Flashback: ‘The Incredible Hulk’ TV Pilot

Marvel’s first mainstream success outside of the comic book pages landed in the late seventies with Universal’s hit television series, ‘The Incredible Hulk’…

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The late, great Bill Bixby as Dr. David Banner in ‘The Incredible Hulk’ (image credit: Universal).

Year:  1977

Starring:  Bill Bixby, Lou Ferrigno, Jack Colvin, Susan Sullivan

Directed and written by:  Kenneth Johnson (Hulk created by Stan Lee & Jack Kirby)

What’s it about?

After being subjected to an overdose of gamma radiation, Dr. David Banner finds that in moments of stress and anger he undergoes a startling transformation into a green-skinned, physically superior but uncontrollable and raging creature…

Retrospective/review

The first major live action success for a Marvel Comics property, Universal’s television series The Incredible Hulk, premiering in the U.S. in 1977 and rerun throughout the 1980s and 1990s (and now more accessible via home video releases and on demand platforms), though a more grounded take on the character continues to be beloved by fans across the globe.

Developed by The Six Million Dollar Man’s Kenneth Johnson and starring Bill Bixby and Lou Ferrigno, The Incredible Hulk would launch with a feature length pilot, written and directed by Johnson, that first aired in November of 1977.  It introduces viewers to Dr. David Banner (the change from Bruce part of Johnson’s desire to deviate from traditional comic book tropes, such as alliterative character names) a physician and scientist who having lost his wife in a car accident has focused his attention on finding a way of unlocking the enhanced physical strength that humans can display in moments of great stress.  His experiments lead to an accidental overexposure of gamma radiation (in a research lab as opposed to the Cold War era desert bomb test in the original Marvel comic), although there appears to be no ill effects, a breakdown on his drive home causes Banner to become frustrated and angry, triggering his first transformation into the goliath green-skinned creature that will become known as ‘the Hulk’.  Enlisting the help of his colleague, Dr. Elaina Marks, Banner seeks to study his condition in the desperate hope of eradicating it – requiring the pair to force another change, which leads to dramatic consequences.

Bill Bixby is superb, bringing a believable essence of intellect to Banner neatly intertwined with the innate benevolence that makes his character and performance so likeable.  In the days before CGI, green body paint was required and the elaborately muscular Lou Ferrigno would prove perfect casting as the Hulk (the transformations achieved via those iconic sequences of Banner’s shirt tearing as bulging muscles push through, together with make-up and prosthetic effects) establishing a formidable physical presence befitting the part.  Yet, despite that Ferrigno was also adept at conveying the more innocent and childlike aspects of the character – his woodland encounter with a young girl in the pilot being a prime example of the creature’s capacity for tenderness in certain moments.

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Lou Ferrigno is suitably cast as Banner’s raging alter-ego (image credit: Universal).

Portraying Elaina Marks, guest star Susan Sullivan is a great addition to the episode sharing wonderful chemistry with Bixby which (spoilers…) makes her demise all-the-more heartfelt and Banner’s tragedy greater.  Also introduced is Jack Colvin’s newspaper reporter Jack McGee, a character who would recur throughout the series and who witnesses the devastating lab explosion, resulting from Banner and Marks’ experiment and the Hulk’s emergence from the wreckage – pinning the incident and the ‘murder’ of Banner and Marks on the creature.  Beyond establishing the regular cast of Bixby, Ferrigno and Colvin the pilot also features the famous, often quoted “don’t make me angry” line and Joseph Harnell’s sombre but poignant ‘The Lonely Man’ theme music, which would close out each episode.

Although it may diverge from the source material, motivated by Johnson’s concept for an adult drama series instead of a “comic book” show (in any case a more faithful adaptation would have been difficult to accomplish convincingly given technical and budgetary limitations), The Incredible Hulk still adheres to the basic approach of the comics in that Banner is driven to find a cure for his ‘affliction’ and that the Hulk itself, though dangerous and powerful has a desire to protect the innocent.

The series would subsequently see Banner, believed to be dead, drift from town to town across America, taking on odd jobs under false names as he would search for a cure whilst evading McGee, who would continue to pursue his investigations of the Hulk.  The format, often compared to that of The Fugitive, would see Banner cross paths with various people from all walks of life, facilitating stories of social concern (covering subjects such as drugs, crime and domestic abuse) and consequently troubles that Banner would find himself becoming involved in and consequentially, situations which would trigger his anger-fuelled metamorphosis and have the titular green goliath press into action.

The pilot was followed by another extended episode, “Death in the Family“, before the first full season commenced in March 1978.  The Incredible Hulk would run for five seasons before being revived for three TV movies (for which Johnson was not involved and included appearances from iconic Marvel characters Thor and Daredevil) and remains a cherished favourite amongst fans and rightfully has prominence in the history of comic book adaptations for the small screen.

Geek fact!

Richard Kiel – Jaws in the James Bond films The Spy Who Loved Me and Moonraker – was originally cast as the Hulk and although footage was shot for the pilot he was replaced by the more muscular Lou Ferrigno.

All images herein remain the property of the copyright owners and are used for illustrative purposes only.

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TV Review: ‘Star Trek: Discovery’ – Season 2

The crew of the U.S.S. Discovery embark on a new mission with the help of one of Starfleet’s finest…

Warning! Contains SPOILERS

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Anson Mount joins Sonequa Martin-Green in season two of ‘Star Trek: Discovery’.

