth, ex-Green Lantern Corps member Sodam Yat delivers a stark warning of an incoming invasion to the Justice League, lead by an old foe of Superman’s…

In review

Hal Jordan and the Green Lantern Corps and Hawkman writer Robert Venditti takes the reigns of DC’s leading team-up title Justice League as issue #40 presents a fresh start with the first chapter of a new story arc, “Impact”.  Venditti’s tenure follows a largely enjoyable run written by Scott Snyder and James Tynion IV and with Justice League #40, necessarily scales things back a little and neatly streamlines the superhero group’s roster to a core line-up of Superman, Batman, Wonder Woman, The Flash and John Stewart’s Green Lantern.  It seems that Snyder’s close to issue #39 may not have been what readers may have expected – a cliffhanger of sorts (that in hindsight maybe wasn’t?) – as it isn’t addressed by Venditti who instead favours a clean break whilst acknowledging recent events in the wider DC Universe, such as Superman’s reveal of his true identity to the world (in last December’s Superman #18 by Brian Michael Bendis and Ivan Reis).  After the mind-bending plethora of ideas infused into the book by Messrs Snyder and Tynion it’s an appropriate reset that allows ongoing readers to re-orientate themselves and provide an access point for new fans to jump onboard – and it generally works (there is of course a lot going on in the DC canon of late), making for a solid first issue for the new Justice League writer.

Robert Venditti builds an entertaining and appealing opening instalment of “Impact”, quickly demonstrating his knowledge of the DCU and the characters he utilises for Justice League – with an effective grasp of the familiar dynamics between the various heroes (the conflicted but brotherly Batman/Superman interplay providing some small but key moments).  It may be quite a wordy narrative, and a great deal of the issue is merely setting the stage, but there’s still a decent helping of action to accompany the drama, tension and the high stakes (dialling things back to the more manageable and comprehensive playing field of a single universe) established, wasting no time in introducing a new threat for the League to face: the return of the Eradicator – the cold and ruthless Superman clone who debuted during “Reign of the Supermen” in the 1990s.  Receiving warning from former Green Lantern, Daxam’s Sodam Yat, who crashes to Earth, the Justice League learns the news that the Eradicator has engineered an army of Daxamites free from their Kryptonian vulnerabilities and plans to decimate the planet, beginning a campaign of conquest across the universe.  The Eradicator can often be overlooked and perhaps underrated as a Superman villain and Venditti affirms that in the right hands he can be a powerful (both literally and figuratively) antagonist, without violating the known traits of the character and is bound to provide a significant challenge for our heroes to unite against.

The art by penciller Doug Mahnke (with inks by Richard Friend and colours by David Baron) is very good and although there are some rough and sketchy spots here and there, it’s a great looking comic that’s visually epic and exciting in all the right instances with the more confined, character-focused scenes being equally well-defined and together with Venditti’s script it all keeps the reader engaged and provides plenty of anticipation for what’s to come.

The bottom line:  Robert Venditti takes up writing duties on Justice League and with penciller Doug Mahnke delivers a solid first chapter of a new story arc that promises high stakes for DC’s core heroes.

Justice League #40 is published by DC and is available in print and digital formats now.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

It’s a Classic: ‘Star Trek: First Contact’

Looking at some of the best pop culture offerings in film, TV and comics…

“And you people, you’re all astronauts on some kind of star trek”

First Contact - Picard

Captain Jean-Luc Picard (Patrick Stewart) must face his most lethal enemy in ‘Star Trek: First Contact’ (image credit: Paramount Pictures).

Year:  1996

Starring:  Patrick Stewart, Jonathan Frakes, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, Brent Spiner, James Cromwell, Alfre Woodard, Alice Krige

Director:  Jonathan Frakes / written by:  Ronald D. Moore & Brannon Braga (story by Rick Berman, Ronald D. Moore & Brannon Braga.  Based upon Star Trek, created by Gene Roddenberry)

What’s it about?

Captain Picard and his crew pursue the Borg back in time to stop them from changing the future by preventing Earth’s pioneering warp-flight and historic first contact with an alien race…

In review:  why it’s a classic

The finest big screen outing for the cast of Star Trek: The Next Generation and one of the overall best Star Trek films, Star Trek: First Contact is an exciting science fiction action adventure that proved a hit with fans and critics as well as general audiences, becoming one of the most financially successful Star Trek features – surpassing previous champion Star Trek IV: The Voyage Home.

