“Are You Afraid of the Dark?”: Night Terrors
“Night Terrors” is another episode derided by pretty much everyone: From the people who worked on it to the people who watched it, almost nobody has anything kind to say about this story and it’s frequently held up as being among Star Trek: The Next Generation‘s absolute worst of the worst.
You should know where this is going by now. I always thought it was pretty good!
What we’ve got this week is another step in the show’s transition into its next form. Like “Clues”, “Night Terrors” is a story about the Enterprise crew in the thick of a mind-bending cosmic mystery that warps their conception of reality. It’s also a competently mind-bending psychological thriller for the audience as well, with some unsettlingly well-done hallucinatory scenes and a plot that goes out of its way to showcase the power of dream logic and dream imagery. A great many future Star Trek: The Next Generation episodes will be comprised of one or both of these storytelling archetypes in roughly equal measure, and while “Night Terrors” isn’t the best or most ambitious iteration of either one of them, it is a very noticeable first draft.
It’s also not really safe to say that “Night Terrors” is the point where this becomes the show’s default mode, and of course the very best Star Trek: The Next Generation episodes will find ways to blend this with its pre-exisiting commitment to utopian conflict resolution, but, perhaps fittingly, this episode is a sort of vision of things to come-A decent first look at what’s going to be more or less a baseline average for the show going forward. Which is really not a terrible thing as far as I’m concerned.
Also like “Clues”, “Night Terrors” is another strong ensemble outing where each and every character gets to show off their talents and particular skillsets. Deanna Troi obviously plays the biggest role and we’ll talk about her a little later on, but this is a great showing for everyone in the main cast. I think what I enjoy the most about the act of watching Star Trek: The Next Generation from an entertainment standpoint is seeing the crew work together comfortably and effortlessly to figure something out and the trust they have in one another in the process: It’s that “competency porn” idea again, and this episode is a good example of that. The twist this time is that the dream deprivation is testing the limits of their capabilities and sanity both, and the hook is in watching how the crew responds to this.
And in this regard the actors really drive home some stellar performances: I know they always do and I always say they do, but it’s especially noticeable when their acting is bolstered by writing they can really play off of, as is the case here. Patrick Stewart and Gates McFadden are particular standouts for me, as they play Captain Picard and Doctor Crusher slowly and subtly growing more and more frazzled and unhinged, yet never once wavering from their heroic dedication to saving their friends and their ship.…
Kill the Boy
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State of Play
The choir goes off. The board is laid out thusly:
The Lion, Tyrion Lannister
Dragons of Mereen: Daenerys Targaryen
Direwolves of the Wall: Jon Snow
Burning Hearts of the Wall: Stannis Baratheon, Mellisandre
Ships of the Wall: Davos Seaworth
Kraken of Winterfell: Reek
Archers of the Wall: Samwell Tarly
Direwolves of Winterfell: Sansa Stark
Flowers of the Wall: Gilly
Swords of Mereen: Dario Noharis
Butterflies of Mereen: Missandrei
Shields of Winterfell: Brienne of Tarth
Paws of the Wall: Tormund Giantsbane
Flayed Men of Winterfell: Roose Bolton, Ramsey Bolton
With the Bear, Jorah Mormont
King’s Landing, Dorne, and Braavos are empty.
The episode is in parts. The first is five minutes long and is in sections; it is set in Mereen. The section is seconds long; the opening image is of the lamp flickering by Grey Worm’s bedside. The other is five minutes long; the transition is by image, from Missandrei watching over Grey Worm to Daenerys standing over Ser Barristan’s body.
The second part is nine minutes long and is set on the Wall. The transition is by family, from Daenerys Targaryen to Maester Aemon Targaryen and, subsequently, Jon Snow, and by dialogue, from Daenerys to Maester Aemon and Samwell talking about her.
The third is nineteen minutes long and is in sections; it is set in Winterfell. The first section is two minutes long; the transition is indirectly by family, from Jon Snow to Brienne watching Winterfell and musing about Sansa. The second is three minutes long; the transition is by dialogue, from Brienne talking about Sansa to Ramsey and Myranda doing the same. The third is fourteen minutes long; the transition is by dialogue, at last to Sansa herself.