Starring:  Sonequa Martin-Green, Doug Jones, Anthony Rapp, Mary Wiseman, Anson Mount, Wilson Cruz, Shazad Latif, Michelle Yeoh, James Frain, Tig Notaro

Series created by:  Bryan Fuller & Alex Kurtzman (based upon Star Trek, created by Gene Roddenberry)

What’s it about?

Placing Enterprise captain Christopher Pike in command, Starfleet orders the U.S.S. Discovery to investigate a mysterious and dangerous cosmic phenomenon…

In review

Star Trek: Discovery’s now concluded fourteen-episode second season is proof that the series has a bright future.  Season one may have had its detractors and provoked controversy amongst sections of the Star Trek fan community but those who may have neglected continuing with the series are missing out.

Season two of Discovery took the series in a slightly more hopeful direction in comparison to its darker war-focused (and although the Klingon war is over, they still have a role to play) first season but not without sacrificing the more mature and morally complex approach to the characters and storytelling we saw in the previous season.  Once again presenting viewers with a serialised season-long story arc, season two of Discovery deals with the appearance of the mysterious ‘Red Angel’ – an apparent saviour trying to prevent the destruction of sentient life across the universe.  Accompanied by cosmic red bursts of devastating energy, the Red Angel enigma initiates an emergency mission by Starfleet, who place Enterprise captain Christopher Pike in temporary command of Discovery who together with Commander Michael Burnham, Saru, Tilly, Stamets and the rest of the crew face the challenge of unravelling the mystery and securing the survival of everything and everyone they hold dear.

The Red Angel narrative proved to be an intriguing one, precipitating a central debate of science vs faith and with numerous teases and twists keeping viewers on their toes – the final reveal of the Red Angel’s identity (more on that later) a surprising one and subverting expectations and speculation.  As with the first season there are a number of other subplots interwoven throughout, the result of which at times threatens to convolute the main storyline but manage to unravel by the end of the season.  The addition of Captain Pike is one of the season’s most successful components, played wonderfully by Anson Mount (the only positive element of Marvel’s dreadful Inhumans series) who brings an assuring quality of leadership and humanity to the role.  It also helps that the character is serviced well in the writing as Pike is given a satisfying arc, with a bittersweet touch of the sombre as it deals with the gallant Starfleet captain’s eventual fate in the original series of Star Trek (as seen in classic two-parter “The Menagerie”) courtesy of some ‘time crystals’ – a convenient albeit necessary plot device that plays it’s part in the overall seasonal arc.

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The Mysterious ‘Red Angel’.

Discovery season two also sees the inclusion of the fan-favourite shadow organisation known as Section 31, except unlike how they are depicted in Deep Space Nine (which takes place a century after Discovery) they are an acknowledged, functioning black-ops division of Starfleet.  A point of confusion for long term Trek fans, perhaps, but it seems likely that this will be explored further and reconciled next season and/or in the Section 31 spin-off series which is currently in development but as it stands, the organisation has a significant presence that facilitates conflict with the regular Discovery group without disrupting the camaraderie between them.

Dealing with the pointy-eared elephant in the room, Discovery introduced us to a younger version of Spock with Ethan Peck tackling the role originally played by Leonard Nimoy and portrayed by Zachary Quinto in the J.J. Abrams film series.  After several weeks of baiting the viewer, Peck made his debut in episode six, entitled “Light and Shadows“.  Peck’s introduction is unexpected, presenting a mumbling, near catatonic Spock whose contact with the Red Angel has left him mentally frazzled.  The situation results in the delightful surprise of a visit to Talos IV (the setting of original Star Trek pilot “The Cage” – read the retrospective here) where Burnham enlists the help of the telepathic Talosians in restoring Spock’s faculties in “If Memory Serves” – one of the season’s standout episodes.  It’s from hereon we get a sense of Peck’s performance and whilst no-one could ever truly compare to Leonard Nimoy, he does a solid job of encapsulating those intricate elements of the character we know and love.  The writers of Discovery also, maybe to the chagrin of some, add new layers to Spock as we get glimpses of a less than perfect childhood where we learn of his struggles with a form of dyslexia.  It’s actually a very interesting addition to the history of the character and expands the decades old mythology of Star Trek in a way that doesn’t trample on what has gone before but only deepens it.

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Ethan Peck as Lt. Spock.

The characters of Discovery continued to grow during the season as do the relationships between the various crewmembers.  The inclusion of Spock, of course, provides an exploration of the bond – and disconnect – between Burnham and her adoptive brother and both Sonequa Martin-Green and Ethan Peck share some great moments.  Martin-Green has certainly come into her own this season with consistently strong performances, bolstered by the efforts of the show’s writers.  Not only does Burnham have to grapple with her relationships with Spock, Tyler and the Mirror Universe Georgiou – both now Section 31 operatives (under the command of Alan Van Sprang‘s Captain Leland) – but also the revelations of her past, principally her parent’s involvement with the clandestine organisation.  This triggers season two’s biggest and cleverly executed narrative flip (those wishing to avoid major spoilers should skip to the next paragraph now) which occurs in the aptly titled “The Red Angel“.  It’s here that we learn of the identity of the Red Angel: Michael Burnham’s mother (played by The Wire’s Sonja Sohn), long thought dead but in fact jumping through time as she attempts to prevent the decimation of all life in the Federation by the acts of an evolved A.I. known as ‘Control’.  This sets-up the conflict of the latter end of the season as the crew of Discovery fight to stop Control from unleashing universal devastation.  Again, the plot does tend to become tangled at times with so much crammed into the narrative, particularly in the final stretch of episodes but it’s a small criticism and something that can be applied to a lot of other contemporary series (think Westworld).