Star Trek: First Contact sees Captain Jean-Luc Picard and the crew of the Enterprise-E once again faced with their cybernetic foes, the Borg, who travel back in time to the year 2063 – a decade after Earth’s devastating Third World War – to avert the first flight by warp drive inventor Zefram Cochrane and contact with visitors from Vulcan – an event that unites humanity and sparks a more hopeful future that will lead to the formation of Starfleet and the United Federation of Planets.  Pursuing the Borg back to the 21st Century, the Borg vessel is destroyed by the Enterprise but not before its complement of drones transport into the bowels of Picard’s ship and begin taking control.  As Commander Riker and his away team work to ensure Cochrane’s warp flight occurs as scheduled, Picard must fight to prevent the Borg’s seizure of the Enterprise and their plans to destroy the future.  Star Trek: First Contact ties back to The Next Generation’s classic two-parter “The Best of Both Worlds” (read the review here) in which Picard was abducted and assimilated by the Borg and informs the character’s arc, although it isn’t necessary for casual viewers to have seen it as it’s all explained via Picard’s opening nightmare sequence and some neatly placed exposition.

First Contact - Cochrane

James Cromwell as Zefram Cochrane (image credit: Paramount Pictures).

As Picard, Patrick Stewart is as superb as ever in the role and there is a lot of range for the character in First Contact as the usually noble and disciplined Picard grapples with his traumatic history with the Borg and the Ahab-like anger towards his enemy which begins to override his judgement as a Starfleet captain.  Stewart shares great rapport with his co-stars, particularly Brent Spiner’s Data who is also given a great deal of focus, his loyalty to Picard threatened when he is captured by the Borg and manipulated by their Queen.  Played with a sultry and sinister menace by Alice Krige, the Borg Queen expands the mythology of the cyborg race, an individual voice within the singular Borg Collective whose purpose is to bring “order to chaos” within the hive mind.  James Cromwell provides a wonderfully spirited performance as Zefram Cochrane, a man worshipped as a historical figure by the Enterprise crew who they quickly learn is flawed and prone to drinking too much.  Alfre Woodard is equally great as Cochrane’s assistant, Lily, who has numerous standout scenes with Patrick Stewart – particularly her heated exchange with Picard as his fury against the Borg verges on vendetta, snapping him into realisation with a poignant reference to Moby Dick.  Given his duties as director, Jonathan Frakes’ Commander Riker has less onscreen presence in comparison to Patrick Stewart and Brent Spiner but still plays an important role.  The rest of the regular TNG cast are all given their moments within the story – Marina Sirtis’ inebriated Deanna Troi serving up a dash of levity – and luckily First Contact allows for Michael Dorn’s Worf (who at this point had joined the cast of Star Trek: Deep Space Nine) to rejoin his former crewmates for their adventure.

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Data (Brent Spiner) is manipulated by the Borg Queen (Alice Krige) (image credit: Paramount Pictures).

Star Trek: First Contact thrills with a number of notable action sequences and set-pieces, the highlights including the first act’s space battle against the Borg ship, Picard and his crew’s attempt to halt the Borg’s infiltration and assimilation of the Enterprise and Picard and Worf’s (along with Lt. Hawk, in an early screen appearance by Neal McDonough) excursion onto the ship’s hull to prevent the Borg’s conversion of the main deflector into a means of summoning reinforcements.  The film boasts a great script (from returning Star Trek Generations screenwriters Ronald D. Moore and Brannon Braga) that has plenty of action, drama, humour and heart and it’s easy to see why it appealed to a wide audience.  It’s a generally pacey adventure that doesn’t sacrifice an enjoyable science fiction story or memorable character moments.  The Borg are a dark threat and the stakes are high yet First Contact maintains the hope and optimism for humanity’s future envisioned by Gene Roddenberry that is the nucleus of any classic Star Trek story.

Having helmed numerous episodes of The Next Generation (as well as Deep Space Nine and Voyager), Jonathan Frakes makes a confident jump to the big screen and keeps First Contact engaging and entertaining.  The production design is excellent and gives it a pleasingly grand, blockbuster feature film look.  The new Enterprise-E is another superb, sleek starship design from illustrator John Eaves that melds the iconic Matt Jeffries concept with that of The Next Generation’s late Enterprise-D.  Likewise, Herman Zimmerman’s interior sets are an appropriate expansion of his previous work.  The new Giger-esque biomechanical look for the Borg courtesy of Michael Westmore makes them an even scarier and formidable enemy and would rightfully earn the film an Oscar nomination.  To top things off, Jerry Goldsmith (with contributions from his son, Joel) provides a classic music score, another career best for the composer that elevates all of the excitement, emotion and atmosphere of the film – the beautifully majestic main theme on par with that of Star Trek: The Motion Picture.