The fourth part is seven minutes long and is set on the Wall; the transition is by dialogue, from Roose and Ramsey talking about Castle Black to Castle Black.
The fifth is five minutes long and is set in Mereen. The transition is by hard cut, from Stannis’s armies riding south to Grey Worm.
The sixth is eight minutes long and is set in Valyria. The transition is by dialogue, from Daenerys in Mereen to Tyrion and Jorah talking about going to Mereen. The final image is of Jorah staring at his greyscale stricken arm.
Analysis
We are, at last, to the part of the season where Game of Thrones is finally freed up to do things that are interesting as opposed to necessary. A King’s Landing-free episode marks the point where we are finally, in a sense, free of the season’s opening, the first episode having been framed in terms of Cersei. This week the only Lannister is Tyrion, by now firmly enmeshed in Daenerys’s plot.
Without the South or Arya, we get an episode about the North – a thirty-five minute stretch of episode – with Daenerys wrapped around it. This structure also produces the most flagrant “Jon Snow is a Targaryen” acknowledgment yet as Maester Aemon talks about Daenerys being all alone in the world and the camera then pans to Jon entering the scene, which is absolutely hilarious.…
Saturday Waffling (May 9th, 2015)
The Word “Fuck” Typed Eight Thousand Times (The Last War in Albion Part 95: American Flagg)
This is the seventh of eleven parts of The Last War in Albion Chapter Ten, focusing on Alan Moore’s Bojeffries Saga. An omnibus of all eleven parts is available on Smashwords. If you are a Kickstarter backer or a Patreon backer at $2 or higher per week, instructions on how to get your complimentary copy have been sent to you.
The Bojeffries Saga is available in a collected edition that can be purchased in the US or in the UK.
Also, I’d like to apologize if I inadvertently persuaded anybody that because the early comics of Alan Moore were so good the UK should just go back to the Thatcher era. That was not the intended thesis statement of The Last War in Albion.
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Figure 722: The first page of Alan Moore’s 1984 Batman text story. |
“I’m not saying it was aliens…But it was aliens”: First Contact
I don’t get “First Contact”.
To be precise, I don’t get the reputation it has. On paper, the episode seems pretty straightforward and self-evident: Do a story about the standard procedure for how the Federation handles first contact situations, preferably one where something goes wrong because something something conflict drama conflict. Even though it comes out of a pathological compulsion to answer the sort of question only a vanishingly small subset of the audience was actually asking and is as such something I don’t have an especially deep fondness for just by definition, “First Contact” is at least pretty easy to explain. What I’m not understanding, and have never been fully able to, is why this is considered a timeless classic above and beyond that. Well, at least I certainly hope it’s for reasons above and beyond that.
Obviously, the conceit is to explore Federation first contact procedure by taking the perspective of the contactees such that “First Contact” is unique in the history of Star Trek: The Next Generation by being the only episode not focused on the main characters. It is an interesting change of pace as a result and I can sort of see how this episode could be received as particularly memorable because of that, but to me both “Data’s Day” and “Clues” had already taken respectively unorthodox looks at the Enterprise crew, so this episode doesn’t strike me as being particularly groundbreaking in that regard (though it seems the production team thought otherwise, given the hoops they apparently had to jump through to convince Gene Roddenberry and Rick Berman that this was a good idea). Maybe it just seems underwhelming in retrospect given how often the subsequent Star Trek shows broadened their scope beyond their main casts while this was the first story to try something like this, but I don’t remember feeling I was seeing something really special and groundbreaking at the time either.
Not to mention that, Holy Shit, how stagnant and insular must Star Trek fans be if this is seen as being truly refreshing and experimental?