Doug Jones and Mary Wiseman – Commander Saru and Ensign Tilly respectively – continue to be standouts and get their share of screen time, with Saru returning to his home (following up on the Short Trek instalment “The Brightest Star”) as he and his people find themselves facing up to the predatory race overruling their existence and being unshackled from their fears as a prey species and Tilly wrestling with her spore-induced connection to the mycelial network via visions of her old childhood friend, May.  The Tilly/May subplot does perhaps go on longer than necessary, but it does tie into the welcome, if not wholly unexpected, return of Wilson Cruz’s Hugh Culber, ‘reborn’ courtesy of the mycelial realm which leads to some interesting soul searching and identity crisis.  This also affords Anthony Rapp the opportunity to further flesh out his character as Stamets’ reunion with Culber isn’t what he expects and causes him to reassess his future aboard Discovery.  The only black sheep in the casting is Tig Notaro’s engineer, Jett Reno, whose inclusion felt out of place with sporadic appearances and no substantial development, although their may be future potential for the character.

What is great about season two of Discovery is alongside the growth of the principal players, the writers take effort to give small but key roles to the ancillary characters (some of whom you would’ve been previously hard pressed to recall by name) with the likes of con officer Detmer (Emily Coutts) and navigator Owosekun (Oyin Oladejo – who gets to join an away mission in the excellent “New Eden”, one of the season’s most ‘Trek-like’ episodes) feeling more integrated than they were during season one.  More pivotal though is Airiam (Hannah Cheesman) in the Jonathan Frakes directed “Project Daedulus“, written by Michelle Paradise (wisely appointed as co-showrunner with Alex Kurtzman for season three).  Discovery’s cyborg officer had felt like a missed opportunity, yet this is undone in a single episode that boasts solid scripting and powerful acting from not only Hannah Cheesman but the likes of Sonequa Martin-Green, Mary Wiseman and much of the rest of the cast.  It all adds to the increasing sense of family amongst the crew, something which has always been key to the success and appeal of any Star Trek series and will hopefully continue to be nurtured in subsequent seasons.

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Starships Enterprise and Discovery unite to save the universe.

Discovery’s second season came to a dramatic and energetic conclusion with the gripping two-part finale “Such Sweet Sorrow” (fan-pleasing ties to the original Star Trek further enhanced by the sight of the beautifully realised Enterprise bridge, given a respectful 21st Century makeover to fit in with Discovery’s more modern design aesthetics) where there’s an additional twist to the identity of the Red Angel and the revelation of what exactly those cosmic red bursts are, culminating in a rousing and epic final battle with Control (now merged with the body of Leland in a manner that’s slyly reminiscent of Borg assimilation) and a game-changing set-up for season three that seeks to not only chart new territory for Discovery but also reconcile its place in canon, a task that’s somewhat messy and impossible to neatly sync-up given the five decades of continuity established beyond the original series.

In terms of the production, Star Trek: Discovery continues to present the viewer with feature film quality visuals and cinematic direction (especially when in the hands of either Jonathan Frakes or Olatunde Osunsanmi) that enhances the writing and together with the excellent cast performances results in a superb sophomore outing for the series.

The bottom line:  Star Trek: Discovery season two is an exciting, if occasionally jumbled, outing for the newest Star Trek crew that boasts decent writing, strong cast performances and quality production values.

All episodes of Star Trek: Discovery’s second season are now available to stream via CBS All Access in the U.S. and via Netflix internationally (Canadian viewers can watch it via the Crave TV service).

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

Flashback: ‘Star Trek’ – “The Cage”

Where the voyages of ‘Star Trek’ truly began…

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Jeffrey Hunter leads the cast of “The Cage” as Captain Christopher Pike.

Year: 1964

Starring: Jeffrey Hunter, Leonard Nimoy, Majel Barrett, John Hoyt, Susan Oliver

Series created by: Gene Rodenberry

Written by: Gene Rodenberry / episode directed by: Robert Butler

What’s it about?

Searching for survivors of the S.S. Colombia on the unexplored planet Talos IV, the crew of the Earth space ship Enterprise are thrown into crisis when their captain, Christopher Pike, is captured and imprisoned by a race of powerful telepaths…

Retrospective/review

As any Star Trek fan more than likely knows, the voyages of the starship Enterprise didn’t actually begin with Captain Kirk. Whilst the series would launch with the airing of “The Man Trap” in September of 1966, viewers at the time were unaware that two years previously another version of Star Trek had been produced – and canned. Screened at conventions during the 1970s but unaired until the 1980s and now widely seen thanks to decades of home video releases (greatly enhanced by its beautiful 21st Century high definition remaster with new CGI effects), “The Cage” is a fascinating glimpse into the genesis of Star Trek.

Springing from his ‘Wagon Train to the stars’ concept, Star Trek married Gene Roddenberry’s love of science fiction and adventure with the frustrations of television censorship to create a vehicle for telling serious, adult (eschewing the campier comic book approach of Irwin Allen’s Lost in Space) stories about humanity, exploration, discovery and tackle social and political issues without the interference of network executives. Realising that science fiction fans would recognise the deeper themes offered by Star Trek and the television suits would in most instances not, it would be the perfect passion project for Roddenberry and a means to explore compelling and thought-provoking ideas.