Star Trek: First Contact is simply a great big screen Star Trek entry that’s not only enjoyable for fans but for casual viewers as well and represents a high point for the franchise as an entertainment enterprise (pun fully intended).

Standout moment

Discovering that the Borg plan to use the Enterprise’s deflector to contact reinforcements, Picard leads a mission on to the starship’s hull in order to stop them…

Geek fact!

An early concept for the film had the Borg travelling back in time even further to the Renaissance period and would see Data become Leonardo DaVinci’s apprentice!

If you like this then check out…

Star Trek (2009) : J.J. Abrams directs this rousing, crowd-pleasing big screen reboot of the franchise as a young James Kirk (Chris Pine) battles to save Earth from a vengeful Romulan from the future…

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

TV Review: ‘Star Trek: Picard’ – Series Premiere

A science fiction legend returns in the newest ‘Star Trek’ spin-off…

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A 24th Century hero returns: Sir Patrick Stewart stars in ‘Star Trek: Picard’ (image credit: CBS).

Starring:  Patrick Stewart, Isa Briones, Alison Pill, Harry Tredaway, Brent Spiner

Series created by:  Kirsten Beyer, Michael Chabon, Akiva Goldsmen & Alex Kurtzman (Based upon Star Trek, created by Gene Roddenberry)

Episode directed by:  Hanelle M. Culpepper / written by:  Akiva Goldsmen & James Duff (story by Akiva Goldsmen, Michael Chabon, Kirsten Beyer, Alex Kurtzman & James Duff)

What’s it about?

“Remembrance” : as the end of the 24th Century approaches, on the anniversary of the devastating destruction of the planet Romulus, retired Starfleet Admiral Jean-Luc Picard is confronted by a mysterious young woman on the run, as a new adventure beckons…

In review

The much-awaited return of a Star Trek legend is finally here with the launch of the new CBS series Star Trek: Picard – from the makers of Star Trek: Discovery (joined by novelist Michael Chabon as showrunner) – with a promising and tantalising first episode.  As it very well should be, Picard is quite a different animal from Star Trek: The Next Generation – that show is and ever will be a classic, landmark piece of television, but times have changed and so has the nature of small screen entertainment and as with Discovery, the Star Trek franchise evolves.  As expected, it’s a lavish and sophisticated production with feature film quality visuals and some beautiful photography (presenting various locales) and the longform storytelling style we’re now accustomed to.

For Picard, Sir Patrick Stewart reprises his most iconic and forever beloved role as Jean-Luc Picard – former captain of the U.S.S. Enterprise (both ‘D’ and ‘E’) and retired Starfleet Admiral, following the catastrophic Romulan supernova (deftly tying into the events of J.J. Abrams’ Star Trek) which resulted in the destruction of the Romulan homeworld and the scattering of its people across space.  Embittered by the poor response to the crises by the Federation and Starfleet, organisations whose values he has fought to protect, Picard has withdrawn to a quiet and uneventful life at the family vineyard of Chateau Picard in France.  It’s been more than two decades since Picard’s last mission aboard the Enterprise and, now over 90 years old (accompanied by his dog – affectionately named Number One), he finds himself haunted by nightmares of his old friend, the late android Lieutenant Commander Data (Brent Spiner) and frustrated by the erosion of the ideals he cherished as a Starfleet captain.  However, the appearance of a young woman named Dahj (Isa Briones), on the run and desperate for help, thrusts the noble once Admiral Picard back into action.  Who is Dahj and why does she have hidden memories of Picard?  These questions and more are presented as a new adventure begins for Jean-Luc Picard in “Remembrance”.

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Picard (Patrick Stewart) is confronted by the mysterious Dahj (Isa Briones) in the premiere of ‘Star Trek: Picard’ (image credit: CBS).

At 79, Patrick Stewart has clearly aged – somewhat gracefully – and although he may at first appear a little shaky, it’s soon comforting to see Picard back onscreen.  Almost twenty years after he last played the role (on the big screen in 2002’s Star Trek: Nemesis), Stewart – mindful of his standout performance alongside Hugh Jackman in Logan – brings his talent effortlessly to the fore.  There’s an element of melancholy to his portrayal in Picard which befits the story and the mature character-focused approach the series seems to be aiming for, yet as the plot of “Remembrance” unfolds, those familiar traits of conviction and altruism start coming passionately to life once more.