Maybe this episode plays into an unspoken desire science fiction fans have. Maybe people identify with Mirasta Yale, a space engineer working tirelessly with prototypical Warp Drive in order to realise her dreams of travelling to the stars (by the way, great to see Carolyn Seymour again. I prefer her as a Romulan though). Perhaps they project onto her at the end when she asks the Enterprise crew to take her with them, and they agree. Certainly there’s always been, at least since the early days of the franchise’s syndication, this aspirational drive Star Trek fans have to actually insert themselves into their favourite fictional universe. These were some of the first modern fandom cosplayers, after all, and it’s no coincidence that it was Star Trek that became synonymous with the Mary Sue archetype.…
Yay for voting! Ain’t democracy just peaches!
Off out to vote today on who runs the civil service… oh, no, hang about, we’re not allowed to do that are we?
Off out to vote today on who runs the police… oh, no, hang about, we’re not allowed to do that are we?
Off out to vote today on who runs the army… oh, no, hang about, we’re not allowed to do that are we?
Off out to vote today on who runs the corporations… oh, no, hang about, we’re not allowed to do that are we?
Off out to vote today on who runs the BBC… oh, no, hang about, we’re not allowed to do that are we?
Commenting on Three Doctors
Phil Sandifer and I have created another set of episode commentaries, this time for ‘The Three Doctors’. It’s a fun set of tracks, largely because about half way through I abandon any attempt to be serious and just start giggling and pissing about.
Download the whole thing in a zip file here, or have a look at Phil’s post.
…The Three Doctors Commentary
Jack Graham and I have struck again, this time with The Three Doctors. Technical difficulties did not stop us, although they did leave some strange noise artifacts on episode one to surprise you if you have the volume too loud, and a somewhat desperate attempt at the start of episode four to remember what we said the first time we tried commenting on it when I forgot to record it.
In any case, a zip file with all four mp3s is right here. Enjoy, and we’ll be back with The Ark in Space before too long I hope.
Previous commentaries:
Comics Reviews (May 6th, 2015)
The Amazing Spider-Man #18
The storyline that fills the gap between Spider-Verse and Secret Wars ends, having accomplished its primary aesthetic goal of taking up three issues.
Convergence: The Question #2
Unsurprisingly, this runs up pretty hard against the fact that it’s two issues and the characters in question are presumably being wiped out of existence soon, although I’m not actually following Convergence and have no actual idea what it’s about. Rucka is still a delight with these characters, and not having him on a DC street level book remains the biggest problem with DC other than being run by Dan Didio.
Uber #24
One of those issues that you describe as “transitional” if you liked it and “filler” if you didn’t. Transitional, then, and with a couple rare moments of humor for Uber. I think the next “everything explodes a lot” issue of this is going to be extraordinary.
Secret Wars #1
An issue that is in some ways rough for the dedicated comics fan who has been following the promotion and lead-up to this series, but is surely necessary for the 200,000 some-odd readers who weren’t following Avengers and New Avengers. The Ultimate/616 punch-up is fun, not least in terms of how it could easily have been eight issues in its own right and is instead energetically spent as a one-off plot. Mostly, I’m glad this rumbles on with a second issue next week, and I hope it finds itself feeling well under way instead of catching up to its solicits.
The Wicked & The Divine #10
Another transitional/filler issue from Gillen this week, though this one is more blatantly the suture between Urdr’s arrival and whatever horrible and upsetting plot twists are waiting in issue #11. (Which has, I suspect, the best cover of 2015.) It works and gets from point A to point B, and has some excellent moments in the process, but this is nevertheless a quiet month for the comic.
Crossed: Badlands #77
This one’s not transitional. Instead the series accelerates gamely. It’s getting increasingly hard to see how the two timelines are going to reintersect, although this is the point in the story where that really doesn’t need to be clear. But they’re both moving with terrible alacrity. My only complaint is that we’ve had three issues so fast, and #78 is apparently waiting for June, which is not great pacing.
Spider-Gwen #4
The third issue of this left me slightly cold, but it really roars back into form here, including an absolutely brilliant Aunt May/Gwen Stacy scene. Everything about this book continues to delight.
The Unbeatable Squirrel-Girl #5
It has a cameo from T-Rex. You know. The star of Ryan North’s other comic. God I love Squirrel Girl.…