In “The Cage” the U.S.S. Enterprise, under the command of Captain Christopher Pike, traces a distress signal to the unexplored Talos star system, a region where the S.S. Colombia reportedly disappeared eighteen years prior. Arriving at Talos IV, Pike and a landing party discover survivors of the Colombia expedition, including the beautiful Vina. Quickly learning that the survivor’s camp is a fake, it’s too late for the Enterprise party to prevent Pike’s capture by the Talosians. Forced underground when the surface was decimated by war and having developed powerful telepathic abilities in the succeeding centuries, the Talosians imprison Pike with Vina – the only true Colombia survivor – subjecting them to various illusionary scenarios, for their captors’ own satisfaction and in the hope that the pair will become close and produce offspring to add to the Talosian ‘zoo’.

A notable actor with roles in big screen features including the John Wayne-fronted Western The Searchers and as Jesus Christ in King of Kings, Jeffrey Hunter is an assuring lead and, as written by Roddenberry, brings a complex and layered performance to the role of Captain Pike – a resourceful and capable commander suffering a crisis of conscience and loss of direction and desire for responsibility following his most recent mission which saw members of his crew injured and even killed.

 

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The late, great Leonard Nimoy as a very different Mr. Spock.

 

Joining Hunter is Leonard Nimoy as a far more ebullient and emotive Mr. Spock, the only character who would make the transition to the series where the concept of the emotionally repressed and logic-driven Vulcan race would be defined, Majel Barrett as Pike’s unnamed first officer – referred to only as “Number One” (Barrett would later become Mrs. Roddenberry and join the Star Trek cast as Enterprise nurse, Christine Chapel), a skilled and intelligent women in a position of authority which was uncommon in television and film at the time, John Hoyt (previously seen in the George Pal science fiction cult classic When Worlds Collide) as Chief Medical Officer, Doctor Philip Boyce and Peter Duryea as ship’s helmsman Jose Tyler and Laurel Goodwin as Yeoman Colt – whose characters are both unnamed onscreen. Guest starring as Vina is the excellent Susan Oliver and Meg Wyllie as the Talosian ‘Keeper’ with dialogue redubbed by Malachi Thone, the vocal pitch adjusted to give the Talosian race a mysterious androgynous quality.

Gene Roddenberry’s narrative is exciting, dramatic and filled with intelligent SF ideas but it’s in character that he excels – he provides Pike with a richness of depth and humanity and his scenes with Oliver’s Vina provide pathos and emotional investment (and offering food for thought as the theme of slavery is examined), which complements the science fiction aspects of the story and the morality play elements. Roddenberry backs this up with some great dialogue that verges on the poetic, best exemplified by the ‘doctor, bartender’ exchange between Boyce and Pike (played superbly by Jeffrey Hunter and John Hoyt) in which the doctor shares a martini with his conflicted captain and reminds him that “a man either lives life as it happens to him, meets it head-on and licks it, or he turns his back on it and starts to wither away”.

The production values are impressive and hold up extremely well, whilst the Enterprise sets are drabber and more muted in terms of colour (likewise, the crew uniforms, which would be re-designed once the first season of Star Trek proceeded) they are largely the same, minus subtle changes, to how they would appear in the series. Props such as the communicator and laser pistol (the forbearer of the phaser) are highly detailed and believable, functional devices. The subterranean caverns of the Talosian community are sparse but effective, the make-up design of the Talosians themselves is exemplary, their large, bulbous craniums given life with throbbing veins indicating the use of their advanced mental abilities.

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One of CBS Digital’s new CGI effects sequences for the remastered edition of “The Cage”.

Although the Enterprise model effects work is somewhat primitive and experimental in comparison to the series proper, Matt Jeffries’ design remains iconic and the substituted CGI effects for the remastered edition of “The Cage” render this point moot and increase the enjoyment of the story greatly. Equally legendary is Alexander Courage’s theme music (so celebrated that Courage’s cues are incorporated into Jeff Russo’s theme for the latest Star Trek series, Discovery), identifiable to even those who may not be fans of Star Trek. Beyond the main theme, Courage’s score for “The Cage” is quite magnificent – conveying all the action, emotion and mystery of Gene Roddenberry’s script.

“The Cage” would run over schedule and over budget and ultimately be rejected by the NBC television network for being “too cerebral” but enough potential was seen in Gene Roddenberry’s creation to commission a second pilot leading to the more action-driven (but actually, still fairly intelligent) “Where No Man Has Gone Before” (read the retrospective here) with the incomparable William Shatner taking over the lead as Captain James T. Kirk. The rest is of course history but there should always be an appreciation for “The Cage” and its role in the birth of a cultural phenomenon.

Geek fact!

Footage from “The Cage” would later be incorporated into “The Menagerie”, the original Star Trek’s only two-part story which guest stars Malachi Throne as Commodore Mendez.

All images included herein remain the property of the respective copyright owners and are used for illustrative and commentative purposes only.

TV Review: ‘Star Trek: Discovery’ – Season 2 Premiere

The newest ‘Star Trek’ crew embark on a new adventure…

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The crew of the U.S.S. Discovery are ready to begin their next voyage as season 2 of ‘Star Trek: Discovery’ begins (image credit: CBS, used for illustrative purposes only).