Aside from the obvious joy of Patrick Stewart’s return to Star Trek, it’s also a delight to see the excellent Brent Spiner guest star and equally pleasing that his role, which could have easily been incorporated simply as fan service, has great importance to the story and lovingly celebrates the character of Data and his benevolent nature.  Isa Briones delivers a likeable and believable portrayal as the scared and desperate Dahj, with the writers serving the part with a good deal of mystery.  A visit to the Daystrom Institute in Okinawa introduces us to Alison Pill’s Dr. Jurati, a cybernetics expert left with little do after a ban on synthetic lifeforms following an apparent android revolt, creating some interesting and fun scenes with Picard.  Apart from the closing reveal of Harry Treadaway’s Narek that’s most of the recurring cast, with regulars Michelle Hurd, Evan Evagora and Santiago Cabrera to follow.  Also, whilst absent from this episode, there are still guest appearance from Patrick Stewart’s fellow TNG co-stars Jonathan Frakes and Marina Sirtis to look forward to in future instalments, as well as Jonathan Del Arco (the former Borg drone, Hugh) and Star Trek: Voyager’s Jeri Ryan.

Picard brings with it a whole sense of history and strokes of nostalgia, with plenty of Easter eggs for fans to enjoy.  It’s difficult to say at this point if casual viewers will be able to latch onto the series and become invested but there’s enough exposition in the premiere to help bring new fans into the fold.  It’s important to remember that this is merely the first chapter in a ten-episode saga and “Remembrance” serves as a reintroduction to the character of Picard, establishing the world and times in which he now lives and providing the initial set-up for the serialised season-long arc.  To this end, “Remembrance” does a good job of balancing the disparate elements and with a whole heap of intrigue and action, whets the appetite for more…make it so.

The bottom line:  Jean-Luc Picard is back and Sir Patrick Stewart is on top form as Star Trek: Picard gets off to a promising and enjoyable start.

New episodes of Star Trek: Picard are released Thursdays on CBS All Access in the U.S. and available to stream in the U.K. and internationally every Friday via Amazon Prime.

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Have You Read… ‘Iron Man: Extremis’?

The comics and graphic novels you may not have read that are worth checking out…

Iron Man Extremis

Art by Adi Granov (image credit: Marvel Comics).

Written by:  Warren Ellis / art by:  Adi Granov

What’s it about?

Tony Stark faces a new and deadly threat as he dons his Iron Man armour to stop a biologically enhanced terrorist from destroying the U.S. government…

In review

Originally published as the first six-issue storyline for Marvel Comics’ 2005 relaunch of The Invincible Iron Man (recently re-issued in a new hardcover edition as part of the comic book publisher’s ‘Marvel Select’ line), Iron Man: Extremis is a benchmark in modern Iron Man comics.  Extremis can be read as a self-contained, standalone story without the need for any familiarity with the decades-long history of Iron Man.  With a sharp and exciting script, British comic book writer Warren Ellis (The Authority) crafts an intelligent science fiction bio-tech thriller with an intriguing, thought provoking concept at its core complemented by solid characterisation, a touch of horror and blockbuster action – brought to life by artist Adi Granov’s unique visuals.

Extremis is a story that’s conscious of the war on terror and the technological explosion of the early 21st Century.  It sees an experimental biological enhancile known as ‘Extremis’ fall into the hands of domestic terrorists who test it on one of their number – a dangerous and radical low-life named Mallen.  Utilising deadly superhuman powers bestowed upon him by Extremis, including enhanced healing and strength together with the ability to unleash searing blasts of flames, Mallen wreaks havok as he sets about his anti-U.S. government agenda.  Maya Hansen, an old acquaintance of Tony Stark and one of the creators of Extremis enlists the help of the Stark Industries CEO in stopping the terror but a brutal confrontation with Mallen ends with the Iron Man armour being severely damaged and Tony Stark critically injured.  The only hope of Stark making a quick recovery and being able to match Mallen leads to him risking the use of Extremis on himself.

The Extremis process itself, the ability to essentially unlock and manipulate the human body’s (essentially hack its ‘operating system’) repair centre is a fascinating idea and Ellis explores it in a philosophical and also ethical manner as its military applications, and the risks thereof, are debated.  It also presents an evolution for Tony Stark/Iron Man as the marriage between the two is deepened to the biological level, increasing the powers and abilities of the Iron Man armour and its user – providing a new and exciting modern status-quo for the enduring Marvel character.