Starring: Sonequa Martin-Green, Doug Jones, Anthony Rapp, Mary Wiseman, Anson Mount, Wilson Cruz, James Frain, Tig Notaro

Written by: Ted Sullivan, Gretchen J. Berg & Aaron Harberts / episode directed by: Alex Kurtzman

Series created by: Bryan Fuller & Alex Kurtzman (based upon Star Trek, created by Gene Roddenberry)

What’s it about?

“Brother” : Captain Christopher Pike takes command of the Discovery with orders to investigate a mysterious and dangerous cosmic phenomenon…

In review

Star Trek: Discovery returns to screens with an intriguing and highly promising start to it’s second season. Following on from those enticing final frames of the season 1 finale, “Brother” picks up right where things left off with Discovery responding to an emergency distress call from the U.S.S. Enterprise. Viewers are thrust right into the excitement as Enterprise captain Christopher Pike (Anson Mount) boards the Discovery to take command in order to investigate a series of mysterious red bursts which have appeared throughout space and resulted in catastrophic systems failures aboard the Enterprise. The investigation ultimately leads to the stricken U.S.S. Hiawatha (where we meet Tig Notaro’s wonderfully dry Chief Engineer Reno), grounded deep within a chaotic asteroid belt and Lt. Commander Michael Burnham’s encounter with a strange vision of a red angel-like figure that may have some connection with the red burst phenomenon.

There’s an awful lot established here – the introduction of a new lead character for the season (Pike, of course), the set-up of the ‘Red Angel’ mystery, the post-war status-quo for the crew of Discovery and further exploration of Burnham’s back-story, her upbringing on Vulcan and her seemingly uneasy relationship with her adoptive brother, Spock. Thankfully (and aided by an extended running time for this episode) it never feels rushed or unfocused and enough time is taken to provide a reasonable amount of overall interest and anticipation for the story arc that lies ahead.

As Captain Pike, Anson Mount is a great addition to the series and much like Bruce Greenwood in J.J. Abrams’ Star Trek and Star Trek Into Darkness makes his own mark on the character originally played by the late Jeffrey Hunter in “The Cage”Star Trek’s original pilot episode. Mount is instantly likeable in the role, confident, authoritative but personable and engaging, he has an immediate rapport with the crew of Discovery and the writers take steps to address the distrust they may have after being betrayed by their former commander (Jason Isaac’s Gabriel Lorca). Mount is sure to be a highlight going forward.

Whilst Mount certainly makes an impression, Sonequa Martin-Green continues to be the central focal point of Star Trek: Discovery and she doesn’t disappoint and delivers on the solid material she is given. An opening voiceover reiterates Burnham’s renewed sense of faith in herself and her place in Starfleet whilst flashbacks to Burnham’s Vulcan childhood and her interactions with Sarek (James Frain) in the present add emotional value. The flashbacks also facilitate a glimpse of a young Spock, preparing viewers for the impending introduction of Ethan Peck as the adult version (who is heard, via voiceover, but as yet unseen) which is bound to stir matters up dramatically.

Whilst Martin-Green’s Burnham is undoubtedly the narrative focus of Discovery, Mary Wiseman’s Ensign Tilly is once again the heart of the series and the character who most exemplifies the positive values of Starfleet and the Federation – her wide-eyed, child-like enthusiasm balanced by an innate kindness and endearing humanity. Wiseman also has a lot of fun with the role and there’s some great interplay between her and her co-stars – particularly her friendship with Burnham – and the fumbling star-struck moment Tilly has with Pike is priceless. The ever-impressive Doug Jones makes an assured return as Saru and although there is less for him to do in this episode, he still has a presence and applies the same level of skill and passion he demonstrated during the first season. Anthony Rapp brings a similar level of commitment as Stamets, with a slightly more sombre and reflective twist as he mourns the loss of his partner, Dr. Culber (Wilson Cruz – able to participate via holographic messages) and announces his plans to leave Starfleet once Discovery’s current mission has been completed. This leads to some sweet moments between Stamets and Tilly that accentuate the building feeling of family amongst the crew, always an important part of any iteration of Star Trek.

The visuals of Star Trek: Discovery are again hugely impressive with epic, feature film quality production values – in fact there are moments where you’d be forgiven for thinking you were watching J.J. Abrams’ Star Trek (2009), especially during Discovery’s tense navigation of an asteroid field and an edge-of-the-seat space-pod set-piece as Pike and Burnham attempt to reach the Hiawatha. It’s all handled superbly under the direction of series co-creator and executive producer Alex Kurtzman.

Now that the Klingon War and Mirror Universe storylines have concluded, Star Trek: Discovery is free to chart a lighter and more hopeful course and that’s clearly intended from the outset. That’s not to devalue season 1, and those darker narratives provided gripping drama and helped define and galvanise the crew but it will be a welcome fresh direction for the series as it ties further into Gene Roddenberry’s vision of a positive future for humanity whilst continuing to tell stories about the issues of the day through the prism of compelling science fiction and identifiable characters.

With CBS’ plans to expand the franchise – from the hotly anticipated Jean-Luc Picard series, to the forthcoming animated comedy from the creators of Rick & Morty and the recently announced Discovery spin-off that will focus on the Mirror U Philippa Georgiou and the clandestine Section 31 organisation, despite the lack of movement on a fourth J.J. Abrams produced film it’s a great time to be a Star Trek fan.

The bottom line: The second season of Star Trek: Discovery launches confidently with a highly promising premiere with impressive visuals, strong characterisation and a tantalising mystery at its centre.

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

TV Review: ‘Doctor Who’ 2019 Special – “Resolution”

New year, new dangers…

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The Doctor (Jodie Whittaker) and her friends welcome a new year as a deadly threat to humanity looms (image credit: BBC, used for illustrative purposes only).

Starring:  Jodie Whittaker, Tosin Cole, Bradley Walsh, Mandip Gill, Daniel Adegboyega, Charlotte Ritchie, Nikesh Patel, Nicholas Briggs

Written by:  Chris Chibnall / episode directed by:  Jamie Childs & Wayne Yip

What’s it about?

The Doctor faces a new challenge from an old enemy as a new year on Earth dawns…

In review

In a break from tradition by foregoing a festive edition of Doctor Who on Christmas Day, the BBC instead brought viewers a special hour long episode for New Year’s Day (and the only new Doctor Who for 2019 with series 12 due to air in autumn 2020).  In “Resolution“ Jodie Whittaker’s Doctor once again faces her oldest and greatest enemy when a lone Dalek mutant, buried on Earth centuries prior is revived and blazes a path of terror as it sets about constructing a new armour casing and fulfil its plans in summoning a Dalek invasion fleet.

Jodie Whittaker’s debut series has been interesting if a little uneven (despite a strong premiere) and although “Resolution“ gets off to a sluggish start it shifts into higher gear as it moves into its second half.  It may not be the best Dalek story but it’s still a good one and like Steven Moffat before him, Chris Chibnall gives us something fresh and unusual from Doctor Who’s most iconic monster.  Although the Dalek creature itself is separated from its casing and weaponry it doesn’t diminish the threat of the Doctor’s enduring adversary and demonstrates the intelligence and ingenuity of a resourceful and dangerous foe (its MacGyver style method of constructing a new casing undoubtedly being a highlight of the episode) as it controls, or ‘pilots’ an unwitting human host (archaeologist Lin, played by Charlotte Ritchie) to accomplish its mission. Kudos should also go to voice artist Nicholas Briggs who continues to bring the Daleks unsettlingly to life, never failing to succeed in conveying the pure evil and ruthlessness of the alien menace.

Jodie Whittaker continues to make her mark in the role of the Doctor with an enthusiastic and quirky performance, she perhaps comes across a little too energetic at times but non-the-less continues to prove her worth as the titular lead character of one of SF TV’s most beloved series.  Facing Whittaker’s Doctor with the Daleks early on in her run is a wise move as it always provides the opportunity for any actor in the central Doctor Who role to bring their talents to the next level and a test of the resolve of any incarnation of the character.

There’s also a bit of social commentary thrown into the mix as we learn that the operations of UNIT, the security and defence organisation with a long association with the Doctor, have been suspended due to funding – a victim of the uncertainties of Brexit?  It’s also a bit of a shame (and a missed opportunity) as the prospect of teaming Jodie Whittaker up with Jemma Redgrave’s Kate Lethbridge-Stewart surely has a lot of merit.

Ryan reconnecting with his estranged father serves to further flesh out not just Ryan himself but also his ‘gramps’, Graham and their relationship.  Tosin Cole and Bradley Walsh both turn in solid performances (and guest star Daniel Adegboyega is also effective as Ryan’s father, Aaron) and whilst those scenes threaten to drag out the pace and verge on being a little soap opera-y they still have narrative importance and facilitate emotional pay-off in the final act.  Consequently there’s less for Yaz (Mandip Gill) to do in this episode (supporting the argument that the TARDIS may have been overcrowded this season) but she still has a part to play and gets her own moments to shine.

The climax of “Resolution“ (capably directed by Jamie Childs & Wayne Yip) is a tense and exciting affair, with great special effects, well-staged action scenes and reasonably tight drama with a poignant and satisfying outcome.  With Whittaker and Chibnall’s first full season in the bag, capped off with this enjoyable New Year’s Day adventure here’s hoping that the series hits a more consistent stride next year.

The bottom line:  An entertaining special to round off a hit and miss debut season for Jodie Whittaker, “Resolution” renews the threat of an old menace that raises the stakes for the Thirteenth Doctor and her friends.

Flashback: ‘Star Trek: Deep Space Nine’ – “Emissary”

25 years ago saw the beginning of a daring new chapter in the ‘Star Trek’ legacy…

Trek DS9 Emissary - cast

Beyond the Final Frontier: the crew of Deep Space Nine.

Year:  1993

Starring:  Avery Brooks, Rene Auberjonois, Siddig El Fadil, Terry Farrell, Cirroc Lofton, Colm Meaney, Armin Shimerman, Nana Visitor, Marc Alaimo

Series created by:  Rick Berman & Michael Piller (Star Trek created by Gene Roddenberry)

Written by:  Michael Piller (story by Rick Berman & Michael Piller) / episode directed by:  David Carson

What’s it about?