This is pre-MCU Iron Man and those only familiar with Robert Downey Jr’s more light-hearted and quippy portrayal of Tony Stark (which is enjoyable in itself) may be surprised to find that this version of the character is quite different.  In keeping with previous interpretations in the comics, the Tony Stark in Extremis is a billionaire philanthropist (the ‘playboy’ aspect isn’t really on display here), a genius almost constantly thinking of the next innovation who is somewhat insular and broody yet well-intentioned – driven to ensure that his company moves away from its past identity as a weapons manufacturer – despite grappling with personal demons, finding a true sense of purpose and self-worth when he dons his revolutionary Iron Man armour – the world at large unaware that Stark himself is the Iron Avenger.  Despite some of the more troubled elements of the main character, Warren Ellis injects a smattering of humour where it’s appropriate and Stark isn’t without some charm but it’s generally a darker and more mature realisation in-line with earlier iterations of Iron Man whilst being resonant in a post 9/11 world.

Warren Ellis deftly weaves an updated but faithful recounting of the Stark/Iron Man origin story into the narrative via a media interview and flashbacks – modernising it by transposing the setting from during the Vietnam War to the conflict against Al Qaeda in Afghanistan (much like we saw on film in 2008’s Iron Man), where Stark, gravely injured by one of his own weapons is captured by Afghan terrorists and with the help of fellow captive, Doctor Ho Yinsen builds his first Iron Man suit as a means to both keep him alive and fight his way to an escape.

The digital art by the Bosnian-American illustrator Adi Granov is excellent, some may find it unusual or an acquired taste with its computer-generated look, but it produces clean and realistic visuals that are somewhat filmic with its muted colouring.  There are several striking single page spreads, boldly presenting the Iron Man suit in all its glory and the action is equally impressive – especially in the origin story flashbacks.  Granov also proves himself adept at the flourishes of horror in Ellis’s script with the startling and gross Extremis transformations.

The “Extremis” storyline would later form part of the plot for Marvel Studios’ 2013 big screen smash Iron Man Three but the comic book source by Messrs. Ellis and Granov is more like a Christopher Nolan film or a HBO production of Iron Man and is all the more attractive for it, making for a highly recommended read.

Geek fact!

Adi Granov helped to design the Iron Man and Iron Monger armours for Marvel Studios’ Iron Man as well as providing key-frame illustrations for the film.

Iron Man: Extremis is published by Marvel Comics and is available in print and digital formats now.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Comic Review: ‘Batman’ #86

A new era dawns for the Dark Knight…

Batman #86

Cover art by Tony S. Daniel, Danny Miki & Tomeu Morey (image credit: DC Comics).

Written by:  James Tynion IV / pencils by:  Tony S. Daniel and Guillem March (epilogue) / inks by:  Danny Miki / colours by:  Tomeu Morey

What’s it about?

“Their Dark Designs” Part 1 : in the aftermath of Bane’s decimation, Bruce Wayne plans to help Gotham City rebuild but a new threat builds as his continuing mission as Batman brings him into a confrontation with the lethal assassin, and old foe, Deathstroke…

In review

Following Tom King’s epic (but divisive in some areas of fandom) near four-year run on DC’s leading title, former Detective Comics writer James Tynion IV is handed the keys to Wayne Manor (after a brief prologue that featured in #85) as he takes over the reins on Batman with penciller Tony S. Daniel with issue #86 – an ideal jumping on point for lapsed and new readers alike.

Batman #86 picks up in the wake of “City of Bane”, Tom King’s final arc on the comic which concluded in the previous issue.  It’s not necessary to have followed that story as James Tynion IV takes care to cover the essentials neatly and without an overload of convoluted exposition.  In the aftermath of Bane’s rule over Gotham City, a reflective Bruce Wayne begins picking up the pieces as he continues his war on crime as the Batman.  The difference this time is that Bruce sees an opportunity to not only help rebuild Gotham but to reform it as well, something that he feels can be achieved by both Bruce Wayne and Batman – with a little help from Selina Kyle and Lucius Fox.  However, it isn’t going to be easy and a confrontation with Deathstroke leads to a new threat for Gotham and its protector.

Tynion hits the ground running with his first full issue, it may lack the more poetic and existential quality that Tom King brought to the book, favouring a more action-orientated approach, but nor does it reinvent the wheel and there’s certainly a philosophical element to the story as Bruce Wayne contemplates the future of Batman and the possibility that if his plans for Gotham succeed there’ll no longer be a need for him.  Tynion carved a standout run on Detective Comics at the inset of DC’s Rebirth initiative and continues to demonstrate his talents at world-building and writing character, although, naturally he ensures that Bruce/Batman (whereas his work on Detective Comics was generally more focused on the extended Bat-family) are front and centre whilst providing significant roles for both Selina (their renewed romance no doubt to be given greater attention in Tom King’s forthcoming Batman/Catwoman maxi-series) and Lucius – who has some fun interactions with Batman as a formidable new addition to the Dark Knight’s arsenal is teased.

Tony S. Daniel returns to the pages of Batman as a regular artist after sporadic collaborations during Tom King’s run.  A veteran Batman artist and writer himself, Daniel provides bold and dynamic visuals – complemented by Danny Miki’s inks and Tomeu Morey’s colours – that are an ideal match for Tynion’s writing and make the duo a great pairing.  Daniel maintains the grand and cinematic scope expected of the premiere Bat-book and is especially effective in rendering the pacey action scenes, the energetic and brutal encounter with Deathstroke being the obvious highlight.

A promising start, Batman #86 closes with a short epilogue that continues building on the threads of that inaugural mini chapter in #85, with Guillem March on the art.  March’s work is in a pleasingly not-too-dissimilar style to Tony Daniel and there’s a further sense of continuity and consistency thanks to Tomeu Morey once again providing colours.

The bottom line:  James Tynion IV, joined by pencillers Tony S. Daniel and Guillem March, delivers a solid and engaging beginning as a new and promising run on DC’s Batman commences.

Batman #86 is published by DC and is available in print and digital formats now.

Images used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

It’s a Classic: ‘Star Trek: The Next Generation’ – “The Best of Both Worlds”

Looking at some of the best pop culture offerings in film, TV and comics…

“Resistance is futile”

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Captain Picard’s (Patrick Stewart) capture and assimilation by the Borg leads to a chilling cliffhanger in “The Best of Both Worlds” (image credit: CBS).

Year:  1990

Starring:  Patrick Stewart, Jonathan Frakes, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, Brent Spiner, Wil Wheaton, Elizabeth Dennehy, Whoopi Goldberg

Director:  Cliff Bole / written by:  Michael Piller / series created by:  Gene Roddenberry

What’s it about?

Investigating the annihilation of a Federation colony, Captain Picard and the crew of the Enterprise are soon faced with the unstoppable threat of the cybernetic race known as the Borg…

In review:  why it’s a classic

Considered as not just one of Star Trek: The Next Generation’s finest stories but top-tier Trek in general, “The Best of Both Worlds” is a gripping, well-written and superbly executed event in the popular Star Trek television sequel.  TNG’s first two-part episode and its first season cliffhanger, “The Best of Both Worlds” closes out the show’s third season and opens its fourth and features the return of cybernetic nasties the Borg – introduced in season two’s “Q Who?”.

Written by Michael Piller – whose tenure as head writer helped to improve the creativity of The Next Generation – and directed by Cliff Bole, “The Best of Both Worlds” sees the Enterprise tasked with investigating the destruction of a Federation colony, all evidence pointing to the Borg as those responsible.  Soon confronted with a Borg ship, events take a turn for the worst when Captain Picard is captured by the Borg and transformed into one of them – leaving first officer Commander Riker in command.  The Enterprise’s engines damaged, preventing it from pursuing the Borg vessel as it heads for Earth, Riker and the rest of the crew must find a way to stop the Borg at all costs – even at the loss of their former captain.

At this point the Borg are a relentless and unstoppable force – a superior foe whose only desire is to consume the technology of other worlds and ‘assimilate’ (i.e. transform) their population into cybernetically enhanced drones who operate as a collective consciousness.  The very notion of one’s individuality being stripped away is what makes the Borg such a chilling enemy and Piller ensures that those elements are accentuated.  The decision to have Picard captured and assimilated by the Borg (the difference being that he is given the designation ‘Locutus’ and his own voice as a representative of the Borg, allowing Patrick Stewart to interact with his cast mates), thus deprived of his free will and responsibility for his own actions, is a genius stroke that establishes high stakes and at the time with no guarantee of his rescue (rumoured contract negotiations with Stewart placing his future in doubt) kept things surprising and unpredictable – not in the least since all of Picard’s knowledge and experience are used by the Borg to deadly advantage as they plough through and decimate Starfleet’s defences.

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Guest star Elizabeth Dennehy with Jonathan Frakes in “The Best of Both Worlds” (image credit: CBS).

The cast are all – unsurprisingly – brilliant with each of the principals having their place in the story as Piller continues his efforts to have a more character driven focus for the series.  Patrick Stewart is the obvious standout (his ‘Borgified’ persona affording him fresh acting challenges) and Whoopi Goldberg’s Guinan continues to be a soulful presence but this is also a great outing for Jonathan Frakes who rightly gets his time in the spotlight as Riker, grappling with uncertainty about the progression of his career, takes command of the Enterprise during the crew’s darkest hour.  Guest star Elizabeth Dennehy (daughter of Brian) adds a lot to the mix as Starfleet’s Borg expert, Lt. Commander Shelby – a young, resourceful and driven officer whose assignment to the Enterprise initially provides conflict as her over-eagerness and professional competitiveness causes headaches for Riker, but ultimately proves an important ally and gradually earns the respect of the Enterprise’s new captain.