Commander Benjamin Sisko is assigned to take command of Deep Space Nine, a surrendered Cardassian space station and upon the discovery of a wormhole leading to a distant corner of the galaxy makes contact with mysterious alien entities that exist within…

Retrospective/review

With Star Trek: The Next Generation at the peak of its popularity on television and plans for the cast to transition to the big screen, Paramount decided they wanted a new Star Trek series that would overlap with the final two seasons of The Next Generation.  Created by Rick Berman (guardian of the Star Trek franchise following the death of Gene Roddenberry in 1991) together with Michael Piller (head writer on The Next Generation), Star Trek: Deep Space Nine would present a slightly different take on Star Trek, focusing on a darker section of the universe that would allow for more conflict and drama whilst upholding the core principles of Gene Roddenberry’s hopeful vision and his intention to use the series as a vehicle for telling stories about the human condition.  In unison with Star Trek’s celebration of diversity, Avery Brooks – the first African American actor in the lead role of a Star Trek series – would head up the cast as Commander Benjamin Sisko.

“Emissary”, the feature length premiere of Star Trek: Deep Space Nine (first airing in January 1993), sees Commander Sisko, three years after the loss of his wife Jennifer (Felicia M. Bell) during Starfleet’s battle with the Borg at Wolf 359 (events which took place during classic Star Trek: The Next Generation two-parter “The Best of Both Worlds” and depicted in the exciting pre-titles teaser for “Emissary”) taking up assignment as commanding officer of the space station Deep Space Nine, which Starfleet has been invited to administer by the Bajorans – a deeply religious race who have been liberated from the brutal occupation of the militaristic Cardassian Union.  Raising his young son Jake (Cirroc Lofton) alone, Sikso finds the situation less than ideal but finds he must try and convince the station’s business owners to stay and maintain their community and help guide the Bajoran people to a better future and eventual membership in the United Federation of Planets.

Events take a mysterious turn when Sisko meets with the Bajaron spiritual leader (Kai Opaka – played by Camille Saviola), who believes Sisko is prophesied to become the emissary of the ‘Prophets’ – entities who are the deities of Bajoran faith – and urges him to find the ‘Celestial Temple’.  The enigma is unravelled with the discovery of an unusually stable wormhole near Bajor and Sisko makes contact with the entities residing within – the very Prophets of Bajoran theology.  Tension mounts with the arrival of Cardassian warships as the crew of DS9 prepare to move the station near to the mouth of the wormhole, which leads to a distant unexplored region of the galaxy known as the ‘Gamma Quadrant’, whilst Sisko attempts to prove to the Prophets, who are non-corporeal and have no perception of linear time, that he – and others like him – do not pose a threat.

Trek DS9 Emissary - station

The titular space station itself.

Avery Brooks is a solid leading man and has a lot to explore in “Emissary”, from the pain of his wife’s death and the caring relationship with his son to the loss of direction and eventual restoration of hope and belief in Starfleet’s mission and the principles of the Federation, Michael Piller’s script provides plenty of substance.  Filling out the rest of the central cast is Nana Visitor as Sisko’s waspish Bajoran second-in-command, Major Kira, Terry Farrell as Lt. Jadzia Dax (the new host of the Dax ‘symbiont’, previously carried by Sisko’s old friend, Curzon), the brilliant Rene Auberjonois as DS9’s gruff chief of security, ‘Constable’ Odo – a shape shifting alien of unknown origin, Colm Meaney as Chief of Operations, Miles O’Brien (a popular supporting character from The Next Generation), Siddig El Fadil (who would later adopt the stage name Alexander Siddig) as the young and eager chief medical officer, Doctor Julian Bashir and Armin Shimerman as Ferengi barkeeper – and thorn in Odo’s side – Quark (Shimerman coincidentally appeared as one of the first Ferengi in The Next Generation).  There’s an element of conflict at the outset that continues on into the first season to a certain degree and its rewarding as the characters grow and their relationships solidify, galvanising the crew of DS9.

In the tradition of Star Trek it’s a rich and varied set of characters, representative of different cultures both human and alien and this cross section of life together with the darker, more volatile backdrop of the series go on to fuel stories that parallel numerous social, political and religious themes.  The discovery of the wormhole also allows for missions of exploration to the Gamma Quadrant, ensuring Deep Space Nine isn’t completely landlocked and fulfilling the ‘trek’ aspect of the franchise.

“Emissary” also boasts a guest role for Patrick Stewart as The Next Generation’s Captain Picard (as well as the Enterprise) and the introduction of the superb Marc Alaimo as Gul Dukat, the former Cardassian prefect of occupied Bajor.  Alaimo (who, as with Shimerman, played one of the first Cardassians on The Next Generation) would recur throughout the seven season run of Deep Space Nine, becoming one of the show’s most interesting characters and one of Star Trek’s greatest villains.

The production design by Herman Zimmerman is another notable aspect and given that DS9 is an alien facility (designed by the Cardassians and built by Bajorans) he’s afforded the opportunity to stretch his creative legs and create the world of DS9 virtually from scratch and it contributes greatly to the darker, slightly more otherworldly look and feel of the show in comparison to the previous Star Trek series.

Confidently directed by David Carson – who would shortly graduate to the silver screen with Star Trek: Generations“Emissary” does a decent job of introducing the central players and setting of Star Trek: Deep Space Nine and whilst it would take a couple of seasons or so for the series to fully hit its stride, it would become an exceptional addition to the Star Trek universe with strong, well developed characters and some truly outstanding episodes that rank amongst the very best of the franchise and SF TV drama in general.

Geek fact!

J.G. Hertzler, who would later recur in the series as General Martok, appears (credited as John Noah Hertzler) in “Emissary” as the U.S.S. Saratoga’s Vulcan captain.