Whilst not necessarily as energetic and flashy as a lot of modern television (which isn’t actually always a good thing), there is still a lot of action and excitement in “The Best of Both Worlds” – most significantly the Enterprise’s first confrontation with the Borg vessel in part one, the subsequent chase (the Starfleet ship seeking refuge inside a nebula building a sense of foreboding) and Picard’s abduction a highlight.  Part two also has its share with Riker’s plan to rescue Picard and Worf (Michael Dorn) and Data’s (Brent Spiner) infiltration of the Borg ship the highpoint.  The final resolution of the Borg crises is simple but effective and the tension remains tight as the story reaches its climax.

Mention should also be made of Ron Jones’ score for “The Best of Both Worlds”, atmospheric, thrilling and emotional it’s some of the composer’s best work on Star Trek: The Next Generation and an essential component in any classic piece of SF TV.  Ranked by TV Guide as one of its all-time top 100 television episodes and nominated for five Emmy Awards, “The Best of Both Worlds” is a high mark in the Star Trek franchise and ensured its continued popularity throughout the 1990s.

Standout moment

With Captain Picard captured and assimilated into the Borg Collective and the fate of all life in the Federation at stake, Commander Riker has no choice but to order firing the Enterprise’s modified deflector in the hope of destroying the Borg vessel…

Geek fact!

George Murdock, who plays Admiral Hanson also appeared in Star Trek V: The Final Frontier as the malevolent ‘God’ entity.

If you like this then check out…

Star Trek: Voyager – “Endgame” : the crew of the U.S.S. Voyager are faced with the Borg in the feature-length finale to the fourth live-action Star Trek television series (read the retrospective here).

Flashback: ‘Star Trek Generations’

It’s 25 years since the cast of ‘Star Trek: The Next Generation’ transitioned to the big screen…

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Captains Picard (Patrick Stewart) and Kirk (William Shatner) unite to save the galaxy in ‘Star Trek Generations’ (image credit: Paramount Pictures).

Year:  1994

Starring:  Patrick Stewart, Jonathan Frakes, Brent Spiner, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, Malcolm McDowell, William Shatner, James Doohan, Walter Koenig

Directed by:  David Carson / written by:  Ronald D. Moore & Brannon Braga (story by Rick Berman, Ronald D. Moore & Brannon Braga.  Based upon Star Trek, created by Gene Roddenberry)

What’s it about?

Captain Picard and the crew of the Enterprise must stop an obsessive and dangerous scientist from causing the deaths of millions as he searches for a way to return to a mysterious extra-dimensional realm…

Retrospective/review

With Star Trek: The Next Generation completing it’s highly successful seven year run on television and the original Star Trek crew’s big screen voyages concluded with 1991’s Star Trek VI: The Undiscovered Country it was time for the torch to be passed.  Production on a seventh Star Trek film, in which the newer Star Trek cast would make their silver screen debut, commenced almost immediately after work had wrapped on The Next Generation’s series finale with Star Trek Generations releasing in cinemas in the fall of 1994.

An enjoyable and fun science fiction adventure, Star Trek Generations facilitates a meeting between William Shatner’s Captain Kirk and Patrick Stewart’s Captain Picard whilst also incorporating smaller cameo roles for two other classic Trek characters – Chekov (Walter Koenig) and Engineer Montgomery Scott, a.k.a. “Scotty” (James Doohan).  The story begins in the 23rd Century as Kirk, Chekov and Scotty are guests of honour aboard the newly commissioned successor to Kirk’s ship, the Enterprise-B.  Her maiden voyage is interrupted by an incoming distress call from the Lakul – a transport ship ferrying El-Aurian refugees to Earth, amongst them future Enterprise bartender, Guinan (Whoopi Goldberg).  Discovering that the Lakul is tangled in a mysterious energy ribbon with destructive tendrils threatening to tear it apart, the Enterprise (under the command of Captain John Harriman, played by Alan Ruck) risks all to save the refugees – including Captain Kirk, seemingly lost when the Enterprise’s hull is breached.

Flashing forward 78 years to the 24th Century, Captain Picard and the crew of the Enterprise-D investigate the attack of a deep space observatory.  Recovering the only survivor, the El-Aurian scientist, Dr. Tolian Soran (Malcolm McDowell, star of Stanley Kubrick’s A Clockwork Orange), Picard soon learns that Soran, along with Guinan, whose race has a life span many times greater than humans, were rescued during the Lakul incident and that the energy ribbon encountered by the Enterprise-B is a recurring phenomenon known as the Nexus, a gateway to an extra-dimensional realm were one’s fantasies and dreams are realised and time has no meaning.  Soran, in cohorts with the Klingon Duras sisters Lursa and B’etor (Barbara March and Gwyneth Walsh, respectively, reprising their villainous roles from Star Trek: The Next Generation and Star Trek: Deep Space Nine), in exchange for providing them with a powerful new weapon, plans to draw the Nexus to him by destroying stars and threatening the lives of millions.  With the stakes set high, Picard is soon confronted with Soran on the planet Veridian III before being swept into the Nexus, leading to an encounter with a legendary Starfleet captain once thought dead…James T. Kirk, offering Picard his only hope of stopping Soran.

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Malcolm McDowell as Soran (image credit: Paramount Pictures).

Although they may have felt encumbered by a laundry list of requirements for the film (the essential ingredient being a Kirk/Picard team-up), screenwriters Ronald D. Moore and Brannon Braga – who also wrote the TNG series finale (the feature length “All Good Things”) took their knowledge and experience as former writers on The Next Generation to construct an entertaining narrative that gets the job done, providing some decent character moments together with an imaginative and action-packed science fiction story, under the capable direction of David Carson, himself no stranger to the franchise having helmed fan-favourite TNG episode “Yesterday’s Enterprise” and the Star Trek: Deep Space Nine series premiere.  Generations also boasts a music score from veteran TNG and Deep Space Nine composer Dennis McCarthy, particularly effective during Picard’s scenes in the Nexus where the music has an appropriately wondrous, mystical quality to it.

Focusing on the acting performances and characterisation, there’s a lot for fans to appreciate.  Beyond the obvious delight of having Kirk and Picard onscreen together, both William Shatner and Patrick Stewart are given a reasonable amount to chew on.  Stewart’s Picard suffers the tragic accidental deaths of his brother and nephew (his scenes with Whoopi Goldberg’s Guinan are also a highlight, as they always where in TNG) before his later experience in the Nexus which presents the noble starship captain with the dream of an idyllic family life at Christmas time and a renewed sense of faith as he unites with Captain Kirk to save the day.  Despite only appearing in the opening and closing acts of Generations, Wiiliam Shatner is still given enough time to prove his worth as his meeting with Picard invokes a realisation that the fantasy the Nexus offers just can’t compare with the reality of risking all for the greater good.  The horse-riding scenes also allow Shatner to combine his real-life enthusiasm for the equestrian with his defining and most iconic screen role.

James Doohan and Walter Koenig are a pleasing addition to the opening of Generations and along with Kirk, a comforting sight, yet although William Shatner is afforded a larger role, this is still very much a Star Trek: The Next Generation film – with Brent Spiner’s Data particularly well-served as the Enterprise’s android experiments with emotions allowing him to experience a range of feelings and human concepts, from humour and joy to fear and regret.  The always excellent Spiner rises to the occasion with ease and its unsurprising that Data becomes such a key player in the subsequent Star Trek films.  As the central villain, Malcom McDowell delivers a decent measure of threat, Soran’s desire to revisit the Nexus driven by the yearning to see his dead wife and children.  It’s something touched upon but sadly not fully explored but does however provide the character with some depth and the script furnishes McDowell with some memorable lines, such as “they say time is the fire in which we burn” which has something of a literary and philosophical quality to it.

Of course, the biggest surprises of Generations (spoilers…) are the heroic – but highly controversial – death of Kirk (reshot after test audiences were underwhelmed with the original scene, in which Soran simply shoots Kirk in the back), truly marking the end of an era and the destruction of the Enterprise-D to make way for a new and more big screen friendly U.S.S. Enterprise for the sequels.  Both elements help to supply Generations with a suitably tense and gripping finale and an emotional farewell to a beloved character.  Whilst Star Trek Generations is not on the same level as perennial favourites Star Trek II: The Wrath of Khan and Star Trek IV: The Voyage Home, it’s still a fitting first big screen outing for the crew of Star Trek: The Next Generation which would lead to the superior and popular sequel, Star Trek: First Contact.

Geek fact! 

It was originally intended that Leonard Nimoy and DeForest Kelley would reprise the roles of Spock and Doctor McCoy in Generations in place of the Chekov and Scotty cameos, but both actors declined feeling that Star Trek VI: The Undiscovered Country was a more satisfactory finale for their characters.

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).