Images herein are used for illustrative purposes only and remain the property of the copyright owners.

Flashback: ‘Battlestar Galactica’ – “Saga of a Star World”

Looking back at the epic series premiere for Glen A. Larson’s SF TV cult classic…

BSG - Saga

Epic SF on the small screen: Richard Hatch, Lorne Greene and Dirk Benedict lead the cast of the original ‘Battlestar Galactica’ (image credit: Universal, used for illustrative purposes only).

Year:  1978

Starring:  Lorne Greene, Richard Hatch, Dirk Benedict, John Colicos, Terry Carter, Herbert Jefferson Jr, Jane Seymour, Maren Jensen, Laurette Spang, Noah Hathaway

Series created by:  Glen A. Larson

Written by:  Glen A. Larson / Episode directed by:  Richard A. Colla

What’s it about?

As the Twelve Colonies of Man prepare to establish an armistice with the Cylon Empire, the crew of the Battlestar Galactica discover that a massive attack is about to be unleashed…

Retrospective/review

Following the cultural explosion of Star Wars in 1977, audiences were hungry for epic science fiction whether it might be on the large or small screen.  Premiering in September 1978, Glen A. Larson’s Battlestar Galactica brought grand Star Wars style space opera to television, launching with the triple-length series opener “Saga of a Star World” which sees the Twelve Colonies of Man on the threshold of peace with the machine race known as the Cylons, who ultimately mount a devastating surprise attack, forcing survivors to flee their home star system.

Heading up the cast is Lorne Greene as the wise and noble Adama, commander of the ‘Battlestar’ Galactica who finds himself leading a fugitive caravan of ships carrying colony survivors away from the Cylon aggression.  Adama, ably supported by Terry Carter’s Colonel Tigh, brings hope to the remaining people of the Twelve Colonies as he announces his intention to lead them on a journey to seek out the fabled thirteenth Colony of Man…a place called ‘Earth’.  This quest drives the core mythology of “Saga of a Star World” and the rest of series as it unfolds against the backdrop of science fiction action and adventure.

Playing Adama’s son and chief pilot of the Galactica’s Viper fighter squadron, Apollo, is Richard Hatch who would receive a Golden Globe nomination for his role and would go on to portray the terrorist Tom Zarek in Ronald D. Moore’s 21st Century reimagining of Battlestar Galactica.  Hatch (who passed away last year) gives a committed performance and Larson’s script serves him well as he forms a relationship with Serina (Jane Seymour) and becomes a surrogate father to her son, Boxey (Noah Hathaway).

Another standout character (and probably the show’s most popular) is hotshot Viper pilot, lady’s man and Apollo’s best friend, Lt. Starbuck – played by future star of The A-Team Dirk Benedict.  The brotherly camaraderie between the two is a highlight of the original Battlestar and enriches the feeling of family between the principle characters, bolstered further by Hebert Jefferson Jr’s Lt. Boomer.  Despite the tragic circumstances that play out in “Saga of a Star World”, there’s still some light relief – principally Starbuck’s entanglement in a love triangle with Adama’s daughter Athena (Maren Jensen) and the enchanting Cassiopeia (Laurette Spang).

Adding to the Cylon threat is the treacherous Baltar (the excellent John Colicos, who would reappear throughout the series), whose collaboration with the Cylons leads to the downfall of the Twelve Colonies.  The Cylons themselves are a memorable and formidable enemy (that iconic swooshing red LED ‘eye’ later repeated in another of Glen A. Larson’s creations, Knight Rider).  They are commanded by the mysterious Imperious Leader, voiced by Patrick MacNee (famous for his role as John Steed in cult British fantasy spy series The Avengers) who also narrates Galactica’s opening monologue and would go on to play Count Iblis in the “War of the Gods” two-parter.

Battlestar Galactica was blessed with a large production budget (which ultimately lead to the cancellation of the series after 21 episodes, although it was shortly revived as the risible Galactica 1980) and thus for a late 70s SF television production the special effects for the time are fairly impressive – no small wonder given that they were produced under the supervision of Star Wars effects maestro John Dykstra – and numerous space battle sequences keep the viewer engaged in between the drama as the Galactica and the rag-tag fleet of survivors head out into deep space and on to their search to find Earth.  “Saga of a Star World” unfolds at a steady pace, following the opening decimation of the Colonies time is taken to flesh out the characters and deal with the crisis the survivors face in the wake of the Cylon attack.  Given the protracted running time it can feel a little slow in places but the pace picks up after the Galactica’s sojourn to a casino planet, whose hosts harbour a terrifying secret (adding a touch of horror to otherwise family-friendly proceedings) and leads into an action packed finale as Apollo and his fellow pilots take on the pursuing Cylon fleet.

This is Disco-era SF TV so there’s an element of camp when viewed today that may need to be excused on occasion but taken in context and with an open mindset the original Battlestar Galactica is actually quite a lot of fun and through its adventurous spirit and likeable characters it doesn’t fail to entertain and no doubt for viewers at the time, scratched that Star Wars itch.

Geek fact!

An edited version of “Saga of a Star World” was subsequently released theatrically and is available on home video as Battlestar Galactica: The Movie.

Elsewhere on WordPress, you can read the insightful Starloggers anniversary tribute to Battlestar GalacticaBattlestar Galactica: The TV Space Saga Turns 40